A 
 
 
 
 
 
 i'.-.'?' 
 
 A^ 
 
 .— . ; _ 
 
 >|^l 
 
 = 
 
 '^ 
 
 
 = 
 
 
 1^ 
 
 ^ 
 
 ^^:^ _ 
 
 H 
 
 6 = 
 
 ^^Z. - 
 
 ^1 
 
 1 = 
 
 ^^-_ I--- 
 
 ^M 
 
 = 
 
 _ JD 
 
 H 
 
 4 = 
 
 
 ^H 
 
 8 = 
 
 1 J^ 
 
 ^H 
 
 = 
 
 
 H
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
 GIFT OF 
 FREDERIC THOMAS BLANCHARD
 
 CLAUDE LE LORRAIN.
 
 ILLUSTRATED BIOGRAPHIES OF THE GREAT ARTISTS. 
 
 The following volumes, each illustrated with from \i, to 20 Engravings, are now 
 ready, price y. 6d. Those marked with an asterisk are is. 6d. 
 
 SIR JOSHUA REYNOLDS. By F. S. Pulling, M.A. 
 
 WILLIAM HOGARTH. By Austin Dobson. 
 
 GAINSBOROUGH and CONSTABLE. By G. Brock-Arnold, M.A. 
 
 LAWRENCE and ROMNEY.* By Lord Ronald Gower, F.S.A. 
 
 TURNER. By Cosmo Monkhouse. 
 
 SIR DAVID WILKIE, By J. W. Mollett, B.A. 
 
 SIR EDWIN LANDSEER. By F. G. Stephens. 
 
 GIOTTO. By Harry Quilter, M.A. 
 
 FRA ANGELICO and BOTTICELLL By C. M. Phillimore, 
 
 ERA BARTOLOMMEO and ANDREA DEL SARTO. By Leader Scott. 
 
 MANTEGNA and FRANCIA, By Julia Cartwright. 
 
 GHIBERTI AND DONATELLO.* By Leader Scott. 
 
 LUCA DELLA ROBBIA and CELLINI.* By Leader Scott. 
 
 LEONARDO DA VINCI. By Dr. J. Paul Richter. 
 
 MICHELANGELO BUONARROTL By Charles Clement. 
 
 RAPHAEL. By N. D'Anvers, 
 
 TITIAN. By R. F. Heath, M.A. 
 
 TINTORETTO. By W. R. Osler. 
 
 CORREGGIO.* By M. Comfton Heaton. 
 
 VELAZQUEZ. By E. Stowe, M.A. 
 MURILLO.* By Ellen E. Minor. 
 
 ALBRECHT DURER. By R. F. Heath, M.A. 
 LITTLE MASTERS of GERMANY. By W. E. Scott. 
 HANS HOLBEIN. By Joseph Cundall. 
 OVERBECK. By J. Beavington Atkinson. 
 
 REMBRANDT, By J. W. Mollett, B.A 
 
 RUBENS. By C. W. Kett, M.A, 
 
 VAN DYCK and FRANS HALS. By P. R. Head, B A. 
 
 FIGURE PAINTERS of HOLLAND. By Lord Ronald Gower, F.S..\. 
 
 CLAUDE LE LORRAIN. By Owen J, Dullea. 
 WATTEAU.* By J. W. Mollett, B.A. 
 VERNET and DELAROCHE. By J. RuuTZ Rees. 
 MEISSONIER.* By J. W. Mollett, B.A.
 
 Claude Gbllee, le Lobeain.
 
 CLAUDE GELLfiE 
 LE LORRAIN 
 
 BY 
 
 OWEN J. DULLEA 
 
 LONDON 
 SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON 
 
 CROWN BUILDINGS, FLEET STREET 
 I8S7
 
 i 
 
 All ricjlits reserved. 
 
 Richard Clay & Sons, 
 
 bread strret hill, london, 
 
 Bungay, Suffolk.
 
 fVD 
 55-3 
 
 PREFACE. 
 
 T N the following pages, I liave endeavoured to present a 
 brief yet complete account of Claude and liis art from a 
 careful collation of what has been written concernin!:j him 
 up to the present time, including Lady Dilke's exhaustive 
 monograph. I have also included the results of a comparative 
 study of his pictures, drawings, and etching?, together with 
 several grains of information gleaned wliile writing a series of 
 articles on the lives and works of artists of the French school. 
 
 In Appendix A will be found — thanks to Lady Dilke's re- 
 searches — Claude's v/ill, now first presented in an English guise. 
 His inscriptions on the drawings in the 'Liber Veritatis,' 
 which have not hitherto been published in EngLand, are given 
 in Appendix B, in which, as well as in Ajipendix C, an attempt 
 has been made to give the latest information as to the where- 
 abouts of his pictures. 
 
 0. J. D. 
 
 1001360
 
 CONTENTS. 
 
 PAOB 
 
 Preface . vii 
 
 CHAPTER I. 
 
 Early Years [1600—1625]. 
 
 Birth and parentage — Conflicting accounts of early years — Train- 
 ing with A. Tassi 
 
 CHAPTER II. 
 
 Wanderings [1625—1627]. 
 
 Venice — Bavaria — Chamagne — With Dernet at Nancy — Decora- 
 tion of Carmelite Church — Return to Rome via Marseilles . . 7 
 
 CHAPTER III. 
 
 The Road to Fame [1627—1639]. 
 
 Mode of working — Relations with Sandrart and other painters — 
 Decorative works — Etchings — M. de Bethnne — Tho Fire- 
 works — Cardinal Bentivoglio — Urban VIII 15 
 
 CHAPTER IV. 
 Fame [1639—1663]. 
 
 Roman patrons — English appreciation of Claude — French patrons 
 —Philip IV. of Spain— The ' Liber Veritatis '-Alexander VII. 
 — Claude's assistants — Etchings 37
 
 X CONTENTS. 
 
 PAGE 
 
 CHAPTER V. 
 
 Latter Years [1663—1682]. 
 
 Illness and Will — D. Barriere — Pupils — Patrons at Rome — 
 French, Flemish and German patrons — Illness and codicil — 
 Latest commissions — Death — Memorial inscriptions — 
 Sketches — Claude's influence 62 
 
 APPENDIX A, 
 Claude's Will and Codicil 93 
 
 APPENDIX B. 
 TuE 'Liber Veritatis' 100 
 
 APPENDIX C. 
 List op Claude's Pictures 121 
 
 APPENDIX D. 
 List of Claude's Etchings 134 
 
 APPENDIX E. 
 Bibliography 139 
 
 Index , HI
 
 LIST OF ILLUSTRATIONS. 
 
 PAGE 
 
 Portrait of Claude le Lorrain Frontispiece 
 
 Landscape : The Sacrifice. From the Drawing No. 182 ix 
 THE * Liber Veritatis ' To face page 6 
 
 The Landing of jEneas in Italy. From the Drawing No. 122 
 IN THE 'Liber Veritatis' 14 
 
 The Cami'O Vaccino. From the Drawing No. 10 in the 
 'Liber Veritatis' 17 
 
 The Herdsman. From the Etching No. 8, ArrENDix D . . 24 
 
 Dance by the River Side. From the Etching No. 6, 
 Appendix D 26 
 
 Seaport. From the Picture at the Louvre (l. v. 14) . . . 35 
 
 Landscape. From the Picture at the Turin Gallery 
 (l. v. 101) 41 
 
 Embarkation of S. Paula. From the Drawing No. 49 in the 
 'Liber Veritatis' 43 
 
 Jacob Bargaining with Laban for Rachel. From the 
 Drawing No. 147 in the ' Liber Veritatis ' 53 
 
 The Rape of Europa. From the Drawing No. 144 in the 
 •Liber Veritatis' 54
 
 XU LIST OF ILLUSTRATIONS. 
 
 PAGE 
 
 Architectural Landscape : Esther. From tee Drawing 
 No. 146 IN the ' Liber Veritatis ' 56 
 
 Landscape : Ponte Mola. (l. v. 90) 5S 
 
 The Annunciation. From the Picture in the National 
 Gallery (l. v. 106) 75 
 
 Landscape : Mercury and Battus. From the Drawing 
 No. 192 in the 'Liber Veritatis' 80 
 
 Landscape : The Death of Procris. From the Drawing 
 No. 100 IN THE 'Liber Veritatis' 86
 
 CLAUDE LE LORRAIN. 
 
 CHAPTER I. 
 
 EARLY YEARS. 
 
 1600—1625. 
 
 CLOSE to the northern boundary of the modern French 
 department of the Vosges, some half mile distant from 
 the right bank of the Moselle, and hard by the Forest of Charmes, 
 is the little village of Chamagne. In this rural hamlet, once 
 the chief place in the seignory of the same name in the old 
 Duchy of Lorraine, Claude Gellee — or to give him the name, 
 Claude le Lorrain, -which he received from his native country, 
 although not a sixth part of his long life was spent in it — 
 first saw the Irght in the year 1600. The exact place of 
 his birth can still be pointed out. Towards the end of the 
 village street, Avhere it approaches the meadows Avhich form 
 the common grazing ground, is an old house which bears on 
 its walls a tablet, commemorating that therein the great land- 
 scape painter of the French school drew his first breath. 
 Beyond the fact that his parents, Jean Gellee and Anne 
 Padose, were in humble circumstances, the exact nature of 
 
 C. L. B
 
 2 CLAUDE LE LORRAIX. 
 
 the rustic occupation which kept the ■n'olf from their door 
 is not known. They had a large family, of whom five were 
 sons : Jean, Dominique, Claude, Denis, and Michel.* 
 
 Thus far, the brief accounts of Claude's birth and parentage 
 present no difficulty. Concerning the events of his boyhood 
 and youth, however, his biographers differ considerably. Their 
 information is derived from two sources. One of these is 
 Joachim von Sandrart, a German painter, engraver, and writer 
 on art, who resided some years at Eome, where he became 
 intimate with Claude. His reminiscences of him are contained 
 in his ' Teutsche Academic,' of which a Latin translation, entitled 
 ' Academia nobilissimse Artis pictoriee,' was published in 1683. 
 The other authority is Filippo Baldinucci, a Florentine artist, 
 whose account was derived from Jean Gellee and the Abbe 
 Joseph Gellee, the grand-nejihew of the painter, and is in- 
 cluded in his ' Xotizie de' professor! del disegno.' He appears 
 also to have been acquainted with the painter himself, who he 
 states showed him the well-known ' liber Veritatis.' 
 
 According to Sandrart, Claude displayed little intelligence as 
 a boy, and when sent to school learned but little — scientia 
 valde mediocri, says the German. His parents accordingly 
 apprenticed him to a pastrycook ,t and, teste De PUes, he 
 served out his apprenticeship. Afterwards, he made his way 
 to Eome with a party of his fellow-countrymen, who were 
 travelling there, to exercise the culinary profession. On his 
 arrival in the Papal city, he had some difficulty in. obtaining 
 
 * Tlie local records do not yield any information as to the painter's 
 family. The parochial registers of Chamagne are not forthcoming previous 
 to 1672. 
 
 t This is the statement contained in Sandrart's original German work 
 of 1675. But there is a curious variation in the Latin edition of 1683. 
 Instead of using the Latin equivalent for pastrycook, pistori, the word 
 employed is jjidori, a painter. It is, however, merely a printer's error, 
 as the Latin context stiU agrees with the pastrycook account.
 
 EARLY YEARS. 3 
 
 employment through his inabihty to speak Italian. lie at 
 length found a situation with Agostino Tassi, a Perugian land- 
 scape painter, whose art had been trained in the studio of 
 Paul Bril. 
 
 iSTow turn to the account given by Ealdinucci. According 
 to him, when Claude had reached his twelfth year, he had lost 
 both his parents, and was compelled to seek the shelter of 
 his eldest brother's home. Jean had settled at Freiburcr in 
 the Swabian country across the Ehine, where he was engaged 
 in wood-engraving and carving. From him, Claude received 
 his first instruction in drawing, and Avas employed in the 
 design of arabesques and foliage. His stay at Freiburg was 
 not, however, of long duration. About twelve months after his 
 arrival there, a relative, who was making his Avay to Pome in 
 pursuit of his calling as a lace merchant, took the lad with him. 
 
 Arrived in Pome, Claude settled down in humble loddncrs 
 near the Pantheon. Profiting by the grounding in art which 
 he had already received, he pursued his studies in the best way 
 he was able, for the lace merchant had left him to his own 
 devices, and the scanty supplies of money which he received 
 from his relatives were scarcely sufficient for his bare subsist- 
 ance. Even these meagre remittances at length ceased, owing 
 to the outbreak of the Thirty Years' War, and the difficulty 
 of transmitting money in the disturbed state of Central Europe. 
 
 At this juncture, Claude resolved to proceed to !N"aples before 
 his slender resources Avere quite exhausted. Here resided a 
 landscape painter named Gottfried Waels, whose fame had 
 reached him at Pome. But little is known about this painter, 
 and what information we possess concerning him is not very 
 reliable. It would appear that he was a native of Cologne 
 who had made his way to Italy, ami after studying under 
 Tassi, had .settled at iN'aples. He painted small landscapes 
 in the style of Elsheimer, which have now become very rare. 
 
 B 2
 
 4 CLAUDE LE LORRAIX. 
 
 There is one picture attributed to Lira in tlie Doria Gallery 
 at Eome. 
 
 Under the guidance of this master, Claude made some pro- 
 gress in architecture, perspective, and the mysteries of colour. 
 With him he remained two years, and then returned to Eome. 
 Here he obtained admission to the house of Agostino Tassi, 
 from Avhom he received instruction, and, as Baldinucci expressly 
 states, looked after the house-keeping. 
 
 On these two accounts of Sandrart and Baldinucci, the 
 biographers of Claude have had to depend for information as 
 to his early life. Some have trusted implicitly to the German, 
 whilst others have placed an equal confidence in the statements 
 of the Italian. His later biographers have taken a middle 
 course, and have endeavoured to evolve the true story of the 
 painter's early years from a comparison and combination of 
 both accounts. 
 
 It is not easy to reconcile the statements of the two 
 authorities. The only points which may be taken as certain 
 are those in which Sandrart and Baldinucci agree. First, there 
 is the early death of Claude's parents, and his being left in a 
 comparatively friendless condition. Then there is the fact 
 that by some means he succeeded in reaching Italy, where he 
 eventually became an inmate of Tassi's house. 
 
 The statement of Baldinucci as to his havincr received in- 
 struction from his brother, and subsequently from Gottfried 
 AVaels, does not absolutely clash Avith Sandrart, and may be 
 considered as supplying an additional link in the history. But 
 it should not be received with the same degree of confidence 
 as is accorded to the first-named facts. And, further, it is by 
 no means certain whether the stay with "Waels should be 
 placed before or after that with Tassi. 
 
 As regards the manner in which he reached Rome, it is im- 
 possible to reconcile the pastrycook account with that of the
 
 EAr.LY YEAES. 5 
 
 lace merchant. It is to be feared that ■with tlie information at 
 present at command, this point must remain an open question. 
 
 To return to Tassi, who demands some notice from liis 
 connection with Claude. As has been already stated, he was a 
 Perugian by birth, and was a pupil and follower of the Flemish 
 painter Paul JJril, who may be regarded as one of the cliicf 
 pioneers of landscape pure and simple. In some accounts, Tassi 
 is represented as having endured a forced sojourn in the galleys 
 at Leghorn, in expiation of a crime Avhich he had committed 
 in his youth. Although barely remembered iu the present day, 
 yet in his own time he enjoyed a high reputation. He had 
 now been some j'ears settled at Pome, Avhere he was patronised 
 by Paul v., who wore the tiara from 1605 to 1621. At the 
 time of Claude's entry into the painter's service, Sandrart states 
 that Tassi was engaged for the Pope on a series of works for 
 the decoration of the hall sot apart for the meeting of the 
 conclave. Tliis must have been before 1619, as a deposition 
 made by Tassi in that year has recently been discovered iu 
 the ' Criminal Archives' at Pome, in which he describes " Claudio 
 di Lorena " as one of his assistants in some decorative works 
 on which he was then engaged for the Cardinal Montalto at 
 Bagnaia near Viterbo. 
 
 Next, as to the character of the relationship between them. 
 According to Sandrart, Claude's functions in Tassi's establish- 
 ment were of a humble and miscellaneous character. In the 
 house, he looked after the kitchen and other domestic affairs ; 
 in the stable, he groomed the horse ; whilst in the studio he 
 ground the colours and cleaned the palettes and brushes. From 
 this account, it is evident that his position must have been 
 entirely one of dependence. And this view is corroborated by 
 the significant admission of Baldinucci that he was the pay- 
 master of the household. 
 
 But that Claude had artistic relations with Tassi, besides
 
 G 
 
 CLAUDE LE LORRAIN. 
 
 these domestic functions, there is no room to doubt. Baldinucci 
 states that Tassi, during his stay with him, instructed and 
 communicated to him the best principles of art. And this is 
 borne out by Sandrart, who states that in the intervals of 
 Claude's household duties, his master — whom he describes as 
 a good-natured man, notwithstanding his sufferings from the 
 gout — assisted him in his endeavours to master the principles 
 of perspective and drawing. A further confirmation is supplied 
 by the deposition already referred to, where Tassi expressly 
 describes him as one of his assistants on the decorative works 
 on which he was then engaged.
 
 
 ''J'^r^SB^} 
 
 4'^ a,' ^\*£7 :-;:ia 
 
 
 
 \ A 
 
 X:'^ 5U-y 
 
 iii^*^ 
 
 ^ 
 
 tt> 
 
 i-c tt 
 M ft 
 
 W % 
 
 c 
 
 a 

 
 CHAPTER IT. 
 
 AVANDERINGS. 
 
 1G25— 1627. 
 
 SAXDPiAPtT makes no mention of tlie length of time during 
 which Claude was an inmate of Tassi's house. Baldinucci 
 states that he was with him till he Avas twenty-five years of age, 
 and that in April 1G25 he left Pome, and commenced a series 
 of wanderings. These lasted over two years, and for an 
 account of them we have to trust to the Italian writer, as tlie 
 German passes them over in complete silence. There are, 
 however, certain details not n;entioned by Baldinucci, which 
 have been introduced by subsequent writers. They are included 
 here for what they may be worth, but their truth is very 
 doubtful. 
 
 Claude's motive in undertaking the journey is not known. 
 Whether it was simply the desire of change, or the wish to see 
 his relatives and his native place again, or the hope of obtain- 
 ing more profitable employment, cannot now be determined. 
 On quitting Pome, his steps led him across the Apennines 
 towards the Adriatic coast of the Peninsula. His first halt 
 Avas at the "Casa Santa," or Holy House, of Loretto. Here he 
 paused awhile, and then continued his journey northward 
 through Pomagna and the Venetian territories.
 
 8 CLAUDE LE LORRAIN. 
 
 At Venice, he is said to have made some stay, and to have 
 painted a few pictures. Thuy cannot now be traced : one of 
 them may perhaps be that engraved in J. B. P. Lebrim's 
 ' Eecneil de Gravures.' It represents Venice and the Lagune, 
 dotted Avith its numerous islands, as seen from Mestre, where 
 the railway now crosses from the mainland on a long row of 
 arches. 
 
 There was much in the city of the Doges which wordd com- 
 mend itself strongly to his imagination. The stately palaces, 
 
 "Still glowing with the richest hues of art, 
 As though the wealth withiu them had run o'er," 
 
 the quays and terraces washed by the gentle ripples of the 
 Avaveless sea, the harbour busy with groups lading and unladin"' 
 vessels engaged in the commerce of the Eepublic : all these 
 are reflected in the sea-ports, refulgent with the sun's rays, 
 which he reproduced so often, and which constitute one of his 
 chief claims to fame. 
 
 On leaving Venice, Claude chose to prolong his journey to 
 his native country by passing through Germany, instead of 
 taking the direct route through the IMilanese territories. Thread- 
 ing his way across the Tyrolese Alps to Innspruck, he descended 
 into Bavaria. It is interesting to note, in contrast to Venice, 
 how foreign to the bent of his genius was the wild and rugged 
 mountain sceneiy through which he passel in his journey from 
 Italy to the valley of tlie Isar. His route lay 
 
 "ilid savage rocks, and seas of snow that shine, 
 Eetweeu interminahle tracts of pine," 
 
 and he must have frequently passed the perilous spots where 
 the hardy mountaineers 
 
 ' ' Cross the chasmy torrent's foam-lit bed 
 Eocked on the dizzy larch's narrow tread." 
 
 The sight of these sterner as^jects of nature did not strike a
 
 WANDERINGS. 9 
 
 responsive chord in his artistic nature. 'No traces of impressions 
 received during his Tyrolese journey can be found in any of his 
 pictures or sketches. 
 
 But to resume. Claude's passage through Bavaria has been 
 enlarged by some of tlie biographers already referred to int:) 
 a sojourn of considerable duration. He is said to have stayed 
 at Harlaching, a village in the neighbourhood of Munich, and 
 to have painted some pictures. There is also a tradition that 
 the little castle of Harlaching, which was destroyed in the 
 wars of the French Eevolution, owed something of its design 
 to his inspiration. The authenticity of these accounts is very 
 doubtful. They appear to have been built i;pon the slenderest 
 foundation of fact. 
 
 To commemorate this, possibly fabulous, sojourn in Bavaria, 
 a memorial was erected by King Louis I, It is a simple upriglit 
 monument, bearing a portrait of the painter, and an inscription 
 recording the sojourn. The inaugural ceremonies took place on 
 the 3rd June, 1865. On the morning of tliat day a concourse 
 of artists, whom the event had called together, met and marched 
 in procession to Harlaching. After some part-music by Men- 
 delssohn had been sung, the monument was uncovered, and 
 a laudatory speech made by the painter Anton Teichlein. The 
 day concluded with various emblematic festivities, in which the 
 pageant-loving king took part. 
 
 On quitting Bavaria, the wanderer turned his footsteps west- 
 ward, and made his way through Swabia and the pines of the 
 Black Forest. Crossing the Pthine, he threaded the defiles of 
 the Vosges mountains, and thus, after an absence of about twelve 
 years, reached his native village. During the latter part of the 
 journey, he is said to have fallen ill, and, while prostrate on a 
 bed of sickness, to have been robbed of all his belongings. This, 
 again, is an incident to which great credence should not be 
 attached.
 
 10 CLAUDE LE LORRAIX. 
 
 Claude does not appear to have made any considerable stay 
 in Chamagne. After so long an absence, there Avas probably 
 little to induce him to remain. He would, moreover, find but 
 small scope for the practice of art in the secluded village on the 
 banks of the Moselle, He accordingly set out for Nancy, the 
 capital of Lorraine, where the reigning Duke held his court, a 
 court renowned for its luxury and patronage of the fine arts. 
 M. Emile Michel mentions a plan of the city of ISTancy, pub- 
 lished in 1611, which gives a goodly list of the art-workers — 
 painters, sculptors, architects, jewellers, embroiderers, &c. — 
 who then followed their profession there. In such a centre of 
 taste, Claude doubtless felt secure of obtaining employment, 
 and he had, moreover, a relative residing there. From him, hi 
 received an introduction to Claude Deruet, the chief figure in 
 the art-world of Lorraine at this time. 
 
 According to Meaume,* Claude Deruet was one of the best 
 painters Lorraine produced. Born in 1588, probably at l^ancy, 
 he Avent to Eome at an early age, and studied under Tempesta 
 and Josepiu. On his return to his native country in 1619, 
 he quickly rose to great honour. He was appointed painter-in- 
 ordinary to Duke Henri II., from whom in 1621 he received 
 letters of nobility. Besides the favour of his sovereign, he 
 enjoyed that of the Prince of Phalsbourg, an illegitimate scion 
 of the great Guise family. Deruet lived in great style, and had, 
 according to Felibien, the retinue and equipage of a grcaid seigneur. 
 He boasted of two establishments, his country house and his 
 town house at Nancy. To this important personage, who 
 assumed an absolute authority in all matters relating to art at 
 the Ducal court, Claude presented himself. His appHcation 
 was successful, and the great man was jDleased to give him 
 
 * 'Recherches sur la vie et les ouvrages de Claude Deruet,' par M. E. 
 Meaume. 1854.
 
 WANDERINGS. 1 1 
 
 employment amongst liis assistants, several of whom it is stated 
 were natives of Italy. 
 
 In parenthesis, it may be mentioned, tliat the most important 
 work of Deruet which is extant is a series of pictures, emblem- 
 atic of the Four Elements, now in the Museum at Orleans. 
 The landscapes in these compositions Avere for some time attri- 
 buted to Claude, but a careful examination of their style, and of 
 the internal evidence as to the date when they were painted, has 
 led to the conclusion that he could have had no share in their 
 execution. 
 
 About the beginning of the seventeenth century, a monastery 
 of the Carmelite order had been founded at Nancy by the 
 grand-nephew of Calvin. His successor as prior, Sebastien de 
 St. Francois, commenced erecting the church of the community 
 in 1615. On its completion, Deruet undertook to decorate the 
 roof, at the request of the prior and the Prince of Phalsbourg. 
 In this work he was aided by Claude and his other Italian 
 assistants. It is to be regretted that it can no longer be 
 examined. It perished at the Eevolution, the church having 
 been destroyed in 1793. A full description of the decorations 
 has, however, been preserved,* from which it appears that their 
 leading theme was the history of the Virgin. The chief events 
 depicted were : the Annunciation, the Marriage of the Virgin, 
 the Birth of our Lord, the Adoration of the Magi, the Death 
 and Burial of the Virgin, and the Assumj^tion. According to 
 this account, it seems that in several important parts of the 
 work, there were portions ranked amongst the best in the whole 
 composition, which were considered due to Deruet's assistants. 
 Perchance, if the church had escaped the iconoclastic fury of 
 the Revolution, some of Claude's work might have even now 
 been distiaguishable. 
 
 In this undertaking, EaLlinucci states that Claude was 
 * Lionnois : 'Histoire de Nancy.'
 
 12 CLAUDE LE LOREAIN. 
 
 tmployod in painting the Ian Jscapes and arcliitectural accessories. 
 Dut after a year of this ■work, and before the completion of the 
 decorations, he grew tired of his task. This is attributed to 
 two causes. First, it would appear that a change had been 
 made in his original understanding with Deruet. According to 
 agreement, Claude was to be employed in figure painting, and it 
 was on such work that he was at first engaged. But from some 
 cause — probably from his want of skiU in that branch of art — 
 he was relegated to the architecture and backgrounds. 
 
 The second cause was that the dangers of painting on a 
 scatfolu were ^^vidly brought before him by an accident which 
 happened to a gilder, who was also engaged on the decorations. 
 Through a false step, the man fell from the platform on which 
 he was working, and Avould have been dashed on the pavement 
 below, but for the fortunate interposition of a beam to which 
 he clung. Claude hastened to his help, and by his timely 
 succour, the man's life was saved. 
 
 Quitting, therefore, the uncongeniil service of Deruet, he left 
 Kancy and his native country, which he was destined never to 
 see again, and sought once more the classic shores of Italy. He 
 set out on his return journey in the summer of 1627. Anxious 
 to reach his destination, he did not take the circuitous route by 
 which he came, but chose the most direct course. "With his 
 face turned south, he made for Lyons, where he halted for a 
 few days. Then journeying down the Ehone, and passing 
 through Provence, he reached Marseilles, whence he intended 
 at once to embark for Italy. But his intention was frustrated, 
 for he was laid low by a dangerous fever, and for some time the 
 symptoms were very serious. And this was not his only trouble, 
 for Avhile he was in this helpless condition, he had the misfortune 
 to be once more plundered and left in a state bordering on 
 destitution. With returning health, his courage quickly revived, 
 and he is said to have spent his last coin in merry-making
 
 WANDERINGS. 13 
 
 with some congenial spirits in "whose company he chanced 
 to fall. 
 
 But it was necessary to procure the means to continue his 
 journey, and he obtained an intioductiou to a wealthy merchant, 
 from whom he received a commission to paint two pictures. 
 On their completion, the local Maecenas was so pleased that he 
 wished to obtain other specimens of Claude's work. But he 
 could not induce the young Lorrainer to accede to his request. 
 He was anxious, now that he had replenished his purse, to lose 
 no further time in reaching his destination, and accordingly 
 embarked on the first ship which sailed for the Iloman coast. 
 
 These details of the return journey are very doubtful. 
 Baldinucci only states that on leaving Xancy he passed through 
 Lyons and Marseilles. The illness, the second robbery, the 
 bout of dissipation, and the Marseilles patron are all due to 
 later biographers. 
 
 During the voyage to Civita Veccliia, Claude enjoj^ed con- 
 genial companionship. Amongst his fellow-travellers was the 
 elder Charles Errard of Nantes, who, through the influence of 
 Marie de Medicis, had been appointed painter-in-ordinary to 
 Louis XIII. He was accompanied by his two sons, whom ho 
 was taking to Ifome to complete their art studies. The elder 
 son, who bore the same name as his father, passed much of his 
 life — this his first visit lasted sixteen years — at Eome, where 
 he probably came frequently into contact Avith Claude. He 
 occupies a place of some importance in the history of French 
 art. As one of the twelve original members of the French 
 Academy, he would be entitled to remembrance. But he has 
 a greater claim to have his name preserved from oblivion. It 
 was owing to his influence that the French school at Eome, ' 
 through which most of the great French painters have passed, 
 was founded by Colbert. He was its first Director, and held 
 oflice from 1GG6 to 1683.
 
 J -It CLAirnr: r.i; i.oi;i;AfN', 
 
 The travellers were fated to endure much anxiety before they 
 reached their destination. Their ship encountered a succesaion 
 of storms, and at one tim(! the gale rose to such a height tliat it 
 seemed donhtfid whether they would reach land. After much 
 tossing and hufreting, the vessel sighted the towers and fort-i/i- 
 oations of 01 vita Vecchia, and cast anchor within the welcome 
 shelter of Tnijan's harbour. At length, on St. Luke's Day, 
 the 18th October, 1627, Olaude's wanderings came to an end, 
 and he once more found himself within the walla of Home. 
 
 The pfiinter's sketches afford reminiscences and a corroboration 
 of the latter part of thcsw wanderings. In the former Wellesley 
 collection was a sketcli in which he has roughly delineated with 
 pen and ink — but still with sufficient accuracy tx) be recognised 
 — the old port of Marseilles. There are also two other sketches, 
 taken apparently while in the lazaretto of Civita Vecchia, which 
 Lady l)ilko thinks must have been executed about the same 
 time. They are on the same kind of paper as the Marseilles 
 sketch, and seem to have originally formed jiart of the same 
 sketch book.
 
 C II AFTER III. 
 
 THE ROAD TO FAME. 
 
 1627—1639. 
 
 HE years which followed Claude's settlement at Eonie 
 were a period of close and unwearying study. Hitherto, 
 
 T 
 
 though he had obtained an insight into the teclinique and prin- \ 
 ciples of art, his progress had been but small. He now devoted 
 himself to a direct and indeiicndent study of nature in all her 
 manifold aspects. To her he owed the inspiration which 
 gradually brought about his artistic development, and enabled 
 him to attain that individuality which a mere study of the 
 method and works of any master, however great, would never 
 have effected. His friend and biographer, Sandrart, has be- 
 queathed to us full and interesting details of his mode of 
 Avorking. 
 
 Sandrart was a native of Frankfort, and was some six years 
 the junior of the Lorrainer. He had received instruction from 
 several masters in succession, the most notable of v/hom was 
 Gerard Honthorst, in whose studio in Utrecht he spent some 
 time. To complete his art-training, he made the journey to 
 Italy ; and in 1G27 is found at Venice, studying the great 
 Venetian masters of colour. Thence, after a sojourn at Bologna 
 and Florence, he went to Eome. Soon after his arrival, he
 
 16 CLAUDE LE LORRAIN. 
 
 l^ecame acquainted with ClauJe, of -wliom lie says in his 
 ' Academia,' — " He applied himself with much zeal and great 
 diligence to grasp the true principles of art. ' Injarder that he 
 might be able to study closely the innermost secrets of nature, 
 he used to linger in the open air from before daybreak even to 
 nightfall, so that he might learn to depict with a scrupulous 
 adherence to nature's model the changing phases of dawn, tlie 
 rising and setting sun, as well as the hours of twilight/''^ When 
 he had in this manner well considered his subject in the open 
 air, he forthwith mixed his colours according to the tints before 
 him, and then returning home, applied them to the work which 
 he had in hand, with greater truth than any one had done before 
 him. In this most difficult and toilsome mode of study he 
 spent many years; making excursions into the country every 
 day, and returning even after a long journey without finding 
 it irksome. Sometimes I have chanced to meet him amongst 
 the steepest cliffs at Tivoli, handling the brush before those 
 well-known waterfalls,* and painting the actual scene, not by 
 the aid of imagination or invention, l)ut according to the very 
 objects which nature placed before him. This mode of Avork- 
 ing so much commended itself to him, that he always adhered 
 to the same course." The painter's will bears out the import- 
 ance attached by him to this actual painting from nature. 
 Two of his pictures which he bequeaths are expressly character- 
 ised as " painted from nature," and "executed in the country." 
 
 In another "part^of the ' Academia ' Sandrart speaks of Claude 
 seeking the most retired spots so that he might practise drawing 
 from nature. In this branch of art he describes him as having 
 naturally but little aptitude, whereas in the use of colours he 
 had a great facility. He says that they used to paint from 
 
 v^ . - - 
 
 * Several of Claude's sketches of these falls are in existence. One, 
 dated 1635, is now in the British Museum. It is engraved in Lewis, 
 Tart L No. 20.
 
 THE ROAD TO FAME. 17 
 
 nature on duly prepared cardboard or ou canvas (the outlines 
 and the shadows having been previously indicated Avith black 
 chalk or pencil), the mountains, the caves, the valleys, the 
 Canipagna, the falls of the Tiber, the Temple of the Sibyl, and 
 such-like subjects. He further mentions the sunny country 
 about Tivoli, Frascati, Subiaco, and St. Benedetto as their 
 favourite sketching-frrounds. 
 
 Even Avithout Sandrart's reminiscences, Claude's favourite 
 haunts could with little difficulty be discovered from his pic- 
 tures. A few of his canvases exhibit fairly complete tran- 
 scriptions of single scenes, such as the Campo Vaccino, the 
 heights of Tivoli, Castel Gandolfo, or the Ponte INIola. In 
 others, the landscape has been idealised to a greater or less 
 degree, but still preserves recognisable features. In the majority 
 of his pictures, however, he has grouped fragments of ^various 
 scenes, in which such subjecls'as^the Coliseum, the arches of 
 Constantine and of Septimus Severus, the temples of Vesta 
 and of the Sibyl, the reaches of the Tiber, the rocky Teverone, 
 the Alban hills, the grotto of Posilipo, and the distant islands 
 of Ischia and Capri, frequently recur. Speaking of Claude's 
 compositions, Samuel Palmer, the English painter and etcher, 
 says, — " When I Avas selting out for Italy I expected to see 
 Claude's magical combinations : miles apart I found the dis- 
 jointed members, some of them most lovely, which he had 
 ' suited to the desires of his mind ' ; there were the beauties, 
 but the beautiful, the ideal Helen, was his own." His sketches, 
 again, afford much information as to the spots frequented by 
 him in his excursions, and he has in many cases inscribed 
 them with the name of the actual locality where they were 
 taken. 
 
 Claude has sometimes been represented as the pupil of San- 
 drart, by whom it is stated that he was taught to draw from 
 nature. That he may have been influenced by his friend, 
 
 C. L. 
 
 I' 5
 
 / c 
 
 18 CLAUDE LE LORRAIX. 
 
 slightly though it must have been, or have obtained some hints 
 from him, is quite possible. But that the relation of master 
 and pupil existed between them cannot be maintained. To 
 begin with, the German was still quite young, and six years the 
 junior of the Lorrainer. Further, from Sandrart's own account, 
 it would rather appear that instead of Claude drawing any 
 inspiration from him, each sought from nature that which 
 recommended itself most to his own particular bent. Thus the 
 German drew strangedooking rocks, trunks of trees, waterfalls, 
 great buildings and masses of ruins, which seemed to him the 
 most fitting adjuncts for historical pictures. Claude, on the 
 other hand, preferred to study distant effects, and in the 
 representation of these his biographer acknowledges that he 
 attained a wonderful power. 
 
 Sandrart also mentions Claude's weakness in drawimj men 
 and animals. He states that he bestowed great labour, though 
 unavailingly, to improve himself in this branch of art, and 
 practised for many years in the Academy at Eome in drawing 
 from the life and from the statues. Even to his latest days, he 
 worked at drawing the figure, though Avith what little success 
 his sketches of Eliezer and Rebecca, in the British ]\Iuseum, 
 dated 1675, and of the Meeting of Dido and ^neas, at "Windsor 
 Castle, dated 1680, painfully show. But he was fully aware of 
 this shortcoming, for he used modestly to say that he sold his 
 landscapes but gave the figures. Later on in his career, when 
 his circumstances were more prosperous, he secured the aid of 
 other artists, of whom more anon, to supply his deficiencies in 
 this respect. 
 
 The intimacy between the two painters led them to exchange 
 specimens of each other's art. Sandrart naively says that he 
 received Claude's small landscapes and Claude his large ones. 
 Amongst others, Claude gave him one of his well-known sun- 
 rises, showing the sun piercing and dispelling the morning
 
 THE PvOAD TO FAME. 19 
 
 mists. The German launches out into a verbosely laudatory 
 account of this picture. IJut he did not allow any sentimental 
 feelings concerning it to stand in the Avay of his pocket ; for 
 he gleefully states that he sold it to an amateur -wlio Avas 
 about to depart for Amsterdam, and who willingly paid five 
 hundred florins for it. 
 
 Sandrart's account of Claude is the only record there is of 
 his having been on terms of any great intimacy with his 
 artistic brethren. The chief figure amongst the French artists 
 then residing at Rome was Nicolas Poussin, and it niiuht be 
 thougTit that there would be many traces of intimacy between 
 these fellow-countrymen, whose pursuit of the beautiful had 
 so much in common. Such is not the case. That Claude 
 Avas acquainted Avith Poussin there is no doubt, for Sandrart 
 states that he, Francois du Quesnoy, and Claude Avere some- 
 times joined by the painter of Andelys, during the early portion 
 of his career, in the discussion of subjects of mutual interest. 
 And in another part of the ' Academia' there is an account of 
 a sketching expedition to Tivoli, Avhich included Claude and 
 Poussin. Beyond these statements, there is no further mention 
 of the tAVo painters in connection AA'ith each other, and it may 
 be reasonably inferred that they did not live on terms of any 
 great intimacy. This vieAv is confirmed by the fact that 
 Claude's name does not occur in the numerous letters Avhich 
 have been preserved of Poussin to his patrons and friends. 
 
 There is a similar scantiness, and sometimes an absolute 
 lack of information, concerning Claude in the lives of other 
 contemporary artists, even in the accounts of those with Avhom 
 he Avould most probably have been on friendly terms. This 
 silence leads to the conclusion that his life must have been 
 one of seclusion, and the inference is confirmed by the evidence 
 of Sandrart, Avho expressly states that in everyday life he did 
 not much affect the civilities of polite society. That this was 
 
 C 2
 
 20 CLAUDE LE LORRAIN. 
 
 not caused by any cliuiiishness of nature, the German is careful 
 to intimate, for lie adds that he was kind and sincere, and 
 sought no other pleasure than that which arose from his art. 
 This is corroborated by De Piles, Avho says that he was so 
 absorbed in his work that he never visited any one. 
 
 With this testimony, the absence of Claude's name from 
 Contemporary artistic biography is not surprising. Further, 
 when his laborious and indefatigable mode of work, involving 
 / frequent and protracted absences from home, is considered, it 
 will be evident that he could have had but little spare time 
 to cultivate intimate friendly relations with his fellow-artists. 
 
 There is, however, one glimpse of Claude during this early 
 part of his career to be found in the life of a contemporary 
 artist. This is his fellow-countryman Sebastien Bourdon, Avho 
 has been aptly called by Blanc the AVandering Jew of painting. 
 Although only eighteen years of age, he Avas no novice in the 
 strutrcfle of life. His last adventure had been to enlist as a 
 soldier. He was soon tired of ndlitary service, and through 
 the friendship of the officer under whom he served, obtahied 
 his discharge. He then made his Avay to Eome, where he 
 arrived ■ about 1634, and supported himself by his singular 
 facility of copying the works of other artists. One day, he 
 paid a visit to Claude, who showed him a landscape which he 
 had had in hand for a fortnight, and Avhich would take about 
 the same time to finish. Forthwith, Bourdon returned home, 
 and in eight days produced such a copy that it was hailed as 
 the best work Avhich had emanated from Claude's studio. He, 
 hearing that this work was exactly similar to the original picture, 
 wliich still stood on the easel, had the curiosity to go and see 
 it, and, according to Guillet de Saint Georges, was so enraged 
 at the deception which had been practised that he would have 
 proceeded to extreme measures had not the copyist evaded his 
 wrath.
 
 THE ROAD TO FAME. 21 
 
 In 1G35, Claude lost the companionship of Sandrart, Avho 
 set out on his return to his native country. About this time, 
 lie induced one of his nephews to migrate from Lonaine to take 
 charge of his Laclicdor household, and to superintend all the 
 alfairs of the menage. Whether it was a sense of isolation 
 at the loss of his most intimate friend, or Avhether it Avas a 
 desire to be rid of domestic cares which actuated him, cannot 
 now be determined. Anyway, the arrangement, teste Sandrart, 
 secured in a marked degree the interest and convenience of 
 both parties. On the one hand, Claude was enabled to enjoy 
 a freedom from petty cares, and to devote himself undisturbedly 
 to artistic pursuits ; on the other hand, his relative secured a 
 comfortable home, and was led to consider himself as occupying 
 a foremost position amongst the painter's heirs. So entirely 
 was Claude relieved of all domestic burdens, that to his nei:)hew 
 was entrusted the purchase even of the colours and other 
 materials required for the studio. 
 
 Thus much for the personal side of this part of the painter's 
 career. His art now claims attention. Baldiuucci mentions 
 three imjjortant works of a decorative character which he 
 executed soon after his return to Rome. The accident at the 
 Carmelite church at Nancy had inspired him Avith a dislike 
 to mural painting, or to any work involving the use of scaffolding. 
 But doubtless at this period the state of his pocket would not 
 admit of his being over particular as to the nature of work which 
 offered itself. One of these mural paintings was at the house 
 of the Muti, near Sta. Trinita de' Monti ; the second was at 
 the Palace of Cardinal Crescenzio, near the Pantheon. This 
 Avas not the only commission he received from the latter family. 
 There is a record of a picture, a Rlpoao (l. v. 88) painte<l 
 by him for Count Crescenzio, which is now the property of 
 the Duke of Devonshire. 
 
 The third, and apparently most important, of the decorative
 
 22 CLAUDE LE LORRAIN. 
 
 commissions named by Baldinucci Avas at the Palazzo Muti, in 
 the Piazza SS. Apostoli, a building of considerable interest to 
 Englishmen, as it was here in after years that the yonng 
 Pretender lived and died. This work is also mentioned by 
 Sandrart, who gives a detailed and glowing description of it. 
 It appears that in one of these frescoes Claude painted a large 
 wood, in which he introduced various species of trees. He 
 assigned to each the trunk, leaves, and colour peculiar to it 
 with such exactitude and truth that, according to his biographer, 
 they seemed to rustle Avith the motion of the breeze. Lady 
 Dilke is of opinion that this work is still in existence, though 
 she was not able to see it. She was informed of certain mural 
 paintings in the Palazzo Muti, ascribed to N". Poussin, which 
 bore a strong resemblance in many details, as communicated 
 to her, to the account given by Sandrart of Claude's work. 
 
 As has been already said, it would appear probable that 
 these decorations Avere executed soon after his settlement iu 
 Pome. But his earliest dated productions are his etchings. As 
 an etcher, Claude is not equal, and it should be observed that 
 he did not practise in this medium regularly or continuously. 
 His reputation is dependent on a few of his plates. These, 
 indeed, take rank amongst the finest productions of any master 
 of etching. They show that his mastery of light and aeriid 
 effect was not " cabineJ, cribbed, confined," when hmited to 
 the black and white of the etcher. 
 
 Lady Dilke is of opinion that Claude's earliest attempts in 
 etching must be dated back as early as 1G28, and she considers it 
 probable that he caught the inspiration from Callot, who was at 
 ls"ancy contemporaneously with him, and was then engaged on 
 his great etched work, the Siege of Breda. Another source of 
 influence she thinks may have been Sandrart, Avho had already 
 won a reputation as an engraver, and was engaged in that 
 capacity during his stay at Eome by the Marquis Giustiniani.
 
 :? 
 
 ^ 
 
 < 
 
 c^7 
 
 
 
 ir 
 
 
 C 
 
 jC 
 
 
 <; 
 
 li. 
 
 
 
 
 ^ 
 
 ;:; 
 
 K 
 
 -Z;; 
 
 a 
 
 ••^ 
 
 H 
 
 •^
 
 THE ROAD TO FAME. 25 
 
 Uc this as it may, the earliest date which appears on Claude's 
 etchings is 1630. The work wliich is thus dated is The 
 2'einfest (Appendix T), -^o. 5). It is remarkable as one of the 
 very few examples in any medium in Avhich he has chosen to 
 portiay the sea under the influence of a storm. Either from 
 a knowledge that his strength did not lie in this direction, or 
 from his innate love of serene and peaceful scenes, his efforts 
 in the representation of the sterner side of nature may he 
 counted on the fingers of tlic hands. The execution of 77ie 
 tSketcher (Appendix D, Xo. 9) has many characteristics in 
 common with that of Tlie Tempest. Though undated, it may 
 be referred to the same period. 
 
 These early years of his career appear to have been the 
 time when Claude most assiduously devoted himself to the 
 practice of etching. There are more than forty of his plates 
 extant. Of these, five-sixths must be assigned to this period, 
 and it is not surprising to find that his powers rapidly matured. 
 This is very noticeable in the works dated 1634. One plate 
 is a pastoral suTgect, Crossing the Ford (Appendix D, No. 3). 
 Another, a composition which did frequent service in after 
 years, is a marine view, introducing the favourite classical 
 fable of the Eape of Europa (Appendix D, ISTo. 22). The third 
 and finest is a seaport, known as T/ic Sun Rising (Appendix D, 
 ]S[o. 15). This subject he repeated in several pictures, one of 
 which is now in the IMunich Pinakothek, and another at the 
 St. Petersburg Hermitage. On one side of the etching is a 
 stately triumphal arch, shaded by trees, beyond which rises a 
 succession of towers and battlements, terminated in the distance 
 by a hilly coast ; on the ojiposite side is a detached tower, near 
 which the glowing orb of day pours a flood of dazzling light on 
 the surface of the water. One of the greatest modern authorities 
 on etching* considers the sky in this work, by reason of its 
 * Ilamerton, ' Etcliing and Etchers.'
 
 26 CLAUDE LE LORRAIX. 
 
 marvellous tenderness, to be the finest ever etched. He would 
 always adduce it as a sufficient refutation of the fallacy that the 
 sky cannot be represented by the etcher's art. 
 
 In 1636 Avas produced the well-known etching styled The 
 I Herdsman (Appendix D, IS.0. 8), another of the favourite subjects 
 Avhich the painter reproduced in several pictures, one of which is 
 now in the Munich Pinakothek. Concerning this delightful rustic 
 idyll, perfect in its kind as any of the j^astoral effusions of 
 Virgil, the critic already quoted says : " For technical quality of 
 a certain delicate kind, this is the finest landscape etching in the 
 world. Its transparency and gradation have never been sur- 
 passed." Dr. "VVillshire * is unstinting in his praise, and places 
 it in the same rank of excellence as Diirer's Adam and Ere, 
 Lucas Van Ley den's David 'pUiijlnrj hefore Saul, Eembrandt's 
 Clirist healing the SicJi, and other masterpieces. 
 
 The Dance hij the River side (Appendix D, IS'o. G), of which 
 a reproduction is here given, was probably executed about this 
 period. 
 
 There is yet another etching, produced in the same year as 
 Tlie Herdsman, which claims attention. It is a view of the 
 Campo Vaccina (Appendix D, No. 23) as seen from the 
 Capitoline Hill, facing the Arch of Titus. 
 
 " 111 many a heap the ground 
 Heaves, as if Ruin in a frantic mood 
 Had done his utmost. Here and there appears, 
 As left to show Ids liandy-wovk, not ours, 
 An idle column, a half-buried arch, 
 A wall of some great temple. — It was once, 
 And long, the centre of the Universe, 
 The Forum— whence a mandate, eagle-winged, 
 "Went to the ends of the earth." 
 
 This is another of the subjects which Claude repeated several 
 
 * Willshire, W. H., Introduction to the 'Study and Collection of 
 Ancient Prints.'
 
 I
 
 THE EOAD TO FAME. 29 
 
 times. One of tliese repetitions — though whether it precednl 
 or succeeded the etching is an open question — was a picture 
 (l. v. 10) painted for Philippe de Bethune, Count of Selles and 
 Charost, then ambassador of France at the Papal Court. 
 
 This French noble was a young brother of tiie great Sullr, 
 and had fought by the side of Henri IV. in the wars of the 
 League. He had subsequently turned his attention to diplomacy, 
 and had represented his country in various embassies, witli such 
 success that he Avas esteemed one of the ablest diplomatists of 
 his time. As a proof of his infiuence, the reconciliation of 
 Louis XIIL witlx the Queen-Mother, Marie de Medicis, was 
 chiefly attributed to his mediation. He had now been accredited 
 to the Curia for a second time since 1627, and had lately 
 successfully Jiegotiated a treaty which arrayed France, Venice, 
 and the Pope against Spain and the House of Austria. 
 
 This old soldier-diplomatist had considerable artistic tastes, 
 and took advantage of his stay at Ptome to form a collection of 
 pictures by the Italian masters. Claude also executed for hiiu 
 one of the Seaports (l. v. 9), illumined by the rays of the 
 sun, which have contributed to render his name famous. On 
 one side is the usual arch, bearing on its tympanum the classic 
 " S. P. Q. Pt.," beyond which rises a succession of palaces, and 
 
 "Many a stately portico, 
 The statues ranged along an azure sky. " 
 
 The foreground is animated with busy groups of figures, some 
 drinking the parting cup, preparatory to embarking on vessels 
 flying the French flag hauled close inshore, and others chafl'erino- 
 for the pottery which is strewn on the strand. Both this work 
 and the Camjpo Vaccino picture are now in the Louvre. 
 
 In 1637, Claude's etching needle was actively emploj'^ed. In 
 that year the Emperor Ferdinand II. died. To commemorate the 
 accession of his son Ferdinand III. to the titular dignity of Kin^ 
 of the Eomans, the Spanish ambassador at Eome, the Marquis
 
 I 
 
 30 CLAUDE LE LORRAIN. 
 
 Castel Eodrigo, organised a series of festivities wliich lasted five 
 days' in the month of February. They commenced with a Te 
 Deum sung in the German national church of S. Maria dell' 
 Anima, in the presence of a crowd of princes and grandees. The 
 rejoicings were not, however, confined to solemnities for the 
 delectation of dignitaries, but included amusements for the 
 Eoman populace. On the evening of the first day, there were 
 fireworks exhibiting allegorical devices congenial to the spirit of 
 the age. The chief of these represented a great figure of Atlas 
 supporting the globe, which was surmounted by the double- 
 headed imperial eagle. The globe then opened, and amidst 
 much sparkle and glitter disclosed a starry sphere within. On 
 the second day, a company of Spanish comedians, which had 
 been expressly brought from ]^aples, acted a comedy and some 
 ballets on a stage erected for the purpose in the Piazza. There 
 was music, followed by fireworks, on the next day; and on 
 Wednesday there was another Spanisli comedy, and a plentiful 
 expenditure of gunpowder. The last day of the festivities was 
 the following Sunday. For the fireworks on that evening, two 
 r-reat set pieces were erected on the Piazza. One of these was a 
 fortress, emblematic of the Kingdom of Castille, flanked by 
 emblems of Europe, Asia, Africa, and America at the four 
 ano-les. The other erection represented !N"eptune seated in a 
 chariot drawn by various marine monsters. 
 
 To commemorate these festivities, Claude produced a series 
 of etchin<TS showing the various phases of the fireworks. These 
 plates have proved a fruitful subject of inquiry to his bio- 
 o-raphers, and to print-collectors. From the latest researches, it 
 seems that they were published at Eome in at least two* 
 
 * There is a third work containing a description of the festivities, but 
 it is not clear whether it was accompanied by Chxude's etchings. It is 
 entitled : — 
 
 ' Relatione delle feste fatte dall Eccellentissinio siguore Marchese di
 
 THE ROAD TO FAME. 31 
 
 collected forms, varying, however, in the inimber of plates 
 Avhich they contained. One of them is accompanied by a 
 description written in Spanish verse of twelve syllables, and 
 has the following title :• — 
 
 ' Dcscripcion de las fiestas quo cl Sr. irarqucs de Castel Eodrigo 
 Eiiibaxador de Espana celebro en esta corte ala iiucva del election de 
 Ferdiiiando III de Austria, Rey de Romanos, Hecha por MIGUEL 
 BERMUDEZ de Castro. En Roma por Fraucisco Caballo M.DC.XXXVII 
 con liccncia de los superiores.' 
 
 The second collection is an Italian edition, and is entitled : — 
 
 * Relazione delle feste fatte in Roma per I'elettione del Re dei Romani 
 in persona di Ferdinando III scritta al Sereniss. et Reverendiss. si^. 
 il sig. Card, de Medici. In Roma appresso Lodovico Grignani 
 M.DC.XXXVII, con licenza de' sui^eriori.' 
 
 These works have now become very rare, owing to their 
 having been cut up for the sake of the etchings, which are met 
 ■with separately. The British Museum and the Bibliotheque 
 National at Paris each possess a copy, though without letterpress. 
 M. Dutuit is the fortunate possessor of an example of the Spanish 
 edition, which formerly T)elonged to Pope Urban VIIL, and 
 bears his arms on the cover. 
 
 Now approaches what may be considered a turning-point in 
 Claude's career. Since he had settled at Eome, the close study 
 of nature in which he had been diligently engaged had resulted 
 ia widening and deepening the scope of his art. His works 
 had gradually met with purchasers, and had begun to command 
 good prices, witness the sale of the picture exchanged by him 
 with his canny German friend. The Bourdon episode is a 
 further testimony to the growing demand for his works. The 
 social status of his patrons had also been gradually rising, until, 
 
 Castello Rodrigo Aml^asciatore della maesta Cattolica nella elettione di 
 Ferdinando Terzo, Re de Romaui. All 111™ Sig. Giustino Landi. In 
 Roma, appresso Francesco Cavalli. 1G37. Con licenza de' superiori.'
 
 S2 CLAUDE LE LORSAIN. 
 
 at length, as has just been seen, he had painted, two works for 
 the French envoy at Eome. He had now the good fortune to 
 attract the notice of one of the leading men in the Papal Court, 
 Cardinal Guido Bentivoglio, a type of the combination of 
 prelate, courtier, and diplomatist which abounds in the history 
 of the Papacy. 
 
 In the early part of his career, Bentivoglio had represented 
 the Curia as Nuncio in Flanders and at the Court of France. 
 A proof of his tact and ability is seen in the fact that he made 
 himself so agreeable in the latter mission, that on his return to 
 Kome Louis XIII. named liim to the office of "Protector" of 
 France at the Holy See, He was a man of letters of no incon- 
 siderable merit. His ' History of the Wars of Flanders,' besides 
 passing through several editions in its original Italian, was also 
 translated into English, French, and Spanish. It is to be 
 regretted that he did not live to complete the memoirs of his 
 life, on which he was engaged, as they might have contained 
 interesting information as to his patronage of the rising land- 
 scape painter of Lorraine : he was not the only transalpine 
 artist whom he patronised : Van Dyck had been his guest at 
 Rome some twelve years before, and the portrait of his host 
 which he then painted is now in the Pitti Palace at Florence. 
 
 The Cardinal was so much impressed by a specimen of 
 Claude's art which he had seen that he ordered two landscapes 
 from him. Nor did his patronage cease here. He brought him 
 under the notice of the reigning Pontiff, Urban VIIL, with 
 whom he was on intimate and friendly terms. 
 
 This Pope was a member of the great Florentine family of 
 the Barberini, and is remembered as one of those rulers of the 
 Church whose energies were chiefly devoted to the aggrandise^ 
 ment of the temjioral, rather than the spiritual, side of their 
 power. During his long pontificate of twenty-one years, TJrban'g 
 great idea was to protect the States of the Church by the arm
 
 THE ROAD TO FAME, 83 
 
 of the flesh. With this view, he established a manufactory of 
 arms, and collected munitions of war, as if he were on the eve 
 of a campaign. He renewed old fortifications, and fortified 
 places previously unprotected. In his defensive works he 
 spared not the most precious monuments of antiquity, hence the 
 grim joke — " Quod Barhari non feceruvt, Barherini fecerunt." 
 To qualities which would rather have befitted a great military 
 sovereign, Urban, strange to say, joined an enthusiastic love of 
 literature. He was an excellent Latinist, and wrote niucli 
 Latin verse after the best classic models. Moreover, he was 
 so able a Grecian that he secured the cognomen of "the Attic 
 bee." 
 
 The Pope endorsed Bentivoglio's favourable opinion of 
 Claude's art. He granted him an interview, and gave him a 
 cotfraiission for four works. Two of these subsequently came 
 into the collection of Louis XIV., and are now in the Louvre. 
 One is a pastoral scene, generally known as The Village Dance 
 (l. v. 13). Beneath the shade of a clump of trees in the centre 
 of the composition, some villagers are disporting themselves 
 to rustic music. A hunting-party has just arrived on the scene, 
 and one of the cavaliers, hat in hand, is leading a village girl to 
 join in the dance. Lavallee thinks it probable that this picture 
 may have been inspired by a scene on the Meurthe in the 
 painter's native country. And M. Emile Michel sees in it a 
 souvenir of the charming valley in which Claude's birth-place is 
 situated, Avhere the IMoselle lingers in its winding course. He 
 does not consider that the vegetation, or the buildings, or the 
 low hills which close in the horizon have a distinctly Italian 
 character. He says: "Having had on several occasions an 
 opportunity of traversing this charming country, each time I 
 have been surprised at the resemblances with some of Claude's 
 favourite subjects which I encountered at nearly every step. 
 The streams Avhich divide into many arms, and are seen in 
 
 C. L. D
 
 o4t CLAUDE LE LORRAIN. 
 
 descending plateaux, sometimes rapid in their course, sometimes 
 lost in sleeping pools, tlie banks fringed with varied vegetation, 
 the gently undulating outlines of the hills, and the horizuu 
 which melts imperceptibly into the valleys — all these familiar 
 aspects of his native country are found repeated in. Claude's 
 most celebrated pictures." 
 
 An engraving is here given of the second picture (l. v. 14) 
 at the Louvre which was painted for Urban VIII. It is some- 
 times known as Tlie Ancient Port of Me?-iina. 
 
 These two works are of much importance in considering the 
 life of the painter. It has been seen that his etchings date 
 as far back as 1630. These two pictures bear the signature, 
 "CLAVDIO INV. EOM^. 1639," and are his earliest dated 
 works in oil. From the statements of his early biographers, 
 it was formerly supposed that on his return to Eome in 1627, 
 he at once sprang into fame, and that the introduction to 
 Urban VIII. took place very soon after that year. But the date 
 on these pictures tends to cast a doul)t on this theory. Taken 
 into consideration with the facts already recorded in this 
 chapter, it rather leads to the conclusion that on Claude's 
 settlement in Eome, he was still unknown, and that till he 
 was close upon forty years old he had an uphill hght. His 
 progress was slow and painful, and he cannot be said to have 
 achieved fame until some ten or twelve years after 1627. And 
 Urban' s commission seems to mark the close of his struggles, 
 and his entry into an assured and honourable position in the 
 world of art.
 
 t 4- 
 
 < t 
 
 02 S. 
 
 b.
 
 I
 
 CHAPTEE IV. 
 
 FAME. 
 
 1639-1663. 
 
 THERE are no events of a startling character to enliven the 
 story of Claude's subsequent career. Victorious in his 
 contest with poverty, he had no longer to encounter the carking 
 cares which, though sometimes an incentive to exertion, have 
 in too many cases hindered the fall development of genius. 
 The history of the siicceeding years of his life is chiefly occupied 
 with a record of the commissions which flowed in on every side, 
 and which, notwithstanding his industry, he could barely have 
 found time to execute. This is clearly seen in the number of 
 replicas which he painted, and in the frequent working up into 
 so many of his compositions of Avhat may be called his stock 
 subjects. Besides representative of the ecclesiastical world of 
 Eome — four successive Popes, Cardinals, and Monsignori with- 
 out number — the members of the great Roman princely families 
 were eager to obtain his pictures. Beyond the confines of Italy, 
 sovereigns, nobles, and prelates were amongst the patrons of his 
 "brush. From his native land, from the wealthy Low Countries, 
 from Germany, Spain, and even from remote England and 
 Denmark, commissions came to his studio. 
 
 The patronage of Urban VIII. also brought that of the great
 
 38 CLAUDE LE LORRAIN. 
 
 Barberini party. One of tliese was Cardinal Faustiis Poli, who 
 had been an iiitiniate fiiend of Urban's previous to his elevation 
 to the papacy, and had been raised by him to the purple. He 
 had also been appointed to the important post of Prefect of the 
 Vatican. For him Claude painted a seaport, tha ^mbarka t ion 
 of S. Ursula (l. v. 54), and a landscape introdu cing u ngainly 
 figures, which may represent either Belleroplwji and the 
 Chimcera, or S. Georgn and the Drarjon (l. v. 73). Both of 
 these works passed during the painter's life-time, as is evinced 
 by his own inscription in the 'Liber Veritatis,' into the possession 
 of Cardinal Antonio Barberino, one of the nephews of the 
 pontiff. The seaport is now in the English I^atiomd Gallery. 
 
 Another of Urban's entourage for Avhom Claude executed 
 commissions was Cardinal Angelo Giorio. He had risen from 
 the ranks, having commenced life as a humble schoolmaster in 
 a remote village of the Apennines. Entering the church, he 
 educated IJrban's nephews, and, under the powerful protection 
 of the Barberini, attained to the Cardinalate. He appears to 
 have been one of Claude's chief patrons at this period of his 
 career. There is a record of no less than sevenj)ictiires painted 
 for him — three landscapes ami three seaports, besides a singular 
 figure subject (l. v. 51) representing Tlie release of S. Peter 
 from Prison hy the Awjel. This last work has disappeared 
 Avithout any detriment to the painter's reputation. 
 
 The earliest of the Giorio commissions, a seaport (l. v. 43), 
 is dated 1644. It is in the National Gallery, and is unfor- 
 tunately in a bad state of preservation. Two others are in the 
 Louvre, having passed direct from the Cardinal's collection to 
 that of Louis XIV. One of these, dated 1647, has for jncident 
 Samuel anointing David King of Israel (l. v. 69), which 
 Claude, with his usual disregard for the historical correctness 
 of his accessories, represents as taking place under the portico 
 of a Doric temple. This work is also in a bad condition, but
 
 FAME. 39 
 
 the other Louvre picture, The Dtitding of Cleopatra at Tars7is 
 (l. v. G3), which ranks amongst the lincst of Chiudu's seaports, 
 is iu an excellent state of preservation. 
 
 For Giorio he also painted one of the pictures now belonging 
 to Lord Bute (l. v. 31). It is a noteworthy instance of his 
 mode of grouping fragments of actual scenes in his compositions. 
 Amongst the features in it whicii can he recognised are tlio 
 Arcli of Titus, the Pyramid of Cestius, the Temple of Vesta 
 at Tivoli, &c. 
 
 About this period, the circle of Claude's acquaintaince in- 
 cluded a young fellow-countryman named Jean ISTocret. He 
 was a native of Nancy, and was then completing his art studies 
 in Italy. The date of their intimacy is roundly indicated by 
 the fact, that, during the years 1643 f^nd 1644, Nocrct was 
 employed at Eome in making copies for M. de Chantelou, the 
 patron of Nicolas Poussin. In the following year, he is found 
 settled at Paris, holding an appointment about the court, and 
 basldng in the sunshine of an ample Eoyal patronage. Claude 
 evidently considered himself under an obligation to his com- 
 patriot. There is a little picture {l./ v. 97), now in the 
 possession of Lord Methuen, which lie sent to Paris in acknow- 
 ledgment of some services which Nocret liad rendered to him. 
 It is painted on metal, and in the foreground are introduced 
 the figures of S. John and two angels. On the back is the 
 following inscrijition : — 
 
 "a Monsieur JVocre paintrc die [roy] a Perns faict 
 2)Cir moy Claude G'elMe lorain luno 1647 liomce 
 pour lefaucur que iay rcccut." 
 
 There is no record to sliow the nature of the favour received 
 by Claude, nor is there any trace of fiu'ther intimacy between 
 the artists. 
 
 Tiie year 1644 saw the death of two of the chief of Claude's 
 early patrons, Cardinal Bentivoglio and Urban YIII. In the
 
 40 CLAUDE LE LORRAIN. 
 
 coDcIave which ensued, the Bavberini cardinals, though strong 
 in numbers, -were unable to cany tlie election of their original 
 nominee. They therefore coalesced with others, and secured 
 the choice of Giambattista Pamlili, who assumed the tiara with 
 the title of Innocent X. Altliouiih he was one of Urban's 
 nominations to the sacred college, and was hitherto considered 
 not to bo ill-aliected to the Barberini, his accession brought 
 about an entire change in Papal politics. French influence 
 at the Curia declined, and Spain and the House of Austria 
 resumed their old ascendancy. AVithin a short time after the 
 death of Urban, his nephews were obliged to fly from Eome, 
 and seek' refuge in France, whilst the victorious faction bestowed 
 their offices on others and sequestrated their revenues. 
 
 Claude does not appear, however, to have been prejudicially 
 affected by these changes, nor to have suffered any loss of 
 patronage. He Avas most probably known to, and patronised, 
 by, Ininu'cnt previous to his election to tlio I'apaey. 
 
 His chief patron, however, amongst the ]iew rulers of the 
 Church was the Pope's nephew, l*rince Camillo Pamlili. lie 
 had been originally raised by his uncle to the Cardinalate, but 
 his ambitious mother, Olympia IMaidalehina, who ruled the 
 Papacy in the name of Innocent, hail other designs for the 
 future of her son. At her instigation, Camillo cast aside the 
 ecclesiastical dress in order to marry Olympia Aldobrandina, 
 who was not only tlu' richest heiress in Rome, but also possessed, 
 great mental and personal charms. A contemporary writer, 
 speaking of the pair, says that she " was as far exalted above 
 ordinary women as he was below the standard of ordinary 
 num." In truth, Camillo cared but little for Pipal politics, 
 and left his motlu'r and his wile to struggle and quarrel for 
 power. He preferred other pursuits, and with his great wealth 
 became a niuniliccnt ]iatron of tlie arts. Claude has left a 
 record of four pictures which he jiaintcd lor him, three of
 
 0" -. ' '> 
 

 
 FA Til E. 43 
 
 ■\vliicli are still incliuloil ainongst the treasures of art in the 
 Poria-Painfili Palace at Rome. The finest of these is the 
 Temple of ApnJIo in the Island of DeJos (l. v. 119). Another 
 is the' celebrated Nuptials of Isaac and Ri^hecra (l. v. 113), 
 sometimes known as II Alolino, from a small ^Yater-mill intro- 
 duced into the composition. 
 
 The English National Gallery is in possession of a repetition 
 of this Avork, dated 1G48, which was painted by Claude for 
 the Duke of Bouillon, one of the turbulent and intriguing 
 spirits produced by the French intestine wars in the early 
 ]-)art of the seventeenth century. A Huguenot by birth, and 
 tlie elder brother of the great Turenne, the Duke had served 
 with the Dutch, and had early distinguished himself at sieges 
 in the Low Countries. He subsequently joined the French 
 service, and became a bitter opponent of Eichelieu, entering 
 heart and soul into the Fronde. Involved in the Cinq Mars 
 conspiracy, he only obtained his liberty by the determined 
 spirit of h's wife, who threAV liersclf into Sedan, and threatened 
 to deliver it up to the Si)aniards if her husband's prison doors 
 •were not opened. At length, com])(jlled to quit France, he 
 sought refuge in Italy in 1644. Here ensued another strange 
 change. Abjuring his hereditary Calvinism, he became com- 
 mander-in-chief of the Papal forces, and it was while residing 
 at Eome in this capacity that he became one of Claude's 
 patrons. 
 
 There is another work in the National Gallery painted by 
 Claude for the Duke (l. v. 114), which bears in the left- 
 hand corner the inscription : — I f~^ 
 
 "CLAVDE GIL. I. V. FAIGT POVR SON ALTESSE LE 
 DVG DE B VILLON A KOMA. 1648." 
 
 whilst in the right-hand corner its subject is indicated by 
 the words : — 
 
 ''LA REINE DE SABA VA TROVER SALOMON."
 
 44 CLAUDE LE LORRAIN. 
 
 It represents one of the seaports, flanked on both sides by 
 stately buildings, in which the painter delighted. On the 
 steps of a magnificent classic pile, he has introduced the group 
 which serves to give a title to the picture. But the great 
 charm of the work is the treatment of the light. The sun 
 ajDpears a short distance above the horizon, and its rays are 
 gradually piercing the morning mists, and gilding the crests 
 of the peaceful ripples. 
 
 These two pictures, commonly known as the Bouillon 
 Claudes, remained in the duke's palace on the Quai Malaquais 
 at Paris till the Eevolution. They were then brought to 
 England, and became part of the great Angerstein Collection, 
 which formed the nucleus of the National Gallery. There is 
 an especial interest attached to them in connection with the 
 history of the appreciation of the painter's art in this country. 
 During the eighteenth and the early part of the present century, 
 the English worship of Claude was blind and fanatical. To 
 such an extent was it carried, that his true merits were fre- 
 quently lost sight of in the indiscriminate and lavish praise 
 bestowed on the mere accessories and subordinate parts of his 
 works, which happened to fit in with the fashionable taste of 
 the day. Thus the classical adjuncts of his landscapes were 
 a fruitful theme of admiration, inasmuch as they coincided 
 with the prevailing pseudo-classicism, which found an exi^ression 
 in sham Eoman ruins and summer-houses built in imitation 
 of temples. 
 
 That there should be a reaction from this exaggerated and 
 frequently misplaced admiration was but natural. The leader 
 in it was the great English landscape painter, J. W. M. Turner ; 
 although it is owned that Claude may be considered his prin- 
 cipal master : nay, more, that the Lorrainer had in him a 
 faithful disciple. Thornbury, his biographer, is forced to 
 acknowledge that " there fell upon Turner a baser spirit, that
 
 FAME. 45 
 
 of rivalry ; not the ■wish to paint hke Claude, because Claude's 
 manner sold, or because Claude oflen obtained a sincerity of 
 air that was pure and exquisite, but because he was determined 
 to show that he could paint better than Claude, with more 
 grandeur and more tliought." This spirit is very clearly shown 
 in Turner's will, by which he left his pictures of Dido Building 
 Carthage and the Sun Risivg in a Mid to the jN^ational Gallery, 
 on the sole condition of their being hung between the Bouillon 
 Claudes, The EmharJiation of the Queen of Sheha and The 
 Nuptials of Isaac and Rebecca. 
 
 It was not left to Turner alone to carry on the war against 
 the supremacy of Claude. The pen of Euskin has had even 
 greater influence in the movement than the brush of the 
 painter. And if the criticisms which have appeared in the 
 course of the movement have been frequently exaggerated, 
 their effect cannot be said to be altogether injurious to the 
 reputation of Claude. They have done good service in dis- 
 pelling the glamour which a passing fashionable taste had 
 thrown around his works, and thereby allowing his true 
 greatness to become apparent. 
 
 During these years of busy production for patrons residing in 
 Bome, Claude's reputation had been steadily spreading beyond 
 the confines of Italy. As early as 1G44, a landscape, introducing 
 the fable of Narcissus and Echo (l. v. 77), was ordered for 
 England.* It is noAV in the National Gallery, and though the 
 foreground has darkened, the distance still preserves its aerial 
 charm. The succeeding years saw the despatch of several works 
 to amateurs at Paris. One of these was M. Passart, the maitre 
 
 * The Comte de Cosnac in his ' Richesses du Palais Mazarin, ' gives a list 
 of the pictures belonging to Charles I. on sale at Somerset House in 1650. 
 In it is included an upright picture of ^S'^. John the Baptist, i)riced at 
 £50, by " Loirain." This M. de Cosnac considers to be Claude, but 1 
 am rather of opinion that it is meant for his fellow-countryman, Charles 
 le Lorrain.
 
 46 CLAUDE LE LORRAIX. 
 
 des comptcs, who was also the ]\atron of l!^. Poussin. The two 
 pictures painted for him are both inspired by the scenery in the 
 neighbourhood of Tivoli, and should be classed amongst the 
 painter's transcriptions of actual scenes rather than amongst his 
 compositions. One (l. v, 79) is now in the Grenoble Museum, 
 and the other (l. v. 89) at Windsor Castle. Claude also sent M. 
 Passart a pen-and-ink sketch (now belonging to ]\Ir. Seymuur 
 Haden) of the Mill picture. He has mscribed it — 
 
 '^ Faict a Rome 1647, Monsieur le present dessine et panse du iablau 
 du Prince Panfille, mats la figure pour est [sic] un autre sujct. A 
 M. Passart d Paris, par amico, Claude." 
 
 It would seem to have been a favourite practice of the painter 
 to send such finished drawings to his friends. There is in the 
 British INlusoum a fine vieAV of St. Peter's, as seen from tlie 
 Doria-Pamfdi villa, which from the inscription appears to have 
 been given to M. de Bertaine in IMay 16iG.* Other instances 
 will be mentioned later on. 
 
 But to return to French patrons. Another of these was the 
 Due de Liancourt, the husband of Jeanne de Schombercr, a 
 woman whose talents and virtues secured her a fair and noble 
 reputation. By her artistic tastes she rendered her chateau a 
 rival to the palaces of royalty. By her intellectual powers 
 she gathered around her the most enlightened spirits of the age, 
 Pascal, Arnauld, and other leaders of the Jansenists. B}^ her 
 affectionate wifely cares she weaned her husband from the 
 pursuit of ignoble pleasures, and rendered him a true partner of 
 their joys and sorrows. For this refined home, Claude painted, 
 in 1G48, the landscape known as The Ford (l. v. 117). The 
 original, now in the Louvre, has unfortunately lost much of its 
 pristine beauty under the restorer's hand. Another picture 
 painted for the Due de Liancourt was the seaport, known as 
 
 * Engraved iu Lewis, Part L Xo. 3.
 
 FAME. 47 
 
 Ulysses restoring Chryseis to her Father (l. v. SO), also in the 
 Louvre. 
 
 Ill tlie same year that The Ford was painted, a German 
 amateur, styled in the Claudian ortliography " j;?-z'«c2)je todesche,"* 
 received a pastoral landscape (l. v. 116). The identity of this 
 patron is quite lost under the name Verdummisne, or Verda- 
 vimille, as it is spelt by the painter. A second commission 
 from him (l. v. 124) is now in the possession of the Duke of 
 Westminster. 
 
 About 1650, Claude's time was fully occupied with a large 
 commission from Philip IV. of Spain, Avho has justly been 
 described as the greatest Royal patron of literature and art of 
 his time. His ardour in collecting works of art was enthusiastic, 
 if such a term may be applied to one whose every portrait bears 
 witness to the cold and phlegmatic disposition, which was not 
 only natural to him, but which he sedulously encouraged. Tlie 
 Avealth of Mexico and the Indies which flowed into his coffers 
 enabled him to pay hitherto unheard-of prices for pictures. His 
 ambassadors were employed as his agents in the collection of 
 Avorks of art, and at the sale of the rich gallery collected by the 
 unfortunate Charles I. at IVhitehall, Philip was the largest 
 purchaser. 
 
 It is possible that the Marquis Castel Rodrigo — to whom 
 Claude was known some years previously by the etchings of the 
 fireworks — may have been the intermediary between Philip and 
 the painter. It is, however, more probable that the commission 
 came through the great Spanish painter Velazquez, whom his 
 Eoyal master and friend had despatched to Italy about this 
 time to purchase works of art for the intended Academy at 
 IMadrid. The Royal emissary landed at Genoa in the early part 
 of 1649, and made a prolonged tour in the chief art centres of 
 the peninsula, purchasing masterpieces of Titian, Tintoretto, 
 
 * i. e. tcdcsco.
 
 48 CLAUDE LE LORRAIX, 
 
 Paul Yeronese, and other painters. Eome T\'as, however, the 
 chief object of his journey. Here he stayed many months, 
 painted some portraits, and was elected a member of the 
 Academy of S. Luke. The probabilities seem to point to 
 Claude's large commission having come through his brother 
 painter, and to the pictures having been executed during the 
 Spaniard's sojourn in Rome. 
 
 Baldinucci states that the commission consisted of eight 
 works. This number, together with two from the collection 
 of Philip V , are now in the Eoyal Gallery at Madrid. Some 
 of them have unfortunately become much darkened by time, 
 and are now mere wrecks. But the others are so important 
 tliat they place the Spanish Museum in the first rank amongst 
 the public galleries of the continent which boast of specimens 
 of Claude's art. Four of Philip the Fourth's commission are of 
 greater height than width. Two of this upright series — The 
 Finding of Moses (l. v. 47), and Tohit and the Archangel 
 Raphael (l. v. 50), with figures attributed to Courtois — afford 
 excellent examples of the warm luminous haze in which Claude 
 delighted. The third jucture (l. v. 48) is a representation of 
 the remains of Roman greatness as seen in the Via Sacra. In 
 the foreground, the Burial of Sta. Sahina is introduced, pro- 
 bably by the hand of Filippo Lauri. The last of this series 
 represents the embarkation of Santa Paula from the port of 
 Ostia (l. v. 49). It is a grand example of Claude's idealised 
 harbours, and was reproduced by him at least three times. 
 These replicas now belong to the Duke of Wellington, Lord 
 Portarlington, and the Dulwich Gallery. 
 
 There are two other landscapes of especial merit in the 
 Spanish collection. One is a wild and stony desert, depicted 
 under the influence of waning light, in the midst of which is 
 a hermit rapt in prayerful contemplation, whose figure is 
 attributed to F. AUegrini of Gubbio. The second is a more
 
 EMBABKATION OF S. PAULA. 
 From the drawing f/o.49 in the "Liber Veritatis." 
 
 Page 48

 
 FAME. 49 
 
 inviting scene, and is rendered charming by waterfalls and 
 clumps of shady trees. The element of human interest in it 
 is supplied by the figure of a penitent Magdalen, kneeling in 
 contrition before a cross raised on the trunk of a tree. There 
 is a study for this picture in the Albertine Collection at Vienna, 
 dated 1648. This is the only evidence there is in Claude's 
 own hand as to the date of execution of the Spanish commission. 
 Neither the pictures nor the drawings in the ' Liber Veritatis ' 
 bear any date. 
 
 The wide-spread fame to which the painter had now attained 
 brought, however, its accompanjdng drawbacks. His peace 
 was disturbed by unscrupulous plagiarists and copyists, some 
 of whom were frequenters of his very studio. Not only was 
 his manner imitated, but his ideas Avere stolen, frequently 
 before the Avork of Avhich tliey were to form a component 
 part had left the easel. Of this the Bourdon episode already 
 mentioned is an example. Copies of his original works and 
 feeble pasticcios of his subjects were sold in Eome under his 
 very eyes, to the great discredit of his reputation. Almost 
 daily, he wasHoewildered by works which were brought to his 
 house by purchasers to inquire whether they were really his 
 production. 
 
 This evil had reached such a pitch that Baldinucci states, 
 that when he was engaged on the commission for the King of 
 Spain, he resolved to form a book, containing sketches of aU 
 works produced by him. Thus, when paintings were brought 
 to him for identification, he would be able to refer to this book 
 as evidence of their authenticity. 
 
 Baldinucci gives the name of ' Libro d'Invenzioni ' or ' Libro di 
 
 Verita ' to this collection of drawings. In England — Avhere it 
 
 has been for more than a century in the possession of the Dukes 
 
 of Devonshire — it is generally known by the Latin equivalent, 
 
 ' Liber Veritatis.' It consists of two hundred sketches executed 
 c. L. B
 
 50 CLAUDE LE LORRAIN. 
 
 with pen or pencil, washed with bistre or Indian ink, and the 
 lights brought out with touches of white. The book has been 
 rebound from several smaller collections, apparently by a French 
 binder. Many of the drawings have been cut down with so 
 little care that parts of Claude's inscriptions on them have been 
 lost. This is not the only damage which the collection has 
 suffered. The careless binder has not preserved the original 
 order of the drawings. Thus, some of the latest sketches have 
 been bound at the beginning, instead of at the end of the 
 volume. 
 
 Each drawing bears on its face the painter's signature — 
 generally a monogram composed of the letters C and L. On 
 the back of the sketches are inscriptions repeating his signature, 
 and giving details as to the disposition of the pictures, the date 
 when they were painted, &c. These inscriptions are worded 
 in a curious admixture of Latin, French, and Italian. Generally 
 two, and frequently all three of these languages are found in 
 sentences of some eight or ten words. They also exhibit a 
 plentiful variety of orthography. The painter has spelt his 
 own surname in no less than five different ways. It appears 
 as Gillee, Gellec, GiUe, Gdle, and Gille.* Hence, it is not 
 surprising that his ideas as to the spelling of other people's 
 names are so vague that in many cases it has been impossible 
 to discover what is the name of the j^atron he desired to 
 indicate. His great patron. Cardinal Eospigliosi, at first 
 appears as '■'■ Rusjnose" then as " Rospioglio," and finally as 
 '^ Eospigliosu." On the drawing of the picture sent to his 
 artist-friend, Jean Nocret, his spelling of the name assumes 
 the almost phonetic character of " Ganocr." It should also 
 be mentioned, that it is not only the painter's handwriting 
 
 * To avoid possible complications in the realisation of liis property, 
 Claude was obliged to state with much emphasis in his will (see Appendix 
 A), that the correct spelling of his name was " Gellee."
 
 FAME. DL 
 
 which appears in these inscriptions. Thus the words Claudlo 
 fecit in V. R., which occur on the drawings from No. 3 up 
 to No. 112, are in another handwriting. In other j)laces, a 
 third, if not a fourth, hand is to be found. 
 
 Next, as to tlie information contained in the inscriptions. 
 The names of the persons for whom the pictures were painted. 
 are given on 1-41 drawings. In forty-five, only the name of the 
 jihace for which the work was destined is given. In one case, 
 Claude expressly states that the picture was still with him. The 
 remainder have no indication as to their destination. On three 
 sketches, he has noted that he subsequently painted a replica 
 of the picture therein represented. Out of the two hundred 
 drawings, only seventy-one bear dated inscriptions : the earliest 
 date being 1647, and the latest, 1681. It is worthy of note 
 that, omitting Nos. 1, 2, 5, and 70, which have evidently been 
 displaced by the binder, dates do not begin to occur till the 
 one hundred and twelfth drawing of the collection is reached. 
 After this the sketches continue to be dated with but few 
 breaks, and in faiily consecutive chronological order. "With 
 the exception of 1649, 1650, 1651, 1679, and 1682, each year 
 of the painter's life subsequent to 1647 has from one to five 
 pictures assigned to it. 
 
 In this inquiring and sifting age, it is not surprising that 
 doubts should have been raised as to the object attrilnited by 
 lialdinucci to the painter in the 'Liber Veritatis.' The chief 
 arguments against it are as follows. It is urged that the 
 collection does not contain sketches of all Claude's paintings, 
 even of important works undoubtedly his, and executed after 
 the date assigned for the commencement of the idea. The 
 Spanish commission, produced at the very time Avlien the 
 ' Liber Veritatis ' is said to have been commenced, is an example 
 of this omission. Only five pictures are therein credited to 
 the King of Spain, while Baldinucci states that the commission 
 
 E 2
 
 52 CLAUDE LE LORRAIN". 
 
 consisted of eiglit works, and this number is corroborated by 
 the pictures in the Madrid Gallery, which are stated to have 
 come from the collection of Philip IA\ Kext, it is pointed 
 out that the work would not afford the painter any protection 
 aL;ainst copyists, who would naturally take great care to reproduce, 
 not only the salient but the minute features of the pictures 
 which they copied. The presence in the * Liber Veritatis ' of a 
 sketch, giving the outlines of a picture attributed to him would 
 not be a proof whether the work was an original or a subsequent 
 copy. Then the fact already noticed, that the master has not 
 in every case given the name of the owner of the picture — 
 frequently only giving the name of the place to which it was 
 sent, and in some cases no information Avhatever as to its 
 destination — would negative the idea of any careful and precise 
 register of the disposition of his Avorks. 
 
 These arguments against Baldinucci's statement that Claudfi 
 undertook the ' Liber Yeritat is ' to defeat his copyists, appear 
 irresistible. But the inscriptions in it still point to the modified 
 idea that the painter intended it as some kind of a record — ■ 
 whether complete or not — of his pictures and their destination. 
 Ko other hypothesis will explain the inscription, "ce f resent 
 llnre cmpartien a moij que ie faict durant ma vie (l. v. 1). Then 
 there are notes that one picture is still with him (l. v. 2), that 
 others have changed hands (l. v. 54 and 73), and that he has 
 painted replicas of others (l. v. 5, 154, and 176). All these 
 bear out the record view. And this conclusion has been 
 confirmed by the recent discovery of Claude's will. In it, he 
 makes special mention of the ' Liber Veritatis ' as a book con- 
 taining designs of pictures executed by him for various princes. 
 He is careful to give the number of drawings it contains. 
 And the value he places on it is shown by his directions as 
 to its disposition. 
 
 Soon after the completion of the Spanish commission, some
 
 
 
 Pi 
 
 !5 
 ■4 
 
 S5 
 
 m
 
 FAME. . , 5 
 
 o 
 
 important works were painted by Clauile for a Signor Carlo 
 Cardello. Of this patron nothing is known, save that liis name 
 shows liim to have been a member of an important family allied 
 to the Mancini. The earliest of the^e works (u v. 129) dates 
 from 1653, and is now in the Duke of Westminster's gallery 
 at Grosvenor House. It owes its reputation entirely to the 
 charm of the landscape, which is suflicient to atone for the 
 incongruities in the incident, Tlte Wortiliip nf ihe Golden Calf, 
 introduced in the foreground. The two other pictures painted 
 for Cardello are l)olh dated 1655. One of them, a marine view 
 (l. v. 132), having for incident the Ahdadion of Hdeii, now 
 belongs to Lord Lansdowne ; the other, Jacob hargainiiaj with 
 Zahan_fpr Radiel (l. v. 134), is at Lord LeconHeld's seat at 
 Petworth, and is not eclipsed by any work amongst the wealth 
 of art which renders that mansion one of the showdiouses of 
 England. Waagen justly gives it high praise. He considers 
 it " in point of size, freshness of the silvery morning tones, 
 carefulness of execution, and dtdicacy of gradations, one of the 
 most important works of the middle period of the master." 
 
 In 1655, the usurpation and exactions of Olympia Maidal- 
 china and the Pamhlis came to an end with the death of Pope 
 Innocent. The Spanish influence, however, still retained its 
 power in the conclave. jSTotwithstanding the efforts of Mazarin, 
 Cardinal Fabio Chigi, after a considerable contest, was elected 
 Pope, taking the title of Alexander VII. He was a member 
 of the great Sienese family, whose fortunes were founded by 
 Agostino Chigi, the friend of Eapliael, and the rival of the 
 powerful Metlici family. Although the new Pope bore an 
 excellent reputation for integrity, and great hopes Avere con- 
 ceived of him, the condition of aifairs at Pome was not much 
 mended. He took but little active share in the administration 
 of the Papacy. Such power had but little attraction for him. 
 As a contemporary says : " His only thought was, how he might
 
 54 CLAUDE LE LOREAIN". 
 
 pass his life in unruffled tranquillity." The decision of questions, 
 civil and ecclesiastical, was left mainly to the various congre- 
 gations, which consequently obtamed greatly increased power 
 during his pontificate. 
 
 The Pope's time was chiefly spent in literary pursuits. He 
 delighted in the patronage of authors, and in playing the part 
 of critic on the works submitted to his judgment. The arts 
 also received a share of his attention. To his love of archi- 
 tecture the churches and public buildings at Eome owed many 
 improvements, which, according to an eye-witness, resulted in 
 the great adornment of the city. He had a higli appreciation 
 of Claude, who painteil two works for him, which in 1872 
 were both in Eussia in the possession of Prince Issoupoff. 
 One is a landscape (l. v. 137), known as Tlie Battle on the 
 Bridge, from the conflict introduced in the foreground. The 
 other picture — which, by the inscription in the ' Liber Veritatis,' 
 Avas apparently begun while Alexander was still a cardinal, and 
 Avas only completed after his elevation to the Papacy — is a 
 marine view (l. v. 136), with tlie Rape of Europa for incident. 
 Tills composition was evidently a great favourite with the 
 painter. It is practically identical witli his etching (No. 22, 
 Appendix D) of some five-and-twenty years before. It is the 
 subject of a picture (l. v. Ill) which formerly belonged to Sir 
 Joshua Eeynolds, and was engraved by Vivares. In the 
 Morrison collection is a version of it in oil (l. v. 1 14), Avhich 
 is referred to the year 1658, and at Buckingham Palace is 
 a replica of Alexander's picture dated 1667. The same com- 
 j^osition also occurs in a finished sketch at the British Museum,* 
 dated 1670. 
 
 On his accession, Alexander had set his face against nepotism, 
 and had won golden opinions thereby. But he soon succumbed 
 to the prevailing vice of the Papacy. One nephew, Flavio, 
 * Engraved in Earlom, vol. ill., No. 6.
 
 FAME, 55 
 
 became cardinal pndrono, and was endowed with great ecclesi- 
 astical revenues, Agostino, the sou of a dearly-loved brother, 
 did not enter the Church ; but be had principalities and sine- 
 cures bestowed on him, and the hand of a daughter of the 
 Borghese house was secured to him in marriage. For the decora- 
 tion of his palace in the Piazza Colonna, Ckiude contributed a 
 landscape (l. v. 145), sometimes known as David at the Cave 
 of Adullam, and at other times described as Sinon hrourjht 
 prisoner before Priam. It was painted in 1G58, and subse- 
 quently came into the possession of an English clergyman, who 
 bequeathed it to the National Gallery. It is the finest example 
 of the painter's third and maturest style in the English collection. 
 The composition of the rich and extended landscape, the altern- 
 ation of hills and dales and water, and the treatment of light 
 and shade caused by the cloudy sky, command high admiration. 
 Even Euskin is constrained to acknowledge that it is " a really 
 fine work of Claude's." 
 
 In the year after the election of Alexander to the Papacy, 
 Pome was in a dire condition through the ravages of the 
 plague. To this dread visitation is due a passing mention of 
 Claude, wdiich is of some importance in the story of his life, 
 Erom a census of the inhabitants taken in that year, it appears 
 that the painter — Claudio Gellee, Lorenese, d'anni 55. Pittore, 
 so runs the description given by the enumerator — was then 
 residing in the Strada Paolina, a street which seems to be 
 identical with the modern Via Paola, close by the Tiber, and 
 leading to the Ponte S. Anrjelo, This would cast a doubt on 
 the hitherto received opinion, that throughout his career at 
 Pome Claude inhabited a house in the Piazza della Trinita 
 on the Pincian Hill. And it will be seen anon that another 
 recent discovery gives additional force to this doubt. 
 
 In the year following that of the plague was painted the 
 Christ preaching on Mount Tabor (l, v, 138), now in the
 
 50 CLAUDE LE LORRAIN. 
 
 possession of the Duke of Westminster. The inscription on 
 its design in tlie ' Liber Veritatis ' has lonf? been a source of 
 perplexity. It now may be safely concluded that the patron 
 whose name is intended is the Bishop of Montpellier. This 
 prelate, Francois Bosquet, was only appointed to his see in 
 1655, and he came to Eome in the following January for 
 papal confirmation of his elevation to the episcopate. It was 
 during this visit that he gave Claude the commission for this 
 work. Six years later another picture — an architectural com- 
 position, introducing the Scriptural subject of Esther (t,. v. 
 146) — which cannot unfortunately be traced, was also painted 
 for this patron. There is a particular interest attached to it, 
 as Baldinucci states that it was a great favourite with the artist, 
 who considered it his finest work. In the British ]\Iuseum is 
 a study for it carefully squared out.* It has certain variations 
 from the ' Liber Veritatis ' sketch, of which the most notable is 
 the introduction in the distance of what seems to be a medieval 
 conception of the Tower of Babel. 
 
 The year 1657 saAv the execution of two works for a M. 
 Delagarde, of both of which there are finished studies in the 
 royal collection at Windsor.! One of these pictures, an Arcadian 
 scene, introducing the Metamorpliosis of the AjMlian Shepherd 
 (l. v. 142), belongs to Lord Ellesmere. The other, Polyphemus, 
 Acis, and Galatea (l. v. 141), is in the Dresden Gallery, and 
 has had a curious episode in its history. Coming into the 
 possession of a Count de Noce, he had Claude's nngainly 
 figures repainted by no less a hand than that of Bon Boulogne. 
 This painter added to the original subject a Cupid, with 
 attendant doves, seated to the riglit of the unfortunate lovers. 
 
 It is not wholly surprising that the Count de ]S"oce should 
 have ventured on a proceeding, which in these days would, 
 
 * Engraved in Lewis, Part L, No. 4. 
 
 t Engraved in Chamberlaine, Nos. 38 and 41.
 
 « 5 
 
 K ^ 
 
 El i 
 
 « t 
 
 ■a 
 
 9 
 
 J5 
 
 3 
 
 2 
 
 •ft 
 
 E
 
 FAME. 57 
 
 nevertheless, be stigmatised in unmeasured terms. The figures 
 in Claude's pictures, when painted by himself, are a serious 
 blot on the compositions. As has been already said, he was 
 fully aware of his weakness in this respect, and frequently, 
 in the middle and latter part of his career, availed himself 
 of the services of his brother artists to insert the figures in 
 his pictures. Amongst those Avho thus heli)ed him wore Filippo 
 Lauri, Francesco AUegrini, Jan j\liel, and one of the two 
 Courtois. 
 
 Lauri was the son of a Demish artist, a disciple of Paul 
 Bril, who had settled in Italy. As he was not born till 1623, 
 it is evident that his haiuliwork should not be looked for in 
 any pictures painted by Claude before he was quite settled 
 in his second style. Lauii was a man of general culture, 
 and acquired a re[iutation for his Bacchanalian subjects. The 
 figures in Claude's great series, Morvivg, Noon, Evening, and 
 Night, at the St. Petersburg Hermitage are ascribed to him ; 
 and Villot also considers that he assisted in the Samuel 
 cmointing David, and Ulysses restoring Gliryseis, now in tlie 
 Louvre. 
 
 AUegrini was a native of Gubbio, and a pupil of the 
 Cavaliere d'Arpino. He had considerable practice at Pome 
 as a fresco painter, and also executed small battle pieces, 
 hunting scenes, &c. As he was born in 1587, and died in 
 1063, his assistance must have been chiefly confined to works 
 of Claude's early and middle periods. 
 
 Jan Miel was an Antwerp painter, Avho imbibed the first 
 principles of art from Gerard Seghers. Migrating to Pome, 
 he fell under the influence of the Caracci through Andrea 
 Sacchi. He is best known by his Inniting pieces, pastoral 
 scenes, &c., with small figures, such as would be fitly intro- 
 duced in Claude's landscapes. Some of the Hermitage pictures 
 are said to bear traces of his biush, and Villot ascribes to
 
 58 CLAUDE LE LORRAIN, 
 
 liini tlie figiires in the two early works at the Louvre painted 
 for M. de Eethune. 
 
 It is not quite clear which of the Courtois hrothers acted 
 as Claude's coadjutor. It may have been the younger and 
 less known Guillaume, or possibly it was Jacques, the cele- 
 brated battle painter, il Burgognone, who lent the aid of 
 his brush. It is to the latter that the figures in the curious 
 Siege of Rochelle and Pass of Sitsa, in the Louvre', are inscribed, 
 and for many years he was credited with the entire execution 
 of them. It is to be noticed that two sketches in the ' Liber 
 Yeritatis,' dated 1658, are inscribed as being painted for 
 "Mr. Courtois." They represent The Judgment of Paris 
 (l. v. 143) and Tlie Rape of Eiirojm (l. v. 144). The latter 
 picture is one of the repetitions already mentioned of the 
 favourite composition painted for Pope Alexander VII. There ' 
 is a further trace of connection between the painters. In tlie 
 Heseltine Collection is a pencil drawing by Claude, whicli 
 bears a considerable resemblance to the Village Fete painted 
 for Urban A^IIL, and the Dance under the Trees etching. It 
 is inscribed — 
 
 "^ Monsieur Cmrtois, a Paris, Claude 
 Gellee, dit Ic Lorrain, 1665." 
 
 In February 1659, The Worship of the Golden Calf (l, v. 
 148), now in the ]\Iorrison Collection, was completed for an 
 Antwerp patron, M. Gessly, whose identity cannot be traced. 
 In it are repeated, with some slight variations, the figures used 
 six years before in the Cardello picture inspired by the same 
 subject. As if, however, to show the wealth of his imagination 
 in his own province, the details of the landscape in which. 
 the incident is placed are entirely different. Another important 
 work of this period is the composition known as The Decline of 
 the Roman Emp)ire (l. v. 153), now belonging to the Duke 
 of Westminster. It is stated to have been painted for a " Mr.
 
 
 o 
 
 IMiiiiiiiiiffiiiiiiiiiiir
 
 FAME. 61 
 
 ]o rji'im," who may possibly have been the all-po-werful fouiukr 
 of the French Academy. Claude had already painted a larger 
 version of this work (l. v. 82) — now belonging to Lord Eadnor 
 — which, it is curious to note, is said in the 'Liber Veritatis' 
 (though not in Claude's hand-Avriting) also to have been pro- 
 duced for Le Erun. 
 
 This period of the painter's career saw a revival of his 
 interest in etching. After the production of the ])lates illus- 
 trating the fireworks, he would seem to have put aside the 
 burin for many years. With the exception of the Flock in 
 Stormy Weather (Appendix D, No. 18), which is dated 1651, 
 there are ffo~etchings by him which bear dates between 1G37 
 and"1662. In the latter year, he produced two of his largest 
 jiTates, Mercury and Argus (Appendix D, No. 20), and Time, 
 Apollo, and the Seasons (Appendix D, No. 17), and in 16G3 
 The Goatherd (Appendix D, No. 19). Mr. Julian Marshall 
 has an impression of the second of these etchings, which 
 was apparently sent to the painter's old patron, the maitre 
 des comptes. It bears the following inscription in his hand- 
 writing — 
 
 *' M. Passart d Paris, Recommande par M. Culiijnon. 
 Monsieur, Je i^uis 
 
 Voire, (L-c. Claude." 
 
 This M. Colignon also received from Claude a copy of the 
 Mercury and Argus etching, according to an inscription on 
 a proof seen, by M. Meaume.
 
 CHAPTER V. 
 
 LATTER YEARS. 
 
 1663—1682. 
 
 THOUGH fame and prosperity had come to the painter, 
 the latter years of his life were not wholly unclouded. 
 A chief cause was the state of his health. From Baldinucci's 
 account, it appears that from the age of forty he was much 
 troubled with the gout. And from Lady Dilke's discovery of 
 his will we learn, that in February, 1663, he was suffering 
 from an illness of such a grave character that his death was 
 expected. The inscription on the drawing No. 158 in the 
 ' Liber Veritatis ' : 
 
 Au cly 26 febrare 1663 a qucsto mio Jihro si ritrovano cento c einquanfo 
 sctte disrgnc di viano mio qucsto cli sudittefaictper Vexccllc""' Contcstablle 
 Colona Claudio GilUe vian''" in Iloma. 
 
 would seem to indicate that on the 26th February he was 
 putting his affairs in order. And on the 2Sth a notary Avas 
 summoned to make his will. It may be regarded as indicative 
 of the serious nature of his illness that though only two days 
 before, as has just been seen, he had counted the drawings 
 in the 'Liber Veritatis' as 157, yet now, in making his will, 
 he is doubtful whether they number 137 or 177.
 
 LATTER YEARS. G3 
 
 From Claude's will, many important and interesting details 
 concerning him have been brought to light. First, there is a 
 corroboration as to tlie relative mentioned by Sandrart as acting 
 as his inajor-domo. To this nephew, Jean Gellee, a bequest 
 is expressly made in return for the good services rendered 
 by him in the house. 
 
 Then there is mention made of another inmate of the house- 
 hold, hitherto quite unknown, a little girl named Agnes Gellee. 
 For her maintenance and guardianship, ample and very careful 
 provision is made. After the painter's death, she is to be placed 
 in whatever convent she pleases. Minute directions are given 
 in the event of her marrying, or taking the veil, as to the 
 disjiosition of the property bequeathed to her. Two apostolic 
 notaries are appointed her guardians, and to each of them is 
 left a picture. To her, the painter leaves a third part of his 
 furniture, and amongst other objects specially designated, his 
 bed, his ebony writing desk, and a picture of the Flight into 
 Egypt, "painted on the spot by my hand," and hanging in his 
 bed-room. Finally, the precious ' Liber Veritatis ' is bequeathed 
 to her for life. Who was this favourite child about whose 
 futui-e he was so solicitous, and to whom he is careful to leave 
 the most treasured of his belongings % What relationship existed 
 between her and the painter ] For answer to these questions, 
 Ave must be content Avith the mysterious passage at the end 
 of the Avill, in Avhich Claude, as if anticipating the inquiries 
 Avhich Avould arise, simply says : — " I state and declare that 
 the aforesaid Agnes is a little girl, noAV nearly eleven years old, 
 as the certificate of baptism testifies, living Avith me, and brought 
 up in my house (where she now lives) in charity." 
 
 Amongst the Avitnesses to the Avill Avas the Avell-knoAvn French 
 engraver, Dominique Barriere of Marseilles. At the time of 
 the painter's illness, he had been resident in Rome for about ten 
 years, and their intimacy Avas apparently no recent one. Three
 
 G4 CLAUDE LE LORRAIX. 
 
 years Lefore, lie had engraved one of Claude's seaports : that 
 painted iu 16i6 (l. v. 9G), which is now in the Louvre. As 
 this picture, as well as the Ulysses and Chryseis (l. v. 80), 
 which he engraved in the following year, were then in France, 
 it Avould seem that Barriere must have had recourse to the 
 sketches in the painter's possession. And this conclusion is 
 borne out by an examination of the drawings of these two 
 works in the ' Liber Veritatis.' On each of them is an inscription, 
 of Avhich the only legible word is the Latin incMere, that is, to 
 engrave. It is to be noted that on the sketches of the other 
 pictures engraved by Barriere, which at that time were all 
 accessible iu Rome, this inscription does not occur.* 
 
 Beside ill-health, it w^ould also appear that Claude's latter 
 years were not wholly free from the old annoyance caused by 
 copyists. Li connection with this, Baldinucci relates a curious 
 incident. He states that Claude some years before had taken 
 pity on a poor lame and deformed lad, named Giovanni 
 Domenico. He had received him into his house, and had 
 taught him drawing and painting. The youth profited so well 
 by the instruction that in the course of time he obtained no 
 inconsiderable reputation in Rome as a landscape painter, and 
 Felibien mentions that he was known as an able imitator of his 
 master. The friendly character of their intercourse is shown by 
 the fact that Claude also instructed him in music, the practice 
 of wdiich is said to have formed a favourite relaxation of the 
 painter. 
 
 * The plates engraved by Barriere after Claude, together with the years 
 iu which they were executed, are as follows : — 
 
 1. Seaport (L. V. 96)— 1660. 
 
 2. Ulysses and Chryseis (l. v. 80) — 1664. 
 
 3. Evibarkation of S. Ursula (l. v. 54) — 1665. 
 
 4. Mercury, Aglauros, and Herse (l. v. 70) — 1668. 
 
 5. St. George and the Dragon, or Bellero^hon and the Chimccra, 
 
 (L. V. 73)— 1668.
 
 LATTER YEARS. G5 
 
 This intimate relationship lasted some five and twenty years. 
 Then came a rupture. Reports were circulated that the pictures 
 ■wliicli issued from Claude's studio were not his own production, 
 "but were really the work of his assistant. Doraenico, having 
 left the painter's house, made a claim for salary for the long 
 period during wliich he had been with him as jn-otege, P^U^^^j ^^'^'^ 
 assistant. To tliis demand was added a threat of ulterior pro- 
 ceedings. Claude, prompted probably by his love of seclusion, 
 and mindful of the delay and uncertainty of the processes of the 
 law, yielded, and, without entering into further controversy, 
 caused the claim to be liquidated from his investments in the 
 Bank of the Spirito Santo. Domenico is said not to have long 
 survived this transaction, and there is no further record of him, 
 nor can any of his works now be traced. 
 
 Besides Domenico, Claude appears to have had but one pupil 
 who, according to Pascoli, ever obtained any reputation. This 
 ■was a landscape painter named Angelo, or Angeluccio, of whom 
 little is known, and none of whose works can now be identified. 
 He must have studied under Claude towards the end of the 
 latter's career, as he is spoken of as practising in Eome about 
 1680 ; and it is further stated that his premature death rendered 
 of no avail the great pains which the master had bestowed on 
 his art-training. 
 
 Hermann Swanevelt and Guillaume Courtois, the younger 
 brother of Le Bourguignon, are sometimes mentioned as pupils 
 of Claude. But there does not appear to be any foundation for 
 this statement. They rather belong to that large category of 
 painters whose art was influenced by the Lorrainer, and they 
 should be ranked amongst his followers. Under this head should 
 be included Gaspard Dughet, the brother-in-law and pupil of 
 Nicolas Poussin. There is no trace of the relationship of master 
 and pupil having existed between Claude and him, though it is 
 most probable that they were personally acquainted with each 
 
 C. L. F
 
 G6 CLAUDE LE LORRAIN. 
 
 other. This much is certain, that it was o^Ying to his study of 
 the wealth of light and air in Claude's works that Gaspard freed 
 himself from the coldness and stiffness evident in the pictures 
 produced in his early period. 
 
 The chief patron of Claude's latter years was the Constable 
 Colonna, the head of the powerful Eoman family of that name. 
 Shortly before the painter's introduction to him, he had con- 
 tracted a marriage fraught with great trouble. His wife was the 
 celebrated Maria Mancini, one of the nieces of Cardinal Mazarin. 
 It was she who had captivated the youthful heart of Louis XIV. 
 At one time it had seemed probable that her brow would be 
 adorned with the crown of France. She lived an unhappy life 
 with the Constable, though Avithuit open ruptuie, till 1672. 
 She then ran away with her sister, Hortensia Mancini, who Avas 
 also living apart from her husband, the Due de la Meilleraye. 
 Immured in various convents, she always succeeded in evading 
 restraint, and at length died in a miserable old age, having 
 survived the Constable many years. 
 
 For this great noble, Claude painted at least eight pictures. 
 The earliest of which there is a record (l. v. 158) was finished 
 in 1663, apparently just before the illness in which the painter 
 made his will. It is a landscape, having for incident the Flight 
 into Egypt, and has successively graced the collections of Prince 
 Lucien Bonaparte and Lord Ashburton. A repetition of it is 
 in the possession of the Duke of Ftutland at Belvoir Castle. 
 
 In two of the Colonna pictures, Claude introduced the charm- 
 ing classical fable of Psyche. One of these (l. v. 162), painted in 
 1664, and now belonging to Lord Wantage, is sometimes known 
 p. as The Enchanted jOastle. It is a silvery twilight scene, in 
 
 V^ which the most prominent object is a noble pile of buildings 
 
 raised high on a rock above the sea-shore. The other Psyche 
 composition (l. v. 167), which is also in England, is a cool 
 morning landscape, in which the cliief feature is a broad
 
 LATTER YEARS. C7 
 
 stream, edged with verdant buslies, and shaded by groups of 
 trees. 
 
 " Another of the Colonna commissions, painted in 1GG9, is a 
 landscape ornamented with classic architecture (l. v. 175), in 
 which is represented what has sometimes been called Diana 
 reposing after the fatigue of the chase, and at other times 
 Fgeria and her nymphs. The painter intended it for the latter, 
 as there is a sketch of it in the possession of Lord Leicester, 
 dated 1670, which is inscribed Dea ninfa Egeria. This picture 
 lias not left the country in which it was painted, but now 
 decorates the walls of the Naples Museum. 
 
 It will have been noticed how many of these Colonna pictures 
 have found their way to England. This is the case with great 
 numbers of Claude's Avorks, whose original homes Avere in the 
 jialaces of Rome. During the troublous times Avhich ushered in 
 the present century, when the French armies overran Italy, 
 the Eoman nobles were on all sides selling their works of art to 
 meet the forced contributions levied upon them. To show the 
 extent to Avhich collections were dispersed, it may be mentioned 
 that a catalogue of the Colonna Galler^^, published in 1783, 
 alone includes fifteen pictures by Claude ; that is, nearly as 
 many works by him as are now contained in the whole of the 
 galleries, both public and private, at Rome. This dispersal of 
 the painter's works, Avhen the Claude-worship in this country 
 ■was at its height, was favourable for their acquisition by English 
 amateurs, and contributed materially towards rendering England 
 the most favoured country for the study of his productions. 
 Hence, a distinguished French critic has not been able to refrain 
 from giving vent to a sneer, that by means of her gold England 
 has obtained nearly all his works, leaving only a few specimens 
 for the rest of the world. 
 
 Next to the Constable Colonna, the artist's greatest patron 
 about this time was a French ecclesiastical visitor to Rome. 
 
 F 2
 
 63 CLAUDE LE LORRAIN. 
 
 Tliis was M. de Bourlemont, who came in October 1GG4, for 
 papal confirmatiou of his election to the Archbishopric of 
 Toulouse, He remained at Eome about a year, during which 
 Claude painted three pictures for him. One of these is the 
 large and fine landscape (l. v. 161), now in the Bridgewater 
 Gallery, in which the incident of Mms and the Burning Bush 
 is introduced at the side of the picture. It exhibits a broad 
 expanse of diversified country, and is an excellent example of 
 the harmonious feeling which characterises the painter's third 
 style. Two studies for this picture, containing considerable 
 variations, are to be found in the Duke of Devonshire's Collec- 
 tion at Chatsworth,* and a sketch in colours, dated 1660, 
 belongs to Mr. H. Yaughan. There is also in the British 
 Museum a careful study of the noble tree which occupies the 
 centre of the composition.! 
 
 The archbishop paid a second visit to Rome in 1667, on 
 business connected with the Jansenist controversy. He then 
 obtained from Claude another picture (l. v. 171), which is also 
 in the possession of Lord Ellesmere. It is a broad and sunny 
 marine view. On one side, the dark blue sea is flanked by the 
 columns of a ruined classic building, whilst a contrast is aff"orded 
 on the opposite side of the picture by the verdant promontory 
 enclosing the bay. In the foreground is the figure of Demos- 
 thenes pacing the shore in solitary study preparatory to one of 
 his oratorical efforts. 
 
 In March 1667, a great friend and patron of Claude's was 
 promoted to the highest position in the ecclesiastical world. 
 This Avas Cardinal Giulio Eospigliosi, who assumed the tiara 
 under the title of Clement IX. He had held the post of Secretary 
 of State to Alexander VII., under whom he had the chief 
 administration of the foreign relations of the Curia. His reputa- 
 
 * Engraved in Earlom, vol. iii., Nos. 95 and 99. 
 t Engraved in Lewis, Part IL, No. 1.
 
 LATTER YEARS. C9 
 
 tion was of the highest, and his short reign is one of the fairest 
 in the records of the Papacy, although he found it difficult, and 
 frequently almost inipossihle, to break through the evil traditions 
 by which he was surrounded. 
 
 "While Rospigliosi was still a cardinal, Claude had painted 
 two works for him. One of these (l. v. 15) forms an apt 
 illustration of Virgil's, — 
 
 " Tityre, tn, patulne recubans sub tpgminc fn^cn, 
 Sylvestrem teuui JIusam meJitaris avcna." 
 
 The other, a landscape (l. v. 34), which Avas subsequently 
 brought to England, shows travellers attacked by brigands, 
 whilst in the foreground the affrighted peasants are hurriedly 
 driving their cattle away from the scene of robbery and blood- 
 shed. Some of the figures used in this composition also do 
 duty in the etching of 1633 known as Tlie Brigands (Appendix 
 D, Iso. 12), though the landscape is quite different. 
 
 A third picture for liospigliosi (l. v. 170) was begun, as the 
 inscription in the ' Liber Veritatis ' plainly shows, just before his 
 elevation to the Papacy, and Avas only finished after he had 
 become Pope. It is partly a marine view, with the ruined 
 portico of a temple in the foreground, and the Coliseum in tlie 
 distance. The incident in it is founded on the classic tale of 
 the sisters Aglauros and Herse. The inscription just referred 
 to also throws a light on the source Avhence Claude took his 
 classical subjects. It is identical in Avording Avith the Anno- 
 tozhne of G. Horologgi to Anguillara's translation of Ovid's 
 ' Metamorphoses.' 
 
 There is an interesting little story showing this Pope's appre- 
 ciation of Claude. One of the painter's favourite sketching 
 haunts Avas the Yilla IMadania, built for the ]\Iedicis on tlie 
 eastern slopes of the Monte Mario. At the British INIuseum 
 is a carefully- finished sketch, drawn Avith pen and washed with
 
 70 CLAUDE LE I.ORRAIX. 
 
 sepia, of a large trunk of a tree covered with ivy, wliicli liears 
 Claude's "fecit a F'/f7»eil/'</?a'rti«;"* andiiitlieKnowles' Collection 
 is a sketch of trees, inscribed, ''' fatto a la villa Madame." t From 
 this spot, he could obtain views both of Eome itself and of the 
 broad expanse of the Campagna, stretching from the Saliino 
 hills to the sea-coast. Here he had painted with great care 
 one of the open-air studies in oil referred to by Saudrart, AvLich 
 he did not sufier to depart from his possession. It served as 
 an encyclopaidia of the trees, foliage, and other details which 
 he was accustomed to insert in his coniiDositions, and was thus 
 of great use to him in these hi.? latter years, when his enemy, 
 the gout, put a stop to out-door study, Clement IX., in his 
 visits to the studio, had seen and greatly appreciated this picture. 
 In his desire to obtain it, he offered as many gold pieces as 
 ■would cover the canvas on which it was painted, but tlie 
 painter was firm, and declined to allow it to pass from his 
 keeping. 
 
 An evidence of the friendly relations existing between this 
 po;itiir and Claude is seen in tlie painter's will. Therein lie 
 bcijueatlis Ivispigliosi — then still a cardinal — two drawings to 
 Ijc chosen liom amongst his sketches, as a recognition " of the 
 guild advice which he has always given me." 
 
 Amongst the Italian commissions at tliis period were two 
 pictures for Sicily. One, painted in 1GG5, is a marine view 
 (l. v. 165), with The Call of SS. Andreio and Peter ; and the 
 other, painted in 1G()7, is a pastoral landscape (l. v. 172). For 
 Paolo Francesco Falconieri, a Florentine noble and a great 
 patron of the arts, he painted in 1G66-7 a pair of pictures, in 
 which the incidents are taken from Tasso. In one, a landscape 
 (l. v. 166), is introduced Erminia and the Old Shepherd ; in 
 the other (l. v. IGS), a marine view almost identical with the 
 
 * Engraved in Lewis, Part I., No. 14. 
 
 t Catalogue of Wiuter ExliiLitiou of lloyal Academy, 1879.
 
 LATTER YEARS. 71 
 
 f.ivoiu'ite Eiu'opa composition, is lite Einharlcatlon of Carlo and 
 Ubahlo. 
 
 But it was not for Italy alone tliat Claude's brush was 
 occupied. The record in the ' Lii er A^eritatis ' of -works executed 
 by him in his latter years, attests how widely his fame had 
 spread beyond the Alps. As an instance of the appreciation 
 of his art, it may be mentioned that at the death of Cardinal 
 Mazarin in 1661, his gallery of pictures was valued by Mignard, 
 Du Fresaoy, and Podesta. It included two landscapes by 
 Claude, which were each priced at 1000 livres toiirnois. Only 
 thirty-five out of some five hundred pictures were assigned 
 higher values.* Amoncrst the works Claude sent to bis native 
 country, he painted in 1667 for a M. Parasson of Lyons 
 a charming landscape (l. v. 110), which subsequently formed 
 part of the collection de Count de No e, and now ornaments the 
 walls of the Dresden Gallery. Though a Pioman aqueduct and 
 other buildings of an Italian type are seen in the distance, 
 through a wonderful luminous haze, yet IM. Michel cites this 
 picture as one of those whose inspiration is due to the charming 
 valleys through which the INIosellc flows. He considers that 
 the river introduced in the foreground, whose course is broken 
 up by a series of rapids and cascades, and whose stream rushes 
 towards the spectator in swirling eddies, is distinctly character- 
 istic of the painter's native country. 
 
 The incident. The Flight of the Hohj Famihj, which serves 
 to "ive a title to this picture, is barely visible in the background 
 on one side of the composition. This subsidiary character of 
 the figures introduced into many of Claude's works is very 
 noticeable. As in the present instance, so in Demodheues, 
 Psijche, and in many others, the incident by which the Avork 
 is known might be omitted without any appreciable loss. In 
 many cases, again, it is diflicult to decide to what incident 
 * Cosuac : ' Les Eichesses du Palais Mazarin.'
 
 72 CLAUDE LE LORRAIN. 
 
 the figures relate. In the ISTational Gallery, there is one 
 picture which may represent the Annunciation, or Hagar and 
 the Angel, or ToUt and the Angel, and another composition 
 introduces what may be either David at the Cave of Adidlam, or 
 Sinon hrought he/ore Priam. At the K'aples Gallery, there 
 is the picture already mentioned which is sometimes called 
 Egeria, and sometimes Diana. In how many of his seaports, 
 too, is it immaterial whether they are labelled the Queen of 
 Sheba, Cleopatra, St. Ursula, or St. F\nda. Further, so little 
 does he care for the coriect relation^ of the incident to his 
 landscape — though in this respect he sins, with the excep- 
 tion of Poussin, in company with all his contemporaries — that 
 Abraham expels Hagar from the door of a classic edifice, 
 David is anointed before a Doric portico, and so on, ad 
 infinitum. 
 
 The amateurs in the Low Countries during this period 
 received several very important Avorks from the painter's studio. 
 A picture containing a version of the classic story of the 
 shepherd Battus and the thievish Mercury (l. v. 159) was sent 
 to Antwerp in 16G3. It is now in the possession of the Duke 
 of Devonshire. For another amateur of Antwerp, whose name 
 would appear to be Dalmalaye, he painted in the same year 
 a landscape (l. v. 160) under the influence of evening light, in 
 which the sea is seen in the extreme distance, and toAvards 
 which a river is winding its peaceful course. On the banks 
 of the stream, the young Tobit, with his angel companion, is 
 bending over the fish wliich he has just caught. Antwerp 
 received yet another picture in ICG 7 (l. v. 169), which ranks 
 among the painter's masterpieces. It obtains a name frdm the 
 incident of Jacob and Rachel at the Well, introduced in the 
 foreground, but it is also known as Morning. 
 
 One of his Flemish patrons was an ecclesiastical dignitary, 
 Henri Van Halmaele, Bishop of Ypres. He was an old friend.
 
 THE ANXUNXIATUiX. 
 
 From the picture in the National Gallery (l. t. 106).
 
 LATTER YEArS. / •:> 
 
 for a drawing ••■' of the picture of Jaroh and Rncltd ju-t 
 lueiitioned was presented to him in 1GG3 by tlie })ainter, in 
 ■which the latter styles himself A^an Halmaele's ^'■trcs hnmWe ct 
 off. servlteur." In 1672 — the year in which the prelate came 
 to Rome fur papal coufirmatioii of his election to tlie episcopate 
 — Claude painted for him a landscape (l. v. L"S1), known as 
 Niijlii, in wliich is introduced Jacob wrestling with the angel 
 This comjiosition was evidently well thought out. There are 
 many sketches of it extant. In the British Museum are two 
 studies on the same sheet of paper, in which the position of the 
 trees and of the hgures is reversed. At the Louvre and in the 
 Duke of Devonshire's collection t are two drawings of it, both 
 dated 1G71, and three more sketches are to be found in the 
 Ileseltine and Poynter Collections. 
 
 The last three pictures mentioned among the commissions 
 from the Low Countries, have liad an eventful history. In the 
 latter years of the eighteenth century, they formed part of the 
 Electoral Cullection at Hesse Cassel. During the wars which 
 succeeded the Lrencli Eevolution, tliey were carried olF by 
 Napoleon's generals, and, while in France, decorated the walls 
 of the Empress Josephine's retreat at Malmaison. Alter the 
 Napoleonic downfall in 1815, tliey were purchased by the 
 Emperor Alexander and taken to Eussia. Tliey have now 
 found a resting-place in the Palace of the Hermitage at St. 
 Petersburg, which thereljy takes a place in the first rank 
 amongst the collections of Claude's art in the public galleries 
 of Europe. 
 
 Commissions from Germany also claimed a considerable share 
 of the painter's time in the last two decades of his life. Laldi- 
 r.ucci states that he painted four pictures for a Count WaLlcstein, 
 two of which were intended for the Emperor Leopold L Due 
 
 * Engraved in E:irlniii, vol. iii., No. 73. 
 t Engraved iu Earlom, vol. iii., No. 97.
 
 7G CLAUDE LE LORRAIN. 
 
 the 'Liber Yeritatis' mentions only two works for this patron. 
 These were executed in 1668, and illustrate the story of Hagar. 
 The first (l. v. 173) is a fresh morning landscape, in which 
 the sun, as yet not far above tbe horizon, is gradually dispersing 
 the light clouds. It portrays the repulsion of the bondwoman 
 and her child from the patriarch's abode. This the painter 
 has chosen Avith his usual license to represent as a stately 
 classic edihce. In the second picture (l. v. 174) is the 
 appearance of the angel to Hagar. Here the scene is not a 
 desert, but the story has so far been consulted that the action 
 is placed in a wilder and more desolate country than the 
 companion picture. For this composition there is one of 
 Claude's painful figure studies in the British Museum, inscribed 
 " Agare et hmael. Vangclo mostre Vacqua." * 
 
 Another German patron, Francesco jNIayer, a councillor of 
 tlie Elector of Bavaria, came from Eatisbon. As an instance 
 of the difficulty of deciphering Claude's writing, it may bo 
 mentioned that Earlom in one inscription has given the name 
 as Piapiera, and tlie mistake has been cojoied by Smith in 
 the * Catalogue Eaisonne.' The three pictures painted for him 
 are described at some length in the 'Academia' by Sandrart, 
 Avho had seen them in Germany. The earliest (l. v. 176) is 
 dated 1670, and is a repetition of the Herdsman etching of 
 thirty-four years before. This, like the AValdestein pictures, 
 is in the Pinakothek at Munich. 
 
 In the summer of this year, Claude was again prostrated by 
 illness. And on the 25th June, the notary Vannius was called 
 in to draw up a codicil to the will of 1663. The lawyer informs 
 lis that, although obliged to dictate his wishes, yet the testator 
 had sufficient strength to be able to affix his signature. As 
 in the will, so in this document, the first name which occurs 
 is Agnes, " mla zitella," as the painter alfectionately calls his 
 * Engraved hi Lewis, Part IIL, Xo. 10.
 
 LATTER YEARS. 77 
 
 adopted child, now some eighteen years of a,c,'e. The bequest 
 previously made to her is confirmed and increased by a gift of 
 500 scudi, and she is also to receive a gold medal and chain 
 and a diamond ring. Jean, his liousekeeper-nephew, also 
 receives an addition to his share of the property, besides a 
 gift of trinkets similar to Agnes. 
 
 This illness seems to have left its mark on the painter. 
 The ' Liber Veritatis ' records only one picture as having been 
 painted in each of the years 1670 and 1671. But by 1672 
 he appears to have been in full work again. First, there was 
 a repetition for a Monsieur Fache of the Herdsman picture 
 painted two years before. Then there was the picture already 
 mentioned for the Bishop of Ypres, and another commission 
 (l. v. 178) from the Constable Colonna. For the Florentine 
 Falconieri, a second pair of works Avas commenced, which was 
 only finished in the following year. For these, Virgil furnished 
 the themes. One (l. v. 180), Avhich is now in the Brussels 
 Museum, introduces ^neas, accompanied by the faithful Achates, 
 hunting the deer which are to form a banquet for the Trojan 
 wanderers. This composition was no novelty in the painter's 
 mind as there is a drawing of it dated 1660.* The other 
 picture (l. v. 183) has for subject the Cumsean Sibyl conducting 
 ^F^neas to the infernal regions. Here the Temple of the Sibyl 
 is appropriately introduced, and the line of the distant horizon 
 is broken by the island of Capri. 
 
 The following year saw no diminution in the commissions 
 from the painter's old patrons. For the German baron Mayer, 
 two more pictures were executed. One (l. v. 5), completed in 
 July 1674, is in the Munich Pinakothek. It is a replica of 
 a seaport painted many years before for the Bishop of Mantes, 
 which subsequently formed part of the celebrated Walpole 
 Collection at Houghton, bought by the Empress Catherine, and 
 * Engraved in Earlom, vol. iii., No. 40.
 
 /8 CLAUDE LE LORRAIN. 
 
 now in the Hermitarre Palace at St. Petersbursf. The sketch 
 (l. v. 188) of the other picture for Mayer bears the date of 
 October, 1676. This work subsequently came into the hands 
 of the picture-dealer Desenfans, from whom it passed to Sir 
 F. Bourgeois, E.A., and Avas bequeathed to the Dulwicli 
 Gallery. The scene is in a maritime country, and the principal 
 object in the landscape is a group of trees in the centre of the 
 picture, beneath which are tlie figures of Jacob bargaining 
 with Laban for his daughter Eachel. 
 
 The Constable Colonna also continued his commands. Por 
 tliis constant Ma3cenas was painted in 1676 a seaport (l. v. 
 186) rei^reseuting ^neas and Dido at Carthage. It is evidently 
 a repetition of an old subject, as there is a sketch of it in the 
 Seymour-Haden Collection dated 1646. In the following year, 
 the Constable received a composition (l. v. 190) in which are 
 recognised the oft-repeated Temjjle of the Sibyl, the Ponte 
 Mola, &c., and in 1680 a landscape (l. v. 193) introducing 
 Parnassus, Apollo, and the ]\Iuses. 
 
 Another patron who agdn sought the painter's studio was 
 M. de Bouilemont, the Archbishop of Toulouse. In July, 
 1678, he received a landscape (l. v. 192), in which the well- 
 worn incident of INIercury and Battus does duty once more. 
 The last sketch in the 'Liber Veritatis' also bears the Archbishop's 
 name, but it is doubtful whether the inscription is intended 
 to intimate that the picture was painted for him. It is a 
 marine view identical with that already executed for him in 
 1667, and the only difference is that Jonah and the whale 
 have lieen substituted for the figure of Demosthenes. Tiie 
 inscription would rather seem to indicate that the work presented 
 to " Signer Don Briena " was a repetition of the Bourlemont 
 picture. 
 
 Cardinal Camillo Massimo was another patron who rencAvcd 
 his commissions. He was a supporter of the Barberini, aLd
 
 
 
 
 Q 
 -1
 
 LATTER YEARS. 81 
 
 had sliared thoir downfall. It was not till 1G70 that lio 
 recovered his position, and was made a cardinal by his relative, 
 Clement X. Possessed of considerable artistic tastes, he had 
 been on intimate terms with Nicolas Poussin, and Claude had 
 painted for him several years earlier, before his elevation to 
 the Cardinalate, a view of Cumse and the Bay of Caise (l. v. 
 99), with figures of Apollo and the Cumaean Sibyl in the fore- 
 ground. The most important work now executed for him was 
 a landscape introducing a sacrificial procession (l. v. 182). 
 This- picture was painted in 1G73, and there is a study for it, 
 dated the previous year, in the Eoyal Collection at Windsor.* 
 Another commission (l. v. 184) from Massimo was executed 
 in 1674. It is a singular composition, with a strange opening 
 in the cliffs, and peopled with figures of Perseus, the winged 
 horse, Scir. ' It is now at Holkham. 
 
 IrT'many of the works executed at this period, there are 
 painful evidences of Claude's advanced age. The sunshine which 
 formerly irradiated his compositions has given place to a cold 
 pale tone. Frequently, the effects of perspective, light and 
 air, on which his reputation rests, are almost entirely wanting. 
 But it is evident that he did not survive his reputation in his 
 O'wn day. I^ew clients came to the studio up to the latest 
 years of his life. For Prmce Altieri, a relative of the reigning 
 pontiff, Clement X., he painted in 1G75 a maritime landscape 
 (l. v. 185), in which he was again inspired by A^irgil. It 
 represents the scene where jEneas and his companions 
 
 "greet with greedy joy the Italian strand." 
 
 This picture has had an eventful history. During the period 
 already alluded to in this chapter, when the walls of the Eoman 
 palaces were being denuded of some of their chief ornaments, 
 it was purchased by a Mr. Fagan, together with another of 
 
 * Engraved in Chamberlaine, No. 50. 
 C. L. G
 
 82 CLAUDE LE LORRAIN. 
 
 Claude's landscapes, from the then head of the Altieri family. 
 The purchaser was not ahle at once to despatch his treasures 
 to England, but was obliged to conceal them at l^aples. At 
 length, he was enabled to forward them on board an English 
 war-ship, but by some mistake they did not reach the person 
 to whom they were consigned. Having been landed at a port 
 in the West of England, tliey remained for some time unclaimed 
 at the custom-house, and were consequently put up to au.ction. 
 They did not, however, realise the reserved price, which was 
 only the amount of the duty, and therefore were not sold. 
 This fortunately led to their being claimed by the owner. They 
 were subsequeutly in the great Beckford Gallery at Fonthill, 
 and are now included among the fine examples of Claude in 
 the Vanderbilt Collection, which were purchased from Sir P. J. 
 Miles of Leigh Court. 
 
 In the same year that Claude painted the Altieri picture, he 
 repeated on a smaller scale the FlUjlit into Egypt (l. v. 154), 
 executed thirteen years before for an Antwerp patron. This 
 repetition Avas painted for " Mons. Cause," apparently the 
 apostolic notary designated in the painter's will as one of the 
 guardians of Agnes. 
 
 The chief of these late patrons was Cardinal Spada. This 
 ecclesiastic had been employed as papal nuncio in extix-pating 
 heresy in Savoy. He had but recently returned to Eome, and 
 received the Cardinal's hat. The iirst picture painted for him 
 was a landscape Avith a Scriptural subject, Philip hap>tising the 
 Eunuch (l. v. 191). It is dated 1678, though, by the inscrip- 
 tion on the front of the drawing, it would seem as though use 
 had been made of a composition designed six years earlier. 
 
 The entry on Xo. 1 in the ' Liber Yeritatis,' 
 
 *' Audi 10 dagouto 1C77 cc frcscnt lirrc Aupartun 
 a moy qxK iefaict durant via vie. Claudia 
 Gillee dit le lorane. "
 
 LATTER YEARS. 83 
 
 plainly sliows that the painter ^vas not unconscious that his 
 work "was nearly finished, and that it was almost time to lay 
 down the brush. From this inscription, it would seem as if 
 he then formed into a single collection the several hooks of 
 sketches of his pictures, the completion of one of which he had 
 noted two years before (l. v. 185). In 1679 comes an ominous 
 gap in the record of his works. It is the first year since 1651 
 to which no picture is assigned. To 1680, two landscapes with 
 different versions of Parnassus and the Muses are credited. One 
 of these (l. v. 193) was the last commission mentioned in the 
 * Liber Veritatis ' for his old patron, the Constable Colonna. In 
 the next year there was a second picture for Cardinal Spada, 
 Christ's Appearance in the Garden (l. v. 194), a singular com- 
 position introducing Calvary with the three vacant crosses, and 
 the rock-hewn sepulchre. Again Claude seems to have had 
 resort to his stores. There is a sketch of this picture dated some 
 six years before in the Duke of Devonshire's Collection,* and 
 there is another study for it in the British Museum, f 
 
 The swan's song of the aged painter would appear to be a 
 drawing, now in the British Museum, of the three columns of 
 the Temple of Castor and Pollux, opposite the Temple of Vesta 
 in the Forum. This is dated 1682, and shows that he continued 
 to sketch up to the last year of his life, even when his fast 
 waning strength would not allow of his going farther afield 
 than his oft-frequented haunt, the Campo Vaccino. It was in 
 November that the end came. On the 23rd of that month, the 
 notary Vannius was summoned by the two nephews and Agnes 
 to attest the painter's decease. From the legal certificate, it 
 appears that Claude was then residing in a house opposite the 
 Arco de' Greci, having left the Strada Paolina, where he was 
 living in 1656. 
 
 * Engraved in Earlom, vol. iii., Xo. S3. 
 t Engraved in Lewis, Part IIL, No. li. 
 
 G 2
 
 8-i CLAUDE LE LORRAIN. 
 
 The will of 1663 gives minute directions as to his obsequies, 
 on Avhich 50 seudi are to he expended. He is to be buried in 
 the church of the Trinita de' Monti, to which he leaves two 
 pictures, one by Charles de Lorraine, and provision is made for 
 the celebration of masses there for the rejDose of his soul. The 
 codicil of 1670 gives further directions. Ten scudi are to be 
 given to the poor, and five to his women-servants. That he 
 still had an affectionate remembrance of his native place is 
 shown by his directing fifty masses to be celebrated for the 
 repose of his soul in the parish church of Chamagne. His 
 executors are directed to place a stone over his grave with such 
 inscription as they shall deem proper. This, according to 
 Baldinucci, Avas as follows : 
 
 D. 0. M. 
 
 Claudio Gellee Lotharingo 
 
 Ex loco de Caraagne orto 
 
 Pictori eximio 
 
 Qui ipsos Orientis & Occidentis 
 
 Solis radios in campestribus 
 
 Mirifice pingendis effinxit 
 
 Hie in Urbe iibi artem coluit 
 
 Summam laudem inter magnates 
 
 Consecutus est 
 
 Obiit IX. Kalend. Decembris. 1682. 
 
 iEtatis. sure ann. LXXXIl 
 
 Joan & Josei>hus Gellee 
 
 Patruo Cliarissimo Monumentum hoc 
 
 Sibi Posterisque suis 
 
 poni curaverunt. 
 
 When the church was ravaged and ransacked by the Trench 
 troops in 1798, this inscription disappeared. For several years, 
 the painter's burial-place in front of the chapel of the Santissima 
 Nonziata remained unmarked. At length, during that phase of 
 French feeling which brought back the bones of JN^apoleon I. 
 from St. Helena, it was determined to remove his remains to
 
 LATTER YEARS. 85 
 
 the rrencli national church of San Luigi, near the Pantheon, 
 The re-interment was made the subject of a great function, and 
 was attended by the French Cliarge d' Affaires and a crowd of 
 artists then residing in Eome, A monument designed by M. 
 Lemoine, a professor in the Academy of S. Luke, was erected 
 to his memory against the first pillar on the left-hand side of 
 the nave, bearing the following inscri]Dtion : — 
 
 A Claude Gelke dit le Loerain 
 
 peintre frangais 
 
 mort k Rome en MDCLXXXII 
 
 et inhume en I'eglise 
 
 cle la Trinite des Monts 
 
 la France 
 
 a consacre ce monument 
 
 Louis Philippe I" etant roi des Frangais 
 
 A. Thiers ministre de I'inteiieur 
 
 S. Fay de la Tour-Maubourg 
 
 ambassadeur du roi a Rome 
 
 MDCCCXXXVI 
 
 This was not all that was done to commemorate the painter. 
 The following inscription was subsequently placed in the 
 Church of the Trinita de' Monti to mark his original resting- 
 place : — 
 
 Ossa 
 
 Clavdii. Gellec. vulgo. Lorensis 
 
 inter, principes. galline. pictores 
 
 jvre. Optimo, recensiti 
 
 ex. lioc. in. divi. Ludovici. templum 
 
 transferenda — curavit 
 
 antiqvi. vero. sepvlcri ne. memoria. excideret 
 
 neglectus. ve. foret. locus 
 
 tanti. viri. cineribus. lionestatvs 
 
 livnc. lapidem. posvit. anno. M.D.CCCXL. 
 
 Comes, soptimivs. de. Fay. de. Latovr-Mavbovrg 
 
 Lud. philippi. I. Francorvni regis 
 
 ad. S. Sedem. orator 
 
 Ealdinucci states that Claude's generosity towards his poor
 
 86 CLAUDE LE LOIlRAi:T, 
 
 relatives made a considerable diminution in his property. Not- 
 withstanding the long period during which he had been practis- 
 ing at Eome, and the good prices which his works had com- 
 manded, the value of his possessions at the time of his death is 
 only estimated at ten thousand scudi. From the will, it seems 
 that his property was chiefly invested in luoghi di Tnonti, a 
 species of investment created towards the end of the sixteenth 
 century, which was then much used at Rome, and to which 
 modern municipal bonds are most analogous. But besides these 
 investments, he must have been possessed of other property to 
 a considerable amount. Thus the codicil of 1670 bequeaths an 
 additional sum of 500 scudi to Agnes, and there is a consider- 
 able sum in cash to various lec^atees. Then there is also the 
 mention of further property " at Eome, or in the country, or iu 
 any other place." 
 
 ]S"ow, as to the division of the painter's estate. A perusal of 
 the will of 1663 and the codicil of 1670, shows that the inten- 
 tions of the testator are by no means clearly expressed, and that 
 there is room for doubt on several important points. Hence, it 
 is not surprising to learn from M. Charles Blanc that a law -suit 
 arose as to the disposition of the property, which has not yet 
 been terminated. It may here be mentioned that Caracciolo 
 speaks of a descendant of the painter's family who was practis- 
 infj medicine at Eome in 1815. M. Meaume also states that 
 the maire of the village of Chamagne in 1871 bore the name of 
 Gellee. And more recently still, il. Michel found at Chamagne 
 two persons bearing tlie painter's name. As both of them were 
 well advanced in years, and had no children, the extinction of 
 this branch of the family seems probable. 
 
 Amongst Claude's belongings, Baldinucci states that he left, 
 besides various separate drawings, six volumes of sketches, one 
 of which was the ' Liber Veritatis.' As has been already said, 
 this was willed to Agnes for life, after which it was to come
 
 
 "~ HHili II 'Tr" '''TllMifL^''^
 
 LATTER YEARS. 87 
 
 to liis lu'irs. For a time it remained in the famil}', and 
 D'Argenville saw the book in the possession of a niece of the 
 painter. The Cardinal d'Estrees vainly offered any price for 
 it on behalf of Louis XIV. It subsequently came into the 
 hands of a French jeweller, who disposed of it in Holland. 
 At length, about 1770, it Avas bought by the then Duke of 
 Devonshire, and it is still numbered amongst the treasures of 
 art belonging to the Cavendish family. Through Alderman 
 Boydell, it was reproduced in mezzotint by Richard Earlom, 
 and published towards the end of the last century. 
 
 The other volumes of sketches mentioned by Baldinucci 
 cannot be traced. They are the source, doubtless, of most of 
 the drawings by Claude now dispersed in various collections. 
 Of these, the Louvre boasts of twenty-six, the Uffizi of fourteen, 
 the Dresden Gallery of nine, and the Albertine Collection at 
 Vienna of nearly fil'ty. But it is in England that Claude's 
 sketches can be best studied. The Duke of Devonshire, 
 Mr. Eoupell, Mr. Heseltine, and Mr. Malcolm of Poltalloch, 
 each possess more than twenty ; and Lord Leicester, Sir F. 
 Leighton, P.R.A., Mr. Seymour Haden, ]\Ir. Poynter, E.A., 
 and Mr. H. Vaughan have some very notable examples. The 
 British Museum, liowever, far surpasses all collections, public 
 or private. It has a magnificent array of over 270, which 
 were bought en hloc at JNIadrid by a dealer, who sold them 
 for £800 to Mr. Payne Knight. By him they were bequeathed 
 to the Museum. A selection of these drawings, together with 
 others, Avas engraved by Earlom as a third volume of the ' Liber 
 Veritatis.' Another selection of 100 from the British Museum 
 stores was engraved by F. C. Lewis in 1840, under the title 
 of ' Liber Studiorum of Claude Lorrain.' Recently, the Berlin 
 photographer, Braun, has reproduced a series of sketches selected 
 from several of the above-named collections. 
 
 In order to duly appreciate the influence exercised by Claude
 
 \ 
 
 88 CLAUDE LE LORRAIJST. 
 
 on the development of landscape painting, and the inportance 
 of the position he occupies in its history, it must he remembered 
 for how long a period landscape had been merely an accessory 
 of historic painting. The palaces, temples, cities, or rural 
 scenes which formed the environment of the action but slowly 
 received a portion of the attention hitherto bestowed on the 
 figures. In Italian art, the early stages of this development 
 are generally ascribed to two groups of painters : the Venetian 
 School and the Eclectics. 
 
 Take first the Venetian School, whose chief, Titian, has been 
 styled the founder of hmdscape jjainting. He undoubtedly 
 gave to the landscape greater prominence in his compositions, 
 and treated it with a loftier feeling. IS^evertheless, there are 
 only four instances mentioned by Crowe and Cavalcaselle in 
 Avliich he painted landscapes pure and simple. 
 
 Then, in the Eclectic School, the Caracci have received the 
 title of " founders of modern landscape." But their reputation 
 is really as figure-painters, and the landscapes which they 
 painted are generally crowded with small figures and buildings, 
 much in the willoAV-pattern style. 
 
 There is, however, another influence apparent in the Eclec- 
 tics. It is that of the painters who migrated from Flanders 
 to Italy, bringing Avith them the results of the landscape 
 strivings of Eoger van der Weyden, Quentin Matsys, and 
 Patinir. Through the intervention of Tassi, Claude obtained 
 the correctness and perspective of this Flemish school. But the 
 glow of the sun's rays, the feeling of air, the tenderly graduated 
 distances, and the poetical feeling with which he rejiroduced 
 Italian scenery, are all his own. Working on the foundation 
 laid slowly and timidly by the Vei etians, the Eclectics, and 
 the Italianised Flemings, he freed the new branch of art 
 from its subordination to figure painting, and brought it to a 
 maturity which the landscape painters of all schools during
 
 LATTER YEARS. 89 
 
 thejiext hundred and fifty years were unaLle to develop further. 
 His^art was implicitly accepted as a classic model until the 
 present century, and his influence is still apparent in the 
 modern landsca2:)ists. 
 
 To conclude, Euskin's scathing criticisms of Claude's short- 
 comings are Avell known. Eut these, by contrast, make his 
 praise more emphatic. Claude's achievements in the matter 
 of light and air are summarised by him as follows, and had 
 he no other claims to fame, they would, alone, amply justify 
 the pre-eminent position which has been accorded to him 
 amongst landscape painters. Euskin says : " He effected a 
 revolution in art. This revolution consisted mainly in setting 
 the sun in heaven. Till Claude's time, no one had seriously 
 thought of painting the sun but conventionally." And again, 
 he 'Hnade the sun his subject, and painted the effects of misty 
 shadows castJby his rays over the landscape, and other delicate 
 aerial transitions, as no one ]iad_e.ver done before, and, in some 
 respects, as no one has done in oil colours since."
 
 APPENDICES,
 
 APPENDIX A. 
 
 WILL AND CODICIL OF CLAUDE LE LORRAIN. 
 
 1. The "Will of 1663.* 
 
 Ix the name of the Holy Trinity, the Father, the Son, and 
 the Holy Ghost. Amen. I, Clamle Gellee, son of Jean Gellee, 
 of Charaagne in Lorraine, have made this present Avill sealed 
 and executed as follows : 
 
 First, I commend my soul to God and to His Holy Mother, 
 and to my Guardian Angel, and to all the saints in heaven, 
 praying His Divine Majesty to vouchsafe to receive it into the 
 glory of Paradise. 
 
 Item, I will that my body be buried in the church of the 
 gma Trinita de' INIonti, and that my executors expend fifty 
 scudi on the burial and masses ; that they cause to be placed 
 in the said church a stone over my place of burial, with such 
 inscription as shall seem proper to them. They should not 
 expend more than sixty scudi. 
 
 Item, I bequeath to Agnes the eleven loclii t of the morda dl 
 
 * The endorsement states that the will was executed by the painter 
 on the 28th February, 1663, "mala valehidine oppressus et in ledo jacens 
 timens casus futurcc sure mortis," in the presence of Claude Bellin, Bur- 
 gundian, Dominique Barriere', of I\Iarseilles, and Francois du Jardin, of 
 the diocese of Lorraine. 
 
 t As to these lochi or luogJd di monti, see page 86.
 
 94) CLAUDE LE LOREAIX. 
 
 S. Bonaveniura, that is to say, eight in one certificate and three 
 in another " cJie cantano " in my name ; she alone shall enjoy 
 the usufruct until she marries or becomes a nun, and if she 
 takes the veil, eight of these obligations may be assigned to 
 the convent where she takes the vows as her dowry; she 
 alone shall enjoy the usufruct of the three others as long 
 as she lives in the said convent, which usufruct, as long as 
 she shall live, she can dispose of according to her pleasure, 
 without claim on the part of the said monastery to any part 
 or participation. If she marries, the eleven obligations before- 
 mentioned may be assigned as her dowry and marriage portion, 
 on condition that if she dies without legitimate and natural 
 children, eight of these eleven obligations revert to my natural 
 heirs ; the three others she can dispose of according to her 
 pleasure. 
 
 Item, I bequeath to her, besides the eleven luogJd of the 
 vwJiie S. Bonaveniura, the income of three luogld of the monie 
 Novenale during her life ; afterwards they shall return to 
 Claude Gellee, son of Melchior Gellee. 
 
 And, in addition, I bequeath to the aforesaid Agnes an 
 upright picture, painted on the spot by my hand and hung 
 up near my bed, with the Madonna in the Flight into Egypt, 
 and a small Madonna placed near my bed, copied after Guido ; 
 another little picture framed with the Crucifix and St. Bridget, 
 as well as my bod and its tester where I sleep, as well as her 
 truckle bed. Her share shall also include her chest and 
 wardrobe, and my ebony writing desk contained in the little 
 cabinet in my room, and a third part of the furniture. I make 
 her this legacy without conditions, she can dispose of it as she 
 thinks fit, for the great attention which I have received from 
 her. 
 
 Item, I declare that the book of designs which I bequeath 
 to the aforesaid Agnes is that which contains one hundred and
 
 APPENDIX A. 95 
 
 thirty-seven (perhaps one hundred and seventy-seven) designs 
 of pictures painted by order of various princes ; I bequeath it 
 to her during her hfe ; afterwards it should return to my 
 heirs. 
 
 Item, I enjoin that immediately after my deatli the said 
 Agnes be placed in a convent of her choice, and to this convent 
 should be assigned the income of the aforesaid laoghl of Munte 
 S. BonaventuTCi, or the income of eleven other luoghi dl montl 
 of the same value, if by chance the preceding are liquidated. 
 
 Item, I bequeath to Jean Gellce my nephew six luoghi dl 
 monti, four of Qaattro Restoro, and two of Novencde, and a 
 picture with gilt frame, wliich represents the hcdlo deUe quattro 
 nazioni, and the bed and bedstead in which he sleeps, and a 
 small Madonna which is near his bed, copied after Dominichino, 
 and the crucifix Avhich is in the lower room, and besides the 
 strong-box which is in my room ; I prohibit my executors from 
 touching it for any reasons other than the certificates of the 
 luogld di monti and the papers relating to my affairs. I also enjoin 
 that the aforesaid strong-box shall be opened in his jDresence, 
 if he shall then be at liome, and in the i^resence of the aforesaid 
 Agnes. [I bequeath to him] besides a small cabinet, to be 
 chosen by him, together with the drawing of S. Mcolo, for the 
 good services Avhich he rendered me while in my house. 
 
 Item, I bequeath to Claude Gellee, son of Melchior Gellee, 
 my brother, a picture, a landscape with a gold medal of Pope 
 Innocent, which represents St. Peter opening the gate of 
 Paradise. 
 
 Item, I bequeath to the honoured church of the Trinita de' 
 Monti a picture, half size, by the late Carlo Lorenese on canvas, 
 without the frame, and a landscape in water-colours, in two 
 pieces, to decorate the edifice of the Holy Trinity, when tlie 
 Holy Sacrament passes it. 
 
 Item, to the honoured church of St. Xicholas, of the Lorraine
 
 96 CLAUDE LE LORRAIN. 
 
 nation, twenty-five sciuU, and a picture of Christ going to 
 Emmaus, a landscape painted from nature. 
 
 Item, I bequeath to the honoured church of St. Luke in St. 
 Martin at Rome, ten scudi, and a copy of my portrait which 
 is in the lower room. 
 
 Item, I bequeath to his eminence the Cardinal Eospiglioso 
 two drawings to be chosen from among my studies, for the good 
 advice which he has always given me. 
 
 Item, I bequeath to the very illustrious Monsigr. di Belmonte 
 a little picture on cypress w'ood, which represents a moonrise 
 (with a gilt frame), the height of a palm, in remembrance of 
 the favours which I and mine have always received from 
 him. 
 
 Item, I bequeath to my god-child, Gio. Piomer, six drawings, 
 to be chosen by my executors. 
 
 Item, I bequeath to Catherina, daughter of ]\Iaster Antonio 
 Andre, tailor, my compere, forty scudi. 
 
 Item, I declare that the name of my family [is] Gellee, 
 although it is WTitten on the certificate of the five luoglii of 
 Monte Novencde, Gillet, and on that of the eight luoglii of Monte 
 S. Bonaventura, GilUer q. Joannis lotharingld ; in the three 
 others of the aforesaid nionte it is written Gillier, and on the 
 certificate of the four of monte Restoro, Gellee, and on two other 
 certificates " die cantano " belonging to me of five luoglii "j>e^' 
 una" of monte Restoro, it is written on both Gellee q. Joannis 
 lotharinglii. This is entirely my fault, and that of the secre- 
 taries, who, despite my observoiions, have always placed me 
 on the list, and paid the income of these luoglii under the name 
 of Gillee ; in my native tongue, this name is the same as Gellee, 
 as my brothers have always written it. 
 
 Item, I bequeath to Sig. Eenato della Borna, apostolic 
 notary, a picture executed in the country with the Angel and 
 Ilagar.
 
 APPENDIX A. 97 
 
 Item, I bequeath to Sig. Francesco Canser, a picture with 
 a flock, in a square frame, gilded. 
 
 And, of all my possessions, furniture and real estate, present 
 and future, and of all my rights, no matter of what kind, 
 concerning and belonging to me, I make and institute as 
 usufructuary heirs, and name of my own mouth Signori Dionisio 
 and Melchiorre Gellee, my brothers of father and mother, and 
 name and make them heirs and owners of all my property 
 which is or shall be at Eome or in the country, or in any other 
 place, and in the case of the death of one or the other, or of 
 both, I appoint and declare their sons my heirs with full power 
 to dispose of all my possessions. 
 
 I choose and designate as executors and as guardians and 
 trustees of the aforesaid Agnes the aforesaid Signori Eenato 
 della Eorna and Francesco Canser, apostolic notaries, if these 
 persons shall still be living and at Eome ; if they should be 
 dead or absent from Eome, I choose and designate the first 
 who shall be " pro tempore " rector of the aforesaid church of 
 the congregation of Lorraine at Eome, with the usual powers, 
 and a picture to be chosen by himself. 
 
 Item, I state and declare that the aforesaid Agnes is a little 
 girl now nearly eleven years old, as the certificate of baptism 
 testifies, living with me and brought up in my house (where 
 she now lives) in charity. 
 
 I, CLAUDE GELLEE, have willed as above. 
 
 MAEmUS FEANCISCUS VANIs^IUS, 
 Curie Capitoline notarius. 
 
 c. L. n
 
 98 CLAUDE LE LOEEAIN. 
 
 2. The Codicil op 1670.* 
 
 I, the imdersigned, Claude Gellee, son of Jean, of Chamagne, 
 in Lorraine, after having made my will, signed, sealed, and 
 deposited with the Signor Francesco Marchetti, capitoline notary, 
 on the 28th February, 1663, o altro pid nero tempo, I now also 
 make the undermentioned codicils, as follows, namely : 
 
 First, I confirm the legacy made to Agnes, my little girl {mla 
 zitella), grown up and educated in my house, of the eleven 
 luoghi cli monte di S. Bonaventura as it is specified in the said 
 will ; I will, in case they should be either alienated or redeemed, 
 that she be given the value of them, and I bequeath to her, 
 besides, five hundred scudl in cash, as well as a gold medal of 
 Pope Urban, which represents Monte Cavallo, a gold chain of 
 the value of ten scudl, and a ring with a diamond mounted in 
 gold. 
 
 Item, I bequeath to Jean Gellee, my nephew, a gold medal 
 of Pope Urban, which represents the Baptism of Constantine, 
 a chain, and a ring with three small diamonds. 
 
 Item, I enjoin and will that all the property which I have 
 disposed of in my will, and which should have been divided 
 into three parts, shall be divided into four parts ; the fourth 
 
 * The endorsement is as follows : — ■ 
 
 ' 23rd November, 1682. 
 
 ' I, notary public, on the urgent and duly-made request of M. M. Jean 
 ' Gellee, Joseph Gellee, and Agues Gellee, repaired to the ordinary abode 
 ' of M. Claude Gellee, situated at Rome opposite the Arco de Greci, having 
 ' arrived at which aforesaid house, I entered and went to the apartment 
 ' on the first story, in which apartment M. Chiude lived, and in the first 
 'chamber of which I saw the aforesaid M. Claude Gellee dead, and his 
 ' body laid out on a table in the aforesaid room. I, the notary, and the 
 ' undersigned witnesses, having perfectly recognised his corpse, pass to the 
 •opening of a codicil of Gellee, made the 25th June, 1670, to be read at 
 • Ids death. When he made it he was ill, and for this reason he had his 
 ' wishes written by others, nevertheless signing them himself.'
 
 APPENDIX A. 99 
 
 part shall be given to my nephew, Jean Gellee, who is now in 
 my house. 
 
 Item, I will that tlie two gold medals of Pope Innocent, 
 representing St. Peter with the keys, struck in the year of tlie 
 jubilee, one shall be given to Jean Gellee, and the other to 
 Claude Gellee, sons of Marie Melchior Gellee of Chamagne. 
 
 Item, I bequeath to all my aforesaid nephcAvs, to each twenty- 
 five scudi, that is to say, to Jean and Claude Gellee, sons of the 
 aforesaid Marie Melchior, 
 
 Item, I bequeath to each of the three daughters of the 
 aforesaid Marie Melchior twenty scudi. 
 
 Item, I bequeath to the children, male or female, born or 
 to be born, of my niece Anne Gellee, twenty-five scudi between 
 them. 
 
 Item, I bequeath a Madonna, copied by Signor Francesco 
 Paguso, after Guido, of Bologna, to my god-daughter, the wife 
 of Signor Gio. Giorgio Alardino, carrier. 
 
 Item, I will that on the day of my death ten scudi shall be 
 distributed to the poor as alms, and that five scudi in cash 
 shall be given to the women who shall be in my service at the 
 time of my death. 
 
 Item, I enjoin and will that my heirs named in my will shall 
 be bound to have celebrated in the church of St. Denys at 
 Chamagne, my native place, fifty masses for the salvation of 
 my soul, Avithin eight days of the news of my death. 
 
 Item, I state and declare that if there be found in my house 
 after my death any writing in my hand concerning a will or 
 other dispositions or last wishes it should be considered null 
 and void. Only the aforesaid will and the jDresent codicils, 
 &c., are valid. 
 
 I, CLAUDIO GELLEE, have made these codicils. 
 
 MAPINUS EPANCISCUS VANNIUS, 
 
 Kotarius capitolinus, successor Marchetti. 
 
 H 2
 
 APPENDIX B. 
 
 THE "LIBER VErjTx\.TlS." 
 
 Kiim- 
 bcr. 
 
 4. 
 
 DesnriptiDn of 
 drawing. 
 
 Claude's inscription on the 
 diawmg. 
 
 View near the 
 Caiiipo Vacciuo 
 Koiue. 
 
 Seaport. 
 
 Landscape : 
 " The Bobbers. 
 
 Seaport: "The 
 
 Jlerchants." 
 
 Etched by Claude : 
 App. D, No. 11. 
 
 At the hack on a sheet of paper 
 stuck to the drawing : — 
 
 Audi 10 darjouto 1677 cc 
 present livre Auj^artien a 
 moy que ie faict durant ma 
 vie. Claudlo GilUe dit Ic 
 loraiie A Roma cc 23 avril 
 1680. 
 
 Underneath this paper is appar- 
 ently the following inscription : — 
 
 Pour le Cai\ Saracino. 
 Claudio fecit in V. B. 
 
 1678 RomcE Claudio Gcllce. 
 A moy. 
 
 Claudio fecit in VE. * faict 
 pour Paris d Pome. 
 
 Faict fou r Paris. Claudio 
 fecit in VP. 
 
 Present possessor of pic- 
 ture coiTcsponding to 
 drawing. 
 
 Lord Cathcart, Thorn- 
 
 ton-le-street. 
 
 A Replica formerly be- 
 longed to Mr. Hickey. 
 
 (1) Lord Mount 
 Temple. 
 
 (2) Vanderbilt CoUec- 
 tiou. 
 
 • The words "Claudia fecit in VR." ai-e not apparently in the same handwriting as 
 that of the painter. They are continued on all the drawings up to No. 112.
 
 APPENDIX B. 
 
 101 
 
 Num- 
 ber. 
 
 Description of 
 drawing. 
 
 Claude's inscription on the 
 drawint'. 
 
 Present possessor of pic" 
 tiu-Q corresponding to . 
 drawing. 
 
 /. 
 
 9. 
 
 10. 
 
 11. 
 
 12 
 
 13. 
 
 Seaport : Work- 
 men raising 
 planks. 
 
 Etched lay Claude : 
 App. D, No. 15. 
 
 Seaport. 
 
 Landscape : 
 View from Tivoli. 
 
 Ijandscape ; 
 Ford. 
 
 A 
 
 Seaport: "Tlu' 
 porcelain dealers." 
 
 View of Campo 
 
 Vaccino, Rome. 
 
 Etched by Claude : 
 App. D, No. i!3. 
 
 Landscape : 
 The piping Herds- 
 man. 
 
 Landscape 
 (octagonal). 
 
 Landscape : 
 " La fete villa- 
 geoise." 
 
 I 
 
 Claudio fecit in VIL 
 Fa id jM iir monscigncur V aucc 
 du Mant. 
 At the top of the page : — 
 11 prcsenia diaigne io lo 
 facto il quadro 'per III. Sig". 
 franccsco Mayer consiglier di 
 S.A, elcUoral di Baitiera. 
 Vano 1674 a lloma qacslo 
 Jicglio. Claudio Gillte 
 fecit. 
 
 Claudio fecit in V.R.fcUt 
 'pour Paris. 
 
 Claudio fecit in Vli. faict 
 pour Paris. 
 
 Claudio fecit in VR. faict 
 pour Paris. 
 
 Claudio fecit in Vli. faict 
 pour Muns'cy'. I'anhasadeur 
 da france mons''. de hetune 
 lloma. 
 
 Claudio fecit in VR. 
 
 Faict piour Mos". I'anhassa- 
 
 deur de france vi". de 
 betune lloma. 
 
 Claudio fecit in VR. faict 
 pour un ligcois a Roma cc 
 la feo7itcrie. 
 
 Claudio fecit in VR. faict 
 pour Napoli. 
 
 Claudio fecit in VR. faict 
 pour la .')"". dc 2^P'^ Vrhano 
 
 (This is repeated twice ir 
 Claude's hanJwriling-.) 
 
 (1) Hermitage, St. 
 Petersburg. 
 
 (2) Piuakothek, 
 Munich. 
 
 (3) Lord Yarborongh. 
 
 (4) Hampton Court 
 (doubtful). 
 
 In 1S37 belonged to Mr. 
 A. McLellaii of Glasgow. 
 The McLelian Collection is 
 now included in the Glas- 
 gow Corporation Galleries, 
 liut the Claudes have been 
 eliminated as spurious. 
 
 In 1741 belonged to Dr. 
 Mead, when it was. en- 
 graved by Vivares. 
 
 Louvre, Paris. 
 
 (1) Lou vie, Paris. 
 
 (2) Dulwich Gallery 
 (doubtful). 
 
 In 185(5 sold at the snle 
 nf S Ro.i'eis, the iJoet, for 
 OGO guineas. 
 
 (1) Louvre, Palis. 
 
 (2) Loid Yarborongh 
 (with variations).
 
 102 
 
 CLAUDE LE LOREAIN. 
 
 Kum- 
 ber. 
 
 11. 
 
 16. 
 
 17. 
 
 18, 
 
 19. 
 
 20. 
 
 21, 
 
 22, 
 
 23. 
 
 24. 
 
 Description of 
 drawing. 
 
 Seaport : "The 
 Combatants." 
 
 (The reverse, with 
 variations, of design 
 No. 2S.) 
 
 Landscape : 
 
 ' ' Tlie piping 
 
 Herdsman." 
 
 Landscape : 
 Travellers taking 
 their repast. 
 
 Seaport : 
 Three men lift- 
 ing j)ackages. 
 
 Etched by Claude : 
 App. B, No. 13. 
 
 Laiidscajic : 
 Man and Woman 
 driving cattle to 
 pasture. 
 
 Seaport, 
 
 Landscape : 
 Women diiviiig 
 Cattle. 
 
 LaiidRca]>p. : 
 "TlieWood-sjilit- 
 ters," 
 
 Landsca]ie : 
 Peasant milking 
 a Goat, 
 
 Landscape : 
 The piping Shep- 
 herd. 
 
 Landscape : 
 "The Sportsmen. " 
 Claude drawinir. 
 
 Claude's inscription on the 
 drawing. 
 
 Claiulio fecit in Vll. faic^ 
 pour Sa Sain"', de pjM 
 Vrbano. fato ppa urhano. 
 
 ClcnuUo fecit in VR. faict 
 pour iSif. Mona". EuspLose 
 Iloma. 
 
 C'laudio ficit in VR. faict 
 pour M. Peroclic 2'>aris. 
 
 Claudio fecit in VR. faict 
 pour par is a lloiiia. 
 
 Clandio fecit in VE. faict 
 pour parts. 
 
 Claudio fecit in VR. faict 
 pour M. I'croclic A paris. 
 
 CloAidio fecit in VR. faict 
 pour 'paris. 
 
 Claudio fecit in VR. 
 Napoli, 
 
 Claudio fecit in VR. Napo. 
 
 Claudio fecit in VR.fcdct 
 pour Mr. Gtoejic. 
 
 Claudio fecit in VR. 
 Xcqjuli. 
 
 rresout possessor of pic- 
 ture corresponding to 
 drawing. 
 
 (1) Louvre, Paris. 
 
 (2) Didve of Northum- 
 berland. 
 
 Grenoble Museum. 
 
 Duke of Tortland. 
 
 In 1S13 was sol.l with 
 collcctiou of Ml. W. Willclt. 
 
 Sold at Panoot sale in 
 Brussels in ISiiS. 
 
 A replica bclnnsed to 
 Lord Trevor in lT(i7. 
 
 In possession of Mr. 
 Woodburu in 1S37. 
 
 In 1837 in possession of 
 Eail of Leitriiu.
 
 APPENDIX B. 
 
 103 
 
 Num- 
 ber. 
 
 iO. 
 
 26. 
 
 ii. 
 
 28. 
 
 29. 
 
 30. 
 31. 
 
 32. 
 33. 
 
 DescriiJtiou of 
 drawing. 
 
 35. 
 
 Laiulscapo near 
 Tivoli: "The Pas- 
 toral Musiciaus." 
 
 Landscape : 
 Conflict on a 
 briJf^e, and sea in 
 distance. 
 
 Seaport. 
 
 Seaport intro 
 dncing the Villa 
 Medici. 
 
 (Tlie reverse, with 
 varintions, of design 
 No. 14.) 
 
 Claude's inscription on tlie 
 drawing. 
 
 Present possessor of pic- 
 ture corresponding to 
 
 drawing. 
 
 Claudio fecit in VR. f evict 
 pour Mr. Guefic. 
 
 Claudio fecit in VB. Paris 
 
 pr. 
 
 Mr. Ilulford. 
 
 Was in possession of Mr. 
 C. O. Bowles iu 1837. 
 
 Seaport. 
 
 Seaport. 
 Seaport. 
 
 Ruins : Temp- 
 tation of St. 
 Anthony, moon- 
 light. 
 
 Sea-piece : 
 "The Shipwreck.'. 
 
 Etched by Claude : 
 App. D, No. 7. 
 
 Landscape : 
 Peasants attacked 
 by Banditti. 
 
 Landscape : 
 Castel Gandolfo 
 and Lake Albano. 
 
 Claudio fecit in VR. Pour 
 le secrtairc du marquis Queu. 
 
 Claudio fecit in VR.. Per 
 il scrcuissimo Cardinalc de 
 Medicis. 
 
 Claudio fecit in VR. per 
 Turino. 
 
 Claudio fecit in VR. 
 
 Claudio fecit in VR. per 
 le onin"^". Siif. Cardinalc 
 Giorio. 
 
 Clojidio fecit in VR. per 
 il re di simgna. 
 
 Claudio fecit in VR. per 
 Ic"'". sig due di Braciano. 
 
 Claudio fecit in VR. per 
 leminent.issimo Cardinalc 
 Rosjnoglo. . . . 
 
 Claudio fecit in V.R.faict 
 per papa Vrbano. 
 
 Florence Gallery, 
 
 Marquis of Bute. 
 
 Royal Museum, 
 Madrid. 
 
 Sold at Lord Mulgrave's 
 sale in 1S32, and bought uy 
 Mr. Shepperson. 
 
 Barberiui Palace, 
 Rome.
 
 104 
 
 CLA.UDE LE LORRAIN. 
 
 Num- 
 ber. 
 
 Descriiation of 
 drawing. 
 
 Claude's inscription on the 
 drawing. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawing. 
 
 36. 
 
 Landscape : 
 Herdsmen listen- 
 ing to a Piper. 
 
 Claudio fecit in VM. "pc 
 La 
 
 
 S7. 
 
 Landscape : 
 Hunting party. 
 
 Apparently a study 
 for the figures in No. 
 46. 
 
 Claudio fidt in Vli. 
 
 
 33. 
 
 Landscape : 
 Flight into Egypt. 
 
 Claudio fecit in VB. fcr 
 il Cardinalc Giori. 
 
 Formerly said to h.ive 
 Ijcen in Doria Palace, R' mie. 
 
 Duplicates are also said 
 to have been in possession 
 of Dr. Bragg, and to have 
 been sold at Clos sale at 
 Paris in 1S12. 
 
 C9. 
 
 Landscape : 
 "The Bagpiper." 
 
 Clnudio fecit in VM. pc7' 
 Nicolo Catise. 
 
 
 40. 
 
 Landscape : 
 Sportsmenhalting. 
 
 Claudio fecit in VB. fcr 
 Mr. Dahy do Grenoble. 
 
 Sold at Proley sale in 
 1TS7. 
 
 41. 
 
 Landscape : 
 Herdsmen in con- 
 versation. 
 
 Claudio fecit in VB. jpcr 
 Napoli. 
 
 
 4-2. 
 
 Landscape : 
 Shepherdess list- 
 ening to piping 
 herdsman. 
 
 Claudio fecit in VB. 
 Quad'', fait pour paris. 
 (Difierent handwriting.) 
 
 
 43. 
 
 Seaport. 
 
 Claudio fecit in VB. 
 Qitadr. faict par II'"". sig 
 Cardinalc Giorio. 
 
 National Gallery, 
 London. 
 
 41. 
 
 Landscape : 
 
 Claude drawing. 
 
 Etched by Claude: 
 App. D, No. 9. 
 
 Claudio fecit in VB. 
 Quadro faict per Mr. 
 Perochet. 
 
 Lord Northbrook. 
 
 45. 
 
 Landscape : 
 irarsyas flayed by 
 order of Apollo. 
 
 Claudio fecit in VB. 
 Qjcad)-o faict per Mr. 
 Perochet. 
 
 Hermitage, St. Peters- 
 burg. 
 
 46. 
 
 Landscape, with 
 ])ort of JMarinella : 
 Hunting party. 
 
 Claudio fecit in VB. 
 Q II adro faict per pp Vrhano 
 a'". Marinclle. 
 
 Formerly at Barberini 
 Palace, Home.
 
 APPENDIX B. 
 
 105 
 
 Num- 
 ber. 
 
 Description of 
 drawing. 
 
 Claude's inscription on the 
 drawing-. 
 
 Present po.ssessor of pic- 
 ture corresponding to 
 drawing. 
 
 47. 
 
 Landscape ; 
 Finding of Moses. 
 
 Claudio fecit in Vll. 
 Quadro per il re di SjMgna. 
 
 Royal Museum, 
 Madrid. 
 
 48. 
 
 View in Rome : 
 Burial of S'^ 
 Sabina. 
 
 Claudio fecit 
 Quadro faict per 
 Spagna. 
 
 in VR. 
 il re di 
 
 Royal Museum, 
 Madrid. 
 
 49. 
 
 Seaport : Em- 
 barkation of S'^ 
 Paula. 
 
 (Variation of No. 
 61.) 
 
 Claudio fecit 
 Qicaclro faict per 
 Speujna. 
 
 in VE. 
 
 il re di 
 
 (1) Royal Museum, 
 Madrid. 
 
 (2)DulwichGallery(?) 
 
 (3) Duke of Welling- 
 ton, Apsloy House. (?) 
 
 (4)EarlofPortarling- 
 ton. (?) (See No. 61.) 
 
 50. 
 
 Landscape : 
 Tobias and the 
 Angel. 
 
 Claudio fecit 
 Quculro faict pci 
 S2Xtgna. 
 
 in VE. 
 
 il re di 
 
 Royal Museum, 
 Madrid. 
 
 51. 
 
 Delivery of St. 
 Peter out of prison 
 
 Claudio fecit 
 Quadro per il 
 Cardinalc Giore. 
 
 in VE. 
 E"'°. Sig 
 
 
 52. 
 
 Landscape : 
 
 Cattle crossing 
 
 wooden bridge. 
 
 Etched by Clixude : 
 App. D, No. 14. 
 
 Claudio fecit 
 Quadro per il 
 Cardinalc Giorc. 
 
 in VE. 
 
 Lord Asliburton. 
 
 53. 
 
 Landscape with 
 distant sea : 
 "Rustic music." 
 
 Claurlio fecit 
 Quadro per piciro 
 
 in VE 
 2Kscatore. 
 
 Duke of Bedford. 
 
 54. 
 
 Seaport : Em- 
 barkation of St. 
 Ursula. 
 
 Claudio fecit in VE. 
 Quadre faict pour lem"". 
 Cardinale poli, si ritrova 
 dal lemi""'. Cardinale 
 Betrhe7'ino. 
 
 National Gallery, 
 London. 
 
 55. 
 
 Landscape : 
 Nymph and Satyr 
 dancing. 
 
 Claudio fecit in 
 per Vcnctia. 
 
 VE. faict 
 
 Lord Bateman. 
 
 56. 
 
 Landscape : 
 Judgment oJ 
 Paris. (?) 
 
 Claudio fecit 
 Q iiadre faict pour 
 
 in VE. 
 paris. 

 
 106 
 
 CLAUDE LE LOEEAIN. 
 
 Num- 
 ber. 
 
 y/. 
 
 58. 
 
 39. 
 
 CO. 
 
 CI. 
 
 Descriiition of 
 drawing. 
 
 C3. 
 
 64. 
 
 65. 
 
 66. 
 
 Claude's inscription on the 
 drawing. 
 
 Landscape : 
 Diaua aud Actseon 
 
 Landscape : 
 "The Vintage." 
 
 Landscape : 
 IMoonlight, 
 Peasants lighting 
 a fire. 
 
 Landscape : 
 Flight into Egypt. 
 
 Seaport : Em- 
 barkation of S". 
 Paula. 
 
 (Variation of No. 
 49.) 
 
 Landscape : 
 Vicinity of Ti- 
 voli, with Temple 
 of Sibyl. 
 
 Seaport : 
 Disembarkation 
 of Cleopatra at 
 Tarsus. 
 
 Landscape : 
 ' ' The Arcadian 
 Shepherds," or 
 i\Iercury and Ag- 
 lauros. 
 
 Landscape : 
 Tobit and the 
 Angel. 
 
 Landscape : 
 Flight into Egj-pt. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawinjf. 
 
 Claudio fecit in I'll. 
 Quadro fait potvr paris. Mr. 
 Tardcf. 
 
 Claudio fecit in VII. 
 Quadro faict four paris. 
 
 Claudio fecit in VR. 
 Quadro faict pour paris. 
 
 Claudio fecit in VR. 
 Quadro faict poiir Mr. 
 Tardiffc. 
 
 Claudio fecit in VR. 
 Quadro pour Mon". dc 
 Lonchaine. 
 
 Claudio fecit in VR. 
 Quadro poitr Mon". de 
 Loncliainc. 
 
 Claudio fecit inv. R. 
 Qiiadro faict pouril cardina k 
 Giorc. 
 
 Claudio Gillee in VR. 
 Quadre faict pour Paris. 
 
 Claudio fecit in VR. 
 Quadre faict pour Paris. 
 
 Claudio fecit in VR. 
 Quadro faict pour Agister- 
 dama. 
 
 Duhvich Gallery. 
 
 (l)Dulwich Gallery (?) 
 
 (2) Duke of Welling- 
 ton. (?) 
 
 (3) Lord Portarling- 
 ton. (?) (See No. 49.) 
 
 Louvre, Paris. 
 
 Museum, Berlin. 
 
 Sold at the Blondel de 
 Gagny sale in 177(3.
 
 APPEXDIX B. 
 
 107 
 
 Num- 
 ber. 
 
 67. 
 
 68. 
 
 C9. 
 
 70. 
 
 •1. 
 
 73. 
 
 74. 
 
 ii>. 
 
 Desoi-iption of 
 drawing. 
 
 Landscape : 
 Heights of Tivoli 
 and Temple of 
 the Sibyl. 
 
 Landscajic : 
 Fishing in a 
 River. 
 
 Landscape : 
 Samuel anointing 
 David King. 
 
 Landscape, \\"ith 
 seaport : 
 
 Aglauros, Horse, 
 and Mercury. 
 
 IVrarine view : 
 Trojan women 
 burning the 
 
 ships. 
 
 Sea-piece : 
 Shipwreck. 
 
 Landscape : 
 
 St. George 
 the Diagon, 
 Bellerophon 
 the Cliimtera. 
 
 and 
 
 or 
 
 and 
 
 Claude's inscription ou the 
 drawing. 
 
 Marino 
 Storm. 
 
 view 
 
 Landscape : 
 Two herdsmen 
 and 
 tiock, 
 
 l:^!;^^!!!/ p. MBcnour ui pic- 
 ture corresponding to 
 drawing. 
 
 Claudio fcrit in VIl 
 Robert Gayer. (Probably 
 another handwriting.) 
 
 Claudio fecit in VR. 
 Quadro faict imitr Mr. dc 
 Lonchaine. 
 
 Claudio fecit in VR. 
 Quadro faict pour lenmi"^". 
 Sig Cardinale Giore. 
 
 Claudio fecit in VR. 
 Quadro faict per Ill""> Sig 
 J/on\ Rosjjiglioso pp 1668 
 Aglaura, die dimandcc a 
 Mereario gran soma di danari 
 2Jer lasciar guder lamore delta 
 sorclle cli iamata herse . 
 Fctvola earata jielV annota- 
 sionn del sccondo libri di 
 Ovidio. 
 
 Claudio fecit in VR. 
 Quadro fecit iKf H Sigr. 
 Gieroimno fancse. 
 
 Claiulio fecit in VR. 
 
 Claudio fecit in. VR. faict 
 per it Carelinalc poli si 
 ritrova dal Cardinale 
 Antonio. 
 
 Claudio fecit in VR. 
 
 Claudio fecit in VR. 
 Quadro faict i)uur Anuaxe. 
 
 Lord Leconiield, Pet- 
 worth House. 
 
 numerous 
 
 Louvre, Paris. 
 
 Mr. A. J. Piobarts. 
 
 Last known pos=!essor 
 was Mr. W. Beckfurd.
 
 108 
 
 CLAUDE LE LOERAIN. 
 
 Num- 
 ber. 
 
 70. 
 
 77. 
 
 IS. 
 
 79. 
 
 80. 
 
 81. 
 
 82, 
 
 S3. 
 
 84. 
 
 85. 
 
 . Description of 
 drawiu^r. 
 
 Landscape 
 Jiijiiter 
 Calisto. 
 
 and 
 
 Landscape : 
 Narcissus and 
 Echo. 
 
 Landscape : 
 Priests Sacrific- 
 ing. 
 
 Landscape : 
 Heights of Tivoli 
 and Temple of tlie 
 SibyL 
 
 Seaport : 
 Ulysses restor- 
 ing Cliryseis to 
 Chryses. 
 
 Landscape : 
 A Ford. 
 
 Landscape : 
 "Decline of the 
 Roman Empire. 
 
 Landscape : 
 Cattle fording a 
 stream. 
 
 Landscape. 
 
 Claude's inscription on the 
 drawing. 
 
 Tjandscape : 
 A Ford. 
 
 Variation of No. 176. 
 Etched by Claude : 
 lApp. D, Ko. S. 
 
 Present possessor of pic- 
 ture correspionding to 
 drawinfj. 
 
 Claudio fecit in 
 Quadro per lioma. 
 
 VB. 
 
 Claudio fecit in VB. 
 Quadro f aid pour Anglcter. 
 
 Claudio fecit in VB. 
 Quadro faict pour Anglcter. 
 
 Claudio fecit in V.R. 
 tahlaux facet pour II''. 
 Pccssar, 
 
 Claudio fecit in V.E. 
 Tauhlaux faict pov,r le prince 
 do Leancourt. 
 
 Claudio fecit in V.R. 
 TaiMaux jJoicr ptaris. 
 
 Claudio fecit in V.B. 
 Lchrun. (Tlie last name in a 
 different hand.) 
 
 Clatulio fecit in V.B. 
 Claudio I. V. F. Rome, per 
 il Sig". Gabriel Tcrensc. 
 
 Claudio fecit in V. 
 
 National Gallery, 
 London. 
 
 Mr. Holford. 
 
 Grenoble Museum. 
 
 Louvre, Paris. 
 
 Clnndw fecit in VB. 
 Quadro faict per Boiiia. 
 
 Earl of Padnor. 
 
 Windsor Castle. 
 
 Said to have Iseen in 
 possession of Duke of 
 Marlborough, but could 
 not be traced in 1862. (See 
 Sichai-f'.s Catalogue.) It is 
 not identical with either 
 of the Claudes sold at the 
 Blenheim sale in 18S6.
 
 APPENDIX C. 
 
 109 
 
 Kum- 
 ber. 
 
 86. 
 
 87. 
 
 88. 
 
 89. 
 
 90. 
 
 91. 
 
 Bescription of 
 drawing. 
 
 Claude's inscriiitiDn on tho 
 drawing. 
 
 Present iiossessor of ^lic- 
 ture corresiDonding to 
 drawing. 
 
 93. 
 
 94. 
 
 95. 
 
 96. 
 97. 
 
 Landscape : 
 Ai'Kus and lo. 
 
 Landscape. 
 
 Etched by Clande, 
 with variations, 
 
 App. D. No. 21. 
 
 Landscape : 
 Flight into Egypt. 
 
 Landscape : 
 View of Tivoli. 
 
 Landscape : 
 Ponte MoUe. 
 
 Landscape : 
 Reconciliation of 
 Cephalus and 
 
 Procris. 
 
 Landscape : 
 Jlercury stealing 
 the Cattle of 
 Admetus. 
 
 Landscape : 
 Shepherd teach- 
 ing Shepherdess 
 to Pipe. 
 
 Landscape : 
 Judgment of 
 Paris. 
 
 Landscape : 
 Apollo and 
 Marsyas. 
 
 Seaport.. 
 
 Landscape : 
 St. John Baptist. 
 
 I 
 
 Clajulio fecit in VR. 
 Quftjiro fetid ■per ill""' . Sig''. 
 moiiscigueur dc Masso. 
 
 Clauclio fecit in VR. 
 Quadro fedct ixr il sij 
 Terence Roma. 
 
 Claudio fecit in VR. 
 Quadro faict per ill™' Conte 
 Crcsence. 
 
 Claudio fecit in VR. 
 tablaux faict pour monsieur 
 passar. 
 
 Claudio fecit in VR. 
 Quadro pour Paris. 
 
 Claudio fecit in VR. 
 Qvadro 2Mur Paris, 
 
 Claudio fecit in VR 
 Quculro faict iMur la prince 
 Panfille. 
 
 Claudio fecit in VR- 
 Quadro faict pour M' 
 Fontcnay. 
 
 Clcmdio fecit in VR- 
 Quadro faict pour Jf 
 Fontenaij. 
 
 CloAulio fecit in VR. 
 Quadro p)our lalbe Joly. 
 
 Claudio fecit in VR. 
 Quadro pour Paris. 
 
 Clatidio fecit in VR. 
 Quadro faict pour monsieur 
 Ganocr. 
 
 Earl of Leicester, 
 Holkbam. 
 
 Earl of Northbrook. 
 
 Duke of Devonshire. 
 
 H.M., Windsor Castle. 
 
 Sold at Lord Ashburn- 
 hani's sale in ISOO. 
 
 National Gallery, 
 London. 
 
 Doria Palace, Home. 
 
 In 1S37 in posse.ssion of 
 Jlr. W. Lloyd. 
 
 Duke of Buccleuch. 
 
 Earl of Leices'cr, 
 Hoikliam. 
 
 Louvre, Paris. 
 Lord Methuen.
 
 110 
 
 CLAUDE LE LOBRAIN. 
 
 Num- 
 ber. 
 
 98. 
 
 99. 
 
 100. 
 101. 
 102. 
 
 103. 
 
 104. 
 
 105. 
 106. 
 
 107. 
 108. 
 
 Description of 
 drawing. 
 
 109. 
 
 Landscape : 
 Heidsmaii and 
 
 Cattle. 
 
 Landscape with 
 marine view : 
 Apollo and the 
 Cumosan Sibyl. 
 
 Landscape : 
 Death of Procris. 
 
 Landscape : 
 Herdsman and 
 Cattle. 
 
 Landscape : 
 The FaUs of 
 Tivoli. 
 
 Landscape : 
 A Ford. 
 
 Landscape : 
 Rustic Music. 
 
 Landscape. 
 
 Landscape : 
 The Annimciation, 
 or Hagar and the 
 Angel. 
 
 Landscape : 
 A Ford. 
 
 Variation of No. 
 ISO. 
 
 Landscape : 
 Satyrs and 
 Nymphs Dancing, 
 or ]\larriage of Pan 
 and Flora. 
 
 Landscape : 
 A Ford. 
 
 Claude's inscriijtion on the 
 drawin". 
 
 Claudio fecit in VB. 
 Quaclro per il ISiyr. Giaouano 
 fclicc. 
 
 Claudio fecit in VII. 
 Quadro faictc fcr iU"^°. 
 monsg. di massimo. 
 
 Claudio fecit in V.E. 
 
 Claudio fecit in V.L, 
 
 Claudio fecit in V.R. 
 faict pour 31'' (?) 
 
 Claudio fecit in V.R. 
 Quadro faict pour Avignon. 
 
 Claudio fecit in V.R. 
 Quadro faict pour Avignon. 
 
 Faict pour Paris. 
 
 Claudio fecit in VR. faict 
 pour Faris. 
 
 Clcmdio fecit in VR. 
 Quadro faict per principc 
 panfile. 
 
 Claudio fecit in VR. 
 Quadro faict pour JF. 
 dufourt. 
 
 Claudio fecit in VR. 
 Tablaux faict pour lions. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawing. 
 
 Hermitage, St. Peters- 
 burg. 
 
 ISTational Gallery, 
 London. 
 
 (1) Lord Ellesmere. 
 
 (2) Palazzo Real", 
 Turin (with Tariations/. 
 
 Sold by Jlr. Stanley in 
 1S30. 
 
 Rev. J. Staniforth. 
 
 Mr. A. Buckley. 
 
 National Gallery, 
 London. 
 
 National Gallery, 
 Pesth. 
 
 In 1S37 in possession of 
 Sir T. Frankland. 
 
 In 1837 in possession of 
 Loxd Faruborough.
 
 APPENDIX B. 
 
 Ill 
 
 Num- 
 ber. 
 
 110. 
 
 111. 
 112. 
 
 113. 
 
 114. 
 115. 
 
 116. 
 117. 
 
 118. 
 
 119. 
 120. 
 
 Descrii>tion of 
 drawing. 
 
 Claude's inscription on the 
 drawing. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawing. 
 
 Landscape : 
 Flight into Egypt. 
 
 ]\Iarine View : 
 Rape of Europa. 
 
 Landscape. 
 
 Landscape : 
 Marriage of Isaac 
 and Re'iecca, oi' 
 "The Mill." 
 
 Seaport : 
 Embarkation of 
 Queen of Sheba. 
 
 Landscape with 
 the Arch of Con- 
 stantine: Claude 
 drawing. 
 
 Landscape. 
 
 Landscape 
 "The Ford." 
 
 Landscape, with 
 solitary herdsman 
 and castellated 
 edifice. 
 
 Landscape ; 
 Temple of Apollo 
 at Delos. 
 
 Claudio fecit in Vlt. 
 Quadro pour M^. Farasson 
 a Lions. 
 
 Claudio fecit in VB. 
 Tablaux faict pou?' par is. 
 
 Claudio fecit in VR. 
 Quadro faict por il sig". 
 AmicUno. 
 
 Claudio fesil 1647. 
 
 Claudio inv Eoma quadra 
 faict por il excellent^" sig'' 
 princiiK Panfil. 
 
 Claudio Gi7.ee Itoma faict 
 pour le due dc Boulon. 
 
 Claudio inv. Ilo7na faict 
 pour monsieur pcricz. 
 
 Claudio Gillec Fuoma IQiS 
 faict 2Mur il sig^. Verdum- 
 misne principe todeschc. 
 
 Claudio Fioma 1648 faict 
 20our monsig dc Leancourt 
 portaio a Fccris piar mon- 
 sieur 
 
 Claudio irf. faict p'lr ill'"" 
 sig monsignor di Masso. 
 
 Ilprhici2)e imnfile, Claude. 
 
 Royal Gallery, 
 Dresden. 
 
 In 1S?>7 a replica was in 
 possession of Mr. T. Hupt. 
 
 Formerly in possession 
 of Sir Joshua Reynolds. 
 
 (1) Doria Palace, 
 Rome. 
 
 (2) National Gallery, 
 London. 
 
 Seaport : 
 Embarkation 
 St. Paulinus. 
 
 National 
 London. 
 
 Gallery, 
 
 Duke of Westminster. 
 
 In 1S37 was in possession 
 of Capt. Barrett, Lee Priory. 
 
 Louvre, Paris. 
 
 Claudio irf Cardinalle Cc- 
 of quin. 
 
 Doria Palace, Rome. 
 
 Louvre, Paris.
 
 112 
 
 CLAUDE LE LORRAIIT. 
 
 N um- 
 ber. 
 
 Description of 
 drawing. 
 
 121. 
 
 122. 
 
 123. 
 124. 
 125. 
 126. 
 
 127. 
 
 123. 
 
 129. 
 
 130. 
 131. 
 
 132. 
 
 133. 
 
 Landscape : 
 
 Seaport : Land- 
 ing of iEneas in 
 Italy. "Rise of 
 Roman Empire." 
 
 Landscape with 
 broad river and 
 water-mill. 
 
 Landscape : 
 
 Shepherdess 
 Piping. 
 
 Landscape : 
 The Journey to 
 Emmaus. 
 
 Landscape : 
 Mount Parnassus 
 and the Muses. 
 
 Landscape with 
 bridge and ruins 
 of a temple. 
 
 Landscape : 
 Mercury and 
 
 Battus. 
 
 Landscape : 
 The Worsliip of 
 the Golden Calf. 
 
 Marine View : 
 Claude drawing. 
 
 Landscape : 
 Mercury and 
 
 Battus. 
 
 Marine View : 
 Abduction of 
 Helen. 
 
 Landscape : 
 Hagar and the 
 Angel. 
 
 Claude's insi;rii>tiou on the 
 drawing. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawing. 
 
 Amstradam Claudio. 
 Paris Claudio fecit. 
 
 Claudio IVF. ils^ Lorctte. 
 
 Claudio G. IVF. lis" Ver- 
 
 dumin illc todesseche. 
 
 Claudio IVF 1652 Eovia 
 
 31" Lahorna. 
 
 Claudio IVF 1652 il car- 
 dinale Panfile porto a montc 
 Cavalo. 
 
 Claudio fv Quadro /aid 
 por Napoli. 
 
 Claudio f.v. Roma 1657 
 IVR faict potor AF Miclien 
 (Cardinal Mellin). 
 
 Ckmdio f.v. Roma 1653 
 IV facit per ill'"" sig Carlo 
 Cardello. 
 
 Claudio f.v.-Roma Quadro 
 faict M' Elis. 
 
 Claudio fv Roma 1654 
 faict pour M" Mierette. 
 
 Claudio f. Roma 1655 
 IVF faict per ill"" sig. 
 Carlo Cardello. 
 
 Claudio f. Roma 1654 
 IVF. facit per il sig" Augus 
 tino Bagiano. 
 
 Earl of Radnor. 
 
 Lord TTorthbrook. 
 
 Duke ofWestminster. 
 
 Duke of Devonshire. 
 
 Duke of Devonshire. 
 
 Duke of Westminster. 
 
 Duke of Devonshire. 
 
 ]\Larquis of Lans- 
 downe. 
 
 Lord Yarborough.
 
 APPENDIX B. 
 
 113 
 
 Num- 
 ber. 
 
 134. 
 
 135. 
 
 136. 
 
 137. 
 
 138. 
 
 139. 
 
 140. 
 
 141. 
 
 142. 
 
 U2 
 
 Desciiption of 
 drawing. 
 
 Landscape : 
 Jacob liaiLfaininK 
 for Racliul. 
 
 Landscape : 
 Mercury and 
 Admetus. 
 
 Marine View : 
 Rape of Europa. 
 
 Etched by Claude : 
 App. D. No. 22. 
 
 Landscape : 
 Fiffht on a 
 Bridge. 
 
 Landscape : 
 The Sermon on 
 tlie Mount. 
 
 Landscape with 
 marine view : 
 Ariadne and. 
 Bacchus, or 
 Ulysses and 
 Nausicaa. 
 
 Landscape with 
 marine view : 
 The Angel and 
 Hagar. 
 
 Landscape with 
 marine view : 
 Polyphemus, Acis, 
 and Galatea. 
 
 Landscape : 
 Metamorphosis of 
 the Apulian Shep- 
 herd. 
 
 Landscape : 
 Judgment of Paris, 
 or the Ark of 
 Noah. 
 L. 
 
 Claude's inscription ou the 
 drawing. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawing. 
 
 1655 liu'ina Claudio F. 
 VI VF. per illc'"" sig Car- 
 ddlc. 
 
 Claudio fv. IFF. 1G55 
 faict ill"^° si(j' frenessio. 
 
 facit sig IH""> Cardinalc. . 
 creato pero giusto papa 
 Claudio 
 
 fdid pp. Alcxandro 
 Claudio fecit in V.ll. 
 
 Monte tahor Claudio F. in 
 V.ll. 1656/aicipour inmisicrc 
 lie Mo7ipiglicr. 
 
 Claudio Gillee f. Hovm 
 1658. faict per ill""' frcneso 
 Alherici. 
 
 Claudio IV Homa 1656 
 faict pour M' Vinot. 
 
 Claudio Grllec IVF Homa 
 1Q57 faict pour M'' Delagard. 
 
 Claudio Gclle 1657 IVF 
 Fuoma Quadro faict pour 31' 
 Delagard. 
 
 Claudio Gille IV Roma 
 1658 faict pour M" Coicrtois 
 Uonia. 
 
 Lord Lecoutield. 
 
 Lord Leicester. 
 
 (1) Prince Issoupoff. 
 
 (2) H. M., Bucking- 
 ham Palace. 
 
 Prince Issoupoff. 
 
 Duke of Westminster. 
 
 Bought at Ilamilton Sale 
 in 1SS2 by Mr. Arnot. 
 
 Tn 1S04 was sold with 
 collection of Mr M. Brian. 
 
 Royal Gallery, 
 Dresden. 
 
 Lord Ellesmere.
 
 114 
 
 CLAUDE LE LORRAIN. 
 
 Num- 
 ber. 
 
 144. 
 145. 
 
 146. 
 
 147. 
 
 148. 
 
 149. 
 
 150. 
 
 Description of 
 drawing. 
 
 Marine View : 
 Rape of Europa. 
 
 Landscape : 
 Sinon brought 
 before Priam, or 
 David at the Cave 
 of AduUam. 
 
 Landscape : 
 Esther. 
 
 Claude's inscription on the 
 drawing. 
 
 151. 
 
 152. 
 
 153. 
 
 Landscape : 
 Jacob bargaining 
 with Laban for 
 Rachel. 
 
 Landscape : 
 The Worship of 
 the Golden Calf. 
 
 Landscape : 
 Juno committing 
 lo to care of 
 Argus. 
 
 Landscape : 
 Mercury and 
 Argus. 
 
 Etched with vari- 
 ations by Claude : 
 App. D. Ko. 17. 
 
 Landscape : 
 The Journey to 
 Emmaus. 
 
 Landscape : 
 Piping Herdsman 
 and Goats. 
 
 Landscape : 
 "The Decline of 
 the Roman Em- 
 pire." 
 
 (Repetition of No. 
 82.) 
 
 Claudia Gillee IFF Horn a 
 1658 /aid pour if Courtois. 
 
 Claudio GeUee tahlaux 
 faid pour il Principe don 
 Agostino I'ano 1658. 
 
 Quadro faict por Vavecque 
 dc montpelicr Claudio inveriit 
 Eoma 1662. 
 
 Claudio 7ri^l659 quadre 
 faid pour M" Delaviart. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawing. 
 
 Mr. Morrison. 
 
 National Gallery, 
 London. 
 
 Au dy 3 Fehraio 1659/flid 
 poller M. Gessly invers. 
 
 Claudio IV Eoma 1660 
 faid pour If Danton, 
 
 Claude Gclh IFF 1659 
 Eoma faid 2}0it,r M. Eosout. 
 
 Lord Northbrook. 
 
 Mr. J. Morrison. 
 
 In 18S7 was in possession 
 of Mr. Hanbury Tracy. 
 
 Sold in 1S81 at Sackville 
 Bale Sale. 
 
 Quadro pour 31'' Daunton. 
 Claude Gellee inv fecit. 
 
 Quadro faict per il sig" 
 Bcural. CMide fecit IF. 
 
 1661 Claudio IF fecit 
 pour M' le Brun Eoma. 
 
 Hermitage, St. Peters- 
 burg. 
 
 In 1S37 was on sale at 
 Yates' Gallery. 
 
 Duke of "Westminster.
 
 APPENDIX B. 
 
 115 
 
 Num- 
 ber. 
 
 Description of 
 drawing. 
 
 Claude's inscription on the 
 drawing. 
 
 154, 
 
 155. 
 
 156. 
 
 157. 
 
 158. 
 
 159. 
 
 IGO. 
 
 161. 
 
 162. 
 
 Landscape .: 
 The Flight into 
 Egypt. 
 
 Landscape : 
 Piping Herdsman 
 and Goats. 
 
 Landscape : 
 Herdsman Driv- 
 ing Cattle to a 
 River. 
 
 Landscape : 
 Sacrifice to Apollo. 
 
 Landscape : 
 Flight into Egypt. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawincf. 
 
 Landscape : 
 Mercury and 
 Battus. 
 
 Landscape : 
 Tobit and the 
 Angel. 
 
 Landscape : 
 Moses and the 
 Burning Bush. 
 
 Landscape : 
 Psyche, " The En- 
 chanted Castle." 
 
 1661 Claudio Gillec inv 
 
 fecit pour Anvcrs 
 
 Roma. 
 
 Claudio Au dy 6 Mars 
 1675 ?'o fatto Ic memc a mons 
 Cause en petit toile. 
 
 1661 Claud IV fecit pour 
 M^ Maldonald Roma. 
 
 Faict per il sig'' Bonlci 
 Claudio fecit Roma, 1661 
 settembre, 1. 
 
 Quadra faict per il sig 
 Angclino Angelina Claudio 
 IVFRoma. 
 
 Audi 26 frebrare 1663 a 
 
 questo mio libra si ritrovano 
 cento e cinquanto settc disigne 
 di mario mio. questo disuditte 
 faict per lexcelle'"" Contcs 
 table Colona. Claudia Gillee 
 man'''' in Roma. 
 
 Au dy 26 May 1663 Claude 
 fecit Roma e pour Anvers. 
 
 Quadrc 
 
 faict per il ^7""' 
 
 sif^' Dalmalayc in Anuers. 
 Claudia Gile'e inv fecit Roma 
 1663. 
 
 Ce tableau faict pou,r fill""' 
 monsigncicr dc Bourlamont 
 Claudia Gillee fecit roma 
 1664. 
 
 Faict Ill""> sig" il sig' 
 Contestable Colonna a Roma. 
 1664 Claude Gclle inv fecit. 
 
 Hermitage, St. Peters- 
 burg. 
 
 Vanderbilt Collection. 
 
 (1) j\Ir. R. Williams. 
 
 (2) Duke of Rutland. 
 
 (3) Lord Ashburton. 
 
 Duke of Devonshiro. 
 
 Hermitage, St. Peters 
 burg. 
 
 Lord Ellesmerc. 
 
 Lord "Wantage. 
 
 I 2
 
 IIG 
 
 CLAUDE LE LORRAIN". 
 
 Nvim- 
 ber. 
 
 Description of 
 drawing. 
 
 Claude's inscription on the 
 drawing. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawing. 
 
 163. 
 
 164. 
 
 165. 
 
 166. 
 
 16/ 
 
 163. 
 
 109. 
 
 170. 
 
 171. 
 
 172. 
 
 L.and scape : 
 Cephalus and 
 Procris. 
 
 Landscape : 
 Apollo and the 
 Cumsean Sibyl. 
 
 Marine view : 
 The Call of SS. 
 Andrew and 
 Peter. 
 
 Landscape : 
 Erminia and the 
 Shepherd (Tasso). 
 
 Landscape : 
 Cupid and 
 Psyche. 
 
 Marine view : 
 Carlo and 
 Ubaldo (Tasso). 
 
 Landscape : 
 Jacob and Rachel 
 at the Well, "The 
 iS'oon of Day." 
 
 Landscape : 
 Mercury and 
 Battus. 
 
 ]\Iarine view : 
 Demosthenes on 
 the Sea-shore. 
 
 (Same landscape 
 as No 200.) 
 
 Landscape : 
 Shepherd Piping 
 and Goats. 
 
 Tauhlaux faict pour 
 mo7isi(jiuur de Boicrle Claude 
 fecit 1665. 
 
 Taublaux faict pour 
 7nonsiffnr,itr dc Bourlc Claude 
 fecit 1665, 
 
 Qtcadro faict per cicile 
 por 1665 Claudio 
 
 fecit. 
 
 Quadro faict per III""' 
 sirjr Falconicr Claudio Gellee 
 1666 invent et fecit. 
 
 Quadro faict per III""' 
 
 sir/ Contestable Colonna 
 
 Claudio Gille'e invcntare 
 1666. 
 
 Faict pour ill"" sig^ 
 Falconicr Claudio inventore 
 1667. 
 
 Faict pour Amrrs Claudio 
 Gille'e inventore fecit Ixoma 
 1667. 
 
 1666 faict pour M" 
 
 Barm Claude Gille'e 
 
 dit Ic lo7-aine. 
 
 1067 
 Iloma 
 di Bourlcmont. 
 
 Claudio inv 
 per III""' 
 
 fecit 
 monsig'' 
 
 Doria Palace, Rome. 
 In 1779 a replica was in 
 possession of Lord Clive. 
 
 (1) Earl of Leicester. 
 
 (2) Duke of Rutland. 
 
 Tn 1777 was in possession 
 of Jlr. Daveuant. 
 
 In 1857 was exhibited 
 by Mr. P. Perkins at 
 Manchester. 
 
 In 1857 was exhibited 
 by Mr. W. iloseley at 
 Manchester. 
 
 Hermitage, St. Poters- 
 
 In 1S37 was in possession 
 of liev. W. Tower. 
 
 Earl of Ellesmere- 
 
 1067. A FiOma Claudio 
 Cillfy. inventore fecit per 
 Falerma. 
 
 Lord Northbrook.
 
 APPENDIX B, 
 
 117 
 
 Num- 
 ber. 
 
 173. 
 
 174. 
 
 175. 
 
 17G. 
 
 177. 
 
 178. 
 
 179. 
 
 ISO. 
 
 Description of 
 drawing. 
 
 Landscape : 
 The Expulsion 
 of Hagai" and 
 Ishmael. 
 
 Landscape with 
 GrottoofPosilippo: 
 Hagar, Lshmael, 
 and the Angel, 
 
 Landscape : 
 Diana and her 
 Nymphs Repos- 
 ing, or Egeria and 
 her Nyiiiphs. 
 
 Landscape : 
 The Ford. 
 
 (Variation of No. 
 
 85. Etched by 
 
 Claude : App. D. 
 No. S.) 
 
 Landscape : 
 Oil Man witli 
 V/'omanand Chil ! 
 listening to Piping 
 .Shepherd, 
 
 Landscape : 
 The Sacrifice, 
 the Temple 
 Venus. 
 
 or 
 of 
 
 Landscape with 
 marine view : 
 Anchises and 
 iEneas at Delos. 
 
 Landscape with 
 marine view and 
 Grotto of Posi- 
 lippo : iEneas 
 
 Shooting Deer. 
 
 Claude's inscription on the 
 drawintf. 
 
 Cl/iudio Gillee inventorc 
 fixif. in Iloma 16i;8. Qtiadro 
 facto jyer ill"^" monsig^ Ic 
 conte Waldestain. 
 
 Claudio GiUe fecit in 
 Eoma pe-r Ill""> signo^ 
 monsig^ lo Conte Waldestain 
 1668. 
 
 1669 qv.adro 
 III""' Sig'' 
 Colona Claude. , 
 
 facto per 
 Contestable 
 
 Quadra faicto per ifl""> 
 Sigr Fi-anso Mayer consig- 
 licre llalishonm 1670. le 
 memc iaxMaux a estcy faict 
 pour monsieur Faclie que fay 
 faict Frani^ois Iloma 1672 
 Eoma 29 aprile. 
 
 Quadro faict pier Danc- 
 marco io Clnudio il sig Bends 
 a Iloma 1671. 
 
 Quadro faicto -per III""' 
 Sig'' Contestable Collonna 
 IV fecit Iloma Claudio 
 1672. 
 
 tahlaux faict pour Mon- 
 sieur Dupassy le gout Iloma 
 Claudio IFF. 
 
 Quadro faict pier III""' 
 sig'' il sig'' pauolo Frances 
 que Fulcoiiler Roma 1672. . 
 
 Present possessor of pic- 
 ture corresijonding to 
 drawing. 
 
 Pinakothek, ]\Iunich. 
 
 (1) Pinakothek, 
 
 Munich. 
 
 (2) Duke of Rutland. 
 
 Royal Museum, 
 Naples. 
 
 (1) Pinakotlie'c, 
 Munich. 
 
 (2) VanderLiit 
 Collection, 
 
 Rospigliosi Palace. 
 Rome. 
 
 National Gallery, 
 London. 
 
 JLuseum, Crus-sels
 
 118 
 
 CLAUDE LE LORRAIN. 
 
 Kum- 
 
 181. 
 
 1S2. 
 
 1S3. 
 
 Ic4. 
 
 18c 
 
 Description of 
 drawing. 
 
 1S6. 
 
 1S7. 
 
 1S8. 
 
 Landscape : 
 Jacob wrestling 
 with the Angel, 
 "Night." 
 
 Landscape ; 
 
 The Sacrilice. 
 
 Landscape : 
 CuiPffian Sihyl 
 conducting iEneas 
 to the Shades. 
 
 Landscape with 
 marine view, and 
 Grotto of Posi- 
 lippo : Perseus. 
 
 Landscape with 
 marine view : 
 Landing of .^ueas 
 in Italy. 
 
 Clnude's inscription ou the 
 drawing. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawing. 
 
 Seaport : 
 Dido and iEneas 
 at Carthage. 
 
 Land^'cape : 
 Flight into Egypt. 
 
 Landscape : 
 Jacob and Liban. 
 
 Tablauxfaid jxr IIV"" U 
 siff Henri Hahna Evesquc 
 d'ypre. Bomal&l'lDecembre 
 Claudia. 
 
 Quadra faict per il Em""' 
 e Rev""" Si(/ Cardinale 
 Camilla Massimo a llama 
 1673 Claudia fecit IV. 
 
 Quadro fatto -per III"*" 
 sig^ pauola Francesca 
 Falconier Claudia IV Mama 
 1673. 
 
 Quadro per VEmi"^' ct 
 Eev'"" Cardinale Massimo 
 Claudia Gillee fecit Eoma 
 1674. 
 
 Quadro facto per III'"" 
 Eccell""' Sig'^' principe Don 
 Gaspara Alticr, Claudio 
 Gillee inv fecit. Jay finij 
 ce present livre ce iourduy 25 
 du, viois dc mars 1675 Roma. 
 
 At the foot of the drawing is : — 
 Libra 8 de Vi giliofa. 231. 
 
 Quadro facta p)er III""" el 
 EccdV" Siif' Contestable 
 Collonna. Claudia Gillei 
 Roma 1676 in v. f. 
 
 Quadro facto per III"'" 
 
 Siif Mutia Massi7ni Roma 
 1676. 
 
 Quadro facta per III' 
 Siq'' Francescc Mayer di 
 Oitobre 12. 1676 ^ Rama. 
 Claudia Gillee in v F. 
 
 Hermitage, St. Peters- 
 burg. 
 
 In 1777 was in possession 
 of Mr. Edwin. 
 
 In 1S37 was for sale at 
 Yates' Gallery. 
 
 Earl of Leicester. 
 
 Yanderbilt Collection. 
 
 Sold at Erard sale in iSS3. 
 
 Earl of Leicester. 
 
 Dulwich Gallery.
 
 APPENDIX B. 
 
 119 
 
 Kum- 
 ber. 
 
 189. 
 
 190. 
 
 Description of 
 drawing. 
 
 Claude's inscriptiou on the 
 drawing. 
 
 191. 
 
 Landscape : 
 A Ford. 
 Variation of No. 107. 
 
 Landscape : 
 Shepherds and 
 Shepherdesses 
 conversing, 
 Temple of the 
 Sibyl, Ponte Mola, 
 &c. in distance. 
 
 Landscape : 
 Philip baptizing 
 the Eunuch. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawing. 
 
 192. Landscape : 
 Mercury and 
 Battus. 
 
 193. 
 
 194. 
 
 Landscape : 
 Parnassus and the 
 
 Muses. 
 
 Landscape : 
 Christ's appear- 
 ance in the 
 Garden. 
 
 195. 
 
 Landscape : 
 Parnassus and the 
 
 Muses. 
 
 Quadra facto per Monsieur 
 I'ahbc ClicvaUier a Roma cc 
 14 mars 1677. Claudia 
 GilUe fecit. 
 
 Quadra facta per 111"'° 
 ct cccel'"" Sicf Contestable 
 Gollona. Claudia GellJc 
 Eoma 1677. 
 
 Quadra facta per VEm^° 
 Sig^ Cardinale Spado 
 1678 
 
 On front is : — 
 
 (S'. Pkilippo hatt . . . della 
 Regina Claiulio inv 1672. 
 
 Quadro faicta per IlV"" 
 reverend"^" Sig" Monsig^ 
 
 cli Bourlcviont Roma li di 
 
 Jiiglio 1678. 
 On front : — 
 Ro7na 1678. 
 
 On front : — 
 
 Roma 1681 CMcdio IF. 
 
 At back : — 
 
 Quadra facta per HI""' 
 Sig'' il Sig'" Contestabile 
 Collanna 1680. 
 
 On front : — 
 
 1681 Claudia IV. 
 
 At back : — 
 
 Quadra facto per VEm""' 
 et Rav""' il Sig. Cardinal 
 Spada A Rama Claudia. 
 
 Claud F. Rom 1680. 
 
 Mr. "W. B. Beaumont. 
 
 In 1S27 was sold by Mr. 
 
 Stanley. 
 
 Formerly in Bcckford 
 CoUectiou. 
 
 Sold at Lapeyrie Sale in 
 
 1824.
 
 120 
 
 CLAUDE LE LORRAIN. 
 
 Num- 
 ber. 
 
 Description of 
 drawing. 
 
 Claude's inscription on the 
 drawing. 
 
 Present possessor of pic- 
 ture corresponding to 
 drawing. 
 
 196. 
 
 197. 
 
 198. 
 
 199. 
 200. 
 
 Landscape : 
 Erminia an I tlie 
 old Shepherd. 
 
 Seaport : 
 Einharkatiou of 
 .(Eneas. 
 
 Seaport : 
 Embarkation of 
 St. Ursula. 
 
 Landscape. 
 
 Marine view : 
 Jonah and the 
 Whale. 
 
 (Same Landscape 
 as No. 171.) 
 
 Claudio IFFEoma 1G77. 
 
 D'signe faict pour HI"" e 
 rev'"^ ,Si'/' Monsignnir di 
 Boxtrlemont. I'ijdorie di Jonas 
 J'cn faict prtscnt al Sig^ 
 Don Bricna familier di: 
 Monsig'^ Bosou. 
 
 Dulie of Cleveland.
 
 APPENDIX C. 
 
 LIST OF PICTURES BY CLAUDE IN PUBLIC AND 
 PEIVATE COLLECTIONS. 
 
 ENGLAND. 
 
 National Gallert — 
 
 Landscape : Cephalus and Procris. (l, v. 91.) 
 
 Seaport. 1644. (l. v. 43.) 
 
 Landscape : David at the Cave of Adnllam. 1658. (l. v. 145.) 
 
 Landscape: Marriage of Isaac and Rebecca. 1648. (l. v. 113.) 
 
 Seaport : Embarkation of Queen of Sheba. 1648. (l. v. 114.) 
 
 Landscape: Narcissus and Echo. 1644. (l. v. 77.) 
 
 Seaport : Embarkation of S. Ursula. 1646. (l. v. 54.) 
 
 Landscape: Death of Procris- (l. v. 100.) 
 
 Landscape: The Annunciation, (l. v. 106.) 
 
 Seaport : Anchises and iEueas at Delos. 1673. (l. v. 179.) 
 
 Landscape : Goatherd and Goats. 
 
 Buckingham Palace — 
 
 Marine View : Rape of Europa. 1667. (l. v. 136.) 
 
 South Kensington Museum — 
 Landscape. 1670. 
 
 DuLwicH Gallery — 
 
 Landscape : Flight into Egypt. 
 
 Landscape : Jacob and Laban. (l. v. 188.) 
 
 Seaport : Embarkation of S. Paula, (l. v. 49 or 61.)
 
 122 CLAUDE LE LORRAIN. 
 
 * Landscape: Yintage. (l. V. 58.) 
 
 * Seaport. (Smith, 306.) 
 
 * Landscape : Campo Vaccino. (l. t. 10.) Copy or replica of Louvre 
 
 picture. 
 Landscape (doubtful). 
 
 Hampton Court Palace — 
 Seaport, (l. v. 5.) Copy. 
 
 "Windsor Castle — 
 
 Landscape : The Ford. (l. v. 83.) 
 
 Landscape : View of Tivoli. (l. v. 89.) 
 
 Seaport. (Smith, 318.) 
 
 Seaport. 
 
 Landscape : Claude sketching. (Smith, 315.) 
 
 Lord Arundell op Wardour (Wardour Castle) — 
 Landscape (circular). 
 
 Mr. W. Angerstein — 
 
 Seaport. Exhibited at Koyal Academy, 1881, 
 
 Lord Ashburton — 
 
 Landscape with Wooden Bridge, (l. v. 52.) 
 Landscape : Flight into Egypt, (l. v. 158.) 
 
 Mr. T. Baring — 
 
 Landscape. Exhibited at Eoyal Academy, 1871. 
 
 Lord Bateman — 
 
 Landscape : Nymph and Satyr Dancing, (l. v. 55.) Exhibited at 
 Royal Academy, 1881. 
 
 Duke op Beaufort (Badminton) — 
 
 Landscape : The Temptation. (Smith, 326.) 
 Landscape : The Journey to Emmaus. (Smith, 327.) 
 
 Mr. W. B. Beaumont — 
 
 Landscape : Philip baptizing the Eunuch, (l. V. 191.) Exhibited 
 at Royal Academy, 1884. 
 
 Duke of Bedford — 
 
 Landscape : Rustic Concert, (l. V, 53.) 
 
 Landscape : Bridge and Castle of S. Angelo (doubtful). 
 
 • In the latest edition of the Dulwich Gallery Catalogue, these tliree pictures are 
 not assigned to Claude by Dr. Richter and Mr. Spark.es. They are included amongst 
 tlie anonymous works.
 
 APPENDIX C. 123 
 
 Mr. R. C. L. Bevan— 
 
 Landscape. Exhibited at Royal Academy, 1S85. 
 
 Mr. a. Euckley — 
 
 Landscape : Fliglit into Egypt, (l. v. 104.) Exhibited at Eoyal 
 Academy, 1882. 
 
 Duke of Buccleuch — 
 
 Landscajw : Judgment of Paris, (l. v. 91, or Smith, 336.) 
 Landscape : Philip and the Eunuch. 
 Seaport. (Smith, 337.) 
 
 Marquis of Bute — 
 Landscape. 
 Seaport, (l. v. 31.) 
 
 Earl of Carlisle (Castle Iloward) — 
 Two Landscapes. 
 
 Lord Carysfort — • 
 
 Landscape. (Smith, 329.) 
 
 Lord Cathoart (Thornton-le-StroGt TTall) — 
 Landscape : The Campo Vaccino. (l. v. 1.) 
 
 Duke of Cleveland (Eaby Castle) — 
 
 Seaport : Embarkation of Queen of Sheba. (l. v. 19S.) 
 
 Earl op Coventry (Croome Court) — 
 Landscape. 
 
 Earl of Dartmouth — 
 
 Landscape, oval: The Dancing Dog. (Smith, 822.) Exhibited at 
 Manchester, 1857 ; at Leeds, 1SG8 ; and at Royal Academy, 1879. 
 
 Capt. a. F. Dawson — 
 
 Seaport. Exhibited at Royal Academy, 1879. 
 Landscape. Exhibited at Royal Academy, ] 879. 
 
 Earl of Derby (Knowsley Hall) — 
 Landscape. (Smitli, 416.) 
 
 Duke of Devonshire — 
 
 Landscape : Apollo and the Muses, (h. v. 126.) 
 Landscape: Mercury and Battus. (l. v. 159.)
 
 124 CLAUDE LE LORRAIN. 
 
 Landscape: Fliglit into Egypt, (l. v. 88.) 
 Landscape: Mercury and Battus. (l. v. 131.) 
 Landscajie : Mercury and Battus. (l. v. 128.) 
 
 Earl of Ellesmere (Bridgewater House) — 
 Landscape, (l. v. 101.) 
 Landscape : Metamorphosis of tlie Apulian Shepherd. 1657. (l. v. 
 
 142.) 
 Landscape : Mosos and the Burning Bush. (l. v. 161.) 
 Marine View : Demosthenes on tlie S^eashore. (l. v. 171.) 
 
 Marquis of Exeter (Burghley House) — 
 Landscape : Venus and Adonis. 
 Two otlier Landscapes. 
 
 Earl of Eeversham (Duncombe Park) — 
 Two Landscapes. Exliibited at Leeds, 186S. 
 
 Earl Fitzwilliam (Wentworth House) — 
 Two Landscapes. 
 
 IMr. Harcourt (Il^uneham Courtney) — 
 
 Landscape. 
 Lord Heytesburt (Heyteshmy House) — 
 
 Two small Landscapes. 
 
 Mr. E. S. Holford (Dorchester House, London) — ■ 
 Landscape, (l. v. 25.) 
 Landscape : The Sacrifice, (l. v. 78.) 
 
 Earl of Hopetoun (Hopetoun House) — • 
 Seaport : Embarkation of Queen of .Sheha. 
 
 Mrs. Meynell Ingram (Temple Newsam) — 
 Landscape. 
 
 Earl of Jersey — 
 
 Landscape. 
 
 Landscape : Juno, Argus, and lo. 1C5G. 
 
 ]Mr. J. Knowles — 
 
 Landscape. Exhibited at Royal Academy, 1885. 
 Marquis of Lansdowne — 
 
 Marine View: Abduction of Helen. (l. v, 102.) Exhibited at 
 Royal Academy, 1876. 
 
 Seaport. (Smith, 343.)
 
 APPENDIX C. 
 
 125 
 
 Exhibited at Royal 
 
 (l. v. 135.) 
 (l. v. 164.) 
 
 Earl of Lkconfield (Petvvorth House) — • 
 Landscape, (l. v. 67.) 
 Seaport. 
 
 Landscape : Jacob and Laban. (l. v. 131.) 
 Landscape. (Smith, 397.) 
 
 Earl of Leicester (Holkliam) — • 
 Landscape : Argus and lo. (l. v. 86.) 
 Landscape : Apollo and Marsyas. (l. v. 95.) 
 
 Academy, 1879. 
 Landscape : Mercury and Cattle of Admetus. 
 Marine View : Apollo and the Cumaian Sibyl 
 Landscape : Perseus, (l. v. 184.) 
 Landscape : Flight into Egypt, (l. v. 187.) 
 Seaport: Claude Drawing. (Smith, 404.) 
 Landscape : Erminia and the Shepherd. 
 Landscape : Claude Drawing. 
 Two other pictures. 
 
 Lord Methuen (Corsham House) — 
 Landscape : S. John in the Desert. 1647 
 Royal Academy, 1877. 
 
 Mr. Morrison — 
 
 Landscape : Worship of the Golden Calf. 
 Marine View : Rape of Europa. (l. v. 
 Academy, 1879. 
 
 Lord Mount- Temple — 
 
 Landscape : Flight into Egypt. Exhibited at Royal Academy, 1884 
 Seaport, (l. v. 2.) Exhibited at Royal Academy, 1884. 
 
 Duke of Newcastle (Clumber) — 
 Two Landscapes. 
 
 Earl op Northbrook — 
 Landscape, (l. v. 87.) 
 Landscape : Jacob and Laban. (l. v. 147.) 
 Marine View : Claude Sketching, (l. v. 44.) 
 Landscape. 
 
 Landscape, (l. v. 172.) 
 Landscape : Mill on the Tiber, (l. v. 123.) 
 Landscape : iEneas Hunting the Stag. (Smith, 293.) 
 
 (l. v. 97.) Exhibited at 
 
 (l. t. 148.) 
 144.) Exhibited at Royal
 
 128 CLAUDE LE LORRAIX. 
 
 Earl op Normanton (Somerley) — 
 Seajjoi't : S. Ursula. 
 Two Landscapes. 
 
 Duke of Northumberland (Alnwick) — 
 Seaport, (l. v. 14.) 
 
 Earl of Pembroke (Wilton House) — 
 
 Landscape. 
 
 Earl of Portarlixgton — 
 
 Seaport : Embarkation of S. Paula, (l. v. 49 or 61. ) Exhibited at 
 Royal Academy, 1882. 
 
 Duke of Portland (Welbeck Abbey) — ■ 
 Landscape, (l. v. 18.) 
 
 Mr. J. Pritchard — 
 
 Landscape : Flight into Egypt. Exhibited at Royal Academy, 1SS5. 
 
 Earl of Eadnor (Longford Castle) — • 
 
 Seaport : Rise of the Roman Empire, (l. v. 122.) Exhibited at 
 
 Royal Academy, 1873. 
 Laudscaiie : Decline of the Roman Empire, (l. v. 82.) Exhibited 
 
 at Royal Academy, 1873. 
 
 Mr. H. Eeeve, C.B.— 
 
 Landscape : View near Rome. Exhibited at Royal Academy, 1875. 
 
 Marquis of Eipon — 
 Two Landscapes. 
 
 Mr. a. J. EOBARTS — 
 
 Marine View : Trojan Women burning the Ships, (l. v. 71.) 
 
 Mr. Watts Eussell (Ham Hall) — 
 Landscape. Exhibited at Leeds, 1868. 
 
 Duke of Eutland (Bel voir Castle) — • 
 
 Landscape : Flight into Egypt, (l. v. 158.) 
 Marine View: Apollo and the Cumsean Sibyl, (l. v. 164.) 
 Landscape : Hagar, Ishmael, and the Angel, (l. v. 174.) 
 Two Landscapes. 
 
 Lord Sayb and Sele — 
 Landscape. (Smith, 398.)
 
 APPENDIX C. 
 
 127 
 
 Lord Scarsdale (Keddleston Hall)^ 
 Landscape : View ou the Tiber. 
 
 Earl Spencer (Altliorp) — 
 Seaport. 
 Landscape. 
 
 Eev. T. Staniforth — 
 
 Landscape : A Ford. (l. V. 103.) 
 
 Sir J. Stirling-Maxwell (Keir)— 
 Landscape : The Journey to Eramaus. 
 
 Earl of Suffolk and Berkshire (Cliarlton Park)^ 
 Two small Landscapes. 
 
 Duke op Sutherland (Stafford House) — 
 Landscape. 
 
 Mr. J. Chapman "Walker — 
 
 Landscape : The Piping Herdsman. Exhibited at Royal Academy, 
 1882. 
 
 Sir R. Wallace — 
 
 Landscape. 
 Marine View. 
 
 Lord Wantage — 
 
 Landscape : The Enchanted Castle, or Psyche, (l. v. 162.) 
 
 Duke of Wellington (Apsley Hou??e) — 
 
 Seaport : Embarkation of S. Paula, (l. v. 49 or 61, or Smith, 422.) 
 Two Landscapes. 
 
 Earl op Wemyss (Gosford House) — 
 Landscape. 
 
 Duke of Westminster (Grosvenor House) — 
 
 Landsca]3e : Claude Sketching. 1651. (l. V. 115.) 
 
 Landscape. 1651. (Smith, 301.) 
 
 Landscape: The Pase of the Ptoman Empire, (l. v. 124.) Exhibited 
 at Eoyal Academy, 1870. 
 
 Landscape: The Decline of the Eoman Empire, (l. v. 153.) Ex- 
 hibited at Royal Academy, 1870.
 
 128 CLAUDE LE LORRAIN. 
 
 Landscape : The Worsliip of the Golden Calf. 1653. (l. v. 129.) 
 
 Exhibited at Eoyal Academy, 1871. 
 Landscape : The Sermon on the Mount, (l. V. 138.) Exhibited at 
 
 Royal Academy, 1871. 
 Landscape : Isaac and Rebecca. Exhibited at Royal Academy, 1871. 
 Landscape : Flight into Egypt. Octagonal. (Smith, 313.) 
 Landscape : Bridge with Eight Arches. (Smith, 314.) Exliibited at 
 
 Royal Academy, 1871. 
 Landscape : Rustic Dance. 
 
 Mr. E. AVilliams — 
 
 Landscape : Flight into Egypt. 1662. (l. V. 158.) Exhibited at 
 Royal Academy, 1879. 
 
 Mr. Eowland Winn (ISiostell Priory) — 
 Landscape : Flight into Egypt. 
 
 Earl of Yarborough — 
 
 Landscape : Rustic Dance. Dated 1669, (l. v. 13.) 
 
 Landscape : Hagar, Ishmael, and the Angel. (L. V. 133.) Exliibited 
 
 at Royal Academy, 1875. 
 Seaport, (l. v. 5.) 
 
 FKANCE. 
 
 Louvre, Paris — 
 
 Seaport, (l. v. 9.) 
 
 Landscape : The Campo Vaccine, (l. v. 10.) 
 
 Landscape : Rustic Dance. 1639. (l. v. 13.) 
 
 Seaport. 1639. (l. v. 14.) 
 
 Landscape : Samuel anointing David. 1647. (l. V. 69.) 
 
 Seaport. 1646. (l. v. 96.) 
 
 Seaport, (l. v. 120.) 
 
 Seaport. (Smith, 307.) 
 
 Landscape, oval. (Smith, 311.) 
 
 Landscape. (Smith, 394.) 
 
 Landscape : The Ford. (l. v. 117.) 
 
 Seaport. 
 
 Landscape : Siege of La Rochelle. 
 
 Landscape : Forcing the Pass of Susa. 1651. 
 
 Seaport : Disembarkation of Cleopatra at Tarsus, (l. V. 63.) 
 
 Seaport ; Ulysses restoring Chryseis. (l. y. 80.)
 
 APPENDIX C. 129 
 
 Bordeaux Museum — 
 
 Landscape (from Lacaze collection). 
 
 Epinal Museum — 
 
 Landscape. (Variation of a Louvre picture. ) 
 
 Grenoble Museum 
 Seaport, (l. v. 17.) 
 Landscape : View of Tivoli. (l. v. 79.) 
 
 Eennes Museum — • 
 Landscape. 
 Landscape : Flight into Egj'pt (doubtful). 
 
 Tarbes Museum — 
 
 Landscape : Village Fete. 
 
 BELGIUM. 
 
 Brussels Museum — • 
 
 Landscape : iEneas Hunting the Stag. (L. V. ISO.) 
 
 TouRNAi Museum — 
 Two Landscapes. 
 
 M. Wuyts (Antwerp) — 
 Landscape (doubtful). 
 
 HOLLAND. 
 
 The Hague Museum — 
 
 Landscape (from Chateau de Loo). 
 
 SPAIK 
 
 Madrid : Eotal Museum — 
 
 Landscape: Burial of Sta. Sabina. (l. v. 48.) 
 Landscape : The Finding of Moses, (l. v. 47. ) 
 Seaport : Embarkation of S. Paula, (l. v. 49.) 
 Landscape : Tobit and the Archangel Eaphael. (i,. V. 50.) 
 Landscape : Hermit in Prayer. 
 
 Landscape : The Penitent Magdalen, (Smith, 396.) 
 Landscape : Temptation of S. Anthony, (l. v. 32.) 
 Landscape : The Ford. 
 Two Landscapes. 
 C. L. K
 
 130 CLAUDE LE LORRAIN. 
 
 ITALY. 
 Florence; Uffizi — 
 Seaport, (l. v. 28.) 
 Landscape. 1672. 
 
 MoDENA : Galleria Estense — 
 Landscape. 
 
 jSTaples : EoYAL Museum — 
 
 Landscape : Diana Reposing, or Egeria. (i.. v. 175.) 
 Seaport. 
 
 EoME : Academy op S. Luke — 
 Seaport. 
 
 EoME : DoRiA Palace — 
 
 Landscape : Flight into Egypt. (Smith, 334.) 
 
 Landscape : Marriage of Isaac and Rebecca, " II Molino." (L. v. 113.) 
 
 Landscape : Sacrifice to Apollo, (l. v. 119.) 
 
 Landscape: Mercury Stealing the Cattle of Admetus. (l. v. 92.) 
 
 Landscape: Cephalus and Procris, or Diana Hunting, (l. v. 163.) 
 
 Eome : Earberini Palace — 
 Landscape (doubtful). 
 
 Landscape : Castel Gandolfo and Lake Albano. (L. V. 35.) 
 Landscape : Acqua Acetosa, and the VaUey of the Tiber (doubtful). 
 Marine view. 
 
 Rome : Colonna Gallery — - 
 Landscape. 
 
 Rome : Corsini Palace — 
 
 Landscape. 
 
 Rome : Rospigliosi Palace — 
 
 Landscape : Temple of Venus, (l. v. 178.) 
 
 Rome : Sciarra Gallery — 
 Landscape : Flight into Egypt, 
 Landscape. 
 Two Landscapes. (Early style. ) 
 
 Turin : Palazzo Reale — 
 
 Landscape. (Variation of L. V. 101.) 
 Landscape.
 
 APPENDIX C. 131 
 
 GEEMANY. 
 Augsburg : Museum — 
 
 Landscape. 
 
 Berlin : Eoyal Museum — 
 
 Landscape : Mercury and Aglauros. 1642. (l. v. 64.) 
 
 Dresden : Eoyal Gallery — 
 
 Landscape: Flight into Egypt. 1667. (l. v. 110.) 
 Landscape : Polyphemus, Acis, and Galatea. (L. v, 141.) 
 
 Goth A : Gallery — 
 Marine View. 
 
 Innspruck : Museum — 
 Landscape : Diana. 
 Landscape. 
 
 Leipsic : Speck Sternburg Galleri — 
 Landscape. 
 
 Mecklenburg : Ludwigslust — 
 Two Landscapes. 
 
 Munich : Pinakothek — 
 
 Landscape : Expulsion of Hagar. 1668. (l. V. 173.) 
 
 Landscape : The Angel appearing to Hagar. (l. v. 174.) 
 
 Seaport, (l. y. 5.) 
 
 Landscape : The Ford. 1676. (l. v. 176.) 
 
 Landscape : Stag-hunt (doubtful). 
 
 Landscape (doubtful). 
 
 Pesth : Gallery — 
 
 Landscape, (l. v. 107.) 
 
 Strasburg : IMuseum — 
 Landscape : Venus. 
 
 Stutgart : Gallery- 
 Two Landscapes. 
 
 Vienna : Academy — 
 Two Landscapes. 
 
 K 2
 
 132 CLAUDE LE LORRAIN. 
 
 ViEXNA : Archduke Albrecht's Collection — 
 Landscape : Flight into Egypt. 
 
 Vienna : Count Czernin's Collection — 
 Landscape : S. John Preaching. 
 
 Vienna : Count Harrach's Collection — • 
 
 Seaport. 
 
 Two Landscapes. 
 
 DENMAEK. 
 
 Copenhagen : Christiansborg — 
 Landscape. 
 
 SWEDEK 
 
 Stockholm : Eoyal Museum — 
 
 Landscape, with Arch of Constantine and Coliseum. 
 Landscape. 
 
 EUSSIA. 
 
 St. Petersburg : Hermitage Palace — 
 
 Landscape : Jacob and Rachel. "Morning." 1655. (l. v. 169.) 
 
 Landscape : Flight into Egypt. "Noon." 1654. (l. v. 154.) 
 
 Landscape : Tobit and the Angel. " Evening." (l. v. 160.) 
 
 Landscape: Jacob Wrestling with the Angel. "Night." (l. V. 181.) 
 
 Landscape : Apollo and the Cumsean Sybil, (l. v. 99.) 
 
 Landscape : The Journey to Einmaus. (l. v. 151.) 
 
 Landscape : Apollo and Mars3'as. (L. v. 45.) 
 
 Seaport. (Smith, 305.) 
 
 Landscape : The Piping Shepherdess. (Smith, 302.) 
 
 Seaport : Man Angling and Ship with French flag. (Smith, 303.) 
 
 Seaport : Ulysses visiting Lycomedes. (Smith, 304.) 
 
 Seaport, (l. v. 5.) 
 
 Prince Issoupofp — 
 
 Marine View : Rape of Europa. (l. v. 136.) 
 Landscape : Fight on a Bridge, (l. V. 137.) 
 
 ]M. Tatischtcheff — ■ 
 Landscape.
 
 APPENDIX C. 
 
 133 
 
 AMEEICA. 
 
 Vanderbilt Collection — 
 Seaport, (l. v. 2.) 
 
 Landscape : Sacrifice to Apollo. 1668. (l. 
 Landscape: Landing of iEneas in Italy. 
 
 hibited at Eoyal Academy in 1871. 
 Landscape: A Ford. (l. v. 176.) 
 
 V. 157.) 
 1675. (L. V. 
 
 185.) Ex-
 
 APPENDIX D. 
 
 LIST OF CLAUDE'S ETCHINGS, 
 
 The numliers given in Eobert Dumesnil's ' Peintre-Graveur Fran9ais' have 
 been retained iu the following list, as well as the title which he has assigned 
 to each etching. 
 
 Num- 
 ber. 
 
 6. 
 
 Description. 
 
 Number 
 of known 
 states of the 
 etching. 
 
 Flight into Egypt. 
 
 The Apparition. 
 
 Crossing the Ford. 
 
 Herd at a Watering 
 Place. 
 
 The Tempest. 
 
 7. 
 
 Dance by the Side ol 
 the "Water. 
 
 The Shipwreck. 
 
 Two. 
 Three. 
 Three. 
 Two. 
 
 Five. 
 
 Four. 
 
 Four. 
 
 Inscription on the 
 etching. 
 
 Number of 
 con-esponding 
 drawing iia 
 Liber Veritatis. 
 
 CLAV. 
 CL. G. 
 CLAVD. GILLE 1634. 
 
 CLAV. fccc 1635. 
 
 CLAA^D. GELLE I.V.F. 
 
 ROM^E 1630 (l»t state). 
 
 Claude Gellce in. et 
 fee. (2°** & 3rd states.) 
 
 CI. inu. (4«h & 5'" 
 states. ) 
 
 CLA. IV. (1^' & 2"'' 
 states.) 
 
 CL. (S'-J & 4'" 
 states.) 
 
 33.
 
 APPENDIX D. 
 
 135 
 
 Kum- 
 ber. 
 
 Description. 
 
 Number 
 }l known 
 states of the 
 etcliinf,'. 
 
 Inscription on tlie 
 etcliing. 
 
 Xumlier of 
 corresponding 
 drawing in 
 Liber Veritatis, 
 
 b. 
 
 The Herdsmau. 
 
 Four. 
 
 Claudius in. et f. 
 Roma 1636. (2°'*, Z'^, 
 & 4"^ states.) 
 
 Sj and 176. 
 
 9. 
 
 The Sketcher. 
 
 Four. 
 
 
 4i. 
 
 10. 
 
 Dance under the 
 Trees. 
 
 Four. 
 
 
 
 11. 
 
 Seaport with Beacon. 
 
 Four. 
 
 
 
 12. 
 
 Brigands. 
 
 Seven. 
 
 CliAVD. IN. noM^. 
 1633. (l^t state.) 
 
 Claudius in. sup. P. 
 (4th state.) 
 
 
 13. 
 
 Seaport with large 
 Tower. 
 
 Five. 
 
 
 17. 
 
 14. 
 
 The Wooden Bridge. 
 
 Four. 
 
 
 52. 
 
 15. 
 
 The Sun Eising. 
 
 Six. 
 
 CLA. (l^t & 2'"' 
 states.) 
 
 Claudius Claudius 
 inv. et F. Romoi sup. 
 Hccntia. .{Z^\ 4% & 
 6'" states.) 
 
 Claudius Claudius 
 inv. ct F. Eo7nce SMp. 
 Hccntia. 1634. (5'" 
 state.) 
 
 5. 
 
 16. 
 
 Departure for tlie 
 Fields. 
 
 Three. 
 
 
 20. 
 
 17. 
 
 Mercury and Argus. 
 
 Three. 
 
 Claudia Gille'c inucn. 
 in Roma 1662 con 
 liecnza dc sitpcriori. 
 
 150. 
 
 IS. 
 
 Flock in Stormy 
 AVeather. 
 
 Four. 
 
 Claudius GclUe fecit 
 Eomm ] 651. (2°", Z"^, 
 & 4th states.) 
 
 
 19. 
 
 The Goat-herd. 
 
 Two. 
 
 1663. . . . A. G. 
 (2"" state.) 

 
 136 
 
 CLAUDE LE LORRAIN". 
 
 Num- 
 ber. 
 
 Description, 
 
 iO. 
 
 21. 
 
 22. 
 
 23. 
 
 Time, Apollo, aud the 
 Seasons. 
 
 Shepherd and 
 Shepherdess Talking 
 
 The Rape of Europa. 
 
 The Campo Vaccino. 
 
 Number 
 of known 
 states of the 
 
 etching. 
 
 Three. 
 
 Five. 
 
 Four. 
 
 Sk. 
 
 Inscription on the 
 etcliing. 
 
 Apollo in alto di 
 ohedire al tempo. La 
 Primaucra a cominciare 
 il hallo. Lestate non 
 inanca del suo colore. 
 Lauhmnoeolsuo licuore 
 scquita. L'inuerno 
 
 ticne la sua Staggione. 
 Claudia Gillee inuen. 
 Fee. Eoma, 1662, con 
 liccnza dc super. (2°'' k 
 3"» states.) 
 
 CI. G. Inu. et F. 
 (3"''. state.) 
 
 CI. G. Inu. et F. con 
 licenza dc sup. (4"" & 
 5'" states.) 
 
 CLAVDIO GILLE INY. 
 F. ROMiE, 1634. 
 
 CLAVDIO 1636 ROM. 
 (on a fragment of a 
 column) hasbeenerased, 
 but can still be traced. 
 
 Claudius G. in et 
 F. Boma 1637, siip. 
 licentia. (2°"^ state.) 
 
 In the Z^^ state the 
 inscription of the 2'"^ 
 state still appears, wim 
 the addition of "CL. 
 I " in lower left-hand 
 comer. 
 
 In the 4"» state the 
 inscription of the 2""^ 
 state partially erased. 
 
 Via sacra dctto 
 Campo Vacino di Eoma 
 superior, licentia 1636. 
 Claicde Gelle'e inuent. et 
 sculp. (5"^ & e"' 
 states. ) 
 
 Number of 
 con-esponding 
 drawing in 
 Liber Veritatl". 
 
 Ill 100,144 
 
 10.
 
 APPENDIX D. 
 
 137 
 
 Num- 
 ber. 
 
 24. 
 
 25. 
 
 26. 
 
 27. 
 
 28. 
 
 29. 
 30. 
 31. 
 32. 
 
 33. 
 
 Description. 
 
 Rustic Dance. 
 
 Herdsman and 
 Shepherdess. 
 
 Three Goats. 
 Four Goats. 
 
 ' These 
 were 
 originally 
 one plate. 
 
 Number 
 of known 
 states of tbe 
 etching. 
 
 Three. 
 
 Two. 
 
 Inscription on tho 
 etching. 
 
 Number of 
 corresponding 
 drawing in 
 Liber Veritatis, 
 
 Cli, 
 
 CLAVDIO GILLIE INV. 
 
 CLAV. IN. F. 
 
 A picture 
 coiTCsponding 
 to this etching 
 belongs to the 
 Duke of West- 
 minster. 
 
 ETCHINGS OF THE FIREWORKS. 
 
 Neptune with Marine 
 Monsters attached to 
 his chariot. 
 
 The previous subject 
 enlarged. 
 
 Atlas Supporting the 
 World. 
 
 Previous subject with 
 globe rending. 
 
 Square Tower with 
 Bastions and figures 
 supporting the Crown. 
 
 Previous subject with 
 fireworks issuing from 
 the tower. 
 
 Two. 
 
 Two. 
 Two. 
 Three. 
 Two. 
 
 One. 
 
 LI FUOCHI DELL 
 ECC" SIGi* MARCHESE 
 DI CASTEL RODRIGO 
 AMBASCIADORE BELLA 
 MAESTA CATOLICA 
 
 NELL' ELETTIONE DI 
 FERDINANDO TERZO RE 
 DE ROMANI FATTO IN 
 ROMA DEL MESE DI 
 FEBRAIO M.DC.XXXVII 
 
 Romffi superior, licentia. 
 Claudius. 
 
 CL. (2°<J state. ) 
 
 Clft (2°^ state.)
 
 138 
 
 CLAUDE LE LORRAIN. 
 
 Num- 
 ber. 
 
 Description. 
 
 Number 
 of known 
 states of the 
 etching. 
 
 Inscription on the 
 etching. 
 
 Number of 
 corresponding 
 di'awing of 
 Liber Veritatis. 
 
 3i. 
 
 Previous subject with 
 the fireworks more 
 advanced. 
 
 One. 
 
 CL. 
 
 
 35. 
 
 The square tower 
 opening and discovering 
 a round tower. 
 
 Two. 
 
 
 
 36. 
 
 The round tower. 
 
 Two. 
 
 
 
 37. 
 
 The round tower 
 opening and discover- 
 ing a statue of the 
 King of the Romans. 
 
 Two. 
 
 CL. 
 
 
 38. 
 
 Fall of the round 
 tower, leaving the 
 statue. 
 
 Two. 
 
 
 
 39. 
 
 The statue on a 
 pedestal. 
 
 Three. 
 
 
 
 40. 
 
 The statue drawn by 
 
 soldiers. 
 
 Two. 
 
 P. CL. 
 
 
 41. 
 
 Study for "The 
 Brigands" (No. 12). 
 
 One. 
 
 
 42. 
 
 Two studies for 
 landscapes in one 
 plate. 
 
 One. 
 
 CI. inv. 
 
 43. 
 
 Study of seated 
 woman. 
 
 One. 
 
 
 44. 
 
 Ai'abesque. 
 
 One. 
 
 Claudio f.
 
 APPENDIX E. 
 
 BIBLIOGRAPHY. 
 
 SandeART, J. : Acadcniia iiobilissimce artis pictoriffi. Nuremburg. 1683. 
 
 Baldinucci, F. : Notizio tie' professori del diseguo. Firenze. ICSl — 
 1728. 
 
 Eaelom, R. : Liber Veritatis of Claude le Lorrain. London. 
 
 CHAMBERLAINE, J. 
 
 Collection. London 
 
 Engravings from Original Designs 
 
 1777. 
 
 in H. M. 
 
 1797. 
 
 BoYDELL : A collection of landscapes after the original pictures of Claude 
 Lorrain and Gaspar Poussin. London. 1801. 
 
 L[eppel], Comte Guillaume de : (Euvre de Claude Gellee. Dresde. 
 1806. 
 
 Denon, V. : Claude Gelee le Lorrain. n. d. ""^ 
 
 Caracciolo, L. : Libro di Verita. Roma. 1815. 
 
 Beauties of Claude Lorraine. Loudon. 1825. 
 
 Smith, John : Catalogue Eaisonue, Vol. viii. London. 1837. 
 
 Voiart, J. P. : :^loge historique de Claude Gellee. Nancy. 1839. 
 
 Lewis, F. C. : Liber Studiorum of Claude Lorraine. Engravings from 
 100 drawings in the British Museum. London. 1840. 
 
 Blanc, C, : Histoire des Peintres de toutes les !]EcoIes. Paris. 1849, 
 et seq. 
 
 Laborde, Comte Leon de : Notes manuscrites de Claude Gelle, dit le 
 Lorrain, extraites du recueil de ses dessins (Archives de I'Art Francais, 
 Vol, i. 1851-2). 
 
 Cousin, Victor : Sur Claude Gellee (Journal du Musee Lorrain). 
 
 Del Tal, F. : Le livre des feux d'artifice de Claude Gellee (Gazette des 
 Beaux Arts, Vol. xi. 1861). 
 
 Hi!;quet, Charles : Essai biographique sur Claude Gellee (Journal de la 
 Societe d'Archeologie Lorraine). Nancy. 1863.
 
 140 
 
 CLAUDE LE LORRAIN. 
 
 JIeaitme, E. : Claude Gellee dit le Lorrain (Robert-Dumesnil, Le Peintre- 
 Graveur Franjais, Vol. xi. 1871). 
 
 Hamerton, p. G. : Turner et Claude Lorrain ("L'Art," Vol. vii. 1876). 
 
 SwEETSEE, M. F. : Claude Lorrain. (Artist-Biographies). Boston, U.S.A. 
 
 1878. 
 
 Amand-Durand et Duplessis, G. : Eaux Fortes de Claude le Lorrain. 
 Paris. 
 
 Pattison, Mme. Mark [Lady Dilke] : Claude Lorrain, sa vie et ses 
 ceuvres d'apr^s des documens inedits. Paris. 1884. 
 
 Michel, Emile : Claude Lorrain (Revue des Deux Mondes, Vol. Ixi. 
 
 1884).
 
 INDEX. 
 
 The entries in italics refer to pictures, etchings, or sketches. 
 
 Abduction of Helen, 53. 
 
 Achievements, Claude's, 88, 89. 
 
 ^ncas and the Cimicean Sybil, 77. 
 
 ^neas and Dido at Carthctge, 78. 
 
 ^ncas Hunting Deer, 77. 
 
 ^neas Landing in Italy, 81. 
 
 AlexaBdt-r VII., 53. 
 
 AUegrini, F., 48, 57. 
 
 Aitieri, Prince, 81. 
 
 Andre, Catherina, 96. 
 
 Angelo, 65. 
 
 Annuncicction, The, 72. 
 
 Apollo and the Cumcean Sybil, 81. 
 
 Assistants, Claude's, 18, 57, 64, 65. 
 
 Baldinucci, F., 2, 3, 4, 5, 21, 48, 
 
 52, 56, 62, 64, 84, 86. 
 Barberiuo, Cardinal Antonio, 38. 
 Barriere, D., 63, 93. 
 Battle on the Bridge, The, 54. 
 Bavaria, 8. 
 
 Bellerophon and the Chimcera, 38,64. 
 Belmonte, Mgr. di, 96. 
 Bentivoglio, Cardinal, 32, 39. 
 Bertaine, M. de, 46. 
 Bethune, M. de, 29, 57. 
 Birth, 1. 
 
 Borna, Renato della, 96, 97. 
 Bouillon, Duke of, 43. 
 
 Bourdon, S., 20, 49. 
 Bourlemont, M. de, 68, 78. 
 Briena, Signor Don, SO. 
 Brigands, The, 69. 
 Bril, Paul, 3, 5. 
 Burial of S. Sabina, 48. 
 
 Call of SS. Andrew and Peter, 70. 
 
 Canvpo Vacci'iw, The, 26, 57. 
 
 Canser, M., 82, 97. 
 
 Caracci, The, 88. 
 
 Cardello, Carlo, 53, 58. 
 
 Castel Rodrigo, Marquis, 30, 47. 
 
 Chamagne, 1, 2, 10, 84. 
 
 Chigi, Agostino, 54. 
 
 Christ's Appearance in the Garden, 
 
 83. 
 Christ going to Emmaus, 96. 
 Christ Preaching on Motcnt Tabor, 
 
 55. 
 Civita Vecchia, 14. 
 Clement IX., 50, 68, 69, 70, 96. 
 Codicil to Claude's Will, 76, 84, 86, 
 
 98. 
 Colignon, M., 61. 
 Colonna, Constable, 62, 66, 67, 77, 
 
 78, 83. 
 Composition, Mode of, 17, 39, 70, 
 
 77, 78.
 
 142 
 
 INDEX. 
 
 Copyists, 20, 49, 64. 
 Courtois, 48, 57, 58, 65. 
 Crescenzio, Cardinal, 21. 
 Crescenzio, Count, 21. 
 Crossing the Ford, 25. 
 
 Dalmalaye, 72. 
 
 Dance by the Side of the Water, 26. 
 
 David at the Cave of Adullam, 55, 
 
 72. 
 Death of Claude, 83, 98. 
 Decline of Claude's powers, 81. 
 Decline of the Roman Empire, 58. 
 Decorative Works, 11, 21. 
 Demosthenes, 68, 71, 78. 
 Deruet, Claude, 10, 11, 12. 
 Descendants of Claude's family, 86. 
 Development of Landscape Painting, 
 
 88. 
 Diana and her Nymphs, 67, 72. 
 Domenico, G., 64. 
 Dughet, Gaspard, 65. 
 
 Earlom, R., 87. 
 
 Eclectics, The, 88. 
 
 Egcria and her Nijviplis, 67, 72. 
 
 Embarkation of Carlo and Ubaldo, 
 
 71. 
 
 Eynbarkation of Queen of Shcha, 43, 
 
 45, 72. 
 Embarkation of S. Paula, 48, 72. 
 Embarkation of S. Ursula, 38, 64, 
 
 72. 
 Enchanted Castle, The, 66. 
 English Appreciation of Claude, 44, 
 
 67. 
 Erminia and the Old iShepherd, 72, 
 Errard, C, 13. 
 Estate, Claude's, 86. 
 Esther, 56. 
 Etchings, 22, 29, 54, 61, 76. 
 
 Evening, 57. 
 
 Expulsion of Ilagar, 72, 76. 
 
 Fache, M., 77. 
 
 Falconieri, P. F., 70, 77. 
 
 Figure Drawing, 18, 56, 76. 
 
 Finding of Moses, 48. 
 
 Fireworks, Etchings of the, 29. 
 
 Flemish Patrons, 72. 
 
 Flight into Egypt, 21, 63, 66, 71, 82, 
 
 94. 
 Flock in Stormy Weather, 61. 
 Ford, The, 46. 
 Freiburg, 3. 
 French Patrons, 46. 
 
 Gellee, Agnes, 63, 76, 77, 82, 83, 86, 
 
 93, 94, 95, 97, 98. 
 Gellee, Jean, 2, 63, 77, 95, 98, 99. 
 Gellee, Joseph, 2, 9?. 
 German Patrons, 47, 75. 
 Gessly, M., 58. 
 Giorio, Cardinal, 38. 
 Goatherd, The, 61. 
 Guardians of Agnes Gellee, G3, 82, 
 
 97. 
 
 Hagar and the Angel, 72, 76, 96. 
 Halmaele, Henri Van, 72, 75, 79. 
 Harlaching, 9. 
 Herdsman, The, 26, 76, 77. 
 House, Claude's, 55, 83, 98. 
 Household, Claude's, 21, 63. 
 
 niiteracy, Claude's, 2, 47, 50, 56. 
 ninesses of Claude, 9, 12, 62, 76, 
 
 93, 98. 
 Influence, Claude's, 88, 89. 
 Innocent X., 40, 53. 
 Inscriptions on Claude's graves, 84, 
 
 85, 93.
 
 INDEX. 
 
 143 
 
 Jacob, Laban, and Rachel, 53, 78. 
 Jacob and Rachel at the Well, 72, 75. 
 Jacob Wrestling with the Angel, 75. 
 Jonah and the Whale, 78. 
 Judgment of Paris, 58. 
 
 Landing of Cleo'patra at Tarsus, 39, 
 
 72. 
 Lauri, F., 48, 57. 
 Le Brun, M., 58. 
 Leopold I., Emperor, 75. 
 Liaiicourt, Due de, 46. 
 'Liber VeritatLs,' 2, 49, 56, 62, 63, 
 
 64, 69, 71, 76, 77, 78, 82, 83, 86, 
 
 87, 94. 
 Loretto, 7. 
 Luoglii di Monti, 86, 93. 
 
 Magdalen, The Penitent, 49. 
 
 Mantes, Bishop of, 77. 
 
 Marseilles, 12, 14. 
 
 Massimo, Cardinal, 78. 
 
 Matsys, Quentin, 88. 
 
 Mayer, Francesco, 76, 77, 78. 
 
 Mercury, Aglaiiros, and Herse, 64, 
 69. 
 
 Mercury and Argus, 61. 
 
 Mercury and Battus, 72, 78. 
 
 3Ictamor2)hosis of the Apulian Shep- 
 herd, 56. 
 
 Miel, J., 57. 
 
 Montalto, Cardinal, 5. 
 
 Montpellier, Bishop of, 56. 
 
 Morning, 57, 72. 
 
 Moses and the Burning Bush, 68. 
 
 Muti, Palazzo, 22. 
 
 ITancy, 10. 
 Naples, 3. 
 
 Narcissus and Echo, 45. 
 Nephews of Claude, 2, 21, 63, 77, 
 83, 95, 98, 99. 
 
 Night, 57, 75. 
 
 Nocret, Jean, 39, 50. 
 
 Noon, 57. 
 
 Nuptials of Isaac and Rebecca, 43, 45. 
 
 Orthography of Claude's Name, 50, 
 96. 
 
 Painting from Nature, 16, 63, 70, 
 
 94, 96. 
 Pamfili, Prince, 40. 
 Parasson, M., 71. 
 Parentage, 1, 93. 
 Parnassus, Apiollo, and the Mioses, 
 
 78, 83. 
 Passart, M., 45, 46, 61. 
 Pass of S'usa, 58. 
 Patinir, 88, 
 Paul v., 5. 
 Perseus, 81. 
 
 Phalsbourg, Prince of, 10, 11. 
 Philip Baptising the Eunuch, 82. 
 Philip IV., 47. 
 Piomer, Gio., 96. 
 Plague, The, 55. 
 Poli, Cardinal, 38. 
 Poli/phcmus, Acis, and Galatea, 56. 
 Poussin, N., 19, 65, 81. 
 Psijche, 66, 71. 
 Pupils, Claude's, 64, G5. 
 
 Quesnoy, F. du, 19. • 
 
 Rape of Europa, 25, 54, 58, 71 . 
 Release of S. Peter from Prison, 33. 
 Riposo. See Flight into Egypt. 
 Rospigliosi, Cardinal. See Clement 
 
 LX. 
 Ruskin, 45, 55, 89. 
 
 Sacrifice, The, 81.
 
 Hi 
 
 INDEX. 
 
 S. George and the Dragon, 38, 64. 
 
 S. John, 39. 
 
 Samuel anointing David, 38, 57, 
 
 72. 
 Sandrart, J. Von, 2, 4, 5, 15, 16, 
 
 17, 18, 19, 21, 70, 76. 
 San Luigi, Church of, 85. 
 Seclusion, 19. 
 Siege of Rochelle, 58. 
 Signature, Claude's, 50. 
 Sinon and Priam, 55, 72. 
 Skctcher, The, 25. 
 Sketches, Claude's, 14, 16, 17, IS, 
 
 46, 49, 54, 56, 58, 67, 68, ^ 9, 70, 
 
 75, 76, 77, 78, 81, 83, 87, 96. 
 Sketching from Nature, 16, 69. 
 Spada, Cardinal, 82, 83. 
 Sun Fdsing, The, 25. 
 Swanevelt, 65. 
 
 Tassi, A., 3, 4, 5, 88. 
 
 Tempest, The, 25. 
 
 Temple of Apollo at Delos, 43. 
 
 Time, Apollo, and the Seasons, 61. 
 
 Titian, 88. 
 
 Tivoli, 16, 19, 46. 
 
 Tohit and the Angel, 48, 72. 
 
 Trinita de' Monti, Church of, 84, 85, 
 
 93, 95. 
 Turner, J. W. M., 44, 45. 
 
 Ulysses restoring Chryseis, 47, 57, 
 
 64. 
 Urban VIII., 32, 37, 39, 58. 
 
 Vannius, 76, 83, 97, 99. 
 
 Velazquez, 47. 
 
 Venetian School, 88. 
 
 Venice, 8. 
 
 Village Dance, The, 33, 53. 
 
 Villa Madama, 69. 
 
 Waels, G., 3, 4. 
 
 Waldestein, Count, 75. 
 
 Weyden, Roger Van der, 8S. 
 
 Will, Claude's, 16, 50, 52, 62, 63, 
 
 70, 76, 84, 86, 93, 98. 
 Worship of the Golden Calf, 53, 58. 
 
 Ypres, Bishop of, 72, 75, 77. 
 
 %
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 Los Angeles 
 
 This book is DUE on the last date stamped below. 
 
 Mi 
 
 ■J 
 3 1961 
 
 IM 
 
 n'.'^rHAR'" 
 
 ^K»?^ 
 
 m m% 
 
 M0Vl3196i ^^^ 
 
 '■am 22^9^4 
 
 sSSi 
 
 :>^'^ 
 
 j\ii 
 
 \r. 
 
 "^^? ,3 
 
 MAR 
 
 <d61984 
 
 in^. 
 
 t 
 
 0519817 
 
 V> LD/URy 
 
 LD-URL 
 
 DEC 4 W90 
 
 I 
 
 197& 
 
 Form L9-30m-ll,'58(.8268s4)444 
 
 • ff*^.
 
 1^ 
 
 3 1158 00143 4512 
 
 IIMiniinrnill^i-l^'^'J^iNBRARYfAf: 
 
 AA 000 610 480
 
 m