HANDBOOK TO THE DEPARTMENT OF
PRINTS AND DRAWINGS IN THE

BRITISH MUSEUM.

<UCP$=S»>

MAIFIFAIEILIL©,
L F , ¦from' the Original Dimnng in l/w British . \fmeiu

HANDBOOK TO THE DEPARTMENT
OF PRINTS AND DRAWINGS
IN THE BRITISH MUSEUM.
WITH INTRODUCTION AND NOTICES OF THE
VARIOUS SCHOOLS:
ITALIAN, GERMAN, DUTCH AND FLEMISH,
SPANISH, FRENCH, AND
ENGLISH.
BY LOUIS FAGAN,
Of tlie Department of Prints and Drawings, British Museum.

LONDON:
GEORGE BELL AND SONS, YORK STREET,
COVENT GARDEN.
1876.

Jell 81Q

CHISWICK PRESS : C. WHITTINGHAM, TOOKS COURT,
CHANCERY LANE.

PREFACE.

)Jj^**£*HA T is there to be seen in the Print Room of the
British Museum f " " What does this branch of
the National Collection comprise ? " are forms of
a question so frequently put to the writer, both
officially and privately, that he has been induced
to try what he could do to supply the desired information.
Here, then, is the result of his labour, and he trusts that this
handbook will fulfil the purpose for which it has been prepared,
namely, to point out to the lovers of art, and to the public the
more important examples of Engravings and Drawings, which
for upwards of a century have been accumulating in the British
Museum. It is to be clearly understood that this work does not make
any pretension to instruct the learned in the matters of Art which
form the staple of the book. The intention is simply to offer
to them and to the public a brief compilation, which, whilst
indicating to some extent what is to be found in the Depart
ment of Prints and Drawings, will facilitate researches amongst
the National Collection.
No more need be said, by way of preface, than that the
artists and their productions have been divided into six schools
in the following order : — Italian, German, Dutch and Flemish,
French, Spanish, and English. To these has been added a
chapter on miscellaneous examples.

vi PREFACE.
The Engravings in each school are placed first, the Drawings
immediately follow. In both cases the works are arranged
chronologically. A sketch is given of the lives of the leading
Masters, and, as a rule, three specimens of the works of each
Master are described.
These specimens have all been chosen, of course, from the
Museum Collection. No doubt other important works of some
of the artists might have been noticed, but the compiler of
this Handbook believes that those which he has selected will
be found in general to give a fair representation of the style
and powers of the hands that produced them.
After due consideration the vernacular forms of name
have been adopted in preference to any of the modified
appellations by which the masters are known. Thus Raffaello
instead of Raphael, Tiziano instead of Titian, and Albrecht
instead of Albert. This is the general rule, which is not affected
by an occasional divergence.
Noteworthy remarks by connoisseurs of eminence, both upon
the collections in the Print Room and upon the artists who
have contributed to them, may be found interspersed with the
text. References have not always been given, but a copious
list of authorities is appended to the. Guide.
Finally, there are in the Department, in most cases, two
sets of prints : one for general use, and the other for more
important researches. The student can always, by applying to
the Keeper or officer on duty, have access to the latter, pro
vided he strictly adheres to rules 6 and 7 of the appended
regulations, which have been specially framed for the benefit of
the public.
The writer will feel grateful for any suggestion or rectifi
cation with which those who peruse the following pages may
favour him.
L. F.
26, South Molton Street, W.

CONTENTS.

§2^gggHE Art of Engraving
The Italian School
The German School .
The Dutch and Flemish Schools .
The French School
The Spanish School
The English School
Miscellaneous Examples

Page 1
'7
6l 89
121139
149 197

The Frontispiece is an Engraving by the Author, after the original
drawing by Raffaello Sanzio. See page 52.

ERRATA AND CORRIGENDA.
Page 14, line 9. " 1772," not " 1662."
Page 31, line 22. " Fogolino," not " Fogliono.''
Page 36, line 14. " 1843," not " 1842."
Page 45. The foot-note to read thus: "It is, however, more fully described in
E. A. Cicogna, Iscrizioni  and also Gaye. Kunst-Blatt . . . ."
Page 59, line 12. "Nani," not "Narri."
Page 84, line 4. " Teeckening," not " Teckening."
Page 116, line 6. " Verstolk," not " Versholk."
Page 118, line 22. "Elliger Anton," not " EUigeranton."
Page 120, line 6. " 1629-1658," not " 1610-1660."
Page 125, line 4. " Schnebbelie," not " Schriebbelie. "

REGULATIONS FOR THE PRINT ROOM,
BRITISH MUSEUM.
" l. The use of the Print Room is restricted to the purposes of study,
reference, or research. For those purposes the Print Room shall be kept
open on every day of the week except Sunday, Ash Wednesday, Good
Friday, Christmas Day, and any Fast or Thanksgiving Day appointed by
authority ; except also from the 1st to the 7th of January, the 1st to the
7th of May, and the 1st to the 7th of September, inclusive.
" 2. The hours shall be from ten till four.
" 3. No person under eighteen years of age shall be admissible, except
under a special order from the Trustees,
" 4. No more persons shall be admitted into the Print Room at the
same time than the Keeper shall see fit.
" 5. No person shall make tracings from any drawing or print, nor
make any mark whatsoever thereupon.
" 6. Upon no excuse whatever shall a visitor place his or her hand or
finger on the surface of a print or drawing, or, if the specimen be mounted,
touch it at all.
" 7. No visitor shall be allowed to compare prints or drawings with those
in the department, except with the permission of the Keeper, and in his
presence, or that of an Assistant officiating for him : or, in the absence
of the Keeper, except with the permission and in the presence of the
Acting Assistant-Keeper.
" 8. Persons desiring to be admitted to the Print Room must apply in
writing to the Principal Librarian, specifying their profession or business,
and their place of abode.
" 9. Every such application must be made two days, at least, before
admission is required, and must be accompanied by a written recom
mendation from a householder or a person of known position, mentioning
in full his, or her, name and address, and stating that he, or she, possesses
a personal knowledge of the applicant, and of his, or her, intention to
make proper use of the Print Room.
" 10. If such application and recommendation shall be satisfactory
to the Principal Librarian, he shall grant admission for a term not
exceeding six months.
"11. If such application or recommendation be unsatisfactory, the
Principal Librarian shall either refuse admission, or ask for further
information, or submit the case to the Trustees for their decision.
" 1 2. Members of the Royal Academy may, without recommendation,
obtain admission by applying to the Principal Librarian, as directed by
Rule 8.
" 1 3. The Tickets of Admission shall be renewable at the discretion of
the Principal Librarian.
" 14. The tickets of Admission must be produced if required, and shall
not be transferable.
" 1 5. All communications respecting the Print Room must be addressed
t0 — "The Principal' Librarian,
and not otherwise. " British Museum."
" By Order of the Trustees,
"J. WINTER JONES,
" 12th Feb., 1876." "Principal Librarian."

"TO THE PRINCIPAL LIBRARIAN OF THE
BRITISH MUSEUM.
" Sir, " I hereby make application to you for admission to the

_of the British Museum, and I append

the particulars required by the regulations of the Trustees.
" Name 

¦ Address _

" Profession or Occupation_
" Purpose for which 1

admission is required )
" Date_  18

" Sir,

" From personal knowledge I recommend

' ' Applicant's Name \ 
in full and \
Address to be X
inserted. J  
as a fit and proper person to be admitted to the* 
of the British Museum. " I am, Sir,
" Your obedient Servant,
" Name in full 
" Address 

" Profession or Occupation_
" Date 

" * The Student here writes in ' Print Room.'"
[Copies of this form can be obtained by application at the Secretary's Office^

THE ART OF ENGRAVING.

Early History.

i HE origin of the art of engraving is lost in the
obscurity of remote antiquity, and its earliest
records carry us back to an unknown period.
The term engraving was then used, in its strict
sense, to denote the operation of carving designs,
more or less simple, upon the surface of metal, stone, wood, or
other hard substances.
The production of impressions from these engraved surfaces is
a comparatively modern invention : and the application of the
title of engravings to such impressions is still more recent. It
may safely be assumed that we shall never know who was the
first engraver. The bone and other relics of pre-historic times
found in caves, the varied contents of which carry the mind back
through uncounted ages, bear frequent traces of the engraver's
tool — animals especially are represented in outline with a skill
the more remarkable when we remember how scanty were the
resources of the artist ; and we are led to the conviction that the
art could scarcely have been new at the time when such designs
were executed as may now be seen on some of the bone frag
ments in the Ethnographical Department of the British Museum.
B

2 THE ART OF ENGRAVING.
The Bible contains passages — less numerous, however, than
some writers seem to believe — distinctly implying a practical
acquaintance in very early times with the art of engraving.
Tubal Cain has been claimed, and perhaps rightly, as an
engraver, but the fact that we know him to have been " an in
structor of every artificer in brass and iron " affords only a very
inadequate foundation for the assertion. So again with regard
to the father of Abraham, Terah, who, according to Jewish and
Arabian traditions, was a maker of carved images ; it is quite
possible, and even probable, that he practised engraving ; but
there is no sort of scientific proof to that effect. The Hebrew
term which in Exodus xxxv. 35, is in the authorized version
translated " engraver," applies broadly to any artificer in wood,
stone, or metal. The word alluded to in this passage most likely
included engraving; but if the passage stood alone it would furnish
but little evidence to show that engraving was then practised. On
the other hand, the passages in Genesis xxxviii. 18, and xli. 42,
which speak of signets, but make no special comment on them,
seem to imply that engraving was not only practised, but was so
well known as to attract no special attention ; and the words in
Exodus xxviii. 9, 11, 21, and 36, not to mention other passages,
support the same inference, namely, that at the time treated of
the art of engraving was no novelty.
Herodotus tells us that the Carians traced the outlines of
portraits on their shields, and it is certain that ancient Celtic
and Gothic nations frequently engraved crude representations
of historical incidents on their armour. The Phoenicians, pro
bably following the teaching of the Egyptians, were not unskilful
engravers. The Greeks, taught in turn by the Phoenicians, had
carried this branch of art to great perfection in Homer's time,
though, singularly enough, the poet, whilst giving elaborate de
scriptions of the subjects imaged on the shields of some of his
heroes, furnishes no information as to the process by which they
were represented.
There is abundant evidence at the British Museum that the
Etruscans were competent masters in this, as in many other
branches of art ; and, as we claim for engraving an antiquity in-

THE ART OF ENGRAVING. 3
ferior only to that of music, so we venture to compare these two
arts in regard also to universality.
According to Dr. Smith's Dictionary of the Bible, the art
was widely spread throughout the nations of antiquity, particu
larly among the Egyptians (Diod. 178 ; Wilkinson, iii. 373),
the Ethiopians (Her. vii. 69), and the Indians (Von Bohlen,
Indien, ii. 122).
What has already been said shows that engraving was early
known amongst many different nations, widely separated, and
without any known means of intercourse. But we can go yet
further. The least observant visitor in the Oriental Department
of the British Museum will see abundant evidence that the art
was constantly and skilfully practised by the Assyrians, Egyp
tians, and other Eastern peoples. He will find it on objects of
all kinds : on the large winged bulls, the ponderous sarcophagi,
the extensive slabs, the famous Rosetta stone, and the tiny cylin
ders. But leaving ancient times and foreign lands, and turning to
our own country, there can be no doubt that engraving of the
rudest and least skilful character was practised by our British
and Saxon ancestors, and it is well known that the Anglo-Saxon
goldsmiths, then the principal engravers, during and after the
time of Alfred, had acquired a skill which caused their works,
and especially their shrines and caskets, to be greatly admired,
not only in England, but on the Continent. Soon after the
Norman conquest England made one style of engraving 1 pecu
liarly her own : we refer to the engraved brass plates found in
churches, and probably intended to supply the place of sculp
tured monuments, which would have been far more costly. In
the fourteenth, fifteenth, and sixteenth centuries these brasses
were so generally used that there is scarcely an ancient church in
England that does not still possess some specimens of this art.
1 See " Miscellaneous Examples," hereinafter, No. 23.

THE ART OF ENGRAVING.

Taking Impressions.

?N regard to taking impressions on paper from engraved
metal plates, there has been much discussion ; both the
Germans and Italians having laid claim to the credit of
inventing the process. The Germans in support of their claim
appeal to the age of the works which they assert to be engravings
by their old masters ; whilst, on behalf of the Italians, Vasari holds
that Maso Finiguerra, a goldsmith, accidentally made the dis
covery about the year 1460. (See p. 9.) On behalf of the
Germans, prints from metal plates are produced ranging from
1465, if not indeed from 1461, to 1466 and 1467. The earliest
engravings bearing a date which are claimed by the Italians are
said to be the geographical charts prepared for an edition of
Ptolemy published at Rome in 1478. It is, however, to be borne
in mind that these plates were engraved by Conrad Sweynheym
and Arnold Buckinck, both Germans. Impressions might have
been readily taken from the church brasses already mentioned ;
but whether they were so taken in early times has not been shown.
Probably it will always be impossible to speak with absolute
certainty either as to the date or the country in which impres
sions were first taken from engraved surfaces. Even if it could
be finally settled who it was that executed the first print bearing
a date, the question of the discovery of the art of taking impres
sions would still remain open.
But time and chance, and more accurate and learned
research, are constantly bringing to light matter for upsetting
rashly expressed opinions ; and a specimen of printing may any
day be discovered which shall at once destroy any pretension
more absolute than this, that a given print is the oldest dated
engraving now known.
Wood engraving, too, has furnished its share of controversy ;
and here also the conflicting claims to priority are probably
incapable of settlement or reconciliation. Indeed, claims to the
discovery of processes like those by which impressions can be

THE ART OF ENGRAVING. 5
taken from engraved surfaces, are such that more than one of
them may be perfectly valid. Italians, Germans, and others,
may all be entitled to the credit of making the useful discovery,
may all have practised it simultaneously, each in entire igno
rance that the art was known elsewhere.
The question of priority becomes then of small importance,
the second discovery being, by the hypothesis, as truly original
and as practically useful as the first.
In very early times the Egyptians used engraved wooden
stamps to make impressions on bricks or other articles of clay.
Some of these stamps, unquestionably antique, have been found
at Thebes and elsewhere, and in the British Museum there are
several Babylonian bricks evidently stamped in this way. The
Romans seem to have used metal stamps of a similar kind for
marking parchment and cloth. Indeed, such stamps in wood or
metal, but especially in wood, were employed very generally and
at a very early date.
In our own country the notaries, at least as early as the
thirteenth and fourteenth centuries, used engraved stamps in
witnessing deeds ; and the " merchants' marks " were similarly
produced from the fourteenth century onwards. It has been
contended that the art of engraving on wood was known very
early to the Chinese, and it has been asserted, though scarcely
proved, that the art was introduced into Europe from China.
At all events it was practised in Europe in the twelfth century.
The origin of playing-cards has supplied matter for much
controversy, bearing more or less directly upon the history of
wood-engraving. When were they introduced, and by whom
are still open questions, though some writers assume to answer
them, more boldly perhaps than conclusively. Thus much seems
certain — they must have been made by a sort of block printing.
By some process, therefore, whether known or unknown at the
present time, the practice of taking impressions from engraved
wooden surfaces must have long preceded that of taking them
from engraved metal surfaces. That the method employed was
slow and clumsy, there can be no doubt. Still, it served its pur
pose, and some of its results are still in existence.

6 THE ART OF ENGRAVING.
A detailed account of the ancient processes of wood-
engraving, and of the various stages through which the art has
passed, would be out of place here. These subjects have already
been elaborately dealt with by well-known and competent
authorities. At pages 13 and 14 we give a brief, but we hope
intelligible account of some of the methods of engraving now
practised ; it will be sufficient here to remind the reader that
whereas in engraving on metal the lines are all hollowed out, in
engraving on wood they are all left prominent.
In regard to some of the more important disputed points in
connection with engraving on wood in comparatively modern
times, the following passage may be regarded as a summary of
the question. It is taken from pages 8 and 9 of " Some remarks
on Early Printed Books, addressed to a meeting of the Archaeo
logical Institute, held on the 5th of May, 1871, by Mr. J. Winter
Jones, the Principal Librarian of the British Museum :" —
" Block books, that is, books the pages of which were printed
from blocks of wood having the subjects of the paper carved out
upon them, possess a peculiar interest, as being the immediate
precursors of books printed from moveable types. Those that
have come down to us are somewhat numerous, when we con
sider the laborious nature of these productions — between thirty
and forty, without reckoning specimens of xylography consisting
of a single plate. These latter have generally been preserved by
having been pasted inside the covers of books. Impressions
were not obtained by means of printing presses, but after the
face of the block had been inked, the paper was laid upon it, and
the impression was obtained by rubbing the back of the paper
with an instrument made for the purpose.
" The earliest specimen of a block impression known, that is,
the earliest specimen of the date of which there is no doubt, is
a representation of St. Christopher1 bearing the Infant Saviour

1 With the following inscription below : " Christofori faciem die
quacumque tueris. Ilia nempe die morte mala non morieris, Millesimo
CCCC" XX° tercio."

THE ART OF ENGRAVING. 7
over a stream, with the date 1423. This piece was discovered by
the learned German Heinecken in the Carthusian Monastery of
Buxheim, near Memmingen, and is now in the library of -Lord
Spencer. In 1844 there was announced the discovery at Malines
of a wood engraving, in the lid of an old coffin, representing the
Virgin and Child, surrounded by the Saints Catherine, Barbara,
Dorothea, and Margaret, and bearing the date 141 8. This was
immediately procured for the Royal Library at Brussels by the
Baron de Reiffenberg, who published a long and interesting
account of it. The genuineness of the date of the piece has,
however, been doubted by several competent judges, and it is not
now, I believe, shown to visitors. The Christopher may still,
therefore, be regarded as the earliest dated block impression
known." A few words must now be devoted to the history of another
method of engraving, that called Chiaro-oscuro. Again the
Italians and the Germans are rival claimants, the Italians con
tending, that the process was invented by Ugo da Carpi about
the year 1516, the Germans, on the other hand, producing
engravings executed in the year 1499 by Mair, and one exe
cuted in 1500 by Lucas Cranach. In this case it is exception
ally probable that both the claims may be substantially just,
for the processes made use of, though very similar, are not iden
tical. Mair and Cranach engraved the outlines of their designs on
copper, from which an impression was then taken, this impression
being afterwards tinted by means of engraved blocks of wood,
on which of course the lightest parts of the design were hollowed.
Ugo da Carpi's process was this — he cut the outlines on one block
of wood, the dark shadows on a second, the light shadows on a
third, the number of blocks used varying with the character of
the design. The first block being impressed upon the paper the
outlines appeared, the second block gave the darker parts of the
picture, and the third added the lighter parts, and so on till the
print was completed. The Italians brought this style of engra
ving to great perfection, and the works of Andrea Andreani
are specially noteworthy. They are characterized by freedom

8 THE ART OF ENGRAVING.
and vigour of execution, and by correctness of drawing.
These prints are scarce, and it is difficult to meet with good
impressions ; there is, however, a fine series of them in the
Museum.

The Italian School.
JAVING briefly dealt with the history of engraving in
general as a branch of the fine arts, let us now turn to
Italy, and consider somewhat more closely the works
produced by the Italian masters of the art.
The goldsmiths in the middle ages used frequently to trace
with the graver upon metal plates, generally of silver, designs
of various kinds, sometimes arabesques, sometimes figures, and
to run into the lines so traced a black substance, composed
mainly of sulphate of silver in a molten state. The projecting
portions of this composition were then scraped or rubbed off,
until the surface of the plate became again quite smooth, the
engraved lines coming out black.
In the fifteenth century this method of ornamentation was in
constant use in Italy, where it was most successfully employed, and
where it acquired the name of Niello,1 from the Latin NlGELLUM
(black). By this process church plates, snuff boxes, sheaths,
buttons, handles of knives, and ornaments of many kinds were
prepared. It has frequently happened that, in the practical working of an
art or trade, accident has brought about great improvement in
the fields of labour already known, and has even shown the

1 Benvenuto Cellini, in his " Trattato dell' oreficeria," and Vasari, in
the " Introduzione alle tre arti del Disegno," have fully prescribed the mode
of making the niello ; but Theophilus Monachus, who is supposed to have
lived in the tenth century, tells in his work entitled " De Omni Scientia
Artis Pingendi," how to make the " nigellum," and how to use it on the
engraved plate.

THE ART OF ENGRAVING. 9
way to wholly new branches of art or industry. And so it was
here. It seems that Maso Finiguerra,1 a goldsmith of Florence, who
lived and worked about 1460, while clearing the black compound
off a sulphur cast (of which cast more hereafter), noticed that
traces of the cast were left upon the cloth which he used. This
suggested to him that he might obtain copies of the design
by placing damp paper upon the plate, and passing a wooden
roller over it, so as to bring the paper into close contact with
the black composition in the engraved lines.
Impressions so taken from nielli plates are exceedingly
interesting, and are of course much sought after by collectors.
The Museum collection of nielli impressions is by far the
best that is known. It is contained in six volumes, and each
print is on a sunk mount. For a descriptive catalogue see
Duchesne, " Essai sur les Nielles, Gravures des Orfevres Floren-
tins du xv' Siecle," Paris, 1826, 8vo. But the goldsmiths also
made considerable use of another process. They spread a fine
clay upon the engraved metal plate, taking care that it should
penetrate into all, even the most delicate parts of the tracing.
When this clay had set, it was removed ; and it then bore in
relief the design engraved on the plate. Into this clay mould
(for mould it practically was), melted sulphur was poured. The
sulphur, when it had cooled and become hard, formed a cast of
the design, all the engraved lines being exactly reproduced.
These lines in the sulphur cast were then filled with a black sub
stance, which became quite hard in a short time. The cast then
had an effect not altogether dissimilar from that of an engraving
on yellow paper.
The British Museum is very rich in these casts ; to one only,
however, will the attention of the reader be especially directed,
that, namely, from the famous Pax? engraved by Maso Fini-

1 Zani says : " II Finiguerra si pub pur chiamare giustamente il
Raffaello de' Niellisti," (Finiguerra may then be justly called the Raffaello
of niellisti). 2 " Pax " is the name given to a plate of chased metal, enamelled on

10 THE ART OF ENGRAVING.
guerra, begun in the year 1450, for the Church of San Giovanni*
at Florence, and now preserved in the Uffizi.
This cast, which is in one of the centre show-cases in the
Print Room, formerly belonged to Count Serratti ; it subse
quently became the property of the Duke of Buckingham, from
whom it was purchased for the British Museum in 1835.
The Abbate Zani in his work, "Materiali per servire alia storia
dell' origine e de' progressi dell' incisione in rame. Parma, 8vo.
1802," p. 215, gives an interesting description of this sulphur
cast.2 He shows that it must have been the work of Maso
Finiguerra ; records its exact dimensions, viz., four inches and
ten twelfths in height, and three inches and three-twelfths in
breadth; and gives (p. 219) the reading of the inscription :

niello, still used in the solemn feasts of the Agnus Dei. It was called
" Pax," because after it had been kissed by the officiating priest, the
acolyte, in presenting it to each of the assisting ecclesiastics, pronounced
the words, " Pax tecum." (Littre, " Diet, de la langue Francaise," vol. ii.
p. 906.) 1 See Gaye (Giovanni) Carteggio inedito d'Artisti dei Secoli xiv. xv.
xvi. ... 3 vols: 8vo. Firenze, 1839-40. In vol. i. p. 112, we read the
following foot-note :— " Spoglio del libro grande dell' arte de' Mercatanti,
1450Z." — "Pace d' argento dorata, smaltata e nielata, di peso di o. 55. d.
n, si fa per la Chiesa di S. Giovanni per Tommaso di finiguerra orafo, e
se li paga a ragione di fior. 1 largo l'oncia ; costb in tutto fiorini 66. 1."
Translation. — Inedited letters of artists of the 14th, 15th, and 16th cen
turies, vol. i. p. 11 2. Extracted from the great book of the Merchants'
Guild, marked 1450 Z. "Silver Pax, gilt, enamelled and wrought with
niello, o. 55. d. 11. made for the church of S. Giovanni by Tommaso di
Finiguerra, Goldsmith, and he was paid at the rate of 1 (largo) florin per
ounce, total cost 66. 1 florins."
2 In Dibdin's "Bibliographical Decameron," vol. i. p. 141, there is a
foot-note stating that this sulphur cast was in the possession of the Right
Honourable Thomas Grenville, and that it was thus described in a MS.
memorandum : " the subject represented is the Assumption of the Virgin,
who is crowned in heaven amidst the rejoicings of Saints and Angels ; and
although only measuring about five inches by three and a quarter, it con
tains in all forty-two figures. It can hardly be expected that in the
course of three centuries and a half it should have escaped altogether the
ravages of decay ; still it is upon the whole in a very entire state, and is

THE ART OF ENGRAVING. n
" Assumpta . Est . Maria . In . Cozlum . Gaudet . Exercitus .
ANGELORUM." (See Ottley, "An Inquiry . . ." vol. i. p. 270.)
The figures represented are about forty in number. In the
foreground are the two Saints, Augustine and Ambrose ; there
are also St. Catherine and St. Agnes, and several other saints ;
among them St. John the Baptist. The sulphur has unfor
tunately been somewhat injured towards the centre : but has
been repaired by Professor Louis Levrier.
This cast is specially interesting as having been taken from
the same plate as the famous impression found by Ab. Zani,1 in
1797, in the Royal Cabinet of Engravings at Paris, which
formerly belonged to Mariette. The Abbate is of opinion that
it was in working upon this plate that, according to Vasari's
account, Finiguerra took the impressions which led to the inven
tion of engraving (see Vasari in the preface to his life of Marc'
Antonio Raimondi). The discovery of the print at Paris clears
up a question which the sulphur cast at the British Museum,
and even the plate itself at Florence, would have left doubtful.
In the print the inscriptions are reversed, in the plate, and of
course, therefore, on the cast, they read in the usual way. Hence
it is evident that the artist did not intend the plate to be printed
from, or he would have reversed the inscription on the plate
itself. The sulphur casts were probably taken partly to be kept
by the artist as a souvenir of his works, partly to furnish him
with the means of judging of the effect of the designs before
the niello was run in, and whilst therefore they could still be
retouched. Perhaps the best specimen of the antique silver Pax2 is one,
also in the centre show-case, which represents the Virgin and the

particularly interesting from being quite perfect in that part where the
impression in the French Museum is mutilated ; this latter, on the other
hand, supplies some trifling deficiencies in the sulphur cast."
1 See Denon (Vivant, Baron). "Monuments des Arts du Dessin," &c.
Fol. Paris, 1829 (4 vols.), vol. i. plate 46.
2 This Pax has been engraved in a work entitled : " A Collection of
one hundred and twenty-nine Fac-similes of Scarce and Curious Prints by

12 THE ART OF ENGRAVING.
Infant Christ enthroned and worshipped by a number of female
saints. This beautiful plate was formerly in the Church of
Santa Maria Novella at Florence. The glories, the hems of the
garments, some of the most prominent architectural features,
and the wings of the angels, are richly gilt : the two letters G
and R at the bottom of the frame are probably the initials of
the person by whom it was ordered. It was formerly in the
possession of Sir M. M. Sykes, and was subsequently purchased
by Mr. Woodburn, who gave £315 for it.
Names engraved on Plates.
(Zani, parte ii. vol. i. p. 32.)
CCORDING to Ab. Zani, the first engraver who put
his Christian name in full on a plate was Israhel van
Mecken, who was born, according to Huber, at Mechlin,
about 1424.
His son, who bore the same name, and who died in 1523,
inscribed both his Christian name and surname as follows :
" Israello van Mecken Juniore."
In Italy the first to adopt this practice was Nicoletto da
Modena, who in the year 1500 engraved both his names thus :
" Opus Nicoleti Modenensis Rosex" on the plate of the
" Streghe." (Described by Bartsch, xiii. 289, 62, as "The Judg
ment of Paris." See the impressions in page 25 of Nicoletto's
works.) Albrecht Diirer gave his Christian name and surname in
the beautiful engraving of "Adam and Eve," and also the word
" faciebat." Some few engravers have given the exact dates, even
to the days on which the work was begun and completed. How
much eager but barren controversy would have been prevented
had the practice been earlier and more generally adopted.
the Early Masters of the Italian, German, and Flemish Schools," by
William Young Ottley, London, 1828, fol. and also in another work:
" The Year Book of Daily Recreations and Information, &c. 8vo. London,
1832."

THE ART OF ENGRAVING. 13
At the beginning of the sixteenth century we find the name
of the print dealer and publisher added. The Italians, Antonio
Salamanca, Tommaso Barlacchi, and Antonio Lafrery, seem to
have set this example. They were followed by French, and
afterwards by German dealers.

On the Various Processes of Engraving.
Engraving.
|HE engraver first traces his design upon a steel or copper

plate, using for this operation a sharp tool called " dry
point." When the outline is completed, the forms are
modelled, and the shadows are worked in by means of the
graver, an instrument which from its shape makes at each stroke
an angular incision. The lines thus produced are naturally firm
and strong, but as they are, so to speak, laboriously ploughed
into the metal, it is inevitable that they should not unfrequently
lack freedom in movement.
In etching, this sense of freedom is secured. The plate,
generally copper, is first covered with wax, called the "' etching
ground." On this the artist draws with a point or a needle, the
fineness of which varies according to the breadth of the lines to
be produced. The needle removes the wax wherever it passes.
The plate is then placed in acid, which eats into the metal along
the lines traced in the wax. By-and-by the plate is taken out,
and such of the lines as are intended to come out light in the
impression are then covered with a varnish which, like the wax,
prevents the acid from acting on the plate. This process is
repeated from time to time, those lines which are to come out
darkest being subjected for the longest period to the action of
the acid. Etching is more particularly adapted to sketches and
slight designs, which require greater freedom in their treatment
than can be achieved by the engraver.

14 THE ART OF ENGRAVING.
Mezzotinto.
In this process a dark barb or ground is raised uniformly
upon the plate with a toothed tool. When the design has been
sketched upon the plate, the light parts are scraped off. The
lighter the effect to be produced, so much the deeper is this pro
cess of scraping carried. (See English mezzotints, hereinafter.)
Aquatinta.
This process was discovered by the French artist St. Non,
about 1662. The outline is first etched, and then the shadows
are given by means of a wash, consisting chiefly of aquafortis.
The effect produced resembles a drawing in Indian ink.
Aquatinta is supposed to have been introduced into England by
the Hon. Charles Greville, who obtained the secret from a
French artist, whose name was Le Prince. Paul Sandby
evidently became acquainted with it, for his reproductions in this
style are well known and highly esteemed. j
Wood-Engraving.
In wood-engraving the subject is usually sketched on very
thin paper. The artist afterwards draws it with a hard pencil
on the block, which is then handed over to the wood-engraver,
whose share in the operation consists in cutting away those
portions of the surface which have not been touched by the
artist's pencil, and which represent the light parts of the design.
In engraving on copper, as already stated, every line
intended to be dark in the impressions is cut into the copper ; in
wood-engraving, on the contrary, the surface of the block is left
in its original state wherever it is to receive the ink, and, there
fore, to give a dark impression. Lithography.
The lithographic artist draws upon a stone, generally
obtained from the vicinity of Munich, with a kind of ink to
which the printing ink adheres ; and the subject is reproduced
on the paper in fac-simile. The inventor was a German artist,
by name Alois Senefelder, in the early part of this century.

TERMS GENERALLY USED IN THIS
WORK.

Bistre is a pigment of a dark brownish colour, generally used for
shading purposes.
Biting in. An expression used by engravers to describe the action of
the acid on copper or steel plates.
Burr. A slight ridge of metal raised on the edges of a line, either
engraved by the burin or the dry-point.
Burin. An instrument of tempered steel, used for engraving on
copper. Cradle. A tool used by mezzo-tinto engravers, which evenly scratches
the whole surface of the copper plate, in such a manner that if an
impression were taken from it in that state it would be entirely black.
Counterproof. An impression taken from another impression whilst
the ink is still wet. Counterproofs are often taken in order to enable the
engraver to correct his plate ; for it must be borne in mind that the
impression direct from the plate is always the reverse of the design on
the plate.
Dabber. An instrument resembling a muller, generally made of a
solid mass of wool covered with leather. It is used to distribute the ink
evenly all over the plate ; and also for inking the surface of woodcuts.
Dry-point. A design made on copper or steel by means of a needle,
without the aid of acid, is called a " dry-point." Such designs are much
valued, for the lines are so delicate that only a very few fine impressions
can be obtained. An etching is often touched with the " dry-point,"
which causes the burr.

16 TERMS GENERALLY USED IN THIS WORK.
Etching-ground. A kind of wax applied on the plate in order to pro
tect it from the action of the acid. There are various modes of making
etching-ground. Etching-needle. The instrument by which the etcher draws on the
plate. Proof impressions. The first impressions taken from an engraved
plate are termed " proofs " or " states." They are supposed to show how
far the engraver's work has progressed.
India proofs are those taken on India-paper.
Proofs before letters are those taken before the work of the writing
engraver is put in ; such as the title, coat of arms, dedication, &c.
Re-biting. The act of restoring worn-out lines in an engraved plate by
means of acid.
Roulette. A small instrument, very much in the shape of a spur,
which when passed over the plate produces a number of even dots.
Scraper. A very sharp tool for removing the burr.
Stopping out. A term used for preventing the lines engraved on the
plate from becoming too strong ; and, therefore, a kind of varnish,
generally Brunswick black, is used for stopping out the work, which has,
in the opinion of the artist, become sufficiently deep.
Tint-tool. A graver used by the artist to cut a line of any breadth
required. Touched proof. An impression, generally early, touched by the artist,
either in black or white chalk.
There remains only to be said, that throughout the following pages
the letter B in parenthesis stands for Bartsch.
With this preliminary information, however imperfect, the reader may
now proceed to the consideration of the artists and their works.

THE ITALIAN SCHOOL.
BACCIO BALDINI.
\ ACCIO BALDINI was a goldsmith of Florence,
who flourished during the latter half of the 15th
century. According to Vasari, he immediately
succeeded Finiguerra. As he was but an in
different draughtsman, he copied the designs of
Sandro Botticelli, and afterwards engraved them. Unfortunately
he did not mark his works, consequently, in some instances,
doubts have arisen in assigning them to him. Baldini's works
are very dry, but neat and delicate in execution. (Bartsch, vol.
xiii. p. 161.)
1. A print representing seven planets, forming a kind of almanack,
with calculations of the days on which Easter would fall from the year
1465 to the year 1517 inclusive. The planets are : Venus, Jupiter, Sol,
Mars, Saturn, Mercury, Luna. The engraving in the Museum is probably
unique. It was formerly in the possession of Dr. Monro. (B. p. 191.)
There is also in the Print Room a fine copy of "II Monte Sancto di Dio," l
a work of special interest, inasmuch as it is regarded as the first book
which contains illustrations from copper-plates. The author of the work
itself was Antonio da Siena, called Bettini. It was printed at Florence, in
1477, in folio (B. p. 187).

1 Audiffredi, in his work entitled " Specimen historico-criticum
editionum italicaium saeculi xv. Romae, 1794," p. 266, gives an exact
description of this very rare book.
See also, Dibdin, "Bibliotheca Spenceriana," Lond., 1815, vol. iv.p. 128,
No. 824. c

18 THE ITALIAN SCHOOL.
At pages 5, 104, and 1 1 8 are the following plates: —
1. The Mount of Christ.
2. The Glory of Paradise.
3. The Punishment of Hell.
(Whether they were engraved by Baldini or Botticelli is a point which
perhaps will never be settled.)

SANDRO BOTTICELLI.
?ANDRO or ALESSANDRO FILIPEPI, commonly
called Botticelli, after his first master, a goldsmith, was
born at Florence about 1447, and died in 1515. He
studied painting under Fra Filippo Lippi, and became one of the
most distinguished artists of his time. He was employed by
Sixtus IV. to paint three frescoes in the Sistine Chapel, illus
trating the life of Moses and the temptation of Christ ; they are
still in a good state of preservation. His competitors on this oc
casion were Cosimo Rosselli, Domenico del Ghirlandajo, Luca
Signorelli, and Pietro Perugino.
1. Nineteen plates of vignettes, illustrating Dante's Inferno,1 designed
for the edition of 1481, published by Nicholo di Lorenzo della Magna or
Nicholo Todescho. Vasari relates that Sandro, on his return from Rome
to his native city, " began to comment upon Dante ; he drew the Inferno,
and engraved it (lo mise in stampa), which, occupying a large portion
of his time, was the cause of much trouble in his future life." Bartsch,
in vol. xiii. p. 175, includes these plates amongst the works of Baccio
Baldini. The Museum set is very fine ; it is bound in a separate volume, on
the first page of which is a portrait of Dante, engraved by Fabio Licinio.
2. The Assumption of the Madonna (B. 4). Engraved on two large
plates, intended to form one. The lower plate contains the Apostles around
the sepulchre of the Virgin. In the upper plate is the Madonna, seated

1 In the work entitled " Bibliotheca Maffei Pinellii Veneti descripta et
adnotationibus illustrata," 7 volumes, with plates, 8vo. " Venetiis, 1787,"
we find the latest description of this valuable volume. It seems that the
printer's intention was to place a vignette at the head of each canto,
but only two are inserted, at the commencement of the first and second
cantos of the Inferno. See also Dibdin, " Bibliotheca Spenceriana," Lond.
1815, vol. iv. p. 108, No. 814.

THE ITALIAN SCHOOL. i9
on clouds borne by angels. On the left, about the middle of the print,
is St. Thomas receiving the Girdle which the Virgin lets fall towards him.
This fine print is attributed by some critics to Baldini.

ANTONIO POLLAJUOLO.
JNTONIO POLLAJUOLO was another Florentine
artist, born in 1426. According to Vasari, he was placed
by his father under Bartoluccio, a goldsmith, a relation of
Lorenzo Ghiberti, who, having discovered the talent of Antonio,
employed him as one of his assistants in modelling some orna
ments on the central gate of the Baptistery of Florence. Soon
after the discovery of the art of engraving, he made himself a
master of the secret, and engraved his Battle of Nude Figures ;
which, according to Lanzi, was executed about 1480, because,
having acquired great celebrity by it, he was invited to Rome in
1484 to erect the monument of Sixtus IV, who died on the nth
of August of that year. Pollajuolo died in 1498 at Rome, where
his tomb is to be seen in San Pietro in Vincoli. His drawing,
which approaches very nearly to the bold style of Michel Angelo,
is much praised by Vasari. His style may seem hard but it is sym
metrical, and the extremities and muscular action of his figures
display great anatomical knowledge and firmness of hand. His
mode of working, which was somewhat peculiar, was to make a
powerful outline of the figures, which he afterwards shaded with
strokes, all bearing in the same direction. Bartsch, in vol. xiii.
p. 201, describes three prints.
1 . The Battle of Nude Figures (B. 2). In this design are depicted
ten men, armed with various weapons, fighting in a wood. The back
ground represents a forest ; and on one of the trees is a tablet with an
inscription, " Opus Antonii Pollaioli Florentini." Vasari praises this print
very highly. Mr. Ottley was of opinion that it was engraved between
1460 and 1470.
2. Hercules fighting the Giants (B. 3). Hercules is seen in the
middle of the composition fighting a number of men. On the scabbard
of his sword there is an inscription. We have the unfinished state of this
rare print.

20 THE ITALIAN SCHOOL.

ANDREA MANTEGNA.
I)HIS distinguished artist was born at Padua in 1431.
According to Vasari he had been a shepherd boy ; and
having early displayed great talent for the arts, he was
placed under Squarcione, and afterwards under Giacomo Bel
lini. In 1463 he entered the service of Lodovico Gonzaga,
Duke of Mantua, who gave him considerable employment in
decorating his castle at Mantua. In the summer of 1488
Mantegna went to Rome, strongly recommended by Francesco
Gonzaga to Innocent VIII., who employed him to paint frescoes
in the chapel on the Belvedere in the Vatican. (See Taja, De
scription of the Vatican Palace, p. 404.) He died on the 13th
of September, 1506. Ariosto, five months afterwards, wrote the
following in canto xxxiii. st. 2 of the " Orlando Furioso.''
" E quei die furo a' nostri di, o son ora,
Leonardo, Andrea Mantegna, Gian Bellino,
Duo Dossi," &c. &c.
Bartsch (vol. xiii. p. 222) describes twenty-three prints by his
hand. Though more than fifty have been attributed to him, Ab.
Zani assures us " that the genuine impressions which are now
acknowledged to be by the hand of Mantegna1 do not amount to
twenty, nearly all of them executed with few figures." Some
writers, and notably Ab. Zani, attribute to Mantegna the inven
tion of calcography.
1. The Entombment (B. 3). The body of the Saviour is carried to
the tomb by two disciples. Towards the left are two women in atti
tudes of grief. On the right is the Virgin swooning, and borne up by the
holy women. In the foreground is St. John, seen in profile. On the
tomb we read: " Humani Generis Redemptori,"

1 In the " Zeitschrift fiir bildende Kunst, 1876, Heft. 2," there is an
important document, published by M. Carl Brun, showing that the rela
tions between Mantegna and Zoan Andrea were by no means friendly ;
for there is no doubt that the latter was in the habit of copying the designs
of Mantegna, and was his rival at Mantua as an engraver.

THE ITALIAN SCHOOL. 2i
The Museum example of this, perhaps the best of Mantegna's works,
is, unfortunately, not a good impression.
2. A Battle of Sea-Gods (B. 18). Here, on the left, Envy, seated
on the back of a sea-god, is exciting the marine divinities to attack
each other. In her left hand she has a tablet on which is inscribed
" Invid." Towards the right Neptune is seen from behind, standing on a
pedestal. Vasari considers this print to be Mantegna's best work. There is a
copy by D. Hopfer.
This engraving was copied in pen-and-ink by Albert Diirer in 1494.
The drawing is now in the Albertina Gallery, Vienna, as also the com
panion print of the same subject (B. 17), and it is extremely interesting
to see how Diirer reproduced, in his print called " L'Effet de la Jalousie "
(Bartsch, vii. p. 87, No. 73), the nude woman on the back of one of the
marine gods at the left of this print.
3. A Bacchanal (B. 20). Silenus is here represented in the middle
carried by two fauns and a satyr. On the left is a man, with his feet in
the water, in the act of getting a fat woman on his back. On the right
are two fauns — one playing a flageolet, and the other the Pandean pipes.

DO NATO LAZZARI, BRAMANTE.

M/1 TV

HIS distinguished architect, painter, and engraver was
born at Castel Durante, in the Duchy of Urbino, in
1444. He executed several works for Pope Alexander
VI. and Pope Julius II. His fame, however, rests on his having
been the architect of St. Peter's, at Rome, of which magnificent
structure he drew the plans and laid the foundations in 15 13;
but did not live to see it completed, for he died the following
year, 15 14.
In the collection at the Museum there is a very rare print by him,
formerly, but no longer, regarded as unique, representing the interior of a
temple with figures. The upper part of the building appears to have been
left in an unfinished state. Towards the left is a pedestal, inscribed " Bra-
mantus Fecit ML0." (i. e. Mediolano). In the foreground is a finely-
drawn figure of a monk kneeling, seen from behind.
Ab. Zani describes this print as the Vestibule of St. Ambrosius
at Milan ; and he is of opinion that it affords the first instance of the
addition of the word " fecit " to an artist's name. On examining the

22 THE ITALIAN SCHOOL.
above-mentioned vestibule, we find no resemblance to this engraving,
which is more likely to represent the vestibule in the church of San Satiro,
also in Milan (Ottley, p. 531). See an able article written by MM. Louis
Courajod and Henry de Geymiiller, published at Paris by Rapilly, 1874.

LEONARDO DA VINCI.
fHIS illustrious man, renowned as painter, sculptor,
engineer, architect, and author, was born in the Val
d'Arno, near Florence, in the year 1452. At an early
age he evinced singular talents, not only in studies connected
with the fine arts, but in science and general literature. He was
placed under Andrea del Verocchio, of whom it is said, that he
became so mortified at his pupil's subsequent superiority that he
relinquished his pencil altogether. In 1494 Leonardo went to
Milan, where he was warmly received by his great patron,
the Duke Lodovico Sforza. Here he founded his celebrated
school of painting, and executed one of his greatest works — the
famous picture of " The Last Supper." He built the aqueduct
which supplied the city with water. From Milan he removed to
Florence, where he worked with Michel Angelo in ornamenting
the grand Council Hall.1 At the invitation of Francis I. he
visited the French court, and became a distinguished favourite
there. He died at Cloux, near Amboise, in 1519. Leonardo da
Vinci excelled all the painters of his time, and was, moreover, an
able author. He wrote a treatise on painting, and several other
works, of which Hallam says : " The discoveries which made
Galileo, Kepler, and other names illustrious — the system of
Copernicus — the very theories of recent geologers, are anticipated
by Da Vinci within the compass of a few pages. ... He first laid
down the grand principle of Bacon, that experiment and obser
vation must be the guide to just theory."
Of this great artist the Museum has a few specimens which
are perhaps unique.
1 . A Bust of a Young Woman, described by Passavant (vol. v. p. 1 80),
as " Monna Lisa del Giocondo." She is seen in profile, turned to the left.

1 See Michel Angelo Buonarotti.

THE ITALIAN SCHOOL. 23
Her hair is braided, and arranged in a fanciful style. This unique im
pression formerly belonged to M. Storck, subsequently to Signor Carlo
del Majno Ivagnes of Milan, and it was afterwards in the collections of
Sykes and Wilson.
2. Another Head of a Young Woman, also seen in profile, but turned
to the right. On the left are the letters " Acha," and on the right Le. VT,
which have been interpreted thus : " Achademia Leonardi Vinci." Sup
posed to have been engraved on a silver plate.
3. Three Heads of Horses. The one on the left is squared.
These three heads have been ascribed to Leonardo by Mr. Ottley in a
letter to Mr. Wilson, dated 31 December, 1827, in which he says: "I
always considered it highly probable that the horses' heads are also by
him." M. Passavant in his Appendix, vol. v. p. 54, has attributed them to
Andrea del Verocchio, Da Vinci's master in the Art of Painting.
Vasari, in the life of Andrea, says : " He was at once a goldsmith, a
master of perspective, a sculptor, engraver (intagliatore), a painter and a
musician . . . ; " and further on continues : " There are some drawings by
this master in our book, which display very great judgment and ex
traordinary patience ; among them are certain female heads, of which the
features, expression, and arrangement of the hair were constantly
imitated for their exceeding beauty by Leonardo da Vinci. We have
besides two horses, with the various measurements and the proportions
according to which they are to be increased from a smaller to a larger
size, all of which are correct and free from error."
Bartsch, in vol. xiii. p. 331, No. 24, describes them amongst the works
of Giovanni Antonio da Brescia.
4. Together with these prints, there is another described by Dumesnil
in vol. v. p. 30, No. 61, as " Poison et contre poison," and as the work of
Jean Duvet. Bartsch also describes it in vol. vii. p. 515, No. 44, as the
work of Duvet. But Passavant attributes the design to Leonardo, and the
engraving to Cesare da Sesto. However, it is placed here, because Mr.
Carpenter, the late Keeper of the Department, believed it to be the pro
duction of Leonardo da Vinci. The figure of the man seated on an
eminence is very fine.
NICOLETTO DA MODENA.
fjHIS engraver, who was also a painter, especially of
architecture, was born about 1460 at Modena. His
proper name was Rosa or Rosex. The date of his
death is not known.

24 THE ITALIAN SCHOOL.
Bartsch, in vol. xiii. p. 252, describes sixty-eight prints. The
set in this collection which contains the greater part of them, as
also a few undescribed, is arranged in a separate volume.
1. The Judgment of Paris (B. 62). A composition of four nude
figures. The one on the left holds a mirror in the right hand. Upon a
globe suspended in the middle at the top of the print, we read " Detur
Pulcrior'' and the date 1500. Below, " Opus Nicoleti Modenensis Rosex."
According to Zani, this is the first time that the name of the engraver,
his country, and the date of execution, appeared on a print : he also
states that it is copied from Wohlgemuth's composition known as " le,
Streghe."

THE ENGRAVER OF THE YEAR 15 15.
,-g^HIS engraver is so called on account of a date which
JS is seen on one of his engravings, his name being
unknown. Strutt and Heinecken considered him a
much earlier artist, on account of his stiff and mechanical style.
His prints are exceedingly rare ; the Museum set is far from
complete. Bartsch, in vol. xiii. p. 408, describes thirty-six.
1. Cleopatra (B. 12). She is seated at the foot of a tree, and resting
her left arm on an urn, facing a statue of Priapus. On the right above
is the date 1515, and lower down "Cleopatra."
2. The Equestrian Statue (B. 18). A nude female figure, wearing
a royal crown, and resting on a lion. Beyond, an equestrian statue, sur
mounted by a crescent. In the background are several buildings. Both
the woman and the lion are unfinished.

TAROCCHI CARDS.
^HE Print Room possesses a very fine set of the so-called
Tarocchi of Mantegna, or properly the cards of Baldini
and Botticelli. It is unnecessary to enlarge on these inter
esting examples of early Italian engraving, as a full account of
them may be found in Dr. Willshire's " Descriptive Catalogue of
the Playing and other Cards in the British Museum ;" undertaken
by order of the Trustees (p. 65). See also Ottley, p. 379.
The originals are marked outside " O," and copies " C."

THE ITALIAN SCHOOL 25

MARC ANTONIO RAIMONDI.
?HIS celebrated engraver was born at Bologna about the
year 1488. After studying at Venice, he settled at
Rome. There he soon formed a school, which eclipsed
those of Germany, and the Italian style of engraving became
the standard of excellence. No artist since his time has so well
adapted the stroke of the graver to forms, or has better under
stood depth, character, and correctness of outline. He was em
ployed by Raffaello to engrave many of his drawings ; and there
is no doubt that Raffaello himself, as Vasari states, sometimes
directed his graver ; and that to him we owe the refined taste,
judgment, and finish which characterize the works of Raimondi.
Vasari relates that, when at Venice, the set of woodcuts by
Albert Diirer, known as " The Life and Passion of Christ," fell
into Marc' Antonio's hands ; he was so much struck with their
beauty that he decided on reproducing them upon copper. This
he did so successfully that in Italy his reproductions were sold
as originals. Diirer went to Venice, and accused Raimondi of
having imitated his monogram : but the Senate was unable to
impose any punishment, except an injunction that he should not
make use of Durer's monogram in future. Raimondi was im
prisoned by Clement VII. for having engraved a series of
designs in illustration of the Aretino verses, but obtained his
freedom, and was restored to favour by his exquisite " Martyr
dom of St. Lawrence." He died in 1534.
The collection of his works in the Museum is very fine. The
bulk of it formerly belonged to the Rev. Clayton Mordaunt
Cracherode, and formed part of his splendid bequest to the
British Museum in 1799. The prints are arranged, according to
Bartsch. vol. xiv. in ten solander cases.
1. Adam and Eve, after Raffaello (B. 1.) Adam is seen full length,
on the left of the print, near a tree, holding in his left hand two
apples. Eve is on the right, near another tree. In the background, a
landscape with buildings. (The fresco is in the Vatican, in the " Stanza
della Segnatura.")

26 THE ITALIAN SCHOOL.
2. The Massacre of the Innocents, after Raffaello (B. 18).
Amongst the number of soldiers depriving mothers of their children, for
the purpose of massacre, there is on the right foreground a very fine figure
of one of the mothers defending her child from the sword of the exe
cutioner. On the right in the back-ground is a clump of trees, from which
rises a small pine tree, called by the Italians " Falcetta," and by the
French " Chicot." We possess two states of this print : —
First. Before the inscription on the pedestal to the left (which has
been inserted with the pen), and before the line down the blade of the
sword held by the man wearing a helmet and with his back turned towards
the spectator.
Second. With the inscription and the monogram of Marc' Antonio on
the pedestal, and the line down the blade of the sword.
Of this print, which is the chef-d'oeuvre of Marc' Antonio, we have
the original drawing by Raffaello; for a full account of which and the sup
posed copy by Marco da Ravenna, see Zani, " Enciclopedia delle Belle
Arti," vol. v. p. 349.
3. The Martyrdom of St. Lawrence, after B. Bandinelli (B. 104).
A very fine composition, containing fifty figures. The saint is seen in the
middle foreground, seated upon a gridiron. We have two states : —
First. With two forks in the hands of one of the executioners.
Second. One of the forks obliterated.
This superb print, which is placed in a separate portfolio, was engraved
after a design intended to adorn the church of San Lorenzo, Florence.
4. Lucretia, after Raffaello (B. 192). A full-length figure, to the left
of which we read a Greek inscription to the following effect : " It is better
to die than to live in dishonour."
This exquisite figure is remarkable as having been engraved at Rome
about 1510, and as the first that Marc' Antonio submitted to Raffaello
for approval. 5. Les Grimpeurs1 (B. 487). A fragment of the famous cartoon drawn
by Michel Angelo in the Council-hall at Florence. A soldier is seen
rising from the water, starting the alarm, expressing in his complicated
action, almost every variety incident to the human frame. Another
forcing his dripping feet through the adhesive clothing. A third calling
to his companion, whose arms are seen grappling the rocky sides of the
river (Arno) ; whilst a fourth, almost prepared for action, is buckling his
belt around him, with his sword and shield lying at his feet. Dated 15 10.
6. Portrait of Pietro Aretino (B. 513). This magnificent and very
characteristic portrait is said to have been painted by Titian ; but, accord
ing to Vasari, it was drawn by the engraver himself. Aretino is repre-
1 See Michel Angelo Buonarotti.

THE ITALIAN SCHOOL. 27
sented full face, three-quarters length, with a cap on his head. There are
two states : —
First. Before the stripes on the cap, and before the monogram, and
this has only the first two lines of the inscription.
Second. With the monogram of the artist, the stripes on the cap intro
duced, and the inscription in full below.
Up to a recent period the first state was considered unique, but in
December, 1873, another impression was found in the Howard Collection,
and it was sold for £780 to Messrs. Colnaghi.
There are two volumes entitled "Anonymous School of
Marc' Antonio," containing the following fine impressions.
(Bartsch, vol. xv.)
1. God creating the Animals (B. p. 5, 1).
2. The Sacrifice of Cain and Abel (B. p. 9, 4).
3. The Sacrifice of Cain (B. p. 8, 3).
4. Joseph making himself known to his Brothers (B. p. 1 1, 6).
5. Joseph relating his Dreams to his Brothers (B. p. 10, 5).
6. Abigail bringing Presents to David (B. p. 12, 8).
7. Judith (B. p. 13, 1).
8. The Nativity (B. p. 14, 2).
9. The Flight into Egypt (B. p. 16, 4).
10. Christ restoring Sight to a Blind Man (B. p. 16, 5).
11. St. John in the Desert (Btp. 27, 5).
12. St. John in the Desert (B. p. 25).
13. St. Ambrose and St. Theodosius (B. p. 22, 1).
14. The Horatii and Curiatii (B. p. 29, 2).
15. Jupiter accompanied by Cupid and Goddesses (B. p. 41, 1 1).
16. Diana (B. p. 39, 9).
17. Diana and her Nymphs Bathing (B. p. 40, 10).
18. Psyche carried to Olympus (B. p. 36, 5).
19. The Birth of Adonis (B. p. 42, 12).
20. An Allegorical Print on Love (B. p. 54, 1 1).

AGOSTINO VENEZIANO, OR DE' MUSIS.
jE was born at Venice about 1490, and was the pupil of
Raimondi. Among the Italian engravers he claims a
distinguished rank, for he handled his graver with great
precision and neatness, though his drawing is not so good as that
of his illustrious master. Fine impressions of his works are very
rare. He died about 1540. (Bartsch, vol. xiv.)

28 THE ITALIAN SCHOOL.
l . " Lo Spasimo di Sicilia," after Raffaello (B. 28), Christ bearing
the cross, from the picture now at Madrid. We have the first state, with
the date 1517.
2. An Emperor meeting a Warrior, after Raffaello (B. 196). The
warrior is followed by two horsemen, and meets the emperor, probably
Adrian, at the gate of a city. This is the best work of Agostino.
3. The Academy of Baccio Bandinelli (B. 418). The engraver
himself holds a cast in his hand, and is lecturing on it to a student standing
behind his chair ; on the left is an artist writing or drawing ; at the foot
of the table four young pupils engaged in drawing from an antique. The
whole scene is in candle-light.

MARCO DA RAVENNA.
5NOTHER distinguished pupil of Raimondi, born in
1496. Very little is known respecting his life; and
indeed it was Zani, who discovered on authority of a
manuscript that his family name was Dente. The peculiar
distinction between this artist and the last, is that his engravings
seem to be drawn with a firmer hand, clearer strokes, and
superior effect. (Bartsch, vol. xiv.)
1. The Annunciation, after Raffaello (B. 15). On the right is the
Virgin kneeling, and on the left is the Angel, — above, on clouds, is the
Almighty Father, accompanied by some angels. This print has been
attributed to Raimondi.
2. Combat of Roman Cavalry (B. 420). In the middle is a horse
kicking; behind which is a soldier with a spear. On the right a soldier, in
the act of throwing a large stone to a man who is behind a horseman,
followed by another. In the foreground, on the right, is a shield.
3. The Massacre of the Innocents, after Bandinelli (B. 21). This
is the chef-d'oeuvre of Marco da Ravenna ; it is a fine specimen of his
style. We have an unfinished proof exceedingly fine.
THE GHISI.
|HE engravings of Giovanni Battista, Giorgio, and Diana
Ghisi are very numerous. The Print Room possesses a
fine set of their works, which are arranged in three
volumes according to Bartsch, vol. xv. p. 299.

THE ITALIAN SCHOOL. 29

FRANCESCO MAZZUOLI, PARMIGIANO.
JRANCESCO Mazzuoli, or Mazzola, generally known as
" il Parmigiano " or " il Parmigianino " was born at
Parma in 1503. His first master was Michele Ilario, but
when Correggio visited Parma in 1519, Mazzuoli paid great
attention to his frescoes, and imitated them, until he visited
Rome, where he examined the works of Raffaello, he then
adopted a style entirely his own. He died at Casal Maggiore,
in the territory of Cremona in 1540. Mazzuoli is the reputed
inventor of the aqua-fortis1 process. He engraved niany prints,
of which we have a fine set. (Bartsch, vol. xvi. p. 1.)
1. Judith (B. 1.) A full length figure ; she holds in her right hand a
sword, and in her left the head of Holofernes. Her handmaid is behind.
2. The Entombment of our Lord (B. 5). This is the best work of
the master ; very much admired by Guido Reni. Christ is being placed
in the sepulchre in the presence of the holy women ; in the midst is
the Virgin, fainting.
3. St. Peter curing the Lame Man, after Raffaello (B. 7). St. Peter
is in the centre, giving the benediction to the poor.
GIOVANNI GIACOMO CARAGLIO
§AS born about 15 12, whether at Verona or Parma is not
exactly known. He went / to Rome to study with Rai
mondi, under whose tuition, he made great progress. His
engravings are remarkable for good drawing, and especially for
the expression and character which he gave to the heads. He
died about 1551 at Parma. His works are arranged in a
separate volume. (Bartsch, vol. xv. p. 59.)
1. The Battle of the Buckler, after Raffaello (B. 59). This print is
so called on account of a shield and a spear lying in the centre. In the
foreground a body of Roman cavalry are slaying some armed fugitives.

1 This is more than doubtful, for there are ample proofs that this
process of engraving was known in Germany before the time of Par
migianino, perhaps even before he was born.

30 THE ITALIAN SCHOOL.
On the right is a standard bearer, and a trumpeter on the left. This is the
best work of the engraver. The impression at the Museum is very fine.
2. A Portrait of Pietro Aretino (B. 64). Bust, turned to the left in
profile. In a circle with his name inscribed in capitals round it, and this
mark, A over Y.
GIULIO BONASONE.
*^-^|- HE works of this Bolognese artist were but little if at all
appreciated at the period when he flourished, and even
for long after his death. He was a printer as well as an
engraver. What is most remarkable in his works is the masterly
manner in which he preserves the masses and breadth of light
and shade. Born about 1510, and died in 1580. (Bartsch, vol.
xv. p. 103.)
1. The Adoration of the Shepherds, after Giulio Romano (B. 38).
Oh the left beyond, the angel is announcing the birth of the Infant
Jesus. The shepherds are worshipping the Infant, who is in the cradle
between the ass and the ox.
2. The Last Judgment, after M. A. Buonarotti (B. 80.) The fresco
of this well known composition is in the Sistine chapel in the Vatican at
Rome. The best work of the engraver, of which we have a fine proof.
3. Portrait of Michel Angelo (B. 345). A profile, to the right ;
there is an undescribed proof in the Print Room.
ANDREA ANDREANI.
-HIS able artist was born at Mantua about 1540 and died
in 1623. He was a painter and a chiaro-scurist, an art
which is alleged to have been first practised by Ugo da
Carpi : he, however, carried this process of wood engraving to a
higher degree of perfection than it had reached before his time.
He published a number of very large cuts, some of which are
after Andrea Mantegna and Beccafumi.
The chiaro-scuro prints are not definitely arranged ; there are how
ever three volumes containing fine specimens, by various chiaro-scurists ;
but in a separate portfolio there are the following large woodcuts from
Andreani's hand. (Bartsch, vol. xii. p. 17.)
1. Abraham offering up Isaac, after D. Beccafumi (B. 4). Printed
in one tint. (The Museum copy wants two sheets.)

THE ITALIAN SCHOOL. 31
2. Moses breaking the Tables of the Law, after D. Beccafumi (B.
p. 24). Printed on twelve sheets.
3. Pilate washing his Hands, after Giovanni da Bologna (B. 19).
4. The Entombment of Christ, after Giuseppe Scolari (B. 25).
In addition to the examples of the foregoing pre-eminent
masters, there are specimens of others of an early date, such as
the following : —
Girolamo Mocetto, born about 1454 (B. xiii. p. 215).
We possess a fine copy of the book entitled " De Nola opusculum,"
Fol : Venice, 151 3. There are, in this rare volume, four plates, engraved
by Mocetto, representing views and plans of the city of Nola.
Zoan Andrea, flourished about 1478 (see foot note, p. 20)- (B. xiii.
P- 293-) Giovanni Maria da Brescia, born about 1460 (B. xiii. p. 311).
Giovanni Antonio da Brescia, born about 1461 (B. xiii. p. 315).
Benedetto Montagna, 1458-1530 (B. xiii. p. 332).
Giulio Campagnola, flourished about 1500 (B. xiii. p. 368).
Domenico Campagnola, flourished about 1543 (B- xiii. p. 377).
Robetta, flourished about 1460 (B. xiii. p. 392).
Gasparo Reverdino, flourished about 1512 (B. xv. p. 465).
Andrea Meldolla, 1520-1582 (B. xvi. p. 29).
Marcello Fogliono, flourished about 1530 (Passavant, v. p. 145).
Giovanni Battista del Porto, flourished about 1503 (Passavant, v.
p. 149)- Girolamo Campagnola (Passavant, v. p. 160).
Lorenzo Costa, 1460-1535 (Passavant, v. p. 203).
Peregrini da Cesena (Passavant, v. p. 205).
Giacomo Francia, died 1557 (Passavant, v. p. 222).
Besides these there are two volumes containing most interest
ing anonymous prints of this school and of an early date.
We shall now refer to some of the most distinguished artists
of the later school of Italy. The works of the three Caracci,
Guido Reni, and Salvator Rosa, are in course of arrangement.
LODOVICO CARACCI.
^ORN at Bologna in 1555, and died in 1619. He studied
for several years under Passignano, and acquired that
elegance and taste which distinguish the Venetian,
Parmesan, and Modenese schools.

32 THE ITALIAN SCHOOL.
Only five etchings by him are described by Bartsch, vol. xviii.
P- 23- The Virgin and St. Joseph (B. 4). The Virgin is seated under an
archway, with the Infant Jesus in her arms ; near her is St. Joseph. This
print is, most probably, the only one which Lodovico Caracci engraved
with the burin.
AGOSTINO CARACCI.
COUSIN of Lodovico. Born at Bologna in 1568, and
died in 1601. His engravings are very numerous, 247
having been attributed to him. He reproduced the
works of several masters, but chiefly those of Paolo Veronese,
Tiziano, and Correggio. (Bartsch, vol. xviii. p. 31.)
1. Ecce Homo (B. 19). Christ shown to the people. An early pro
duction of Agostino, when he was fourteen years old.
2. The Crucifixion, after Tintoretto (B. 23). This splendid and
much admired engraving is composed of three sheets. The picture was
painted for the church of St. Roch, at Venice.
3. The Virgin, St. Catherine, and St. Anthony, after P. Veronese
(B. 96). The Virgin is seated, with the Infant Jesus in her arms; near
her are St. Joseph and St. John the Baptist ; below, St. Catherine, and on
the left, St. Anthony.
There is in the Print Room an unfinished unique state.
4. Portrait of Tiziano Vecellio (B. 154). Three-quarters length,
turned towards the left. We possess an unfinished proof, extremely rare.
ANNIBALE CARACCI
P|AS born at Bologna in 1560, and died at Rome in 1609.
He was the brother of Agostino, and greatly distinguished
himself as a painter. His etchings are scarcely worthy of
his reputation in the higher branch of art. Bartsch (vol. xviii.
p. 177) describes eighteen by his own hand.
1. Susanna surprised by the Elders (B. 1). She is seated, to the
left, with her head turned towards the elders. On the right is the fountain.
A fine specimen of Annibale's talent.
2. The Christ of Caprarola (B. 4). The Saviour, taken down from
the Cross, is extended on the lap of the Virgin. Near her is St. John,
holding the right arm of Jesus, and showing the wound to the Magdalen.
In the Print Room there is a proof before all letters.

THE ITALIAN SCHOOL.

33

GUIDO RENI,
||HE celebrated Bolognese painter, was born in 1574. He
acquired the principles of his art in the school of the
Caracci. He is chiefly distinguished in his pictures by
the grace and beauty of his forms. His etchings, which are
numerous, are described in Bartsch, xviii. p. 277. They are,
however, not so happy as might have been expected from so
great a master. He died in 1642.
1. The Virgin and the Infant Jesus (B. 1). She has the Infant in
her arms, and he is embracing her. Joseph is seen walking in a land
scape, which appears through an arcade.
A fine specimen of Guido's power.
2. The Virgin, the Infant Jesus, and St. John (B. 6). The Virgin
is turned to the right, seen in profile, and seated near a table, on which is
the Infant, extending his arms to St. John.
3. A Glory of Angels, after L. Cambiasi (B. 45). A number of
angels in the air. This is considered to be one of Guido's best etchings.
SALVATOR ROSA.
i)HIS distinguished painter, poet, and musician was born
at Naples in 1615. He adopted the profession of painting
contrary to the inclinations of his parents. His first
master was Ciccio Fracanzano ; and, subsequently, he became a
disciple of Ribera, with whom he went to Rome. Here he spent
the greater part of his life ; but his taste was formed more from
the study of nature in the wilds of the Apennines than from the
lessons of other artists ; and he delighted in delineating scenes of
gloomy grandeur and magnificence. Salvator Rosa wrote plays
and satires, and composed many cantatas. He died at Rome in
1673. His etchings are executed in a slight, though free and mas
terly style ; the heads are especially fine. Bartsch, in vol. xx.
p. 267, describes eighty-six etchings by him.
1. Alexander with Apelles (B. 4). Apelles advising Alexander not
to criticise his picture, for fear the children who are grinding the colours
should laugh. D

34 THE ITALIAN SCHOOL.
2. The Fall of the Giants (B. 21). The giants overthrown and
crushed by the mountains which they had piled up to scale the heavens.
3. The Genius of Salvator Rosa (B. 24). An emblematical piece,
representing the humour and genius of the painter, which induce him to
despise riches and death, love liberty, reprehend vice, &c.

STEFANO DELLA BELLA.
"HIS charming artist was born at Florence in 16 10, and
died in 1664. When a youth he obtained some of
Callot's prints, which he much admired and copied.
He was in the habit, it is stated, of beginning to draw his figures
from the feet. He engraved upwards of 1,300 plates. The fine
set which is in the Museum is arranged according to Le Blanc's
catalogue j1 it fills six solander cases.
1. Plan of the Siege of La Rochelle (Le Bl. 840). This town was
taken by Louis XIII. on the 30th October, 1628. The figures, although
very small, are exceedingly well drawn. There is in the Print Room a
superb impression before the explanatory writing.
2. Entry of the Polish Ambassador into Rome in 1 633 (Le Bl. 864).
This is in six sheets.
3. Plan of the Siege of Arras (Le Bl. 882). Besides its artistic
value, this etching is historically interesting. Cardinal Richelieu engaged
Stefano to go with him to Arras, and make drawings of the siege, which
he afterwards engraved. It is a bird's-eye view.
(The above three plates are very large, and are therefore placed in
a separate portfolio.)
Of the small sets, Nos. 290 and 765 of Le Blanc's catalogue are con
sidered the best productions of this artist.

GIUSEPPE MARIA MITELLI,
fHE caricaturist, was born at Bologna in 1634; he was
also a painter, but is chiefly known as an engraver. His
drawing is not always correct; still, much value is
attached to his prints ; for they, as a rule, illustrate the manners

'M *^«

1 Sec also Jombert, C A.—" Essai d'un Catalogue de 1'CEuvres d'Etie
de la Belle." . . . Paris, 8vo. 1772.

THE ITALIAN SCHOOL. 35
and customs of his country and age. He died in 171 8. His
prints are somewhat rare ; and the set in our collection may be
considered rather fine ; it fills five solander cases.
Bartsch, in vol. xix. p. 267, only describes 188, whereas we
have in our MS. catalogue a description of 425 prints.
1. The Flight into Egypt (7).1 Joseph is leading the ass, on which
the Virgin and Child are riding ; they are accompanied by two angels on
foot ; above are three angels in the air. After G. A. Donducci. (B. 6.)
2. A Set of Fifty-two Plates, illustrating Proverbs (38). " Proverbj
figurati, consecrati al Serenissimo Principe Francesco Maria di Toscana
da Giuseppe Maria Mitelli . . . mdclxxviii." (B. 67.)
3. A Series of Eight different Groups, representing a man fighting
with a harpy. Painted by the Caracci in the Palazzo Fava at Bologna.
(B. 59-66.)There are besides specimens of the works of all the engravers
mentioned by Bartsch, from vol. xv. to xxi.

MODERN ENGRAVERS.
GIOVANNI VOLPATO.
S?HIS celebrated designer and engraver was born at Bas-
sano in 1733- He was the master of Raffaello Morghen.
In some of his early prints, we find that he was in the
habit of signing himself " Giovanni Renard." He died in 1802.
We have a splendid work, the frescoes by Raffaello in
the Loggie of the Vatican, engraved by him, and beautifully
coloured.
RAFFAELLO MORGHEN,
5LSO a distinguished engraver, was born at Naples in 1760.
After receiving some instructions in his native city he
went to Rome, and placed himself under the tuition
of Giovanni Volpato, whose daughter' Domenica he afterwards

1 This number refers to our manuscript catalogue.

36 THE ITALIAN SCHOOL.
married. He has been justly designated as the father of the
modern school of engraving. His chefs-d'oeuvre are, generally,
reproductions of the best works of the old masters. Morghen
died in Florence on the 8th of April, 1833.
The collection in the British Museum is by far the best known.
It may be interesting here to state the manner in which this
marvellous collection was acquired. It was first formed by
Signor Jacopo Tarma, living in the Palazzo Priuli, at Venice ;
and he was aided by Signor Alvisi Albrizzi, an intimate friend of
Morghen, to whom the engraver presented several copies of his
works. After the death of Signor Tarma, his heirs parted with
the entire collection to Signor Luigi Bardi, who still further
added to it ; and he afterwards sold it to Mr. Colnaghi, from
whom it was purchased for the National Collection in 1 842.
1. Madonna della Seggiola, after Raffaello. This is a wonderful
production of Morghen.1 It derives its name from the fact that the Virgin
is seated on a chair. The picture is in the Pitti Gallery at Florence.
There are various states (see "Miscellaneous Examples," xxvii.).
2. The Transfiguration, after Raffaello. This engraving (from the
sublime composition in the Vatican) is the only one worthy of the original,
which was painted by order of Giulio de' Medici, afterwards Clement VII., -
whose intention was to send it to Narbonne.
There are seven different states of this plate.
3. The Last Supper, after Leonardo da Vinci. This is the chef-d'oeuvre
of the engraver. The fresco is at Milan in the refectory of the Padre
Domenicani, in the church of Sta. Maria delle Grazie. Note the proof be
fore the dish on the table was finished, which is exceedingly rare ; a similar
impression sold at the Palmer sale in 1868 for ^250, he having given
£275 for it in 1862. GIUSEPPE LONGHI,2
NOTHER distinguished engraver, was born at Monza
in 1766: he was the pupil of the Florentine Vincenzo
Vangelisti, professor in the Brera, at Milan. In 1786
1 See Palmerini, Nicolo, " Catalogo delle opere d'Intaglio di Raffaello
Morghen, raccolte ed illustrate da N. P." 8vo. Firenze, 18 10.
2 Beretta, G. — " Delia vita, delle opere ed opinioni del Cav. Giuseppe
Longhi." 8vo. Milano, 1837.

THE ITALIAN SCHOOL. 37
Longhi left the Academy, and took to portrait-painting, in which
branch of the art he was very proficient : subsequently he went
to Rome, and there became acquainted with Morghen. In 1798
he was appointed to succeed his master as professor in the same
Academy. He died in 1831.
Our collection of his works is very remarkable for fine im
pressions and rare states.
1 . The Reading Magdalen, from the picture of the same size in the
Dresden Gallery by Correggio. Engraved in 1810. The back-ground of
this chef-d'oeuvre of Longhi was engraved by Benaglia, but as his work
was not considered satisfactory it was re-engraved by Pietro Anderloni.
The plate was engraved for Messrs. Artaria, of Mannheim, for the sum of
six hundred zecchini (about ^300). After a thousand impressions had
been taken Longhi repurchased the plate, and retouched it with the assist
ance of Marri, when it again became the property of Messrs. Artaria.
2. The Marriage of the Virgin, known as " Lo Sposalizio della
Vergine,'' in Milan, after Raffaello Sanzio. Longhi began the drawing for
this plate in 1808, but the engraving was not completed until 1820. The
atmosphere, pavement, and temple were engraved by Faustino Anderloni,
and a small portion of the draperies by della Rocca. The plate was re
touched by Marri after a thousand impressions had been struck off These
later impressions are known by the monogram on the temple.
3. The Vision of Ezekiel, after Raffaello. The picture is in the Pitti
Palace, Florence. Engraved in 1808.

PIETRO ANDERLONI.
$E was born at St. Eufemia, in the province of Brescia, in
1785. He learnt the elements of his art under his brother
Faustino, but at the age'of twenty he placed himself under
Longhi, and remained with him for more than nine years ; after
wards he went to Rome, and there he made drawings of the Helio-
dorus and Attila, painted by Raffaello on the walls of the Vatican.
In 1 83 1 he succeeded Longhi in the direction of the Academy of
Engravers at Milan. He died in 1849.
Our collection of his works is very fine.
1. The Judgment of Solomon, after Raffaello.
2. The Woman accused of Adultery, after Tiziano.
3. Heliodorus and Attila, after Raffaello.

38 THE ITALIAN SCHOOL.

GIOVITA GARAVAGLIA
^AS born at Pavia about 1789, and died in Florence in
1835. He learnt to engrave under Faustino Anderloni.
In 1808 he went to Milan, and there closely studied the
works of Longhi. He is well represented in the Print Room.
1. The Meeting of Jacob and Laban, after Appiani.
2. " Madonna della Seggiola," after Raffaello. In the Pitti Palace,
Florence. 3. The Magdalen, after Carlo Dolci. In the Pitti Palace, Florence.

PAOLO TOSCHI.
tORN at Parma in 1788. Toschi may be looked upon as
the last distinguished modern engraver. He studied in
Paris under Bervic, and was intimately acquainted with
Gerard. In 18 19 he was made director of the Academy of
Parma, and founded a school of engraving there.
His works here are all chosen by himself, as is shown by his
signature affixed to each of them, and are in all their various
states. The collection is the best known one in existence. He
died in 1854.
1 . The Entrance of Henry IV. into Paris. This is the chef-d'oeuvre
of Toschi, who engraved it in Paris after the large painting by Francois
Gerard, forming now the principal ornament of the Versailles galleries.
It was painted in 1 8 1 7 by order of Louis XVIII. The moment has been
chosen when Henry IV. took possession of Paris in 1 594.
2. " Lo Spasimo di Sicilia," after Raffaello. Christ succumbing under
the cross. The picture was painted for the Church of the Olivetani at
Palermo, called Santa Maria dello Spasimo.
3. Deposition from the Cross, after Daniele da Volterra. The engraver
has faithfully transferred Volterra's representation of the Saviour's body,
sinking with the natural relaxation of death. The fresco is at Rome in
the Church of the Trinita de' Monti.
There are also seven large volumes containing specimens by
various modern Italian engravers, arranged chronologically.

THE ITALIAN SCHOOL. 39
There is an alphabetical and chronological index of all of
them in the Print Room ; the most prominent names are the
following : —
Giovanni Battista Nocchi, flourished about 1823.
Antonio Perfetti, flourished about 1 833.
Agostino Marchesi, flourished about 1830.
Samuele Jesi, flourished about 1835.
Faustino Anderloni, flourished about 1800.
Pietro Bettellini, flourished about 1 790.
Michele Bisi, flourished about 1 8 1 6.
Antonio Dalco, flourished about 1850.
Carlo Raimondi, &c. (living).

THE ITALIAN DRAWINGS.
....a-. ;i^fj^oUGH the drawings of the great masters we
obtain the closest insight into the sources of artistic

power. Whilst the means are so slight and the
method so simple the contact with individual genius
is direct and immediate ; we are placed at once in intimate rela
tionship with the purpose of the artist, and are able to follow in
each line the motive that has guided the hand to so fair a result.
The end of every work of art is reached, and the desire of its
author satisfied, when through the medium of either lines or
colour we have made the vision of the artist our own, and have
discovered what quality in the chosen facts of nature first stimu
lated the hand to its labour of interpretation. The most per
fectly carved statue or the most elaborately-finished picture
cannot do more than this : the slightest sketch from the hand of
genius cannot do less. Outside the realm of art material nature
has other and different values ; but for the artist it lives only in
its relation to an internal standard of beauty. Rightly gifted, he
admits to his companions only such facts as can contribute to
enrich his store of fair and noble images, and the greatness of
individual genius is here tested by its ability to extend the lines
of the visionary world till they approach the outer limits of
reality. But however wide the outlook of genius, these two
worlds remain for ever distinct, and not the smallest leaf or
flower can be subjected to the dominion of art without under
going a certain transformation and change.
It is the special function of these drawings by great hands to

THE ITALIAN SCHOOL. 41
reveal to us something of this subtle relationship between nature
and art, and to mark the stages by which the one passes into the
other. In them we are permitted, as it were, to watch the pro
cesses of genius, and to note the working of the perceptive and
creative faculties. Standing in close contact with bis subject,
the results of observation just newly moulded to the purposes of
art, the master is here also a student, and in his labour we may
see how the life of nature is arrested at the precise moments
fitted for the life of design, so that in a drawing of individual
face or form by Leonardo da Vinci or Michel Angelo, the care
ful study of facts combines with the first touch of higher mastery
as common reality puts on the brighter raiment of imagination.
In this intimate knowledge of the artist's methods and material
the true essence of pictorial beauty becomes clearer to us. Its
willing dependence upon the subtle facts of physical form is
made known, and we see how, in the poise of the figure, the turn
of the head, or in the uplifted arm, the quick, instinctive recog
nition of genius has found out some precious secret of beauty.
At first sight these chosen attitudes may seem to have been
taken at hazard from among the myriad movements of reality ;
it is only after longer knowledge that their fitness for art proves
the presence of a faultless instinct in selection. It is here, then,
more surely than from any other source, that we learn the means
by which fidelity to outward fact is united with the highest
exercise of imagination. These studies of human face and form,
these delicate drawings of leaves and flowers, bear witness to an
eager and searching desire of knowledge. There is a patient
science underlying every effort at creation, and a studious
observance of the truth rests on the basis of the sweetest and
most enchanting invention. Thus it happens that, at the first,
these precise pencillings seem to be the rigid imitations of actual
fact ; and although to each study, however slight, something of
commentary is added to the more solid foundation, the process
is scarcely conscious, for the dominion of imagination is as yet
not loudly asserted. This fidelity and care in imitation are the
things first noticeable about the studies of the great Italians.
Nothing in any stage of their art was carelessly or incompletely

42 THE ITALIAN SCHOOL.
done. There is no rough suggestion of design, no inexact record
of artistic invention. Even in such a work as the sketch book of
Jacopo Bellini,1 which must take rank as the most familiar wit
ness of the daily habits of the artistic life of the time that has
descended to us, there is no rapid or careless workmanship ;
every drawing seems to have been executed with an entire
attention to precision, and in the schemes for pictures scattered
through the volume we find the forms of the rocks and trees in
the landscapes fully imitated. It would be interesting to com
pare the splendid animal drawing to be found in this volume
with the sketches of such an artist as Sir Edwin Landseer — to
note in the work of the Venetian the firm, conscientious outlines,
and the seizure of forcible action at once vivid and sculp
turesque, and then to turn to observe in the modern painter
the effective indication of texture and the choice in expression
of some look or attitude suggestive of humour or pathos. And
when we pass from Bellini to his pupil, Mantegna, we find this
science increased and strengthened. The observation of nature
is seen in his drawings to be approaching to that final mastery,
which in the drawings of Leonardo da Vinci and Michel Angelo
becomes mysterious in its depth and fulness of utterance.
This splendid knowledge, which so impresses us in most of
the drawings by the masters of the Italian school, renders in
their study a serviceable commentary upon Italian painting.
The wealth of invention possessed by the great painters, and
their ready seizure of every theme presented to them, have some
times been allowed to obscure the enduring qualities of their art.
In the case of many famous pictures, where the composition
affects to illustrate some theme of religious or dramatic interest,
popular criticism has been arrested by the expression of the sen
timent or the effect of the drama, and has not penetrated to the
greater artistic significance of the work revealed in its scheme of
lines or colours, and its mastery over human form. To the artist
and the student however, these are the supreme qualities in art.

See Jacopo Bellini, p. 45.

THE ITALIAN SCHOOL. 43
The form and expression of the subject are greater than the sub
ject itself, and the legend, represented with its sequence of acts
and the play of human motive, is only valuable in so far as it
helps to perfect the chosen scheme of beauty. The theme, how
ever absorbing, is but the occasion of the painter's thought.
With him the actors are greater than the action, and the splen
dour and dignity of their movements of more account than the
passion which controls them. Thus we shall find, as we approach
the supreme efforts of genius in art, that the legend loses some
thing of its immediate force in proportion as the painter or the
sculptor possesses a full mastery over the special conditions of
his craft. If he rightly understands what can and what cannot
be represented in art, he will take from a choice subject all that
painting needs, still leaving it unspoiled for the poet or the dra
matist, and the result when it is gained will be precious, in pro
portion as it is based firmly upon a knowledge of actual form and
movement expressed in harmonious colour. In the case of Greek
art this truth was never obscure. There the final accomplish
ment presents no distracting element, for the theme has been
previously reduced to complete subjection, and only exists to
account for the chosen composition of the figures. But in the
less ordered invention of the renaissance it is not always im
mediately apparent. The scope of art had been enlarged before
the machinery of the artist was perfected ; a passionate experience
had been admitted to replace the passionless ideal of the Greek
artist; and it is only in the hands of great individual painters,
such as Mantegna, Raffaello, Da Vinci, or Michel Angelo, that
we recognize a complete and unfailing perception of the way
in which these newly admitted facts were to be submitted to the
enduring laws of artistic expression. But, although sometimes
obscure, the dependence upon a knowledge of physical truth was
never absent from the ideal of Italian art ; and in the studies by
different hands, we may note more clearly than elsewhere how
eagerly the faith in nature was pursued. Such labour, with such
results of precise and subtle knowledge, seems now beyond the
reach of art. The hand has grown faltering and uncertain ; the
accepted means of imitating reality are now of a readier and

44 THE ITALIAN SCHOOL.
more facile nature. There is no longer, save in a few isolated
instances of students in whom the earlier instinct of the craft
survives, the same patient observation of form, the severe study
of light and shade, or the delicate registry of minute movements :
these things are among the needs of modern art, and in order to
learn the splendid result to be achieved by them, it is but
necessary to study these drawings that were themselves studies
of a life that is still left to us.
Hitherto the effect of any study of these drawings has not
made itself largely felt in our national art. Only a few men, in
the brief record of English painting, can claim to have gained
any valuable result from the great Italians. The taste for these
works has, however, existed for a considerable period.
King Charles I. and the Earl of Arundel may be said to have
originated the collecting of drawings, and from their time to the
present day many fine collections have been formed. In reading
Vasari's "Lives of the Painters," we often hear of a book of draw
ings. This book is believed to have been bought by a great
Italian connoisseur, Padre Resta, for Monsignor Marchetti, Bishop
of Arezzo; it was subsequently purchased by Lord Somers, and
after some time the drawings were dispersed all over Europe.
The same passion, which had been developed in England, pre
vailed in France, where the great collectors were Jabach, Crozat,
and Pierre Mariette. But the great revolution and the invasion
of Italy caused some of the highest works of art to come to
England. Sir Thomas Lawrence was one of those who showed
themselves most eager in buying. It is, indeed, to be regretted
that his collection did not come to this department, as Sir
Thomas wished, but was broken up and sold to various col
lectors. The Raffaello's and Michel Angelo's went to the
University of Oxford.
The collection of drawings of this School is perhaps not
so extensive as some foreign collections, but the specimens of
the best styles of the masters are very fine. Most of them are
mounted on the usual sunk mount, and are placed in twenty-two
solander cases.

THE ITALIAN SCHOOL. 45

JACOPO BELLINI.
i§ HIS painter, the disciple of Gentile da Fabriano, was born
in 1405. Very little is known of him before the year 1430.
From his sketch book, which we are about to describe, it
is ascertained that he was at Venice in that year. The follow
ing inscription, " De mano de ms. iacobo bellino veneto 1430. In
venetia " is written on the book. This precious volume, which
admits us at once into the secrets of Jacopo's art, was bequeathed
to Giovanni Bellini by his brother Gentile. Afterwards it passed
into the collection of Vendramini 1 during the sixteenth century,
then into that of Jacopo Soranzo, and successively into the hands
of Bishop Marco Correr, Count Bonomo Corniani, and Gian
Mario Sasso. Then it was purchased by a priest named Girolamo
Mantovani, who sold it to the British Museum in August, 1855,
for ^295 45. The book contains ninety-nine pages, 17 in. by
13 in. The drawings are done with pencil, here and there touched
with pen-and-ink ; but time in many places has obliterated the
artist's work, and in other places has left it faint and indistinct. In
this book, which for its right understanding requires some know
ledge of artistic studies, it may be observed how Jacopo took
note of everything that came within his range — animals, land
scapes, specimens of architecture, trees, and flowers. Most of
the drawings refer to subjects from the New Testament, showing
in many instances something of that grandeur which afterwards
distinguished Titian. He died in 1470. Artists are strongly
recommended to study this sketch book, and to be most careful
in handling it.

1 This sketch book is mentioned in a work entitled : " Notizia d' Opere
di Disegno nella prima meta del Secolo xvi  " Bassano, 1800, 8°
p 81. " El libro grande in carta bombasina de disegni de stil de piombo
fu de man de Iacomo Bellino."
It is, however, more fully described in " Cicogna," and also in
"E. A. 'iscrizioni Veneziane," Venezia, 1853, 40. vol. vi. pp. 756-758.
Gaye, " Kunst-Blatt." 1840, No. 23, &c. &c. &c.

46 THE ITALIAN SCHOOL.

GENTILE BELLINI
JAS the eldest son of Jacopo Bellini, born in 142 1. From
his hand we have very little. There are, however, two
drawings, in pen-and-ink, of a Persian chief and his
lady, that are in several ways noteworthy. They must have been
executed during the artist's stay at Constantinople, and, as rare
studies of eastern costumes by an Italian painter of the time, their
interest is considerable. In the drawing of the lady it is worth
while to remark the memoranda made by Bellini of the different
colours of the dress. He died in 1501.

GIOVANNI BELLINI.
)HE younger son of Jacopo Bellini, born in 1422. He was
M ^ the first Venetian who painted in oil colours, and has
the credit of having been the master of the two great
Venetian painters, Titian and Giorgione. He died in 15 12.
There is by him a crucifixion, drawn on tinted paper with
a pen, and heightened with white ; and also two saints.

PIETRO VANNUCCI (" PERUGINO ").
iHIS painter, who is usually called Perugino, was Raf-
faello's master. His style of drawing, though lacking
something of freedom in line, has always a graceful com
mand over the sources of tender expression. The type which
attracts the artist is never without sweetness, but there is no
powerful revelation of its beauties, and no grandeur in the treat
ment of form. He was born in 1446, and died in 1524.
1. Head of an Old Man with a Beard, drawn with the style, and
touched with white on tinted paper.
2. Figure of an Angel (whole length), playing the violin, in pen-and-
ink. It is the original drawing for one of the angels, standing on clouds,
in the picture of the Ascension of Christ, now in the Museum at Lyons.

THE ITALIAN SCHOOL. 47
ANDREA MANTEGNA
|AS already been mentioned as an engraver. Some of
his drawings, which are exceedingly fine, are described
here.
l. An Allegorical Composition, in pen-and-ink.1 This drawing has
been named the " Misfortunes of Apelles," and its subject is taken from
an incident in the life of the painter described by Lucian. Apelles was
accused by Antiphelus, a painter who envied him, before Ptolemy,
of having conspired against him. The king, enraged, was about to put
him to death, when one of the real conspirators, compassionating his fate,
undeceived the monarch ; who, repenting his own credulity, gave Apelles
a present of 100 talents and delivered his accuser to him as a slave.2
This event is thus described by Lucian. " On the right of the picture
was seated a person of magisterial authority, to whom the painter had
given large ears, like those of Midas, who held out his hand to Calumny
as if inviting her to approach. He is attended by Ignorance and Sus
picion, who are placed by his side. Calumny advanced in the form of
a beautiful female, her countenance and demeanour exhibiting . an air of
fury and hatred. In one hand she held the torch of Discord, and^ with
the other dragged by the hair a youth, personifying Innocence, who, with
eyes raised to Heaven, seemed to implore the succour of the gods. She
was preceded by Envy, a figure with pallid visage and an emaciated form,
who appeared to be the leader of the band. Calumny was also attended
by two other figures, who seemed to excite and animate her, whose de
ceitful looks discovered them to be Intrigue and Treachery. At last
followed Repentance, clothed in black, and covered with confusion at the
discovery of Truth in the distance, environed with celestial light."
This drawing was formerly in the collection of Mr. Van der Schelling
of Amsterdam ; it was brought into this country by M. Gautier about 1718.
Rembrandt copied it while it was in Holland. The two drawings were
subsequently in Mr. Barnard's possession, who, at the back of the original,
has noticed these curious facts.
1 There is an engraving of this drawing in which the Piazza of SS.
Giovanni e Paolo at Venice is introduced in the back-ground. Bartsch
(vol. xiii. p. 113, No. 10) places this print amongst the anonymous
masters of the early Italian school ; but Mr. Ottley, p. 516, says " it is
not impossible that the subject may have been engraved by Mocetto, with
some reference to a rude satire on Coleone, mentioned by Muratori."
We possess two states of this rare plate.
2 See Bryan's " Dictionary of Painters and Engravers," London, 1858,
p. xi.

48 THE ITALIAN SCHOOL.
Rembrandt's copy is now in the Print Room ; and it is curious to
compare the style in which the two drawings are executed. We may
observe how, in its translation into a cruder artistic language, the firm
and determined outline of Mantegna's drawing is sacrificed. The more
picturesque art is also formless, and, although we get a forcible pre
sentment of the whole, the subtle truth of individual line and the strength
of knowledge which does not fear precise expression, are lost. Mantegna's
drawing is an excellent example of his skill in the disposition of a number
of figures, and may be compared in this way with some of the large
designs in the National Gallery.
2. An Allegorical Representation of Folly. A drawing, in red and
brown colour, heightened with white.
The composition is similar to the celebrated painting by Mantegna in
the Louvre.
It has been engraved by Zoan Andrea, and is placed with the
engravings of Mantegna (B. xiii. 303. 16). On the right of the
drawing, Ignorance, in the shape of a monstrous woman, sits enthroned
upon a globe supported by two sphinxes. Two figures of Envy and
Blindness stand behind ; a sack of money lies at their feet. Still to the
right, but below the throne, a fire consumes laurel branches ; and beneath
the fire are the words " Virtus combusta.' On the left of the picture, a
nude figure of a blind woman, and behind her a hooded male figure led
by a dog, stand on the verge of a chasm, drawn on by two hideous
monsters. 3. Allegorical Figures. Mars seated: on his right is Diana, standing
up, with the bow in her left hand ; on the left, Venus. A beautiful
drawing, executed in bistre, and shaded with lake and ultramarine. The
female figure on the right is very similar to the Venus, standing
near Mars, in the picture of Mount Parnassus in the Louvre.
4. The Crucifixion, drawn on tinted paper, with pen, and heightened
with white.
This is probably the original sketch for the picture of the same sub
ject in the Louvre, which is described thus, in the " Annales du Musee,"
by C. P. Landon, Paris, 1 809. 8° ire Collection. Tome complementaire,
p. 91. " Ce tableau, dont la composition symetrique et l'execution un peu
seche indiquent la renaissance de l'art, est neanmoins recommandable
par la nettete des masses, par un certain grandiose dans le jet des draperies
et dans les dessins des nus ; par une grande naivete d'expression et de
caracteres, et surtout par le soin avec lequel toutes les parties en sont
terminees." 5. The Virgin and Child. She is seated embracing the Infant Jesus
with both her arms. (This drawing has been reproduced in the " Gazette
des Beaux-Arts," vol. xx. p. 482.) In pen-and-ink.

THE ITALIAN SCHOOL. 49

TIZIANO VECELLIO (OR TITIAN).
()HIS illustrious master of the Venetian School was born
at Capo del Cadore, in Friuli, in 1477. He studied
painting under Giovanni Bellini, in his time the greatest
painter of Venice, whose style he at first adopted. He was also a
pupil of Zuccati and Giorgione, and improved his original style
by studying the works of the latter, with whom he contracted an
intimacy. At the early age of ten he was already distinguished
as an artist, and his reputation rose rapidly. He painted
historical subjects, portraits, and landscapes, and was greatly
patronized by the Emperor Charles V. and Cardinal Farnese, the
former of whom conferred upon him the honour of knighthood,
and a pension, and held him in the highest regard. The
" Assumption of the Virgin," in the Academy of the Fine
Arts, at Venice, and " Christ crowned with Thorns," in Spain,
are among his finest works ; Venice and Madrid also contain
many remarkable productions of his genius. He lived to the age
of ninety-nine, his powers continuing undiminished almost to the
last. His works are consequently numerous, but they still retain
their rank among the highest efforts of the art. He was the
friend of Michel Angelo, and founder of the true principles of
colouring. He resided chiefly at Venice, where he died of the
plague, in 1576.
His drawings are exceedingly rare and valuable.
1. St. Peter Martyr. A pen-and-ink drawing of this famous
picture. It is remarkable for the' breadth and fulness of the strokes,
peculiar to Titian, who seems to have carried this branch of drawing
to the highest pitch ; and also a study made for the tree, forming part
of the painting, in black chalk.
The oil painting, the masterpiece of Vecellio, was burnt at Venice
on the 16th August, 1867. It was in the church of San Giovanni
e Paolo. The design represents St. Peter struck down by an assassin ;
his companion is seen, on the right, fleeing in terror. Above are two .
lovely angels presenting the palm of martyrdom to the saint. The
drawing differs in several points from the picture. Bequeathed by
R. Payne- Knight, Esq.

50 THE ITALIAN SCHOOL.
2. Virgin and Child, with a group of dancing boys on the other side
of the sheet. In pen.
3. Triumph of Galatea. In pen.
4. Cupid Bending his Bow.
MICHEL ANGELO BUONARROTI.
^ICHEL ANGELO was born at Castel Caprese, in
Tuscany, on the 6th of March, 1475. When very young
he was placed by his father, Lodovico, under Domenico
del Ghirlandajo; he soon distinguished himself from the other
pupils, especially in sculpture. At the age of eighteen he
produced a " Sleeping Cupid,"1 which was sold by Baldassare, of
Milan, to Cardinal Raffaele Riario, as an antique. Soon after
this event he went to Rome, and there he sculptured the " Pieta "
for the Cardinal de Rohan, now in St. Peter's. In 1501 he
returned to Florence, and began the David, now removed from
the Piazza della Signoria to the " Accademia." In 1503 the
Florentines, proud of their victories, resolved to decorate their
Council-hall with representations of some of the battles won by
them, and employed Michel Angelo and Leonardo da Vinci,
in different places, to paint frescoes. The subject was the wars of
Pisa. Leonardo chose to represent a combat of horsemen, which
he introduced as a part of the history of Nicolo Piccinino, the
famous commander for the Duke of Milan ; in this the painter
displayed his knowledge of anatomy, by the varied forms and con
torted attitudes of the combatants. Michel Angelo selected a
moment in which a body of Florentine soldiers, bathing in the
Arno, are called into action by the signal of battle. It was,
perhaps, impossible for him to have taken a more appropriate
subject to exhibit his great power of drawing. Neither of these
works was completed, and the cartoons have long since been lost or
destroyed.2 In 1508 Michel Angelo returned to Rome, and was
1 It has been engraved in the collection of ancient and modern statues
by Domenico Rossi, Roma, 1704, and in the third volume of the Museum
Florentinum. 2 A portion of the Michel Angelo cartoon has been engraved by
Marc' Antonio Raimondi, and that of Leonardo, by Edelinck.

THE ITALIAN SCHOOL. 51
commissioned by Pope Julius II. to paint in the Sistine Chapel.
He was engaged for seven years on the fresco representing the
Last Judgment. It is related that the Pope impatiently asked
him when he meant to finish it, and was answered, " When I
can." One day Julius II. retorted in great wrath, "Thou hast a
mind, then, that I should have thee thrown from the scaffold."
The artist finished it soon after this, and it was exposed to
public view on All Saints' day, in 15 12. This extraordinary
man died at Rome on the 17th of February, 1564; his body
was taken to Florence, and entombed there in the Church of
Santa Croce.
His drawings fill three Solander cases.
1. Lazarus. Two most interesting studies in red chalk of the prin
cipal figure in the picture at the National Gallery, " The Resurrection of
Lazarus,'; painted by Sebastiano del Piombo. According to Vasari,
Sebastiano was assisted by Michel Angelo in the drawing and painting of
the Lazarus.
2. The Three Crosses. A study of many figures, drawn in a free
and masterly style in red chalk. The crosses are represented much
higher than they are generally drawn by other artists.
3. Our Lord Ascending from the Tomb.1 The figure of the Saviour
is highly finished, and the frightened soldiers are sketched with surprising
spirit. In pencil.
4. An interesting sheet, containing a slight sketch of a Madonna and
Child, and also a few manuscript notes by Michel Angelo. One of the
notes reads thus : " Disegna antonio disegna antonio disegna e no
pder tepo." (" Draw, Anthony, draw, Anthony, draw and lose no time.")

1 Scannelli, in the " Microcosmo della pittura," Cesena, 1657, p. 72,
says that Marcello Venusti, a pupil of Michel Angelo, was in the habit of
colouring the drawings of his master, and that in his time there was
a painting of the Resurrection, at Fori!, from Michel Angelo's own
design.

52 THE ITALIAN SCHOOL.
RAFFAELLO SANZIO D'URBINO.
^^,HIS most celebrated painter was born at Urbino on the
|gf|l 6th of April 1483. His father, an artist of some emi-
^^^ nence, after teaching him the rudiments of the art, placed
him, at the age of thirteen, under Perugino ; and he soon sur
passed all his compeers. Three years afterwards he accom
panied Pinturicchio to Siena, to assist him in painting the history
of Pius II. for the cathedral there. Thence he proceeded to
Florence, where he studied the famous cartoons of Da Vinci and
Michel Angelo. His favourite artist, however, was Fra Barto-
lommeo, from whom he acquired a more correct knowledge of
colouring. In 1508 he went to Rome, and was employed by
Pope Julius II. in the embellishment of the Vatican. On the
accession of Leo X. he prosecuted his labours with increased
spirit, and executed his " Attila" and the " Deliverance of St.
Peter." He also painted several fine pieces for Francis I. of
France, by whom he was liberally rewarded. Raffaello was also
an able architect, having acquired the principles of that art under
Bramahte, who recommended him as his successor to conduct
the great work of St. Peter's, the general plan of which, as it now
stands, was designed by him. He also constructed several mag
nificent buildings at Rome, particularly the Caffarelli Palace.
As a sculptor he evinced great skill, though he was unable to give
much attention to that art. As a painter his numerous works
are chiefly to be found at Rome. In the National Gallery there
are a St. Catherine, a portrait of Julius II., the " Vision of a
Knight," with the original pen-and-ink drawing, and a portion of
a cartoon. The University of Oxford possesses a fine collection
of his drawings. Raffaello's peculiar strength was in expression
and elegance of form, in which he has never been surpassed. He
died at Rome in 1520, at the early age of thirty-seven.
His drawings fill two Solander cases.
1. Madonna and Child. This drawing, of which the frontispiece to
this work is an engraved fac-simile, has been represented to be Raffaello's
study for the " Garvah Madonna," known more generally as the " Aldo-

THE ITALIAN SCHOOL. 53
brandini Madonna," now in our National Gallery. I have ascertained,
however, on very reliable authority, that this is not the fact. In the
forthcoming catalogue of the works of Raffaello, which has been prepared
by Dr. Ruland, and will be published at the expense of the Queen, this (the
fac-simile) is described as a study for the " Virgin and Child" now in the
possession of Mr. R. J. Mackintosh, of London, who purchased the picture
in 1856. In this picture the Virgin is half length, and the Infant Jesus
is depicted in a standing attitude. Passavant (" Life of Raffaello," vol. ii.
p. 120, No. 90) describes it thus: " Madone avec PEnfant debout. La
Vierge, assise sur un banc, ou se tient aussi l'enfant Jesus debout, serre
avec amour son fils contre sa poitrine, en lui tenant le pied avec la main
gauche. L'enfant enlace le cou de sa mere et regarde en souriant hors
du tableau, tandis que la Vierge baisse les yeux, dans une joyeuse con
templation. Au fond, un coin de paysage." (Painted on a panel and
transferred to canvas.)
Our drawing was acquired by the trustees of the British Museum at
the sale of Dr. Wellesley's collection of drawings, on the 14th July, 1866,
the sum paid for it being ^600. (Sotheby's Sale Catalogue, Lot 2425.
" Virgin and Child. A most exquisite and lovely drawing, executed on
prepared paper, with the silver point, one of the most charming examples
of the great artist." \\ by 54. in.)
Slender though the drawing is, we realize in it the facile work of a
sublime master. In very few drawings, even by Raffaello himself, do we
find developed such sweet and softened grace, such self-conscious purity
of heart, as beams on the countenance of the Virgin in this picture. We
are alike attracted by the simple method of the rendering of this sublime
subject — the pious and beautiful medium of the Incarnation — and by the
skill of the artist who could produce by so small a number of lines such a
type-illustration of the wondrous story of the union of God with the
human race.
2. The Entombment. One of the many sketches in pen-and-ink for
the painting of " The Entombment of our Lord." The picture is now in
the Borghese Palace at Rome. Raffaello painted it in his twenty-fourth
year for the Church of St. Francis, at Perugia. It was sold in 1607 to
Paul V., a member of the Borghese family. This superb drawing was
formerly in the collection of Sir Thomas Lawrence, afterwards in that of
the King of Holland, and was finally bequeathed to the nation by Mr.
Chambers Hall. (Passavant, vol. ii. p. 60 a.)
3. Jacob's Dream. Sir Thomas Lawrence considered this the finest
drawing in his collection. In his catalogue we read the following :
" Nothing can exceed the grandeur and simplicity with which it is
treated ; no figure that the art has ever produced represents with such
nature and truth a sleeping figure as the Jacob — he sleeps to the very

54 THE ITALIAN SCHOOL.
ends of his fingers. The solitary bit of landscape, and the cloud on the
other side, give a splendid effect to the angels mounting the ladder, and
they are treated with such profound skill that they truly represent
ethereal beings." Raffaello painted this subject twice in the Vatican :
once on the ceiling of the chamber of Heliodorus, and again in the
Loggie. 4. Portrait of Timoteo della Vite. This portrait is considered to
be the finest head ever produced in black chalk. Timoteo was the great
friend and executor of Raffaello.
This drawing belonged formerly to the Marquis Antaldi of Pesaro, in
whose possession it had been from the days of Timoteo, the Marquis being
a descendant of the artist. It was purchased with other drawings at the
Woodburn sale.
5. A very interesting sheet, containing sketches for some Of the
figures in the " Theology," commonly called the Dispute on the Sacra
ment, painted in the Vatican about the year 1 509, together with a study
of a foot and the following sonnet by Raffaello in his own hand-writing at
the upper corner to the right : —
un pensier dolce e rimembrase e modo1
di quello asalto ma piu gravo el danno
del partir ch'io restai como quei c'ano
I mar perso la Stella sel ver odo
Or lingua di parlar disogli el nodo
a dir di questo inusitato ingano
cha mor mi fece p mio gravo afanno
ma lui pu. ne ringratio e lei ne lodo
lora sesta era che l'ocaso un sole
aveva fatto elaltro surse inlocho
ati piu da far fati che parole
ma io restai pur vinto al mio gran focho
che mi tormenta che dove Ton sole
disiar di parlar piu riman fiocho.
It is difficult, perhaps impossible, to understand the exact sense of
these lines in the original Italian. The following translation must there
fore be considered as merely an attempt to afford the English reader
a glimpse of their meaning : —
The memory is sweet of that salute,
And sweet the guise ; yet still I grieve
That I remain'd like those who've lost
The star at sea, if truth I hear.
1 The word in italics has completely disappeared from the original,
it can be read, however, in the photograph of the drawing in the Albertina.

THE ITALIAN SCHOOL.

55

Now tongue, be free, tell of this trick
So strange that Love has played on me,
To my great pain ; yet him I thank
For that same wile, and her I praise.
The vesper hour the meeting brought
One day ; the next saw us again
In place, more apt for deeds than words,
But I remain'd in thrall, alas !
It grieves me sore, that when one fain
Would speak, the more one often fails.
In the Albertina, Vienna, there is a study for the same composition,
with the same verses corrected. A photograph of the drawing is in the
department.
LEONARDO DA VINCI.
JHE life and works of this great master having been
already referred to at page 22, it is only necessary to
mention here a few of his drawings in this collection.
1. The Virgin and Child. The Virgin is seated, with the Infant
Jesus, who is hugging a cat, in her arms.
A very spirited sketch in pen, washed with sepia.
2. Profile of a Man ; his head is turned to the right. Executed with
the silver point on grey paper.
3. Study for an Old Man, similar in face to the previous one, also
executed with the silver point ; the lights put on in white.
4. A Profile of Dante. Executed with the silver point on grey paper.
ANTONIO ALLEGRI ("CORREGGIO").
§5 HIS illustrious painter was born at Correggio, near
Parma, in 1494. Of his parentage very little is known,
for by some biographers he has been described as of
very poor origin, and by others, noble and rich. He may be
looked upon as the great master of harmonious and daring
draughtsmanship. His frescoes at Parma are wonders of art.
He died in 1534.
1. A First Study for the Celebrated Picture called "La Notte,"
now in the Gallery at Dresden. Executed in bistre, and heightened with
white. 2. A very Fine Head of St. John. Life size. In crayons.
3. A Study of St. John and the Lamb. One of the figures in the
Duomo at Parma. In red chalk.

The following is a complete list of the Italian Masters
represented by original Drawings in the
British Mtiseum.

£GRESTI, Lodovico,
see Forli, Livio
da.
Albani, Francesco,
1578-1660.
Alberti, Durante, 1538-1613.
Alberti, Giovanni, 1558- 1601.
Algardi, Alessandro, 1593-1654.
Allegri, Antonio, " il Correggio,"
1494-1534.
Amerighi, M. A. da Caravaggio,
1569-1609.
Angeli, Filippo d', 1 600- 1 640.
Angelico, Fra Giovanni, da Fiesole,
see Fiesole.
Aquila, Pompeo dell', 1 6th century.
Aretusi, Pellegrino, see Munari.
Arezzo, Bartolommeo d', fl. 1560.
Arpino, d', see Cesari.
Baciccio, G. B., see Gaulli.
Baglione, Giovanni, born 1573.
Baglioni, Cesare, died 1590.
Baldassare da Siena, see Peruzzi.
Baldovinetti, Alessio, 1425-1499.
Balducci, Giovanni, 1560-1 600.
Bambini, Nicolo, 1651-1736.
Bandinelli, Baccio, 1487- 1569.
Bandini, Giovanni, fl. 1570.
Barbarelli, Giorgio, " Giorgione,"
1477-1511.

Barbatelli, Bernardino, " Poccetti,"
1542-1612.
Barbieri, G. F., " il Guercino,"
1590-1666.
Bardi, Donato, " Donatello," 1383-
1466.
Barocci, Federigo, 1528-1612.
Bartoli, P°. Santi, 1645-1700.
Bartolommeo, Fra, see Porta,
Baccio da.
Bassano, see Ponte, Jacopo.
Batoni, Pompeo, 1708-1787.
Beatrice, Nicolo, fl. 1650.
Beccafumi, Domenico, 1484-1549.
Bella, Stefano della, 161 0-1664.
Bellini, Gentile, 1421-1501.
Bellini, Giovanni, 1426-1516.
Bellini, Jacopo, 1405-1470.
Bernini, Giovanni Lorenzo, 1598-
1680.
Berrettini, Pietvo da Cortona, 1596-
1669.
Berrettoni, Niccolo, 1637-1682.
Bertani, G. B., " Ghisi," fl. 1568.
Bigordi, D., "del Ghirlandajo, "
1451-1495.
Biscaino, Bartolommeo, 1632-1657.
Bolognese, il, see Grimaldi.
Bonaccorsi, Pierino del Vaga,
1500-1547.
Bonati, Giovanni, 1635- 1681.

THE ITALIAN SCHOOL.

57

Bonifazio, Francesco, born 1637.
Bonone, Carlo, 1569-1632.
Boscoli, Andrea, fl. 1606.
Botticelli, Sandro, 1437-1512.
Brandi, Giacinto, 1623-1691.
Brizio, Francesco, 1574-1623.
Brusasorci, see Riccio D.
Buonarroti, M. A., 1474-1563.
Burrini, G.Antonio, 1656-1727.
Caccioli, G. B., 1623-1675.
Calabrese, il, see Preti, Mattia.
Caldara, Polidoro da Caravaggio,
1495-1543.
Caliari, Paolo, " Veronese," 1 530-
1588.
Cambiaso, Luca, 1527-1585.
Campagnola, Domenico, 1482-
1550.
Campi, Giulio, 1500- 157-2.
Canal, Antonio, " il Canaletto,"
1697-1768.
Cangiagio, see Cambiaso, L.
Cantagallina, Remi, 1556-1624.
Cantarini, Simone, da Pesaro,
1612-1648.
Capanna, Puccio, fl. 1334.
Caracci, Agostino, 1558-1601 or 5.
Caracci, Annibale, 1560- 1609.
Caracci, Lodovico, 1 555- 161 9.
Caravaggio, Polidoro da, see Cal
dara.
Cardi, Lodovico, " Cigoli," 1559-
1613.
Carducci, Bartolommeo, 1560-
1610.
Carpi, Girolamo da, 1501-1556.
Carpi, Ugo da, fl. 1500.
Carpioni, Giulio, 161 1-1674.
Carrucci, Jacopo, " da Pontormo,"
1493-1558.
Casolani, Alessandro, 1552-1606.
Castagno, Andrea del, 1 403- 147 7.
Castello, Bernardo, 1557-1629,

Castiglione, G. B., 1616-1670.
Cavedone, Giacomo, 1577-1660.
Celesti, Andrea, 1637-1706.
Cellini, Benvenuto, 1 500-1 570.
Cesari, Giuseppe d'Arpino, 1568-
1640.
Chimenti, Jacopo da Empoli, 1554-
1640.
Cignani, Carlo, 1628-17 19.
Cigoli, Lodovico, see Cardi.
Cima, G. B., da Conegliano, d. c.
1517.
Circignani, N° dalle, Pomarance, d.
c 1591.
Clovio, Giulio Giorgio, 1498-1578.
Conca, Sebastiano, 1676-1764.
Corona, Leonardo, 1561-1605.
Corradi, D°. see Bigordi.
Correggio, see Allegri.
Cortona, P°. da, see Berrettini.
Credi, Lorenzo di, see Sciar-
pelloni.
Crespi, Giovanni B0., 1557-1633.
Crespi, Daniele, 1590-1630.
Creti, Donato, 1671-1749.
Damini, P°. da, 1592-1630.
Danielli, B. fl. 1650.
Dello, 1372-1421.
Dolci, Carlo, 1616-1686.
Domenichino, see Zampieri.
Donatello, see Bardi.
Donducci, Giovanni A., 1575-
1655.
Dosio, G. A., 1533-1600.
Durante, Alberto, see Alberti.
Empoli, Jacopo, see Chimenti.
Facini, Pietro, d. 1 602.
Farinato, Paolo, 1525-1606.
Ferrari, Gaudenzio, 1484-1550.
Ferri, Ciro, 1634- 1689.
Feti, Domenico, 1589-1624.

58

THE ITALIAN SCHOOL.

Fialetti, Odoardo, 1573-1638.
Ficherelli, Felice, " Riposo,"
1605-1660.
Fiesole, Fra Giovanni Angelico,
1387-1455-
Fiesole, Mino da, " Rossi," d.
i486.
Figino, Ambrosio, fl. 1 590.
Fontana, Prospero, 1512-1597.
Forli, Livio da, fl. 1560.
Franceschini, Baldassare, 16 1 1 -
1689.
Francesco, Giovanni, fl. 1494.
Francia, il, see Raibolini.
Franco, Battista, 1 536-1 56 1 .
Francucci, I., fl. 1542.
Furioni, O.
Gabbiani, A. D., 1652-1722.
Gaddi, Angiolo, 1324- 138 7.
Gambara, Lattanzio, fl. 1560.
Gamberucci, Cosimo, fl. 1610.
Garbo, Raffaellino del, 1466-1524.
Garofolo, B., see Tisio.
Gaudenzio da Milano, b. 1484.
Gaulli, Giovanni B1., 1639-1709.
Gemignani, L0., 1644-1697.
Gemignano,V.,seeSan Gimigniano.
Gennari, Benedetto, lived 1 6 1 0.
Gennari, Cesare, 1641-1688.
Ghezzi, P. L., 1674-1755.
Ghiberti, Lorenzo, 1378-1455.
Ghirlandajo, D"., see Bigordi.
Ghisi, G. B., see Bertano.
Giordano, Luca, 1632-1705.
Giorgione, see Barbarelli.
Giotto, 1276-1337.
Giovanni da S. Giovanni, see Man-
nozzi.
Giusti, Antonio, 1624-1705.
Grimaldi, G. F., " il Bolognese,"
1606-1680.
Guardi, Francesco, 1712- 793.
Guercino, see Barbieri.

Guidi, Tomaso, " Masaccio," 1 40 1 -
H43-
Imola, I., see Francucci, I.
Lanfranco, Giovanni, 1678-1744.
Lauri, Filippo, 1623-1694.
Lelio da Novellara, see Orsi.
Leoni, Ottavio, 1578-1630.
Licinio, Giovanni, Ant°. " il Porde-
none," 1 484-1 540.
Ligorio, Pirro, d. c. 1580.
Ligozzi, Jacopo, 1543-1627.
Lione, Andrea di.
Lippi, Filippino, 1460-1505.
Lippi, Fra Filippo, 1400-1469.
Locatelli, Pietro, d. 1690.
Londonio, Francesco, b. 1723.
Lucatelli, see Locatelli.
Luciani, Sebastiano del Piombo,
1485-1547.
Maffei, Francesco, d. 1660.
Malosso, Giovanni, see Trotti.
Mannozzi, Giovanni, 1 590- 1636.
Mantegna, Andrea, 1430-1506.
Maratta, Carlo, 1625-1713.
Marchetti, Marco, fl. 1588.
Marco da Siena, see Pino.
Marinari, Onorio, 1627-1715.
Marrucci, Gaspare
Masaccio da S. Giovanni, see
Guidi.
Massari, Lucio, 1569-1633.
Mastelletta, see Donducci.
Maturino, d. c. 1528.
Mazzuoli, F°., " il Parmigia-
nino," 1503-1540.
Mecherino, see Beccafumi.
Meldolla, Andrea, 1520-1582.
Milani, Aureliano, 1675-1749.
Modena, Pellegrino da, see Mu-
nari.
Mola, G. B., 1616-1661.

THE ITALIAN SCHOOL.

59

Mola, P°. F0., 1609-1668.
Monsignori, F0., 1455- 1519.
Morghen, Raffaello, 1758-1833.
Moro, il, see Torbido.
Motta, Raf. da Reggio, 1550-
1578.
Munari, Pellegrino, " Aretusi," d.
1523-
Mura, F. de, fl. 1743.
Muziano, Girolamo, 1528-1590.
Naldini, Batista, 1537-1590.
Narri, Giovanni, da Udine, fl.
1510.
Nebbia, Cesare da, 1536- 16 14.
Onofrio di Crescenzio, fl. 1712.
Orsi, Lelio da Novellara, 1 5 1 1 -
1587-
Paggi, G. B., 1554-1627.
Palma, Jacopo, " il Vecchio,"
1518-1574.
Palma, Jacopo, " il Giovine,"
1544-1628.
Pannini, G. P., 1691-1764.
Parmigianino, il, see Mazzuoli.
Pasinelli, Lorenzo, 1629-1700-
Passeri, Bernardino, fl. 1 520.
Passeri, Giuseppe, 1654-1714.
Passerotti, B°., 153°-1592.
Perugino, P0., see Vannucci.
Peruzzi, Baldassare, 1480- 1536.
Pesello, Francesco, 1426, d.c.1457.
Pino, Marco da Siena, 1520-
1587-
Pinturicchio, Bernardino, 1454-
1513-
Piombo, Seb. del, see Luciani.
Pippi, Giulio Romano, 1492-1546.
Piranesi, G. B., 18th cent.
Pisanus (?).
Poccetti, see Barbatelli.
Podesta., Andrea, fl. 1636.

Polidoro, see Caldara.
Pollajuolo, Antonio, 1426-1498.
Pomarance, dalle, see Circignani.
Ponte, Jacopo da, " Bassano,"
1510-1592.
Pontormo, see Carrucci.
Pordenone, see Licinio.
Porta, Baccio della, Fra Barto
lommeo, 1469-1517.
Porta, G., " Salviati," 1535-1585-
Pozzo, Andrea, 1642- 1709.
Preti, Mattia, " il Calabrese," 1 6 1 3-
1699.
Primaticcio, Nicolo, 1490-1570.
Procaccini, Camillo, 1545-1627.
Raffaello, see Sanzio.
Raibolini, Francesco, " Francia,"
died 1517.
Reni, Guido, 1575-1642.
Ricci, Marco, 1679-1729.
Ricciarelli, Daniele da Volterra,
1509-1596-
Riccio, D°., " Brusasorci," 1484-
1567-
Robusti, Jacopo, " Tintoretto,"
1512-1594.
Romanelli, G. F., 1617-1662.
Romano, Giulio, see Pippi.
Rosa, Salvator, 161 5- 1673.
Rossi, Francesco, " il Salviati,"
1510-1563.
Rossi, Mino, da Fiesole, see Fie
sole.
Rosso, il, Maestro, b. 1541.
Sabbatini, L"., 1533-1577-
Sacchi, Andrea, 1598-1661.
Salimbeni, Arcangelo, fl. 1579-
Salimbeni, Ventura, I557"i6i3-
Salviati, Francesco, 1510-1563.
Salviati, Giuseppe, see Porta.
San-Gimignano, V. da, fl. 153°-
Sansovino, Jacopo, 1479-1 57°-

6o

THE ITALIAN SCHOOL.

Sanzio, Raffaello, 1483-1520.
Saraceni, Carlo, b. 1585.
Sarto, Andrea del, see Vannucchi.
Schedone, Bartolommeo, 1 560-
1616.
Schiavone, Andrea, 1522-1582.
Sciarpelloni, L°. di Credi, d. c.
1531-
Sesto, Cesare da, d. c. 1524.
Siena, Baldassare, see Peruzzi.
Siena, Marco da, see Pino, Marco
di.
Signorelli, Luca, 1440-1525.
Siliani, G. D.
Sole, Giovanni G., 1654-17 19.
Solimene, F0., 1657-1747.
Spada, Lionello, 1576-1622.
Squarcione, Francesco, 1 394- 1474-
Tassi, Agostino, 1566- 1642.
Tempesti, Antonio, 1555-1630.
Testa, Pietro, 1617-1650.
Tiarini, Alessandro, 1577-1688.
Tibaldi, Pellegrino, 1527-1600.
Tiepolo, G. D., 1692-1769.
Tintoretto, Giacomo, see Robusti.
Tisio, " Garofalo," Benvenuto,
1481-1559.
Tiziano, see Vecellio.
Torbido, F., " il Moro," 1 500- 1 58 1 .
Trevisani, Francesco, 1656-1746.
Trotti,G.B.," ilMalosso," b. 1555.
Turchi, Giuseppe, 19th cent.

Uccello, Paolo, 1389-1472.
Udine, Giovanni da, see Nani.
Urbani, Pietro, 16th cent.
Vaga, P°- del, see Bonaccorsi.
Vanni, Francesco, 1 563-1 609.
Vannucchi, Andrea del Sarto,
1488-1530.
Vannucci, P., " Perugino," 1446-
1526.
Vasari, Giorgio, 1512-1574.
Vecellio, Tiziano, 1477-1576.
Verocchio, Andrea del, 1432-
1488.
Veronese, Paolo, see Caliari.
Verrio, Antonio, 1639-1707.
Vignola, Giacomo da, 16th cent.
Villamena, Francesco, 1566-1626.
Vinci, Leonardo da, 1452-1519.
Viola, G. B., 1572-1622.
Vite, Timoteo della, 1 470- 1524.
Volterra, Daniele da, see Ric-
ciarelli.
Zampieri, Domenico, " Domeni-
chino," 1581-1641.
Zanetti, Ant". Maria, 1716-1782.
Zelotti, G. Battista, 1532-1592.
Zuccarelli, Francesco, 1702-1788.
Zuccaro, Federigo, 1542-1609.
Zuccaro, Taddeo, 1529-1566.
Zucchi, Jacopo, b. c. 1541.

THE GERMAN SCHOOL.

THE GERMAN SCHOOL.

jT would be useless here to resume the discussion
as to the conflicting claims of Germany and
Italy to priority in the invention of engraving.
This subject has already been referred to, and
we shall therefore proceed at once to mention the
works of an artist who must certainly take rank among the
earliest engravers on metal.

"THE MASTER OF 1466."
?0 called because he used no monogram ; but on some of
his plates we find the dates 1466 and 1467. His works
are very numerous, and not unlike those of Israhel van
Mecken, who, together with Franz van Bocholt, was most pro
bably his disciple. The heads of his figures are not always in
correct proportion ; but his works are specially valuable as being
the first German productions in which feeling and emotion are
successfully expressed. (Bartsch, vol. vi. p. 1.)
1 . The Baptism of Christ. The nude figure of Jesus is seen in the
centre of the print (Ottley, p. 599, No. 14*), standing in the river Jordan,
the waters of which reach half-way up his legs. St. John has a book in
hand, and on the right is an angel holding a cloth. Above is the Almighty,
below two swans, and a small bird perched upon a stump.
2. The Nativity (B. 13). In the middle of the composition is the
Virgin worshipping the infant Jesus, who is on the ground towards the

64 THE GERMAN SCHOOL.
right, surrounded by three angels likewise worshipping. On the left,
towards the background, is Joseph, and other figures. Near a door on
the left are an ox and an ass.
3. A Patena (B. p. 47). A circular plate. In the middle is St. John
the Baptist, represented as an old man, and seated amid a landscape.
He has a book on his knees, and the lamb is by his side. The four evan
gelists, and fathers of the Church stand around. The borders are much
ornamented.1
MARTIN SCHONGAUER.
)E was born and died at Colmar ; the date of his birth is
said to be about 1420 ; he died in 1488. In Germany he
is known as Martin Schon, and in France as " Le beau
Martin," on account of the feeling expressed in his faces. He
was a goldsmith and a painter, as well as an engraver. Our col
lection of his prints is very fine and almost complete. (Bartsch,
vol. vi. p. 103.)
1. Christ Bearing the Cross (B. 21). Christ is carrying the
Cross to Calvary, followed by a number of Jews, some on foot and some
on horseback. All moving towards the left.
In the centre below is the artist's monogram. A very scarce print.
This print was so much admired at the time that it was copied by
Israhel van Mecken, W. Olmutz, and the so-called Culmbach.
2. The Temptation of St. Anthony (B. 47). The Saint is borne
up into the air by demons.
Vasari highly praises this engraving ; he says that Michel Angelo,
when a youth, copied it in colour.2
The monogram of the artist is in the middle below.

FRANZ VON BOCHOLT.
*§NE of the most, if not the most ancient of German
engravers ; it is supposed that he was the master of
Israhel van Mecken. His plates are chiefly copies after
Martin Schongauer and others ; and the style not unlike that
of the " Master of 1466." (Bartsch, vi. p. 77.)
1 This engraver is known also as the master ES.
2 See also Condivi, "Vita di Michel Angelo Buonarroti." Ed. 1746,
Florence, p. 4.

THE GERMAN SCHOOL. 65
1 . St. George and the Dragon (B. 33). St. George is seen fighting
on horseback, in armour, and galloping towards the right. The Queen,
accompanied by a lamb, is seen on the left beyond in a landscape.
2. St. Christopher. The saint is represented towards the centre of
the composition, supporting himself on his staff with both hands. The
Infant Christ holds a globe on his left knee, and his right hand is raised
in the act of blessing. Part of a ship is seen in the background on
the left, also a large galley, and beyond it a city. This print is not
mentioned by Bartsch.

ISRAHEL VAN MECKEN.
i)HIS artist is not so conspicuous by the quality of his
work as by the number of his productions, which
is 250. The date of his birth is uncertain, but
his death has been fixed as having taken place in 1503.
(Bartsch, vi. p. 184.)
There is in the Print Room a very fine set of his engravings
which fills three volumes, including a few undescribed by Bartsch.
The series known as the " Life of the Virgin " is considered
his best work. The Life of the Virgin.
A set of twelve prints, viz. (B. 30-41.)
1. The High Priest Refusing the Offering of Joachim.
2. The Birth of the Virgin.
3. Her Presentation in the Temple.
4. The Marriage of the Virgin.
5. The Annunciation.
6. The Nativity of Christ.
7. The Adoration of the Magi.
8. The Circumcision of Christ.
9. The Massacre of the Innocents.
10. Christ Disputing with the Doctors.
1 1 . The Death of the Virgin.
12. The Coronation of the Virgin.

66 THE GERMAN SCHOOL.

THE MASTER OF THE CADUCEUS.
IlfgjERY little is known of this engraver, who is so named on
account of his habit of marking all his prints with a
caduceus.1
In a large volume, entitled, " Jacob Walch di Barbarino,"
there is a fine set of this master's works ; many of which are
not described by Bartsch or Passavant. By some authors he
is placed amongst the Italian engravers. Zani is of opinion that
he was more likely to have been a Frenchman or Fleming, but
here we shall follow Bartsch's order (vol. vii. p. Si 6).

HANS SCHAUFFLEIN.
HIS distinguished engraver on wood was the pupil of
w Diirer, and imitated him to such an extent that some of
his productions have been attributed to that master.
He was born at Nuremberg in 1490, and died in 1540. His
works are arranged in a separate volume. (Bartsch, vii. p. 244).
1. A Riposo (B. 7). This woodcut is enclosed in an ornamental
frame with the date of 1515.
2. The Bearing of the Cross (B. 28).
3. The Martyrdom of St. Sebastian (B. 39).
There are besides many prints by this artist not described by
Bartsch, amongst which the following are noteworthy.
1. Eve Tempting Adam.
2. The Nativity.
3. The Adoration of the Magi. &c, &c.
1 According to an article lately published in the " Gazette des
Beaux-Arts " (February, 1876), there appears to be no doubt that the real
name of the " Master of the Caduceus " was " Jacopo de Barbarj," that
he was born at Bologna, and assumed the name of " Jacob Walch "
when he visited Germany. See also another article in the same Gazette,
vol. xi. p. 311.

THE GERMAN SCHOOL. 67

HANS BURGKMAIR,
WELL known painter and engraver, was a native of
Augsburg. He was born in 1473 and died in 1559.
It has been stated, but without sufficient evidence, that
he was the pupil and friend of Diirer ; it is true, however, that,
in some of his numerous woodcuts, he shows the style of that
master. Of his works, it suffices to say that the following select copies
of his three best productions are in the Print Room." (Bartsch,
vii. p. 197.)
1. "Der Weiss Kunig" (B. 80). A volume containing ninety-three
impressions of the series of woodcuts, of a very early date, and for the
most part printed on the reverse of a decree issued by Maximilian in 15 14
(seventy-two are mounted in the volume, the others are inserted loose).
2. " Le Triomphe de 1' Empereur Maximilien I. En une suite de cent
trent-cinq planches gravies en bois d'apres les dessins de H. B." (B. 81.)
A very fine copy of the edition published at Vienna, folio, 1 796.
3. " Images de Saints et Saintes issus de la famille de 1' Empereur
Maximilien I." (B. 82.) A series of eighty-seven proofs before the text
on the backs, forming part of an earlier issue than that in the Imperial
Collection at Vienna, and including the two cuts mentioned by Bartsch,
p. 242, Nos. 1 & 2.

HANS HOLBEIN,
j§HE eminent painter, was born at Augsburg in 1498. He
acquired the elements of his art from his father, with
whom he. went to Basle in 1515. His talents procured
him the friendship of Erasmus, for whose " Praise of Folly " he
drew several whimsical designs. At the recommendation of
Erasmus he came to England in 1526, and was employed by
Sir Thomas More, who introduced him to the notice of King
Henry VIII. by whom he was patronized. He rose to the
zenith of fortune in that monarch's court ; and painted a number

68 THE GERMAN SCHOOL.
of portraits, which are still considered master-pieces of the art.
He also executed several historical paintings, some in a highly
graphic style ; and his " Bible Illustrations " are well worthy of
note. He died in London in 1543.
Amongst wood engravers, Holbein is chiefly known for his
" Dance of Death," and the " Bible Illustrations," for which the
actual cutting of the blocks has by many critics been attributed
to him. However, it is now almost universally admitted that he
did not engrave his own designs of the "Dance of Death," but
that they were executed by one Hans Liitzelburger. The initials
" H. L." may be seen on one of the sheets, namely, that of the
Duchess. Ab. Zani calls Liitzelburger, " II vero Principe de-
gl' incisori in legno." Holbein also designed a great number of
title-pages, initial letters, and head-pieces for books which were
printed in his native place. Of these woodcuts the Museum
possesses a great many, which are now mounted, and placed in a
Solander case, according to the arrangement of Passavant (vol.
iii- P- 353)-
1. There are in the Print Room forty-one proofs of the Dance
alluded to; they are those described in the Ottley Sale Catalogue (Sotheby,
17 May, 1837, p. 29, lot 458), as — "The celebrated Dance of Death,
first impressions printed (probably at Basle, about 1530) upon one side
only, with German titles at the top in type, supposed to be unique." 1 One
of them (the Astrologer) is wanting, but is here, together with five others,
supplied from a later edition.
And also the following editions of the same Dance.
2. " Imagines de Morte, et Epigrairiata, e Gallico idiomate a. Georgio
jEmylio in Latinu translata, Lugduni, small 8vo. 1 542.''
3. Fifty-three cuts of the Dance of Death, printed on 27 leaves, every
leaf except the last having a subject on each side. Inlaid and bound.
These cuts are from an edition printed in Italian at Lyons in 1 549.
1 See Dibdin, Bibliographical Decameron, vol. i. pp. 39, 40 ; also
Jackson's Treatise on Wood Engraving, p. 400, in which he says : " That
they were printed in 1 530 is highly improbable, and they certainly are not
unique."

THE GERMAN SCHOOL. 69

"THE LITTLE MASTERS."
IjHIS title has been given to certain artists to denote the
size, and not the quality, of their works. It is not
extraordinary that German workmen should have per
fected this style of minute engraving. Their patience in
imitation and exactness of method fitted them for the task,
which, moreover, satisfied their desire of rich and elaborate
design. The style must be accepted as illustrating a difficult
technical perfection, which rises everywhere above merely
mechanical effect.

ALBRECHT ALTDORFER.
;E is supposed to have introduced the custom of
engraving in miniature, and, therefore, to have been
the chief of the " Little Masters." He copied freely
from Diirer and Marc' Antonio. He lived at Ratisbon, where
he was highly respected, and died in 1538, at the age of 50.
His works are almost all in the Print Room ; the few wanting,
which are very scarce, are represented by carbon photographs,
taken from the Oxford collection (Bartsch, vol. viii. p. 41).
1. The Virgin and Child (B. 13). The Virgin is seated on a throne
near an altar, surrounded by angels. Two angels are in the air, playing
on stringed instruments.
2. Vases, &c. (B. 75-96). A very fine set of vases, cups, &c, profusely
ornamented, and of varied forms. Only a few are wanted to make the
set complete.

BARTHEL BEHAM.
I)HIS artist, distinguished as a painter and engraver, lived
a long time at Rome, and there learnt to imitate
Marc' Antonio. His execution is of great delicacy and
taste. He was born in 1496, and died in 1540 (Bartsch, vol. viii,
p. 81).

70 THE GERMAN SCHOOL.
l. Portrait of Charles V. (B. 60). This portrait is three-quarters
length, and shows the figure turned to the right. On the left, above, is
the artist's monogram, and below an inscription.
(There is also an impression before the monogram.)
2. Cleopatra (B. 12). She is standing by a tree on the left of the
print. Above, on the right, we read, " Cleopatra," and a little below
"1524-"

HEINRICH ALDEGREVER.
I|HIS celebrated engraver, one of the most noted among
"the Little Masters," was born in 1502, and died about
1562. He studied under Diirer, tried almost every style,
and was very successful in portraits ; still more so in orna
ments, which he embellished with graceful figures.
His works are very numerous, and the set in the Print Room
is a fine one (Bartsch, viii. p. 362).
Portrait of William, Duke of Juliers (B. 181). He is represented
half length, at the age of twenty-four. His head is turned towards the
right. His coat of arms is on the right, above. The best work of the
master. Other works by " the Little Masters " are prints by —
Jakob Binck (B. viii. p. 249),
Hans Sebald Beham (B. viii. p. 112),
Georg Pencz (B. viii. p. 319),
and others.

ALBRECHT DURER.
(,HIS eminent man was born at Nuremberg on the 20th of
May, 147 1. He was the son of a goldsmith, in whose pro
fession he had made some progress before he turned his
attention exclusively to the fine arts. These he studied, under
the able Michael Wohlgemuth, with such success that he soon
became proficient as a painter and engraver. He excelled
also as a sculptor and an architect. His pictures are scarce and

THE GERMAN SCHOOL. 71
highly valued. His best historical paintings are in the collec
tions of Dresden, Vienna, Munich, and Prague ; and the inhabi
tants of his native city still show with pride his portraits of
Charlemagne and other emperors. But it is as an engraver that
he is most celebrated. He was one of the earliest improvers
of this art, and was also the first in Germany who wrote a work
on the rules of perspective, and on the true proportions of the
human body according to mathematical principles. Diirer
was highly esteemed by the Emperors Maximilian I. and
Charles V., who appointed him their artist, and conferred upon
him honours and riches : the former, who was a great patron of
the arts, used to visit Diirer frequently to watch him at work.
Raffaello, as a proof of the high estimation in which he held
a portrait sent him by Diirer of himself, returned his own, with
a great number of his drawings ; and Vasari, in treating of him
observes, that if Diirer had been an Italian he would have been
an extraordinary man. He died at his native place, Nuremberg,
on the 6th of April, 1528.
The bulk of the Museum collection was formed and
bequeathed to the nation by Joseph Nollekens, Esq., by the
Rev. C. M. Cracherode, and by Sir Hans Sloane (Bartsch, vol.
vii. p. 1).
Woodcuts.
1. Michael and his Angels Fighting the Dragon (B. p. 128, No. 72).
The treatment of this subject is different from that adopted by other artists.
Michael is here represented, lance in hand, accompanied by several
angels, and having all the appearance of singular strength and power.
Below is a fine landscape.
2. The Trinity (B. 1 22). The Almighty Father supporting the body
of the Saviour ; on both sides are angels carrying the instruments of the
Passion. Below, on the tablet, the date " 151 1."
This is one of the most excellent of Diirer's works.
3. The Death of the Virgin (B. 93). This woodcut is specially
interesting, inasmuch as it closely resembles in composition a hone-stone
carving, also by Diirer, which will be described hereafter. Kugler places
it amongst the best works of the master, and both the design and the
drawing support this opinion. Engraved in 15 10.

72 THE GERMAN SCHOOL.
There are in the Print Room thirty-five of the original wood
blocks of the Small Passion. The set originally consisted of
thirty-seven ; the two wanting are the title, and Christ taking
leave of his mother, which are Nos. 16 and 21 of Bartsch. The
set was purchased from the Rev. P. E. Boissier in 1839.
Engravings on Copper.
1. Adam and Eve (B. 1). Represented standing near the tree of life.
Eve is receiving with her right hand the apple from the serpent, while
Adam is stretching his left arm to receive the apple from Eve. On
a tree is Diirer's tablet dated " 1504," and " Albertus Diirer Noricus
faciebat." There is also one impression of this most elaborate and delicate
engraving, in which only the right leg of the figure of Adam, and part of
the background are finished ; all the rest being in outline.
This state is exceedingly rare. The print formed part of the Ottley
collection, purchased in 1836.
2. The Nativity (B. 2). The Virgin is in the act of adoring the
Infant Jesus, lying on a large square stone, while Joseph is drawing water
from a well. Dated " 1504."
3. The Prodigal Son (B. 28). He is kneeling in the attitude of prayer.
Before the trough are several swine feeding. A highly esteemed work.
Engraved about 1500.
Zani (part ii. vol. vi. p. 238) says that this print is a copy of an early
production of Wohlgemuth, his master. The original drawing in pen-and-
ink is in the Museum collection.
4. Saint Eustachius or St. Hubert (B. 57). The saint is in the
costume of a huntsman, with his horse and 'dogs by his side. He is
kneeling before a stag, which has a crucifix between its horns.
This is the largest plate of Diirer.
The Emperor Rudolf esteemed this work so much that he ordered the
plate to be gilded.
5. Fortune (B. 77). Represented by a naked female figure, with
wings, standing in the clouds upon a globe ; she holds in one hand a vase,
and in the other a bridle. Below is a village, said to be Eytas, in Hungary,
the birth-place of Diirer's father.
This print is known as the " Great Fortune," to distinguish it from
another. It has also been called " Pandora," and " Temperance." There
are several studies for this engraving in the Print Room.

the german school. 73
Carving.1
One of the most important works of Diirer in this collection
is a hone-stone carving, representing the birth of St. John the
Baptist.2 The chosen material is the sort of stone known as
whet-stone. It is of yellow colour, and on account of its very
fine grain is well adapted for producing minute effects. This
most beautiful work is an alto-rilievo, seven inches and a half in
height, five and a half in breadth, and one inch and an eighth in
depth. The amount of perspective obtained in this depth is
altogether remarkable. On the left a female attendant is offering
refreshment to the mother of St. John, and on the other side
stands a doctor. The figure of Zacharias is seated at the side,
writing his new-born son's name on the tablet, whilst the infant
is presented to him by an old woman. On looking below the
frame, we notice that the under-work is just as carefully finished
as that on the surface. Near the door we see a man, who is sup
posed to be Diirer himself. The Hebrew inscriptions have been
read and found correct. In the foreground on the right is a dog,
behind which is Diirer's tablet with his monogram and date
1510. This work was bequeathed to the nation by Mr. Payne-
Knight, who acquired it in the Netherlands, about the end of the
last century, at the cost of ^5oo.3
Of the same kind is another specimen of carving in the
Museum at Brunswick. It represents the Preaching of St. John
the Baptist in the Wilderness ; there is also an " Ecce Homo."
The works of the following early German engravers are
bound in volumes :
" Le Maitre a la Navette " (Bartsch, vol. vi. p. 90).
1 See E. Forster, " Denkmale Deutscher Baukunst, Bildnerei und
Malerei." Leipzig, i860. Vol. vi. pi. 2.
2 St. Luke's Gospel, chap. i. verses 62, 63, and 64. " And they made
signs to his father, how he would have him called. And he asked for a
writing-table, and wrote, saying, His name is John. And they marvelled
all. And his mouth was opened immediately, and his tongue loosed, and
he spake, and praised God."
3 It has been successfully engraved by M Flameng from a photograph
taken by the Autotype Company.

74 THE GERMAN SCHOOL.
Wenzel von Olmutz (Bartsch, voL vi. p. 317)-
Hans von Culmbach (Bartsch, voL vi. p. 382).
Lucas Cranach (Bartsch, vol. vii. p. 273).
Hans Springinklee (Bartsch, vol. vii. p. 322).
Urs Graf (Bartsch, vol, vii. p. 456),
" Le Maitre a 1'Ecrevisse " (Bartsch, vol. vii. p. 257).
Ludwig Krug (Bartsch, vol. vii. p. 535).
Daniel Hopfer (Bartsch, vol. viii. p. 473).
Hieronymus Hopfer (Bartsch, vol. viii. p. 5°6)-
Lambert Hopfer (Bartsch, vol. viii, p. 526).
Virgil Solis (Bartsch, vol. ix. p. 242).
And all those described in Bartsch, vol. vi.-xi.

LATER ENGRAVERS.
WENZEL HOLLAR.
JJHIS admirable artist was born at Prague in 1607. He
began to study the arts when very young, and pursued
his studies with great attention : but during the Thirty
Years' War he lost the whole of his fortune, which caused him to
leave his native place in 1627, and go to Frankfort, where he
placed himself under Matthew Merian. The Earl of Arundel
became acquainted with him during his travels in Germany,
noticed him, brought him to this country in 1636, and recom
mended him to Charles I. Here he worked hard ; but died
poor in the year 1677.
The Museum collection of Hollar's engravings is one of the
best known. The greater portion of it formed part of Sir Hans
Sloane's collection ; he obtained these engravings from Hollar's
widow, who survived her husband many years. The prints are
arranged in fourteen volumes according to Parthey's catalogue.1
1. Portrait of Hollar, at the age of forty (P. 1420). A small oval in
a cartouche, with the arms of the engraver.
1 Parthey, G. " Beschreibendes Verzeichniss der Kupferstiche von
W. H." 8vo. Berlin, 1853.

THE GERMAN SCHOOL. 75
2. A View of London, from the top of Arundel House (P. 1011). On
the terrace roof of the house are several persons pointing to the view.
3. View of Arundel House (P. 1034). This represents the interior
of a quadrangle, with a staircase in the middle.
4. A Set of Six Prints, representing views of Albury, in Surrey
(Pp. 937-42).
5. View of the Cathedral Church at Antwerp (P. 824).

FRANZ EDMUND WEIROTTER
|AS born at Inspruck in 1730, and died in 177 1. He was
the pupil of J. G. Wille, and spent most of his life in
France, travelling from time to time in Italy. In the
year 1767, he became Professor of the Academy of Design at
Vienna. His etchings consist of landscapes, ruins, churches, &c,
and are arranged in three volumes. They formed part of the
magnificent collection of engravings of Prince de Paar, of Vienna,
which was sold in 1854.
1. In vol. i. are " Six differentes vues d'apres nature."
2. In vol. ii. " xii Vues de Divers endroits. 1760."
3. In vol. iii. are some of his largest and best plates, including the
four seasons and the twelve months of the year.

CHRISTIAN WILHELM ERNST DIETRICH
jjjAS born at Weimar in Saxony, in 171 2, and resided
chiefly at Dresden. He was also an etcher, and a land
scape painter. His etchings are very numerous and,
exceedingly fine ; some of them are much in the style and imita
tions of Rembrandt, Ostade, and Salvator Rosa. He died in 1774.
In the Print Room is a very good set of his works, arranged
in three volumes according to Linck's catalogue.1
1. The Prodigal Son presenting himself to the husbandman to feed
the swine (L. 27). Dated. 1756.
1 Linck, J. F. " Monographie der von C. W. Dietrich radirten,
geschabten und in Holz geschnittenen Darstellungen, nebst einem Abriss
der Lebensgeschichte des Kunstlers," 8vo. Berlin, 1846.

76 THE GERMAN SCHOOL.
2. A Pastoral Scene (L. 135). In the foreground a naked female
figure seated on a grassy bank ; she appears to have been just bathing.
The composition includes many figures and cattle.
* 3. The Mountebank (L. 74). A composition of numerous figures,
very much in the style of Ostade. Dated 1 740.

DANIEL NICOLAUS CHODOWIECKI.

JHIS prolific engraver was born at Dantzic in 1726. He
was the son of a drug merchant ; and did not seriously
begin to study art until his seventeenth year. He
laboured chiefly for the embellishment of books ; and some
of his best works are to be found in Richardson's Clarissa,
in Don Quixote, Shakespeare, and Voltaire. He died in i8or
whilst Director of the Academy of Arts and Sciences at Berlin.
The Museum collection of his works is very fine ; it fills six
volumes, arranged according to Engelmann's catalogue.1
1 . Illustrations to " Nicolais Sebaldus Nothanker" (E. 93) ; in the same
volume are plates to Lavater's " Physiognomische Fragmenten zur
Beforderung der Menschenkentniss und Menschenliebe."
2. Illustrations to Shakespeare's " Hamlet" (E. 213).
3. Illustrations to Richardson's " Clarissa" (E. 797).

JOHANN GEORG WILLE.
FHIS distinguished engraver, after haying learnt the
elements of drawing at Konigsberg, where he was born
in 1 7 17, went to Paris and perfected himself in repro
ducing with the graver the fine silks and satins painted by
the Dutch masters. He was especially noticed by Rigaud,
who constantly advised him. His portraits of French artists
are all very fine. He died at Paris in 1808.

1 Chodowiecki (D. N.) sammtliche Kupferstiche, beschrieben mit
historischen, literarischen und bibliographischen Nachweisungen . . . von
Wilhelm Engelmann. 8vo. Leipzig, 1857.

THE GERMAN SCHOOL. -j-j
In the Department there is a very fine set of his works, which
is arranged in five large folio volumes according to M. Charles le
Blanc's Catalogue.1
1. Les Musiciens Ambulants (Le Bl. No. 52). Two musicians are
depicted under a doorway. The elder one is on the right, wearing a large
hat and playing on the violin,, whilst his companion is playing on a bag
pipe. On the left there are some children and a man looking on.
This fine engraving is after Dietrich. There are five states, of which
the first is a touched proof.
2. Le Concert de Famille (Le Bl. No. 54). Seated at a table are two
men and a woman ; she is singing with one of the men, and the other
accompanies them on his violin. By the side of the woman there is an
old man, in the background a fifth person.
This print is after Godfrey Schalken. According to M. le Blanc, there
are only two states ; but this collection has an earlier state, that is, before
the border and arms of Christian VII.
3. Abel Francois Poisson de Vandieres, Marquis de Marigny (Le Bl.
No. 125). He is seen standing, turned towards the left.
After Jean LouisTocque, 1761.
CHRISTIAN FRIEDERICH VON MULLER,
|N eminent engraver, was born at Stuttgart in 1783,
and was the pupil of Johan Gotthard von Muller, his
father, under whose tuition he did not remain very long.
In 1802 he went to Paris to complete his studies : and afterwards
to Prina, near Dresden, where he died in 1816. His chef d'osuvre
is the Madonna of San Sisto, painted by Raffaello, and now
in the Dresden Gallery. This celebrated plate, which he only
just lived long enough to complete, was ordered about 1808 by
Rittner of Dresden.
1. The Madonna of San Sisto.
First State. Unique proof before all letters.
Second State. Proof with open letters.
Third State. Finished proof, with the date " 1 808."
Fourth State. With lettering re-engraved, and date "18 12."
1 " Catalogue de TCEuvre de Jean Georges Wille, graveur, avec une
Notice Biographique parM. Charles le Blanc, de la Bibliotheque de Paris."
Leipsic, 1847, 8vo.

78 THE GERMAN SCHOOL.
2. St. John. After Domenichino.
First State. Proof before all letters.
Second State. Proof, open letters.
Third State. Finished proof, with the date " 1808."
Fourth State. Finished proof, lettering re-engraved, with the date
" 1812." There are besides specimens by the following German
engravers : —
F. van, Bleysweyk, flourished 1725- 1746.
Richard Collin, 1627- 1690.
Jeremias Falck, 1629- 1709.
Heinrich Guttenberg, 1749-18 18.
Ernst Morace, 1766- 1820.
Johann Gotthard von Muller, 1747- 1830.
Georg Friedrich Schmidt, 1712-1775.
Joseph Schmuzer, died 1740, and others.
And also a collection of etchings by modern German artists ;
amongst which there are almost complete sets of the works of
Johann Ulrich Franck, 1603-1680.
Jonas Umbach, 1624- 1700.
Christian B. Rode, 1725- 1797.
Solombn Gessner, 1730-1788.
Friedrich Reclam, 1734- 1774.
Johann C. Reinhart, 1761-1847.
Carl, Baron von Vittinghoff, 1772-1826.
Friederich Gauermann, born 1806.
Eugen N. Neureuther, born 1806.
Johann W. Schirmer, born 1807.
Theodore Valerio, born 18 19.
Lorenz Ritter (living),
and others.

GERMAN DRAWINGS.
JN the few prefatory remarks upon the drawings of
the Italian school we dwelt upon the insight to be
obtained through these abstract expressions of the
master's thoughts into the profounder principles of his
art. The drawings of the early artists are, in truth, the first
records of the artistic idea. They show us the ample and willing
dependence of the painter upon the unchanging facts of art,
his devotion to physical expression, and the rich suggestions
of design which came to him from a profound and varied know
ledge of physical form. It is by means of drawings also that we
can most clearly distinguish differences of style. Amongst
students of the same school, with something of general system
and a manner held in common, there is still enough left in the
delicate outlines of a drawing to mark off the separate indivi
dualities, and in a larger view of art-history the drawing presents
with special force and distinctness the characteristic features in
the styles of different countries. The lines of separation betwden
the art of Italy and that of Germany are at all points numerous
enough, but the instinct for colour up to a certain perfection has
been more widely distributed than a perfect sense of form ; and
it is in regard to the different modes of treating form that the
testimony of drawing is so valuable.
If Italian drawings afford us evidence of the aptitude which
Italian artists discerned in individual form with an abstract
idea, German drawings supply the best witness of a patient and
reverent portraiture. It may be said that all that is highest
in German art springs either directly or remotely from this
power, and here we find the quality that most decisively sepa-

80 THE GERMAN SCHOOL.
rates it from the art of Italy. The beginning of Italian painting,
in its modern form, contains much of this direct imitation of
nature. It was, in truth, the recognition of nature that first gave
new life to art. But with this new life, and the rapid growth of
the artistic idea, came also a renewal of instinct for abstract
beauty. The Italians no sooner found out the value of nature
than they also discovered the loveliness and wide meaning of
the antique. At the point where painting sought to emerge
from strict portraiture, and to make itself in some sense an
image of the world, it met with the undying achievements
of Greek sculpture. The special function of classic art is to
correct the tendency to narrow imitation of the individual ; and,
in its growth, portraiture came as the final stage. At the period
of its most perfect development the artist has so refined upon
a wide type, as to give individual life to what was in the likeness
of no single face or form ; producing an image of more perfect
nature than man possesses, and yet breathing and moving like
him. This tradition of Greek art surviving to the time of the
renaissance was Italy's inheritance ; and by its aid Italian
painters were quickly able to reduce their new knowledge of
nature to the conditions of artistic expression. In German
drawings we must not seek the signs of such tradition, nor hope
for the grace derived from it. We have only to note how the
power of portraiture wrought out its own perfection : how, be
ginning from this reverent imitation of nature, the German
artist attained by the intensity of his vision an abstract beauty
peculiar to his own art. We may observe, first, how, in the
case of an artist like Albrecht Diirer, the deep, imaginative
impulse found expression by clothing itself with a garment of
symbolism. In presence of the great designs by this master,
it must be admitted that nowhere can we meet with drawing
that preserves more astonishingly the impression of profound
mental force. We do not seek to attach a precise reading
to each design : it is enough that everywhere we find a hand
that has drawn this single image from the remote recesses
of nature ; and that the exact form of every minutest part of

THE GERMAN SCHOOL. 81
landscape, or of human expression, reveals, as by some magic
power, the deep, penetrating vision of its author. The drawing of
Diirer must always remain one of the most fascinating problems
in art ; for by means not known to others, his design reaches to
that wide and profound significance far beyond the scope of
common portraiture. When we meet with this abstract beauty
in Italian design we may refer its expression to more familiar
principles of art. There the individual genius succeeds by
obedience to the eternal laws of his craft ; but in Diirer's designs,
side by side with the intense mental power, we find some
thing of the harshness that belongs to much of the German paint
ing. In the actual expression the artist is still fettered to an
individual form : the demands of portraiture still keep their hold
upon his hand ; and from this bondage we find him taking refuge
in the grotesque and in symbolism. In speaking of German
drawings Diirer's name must necessarily take a prominent place ;
not only because of his individual power, but also because of the
insight afforded by his work into the general principles of the
school. We have spoken of portraiture as the basis of German
art ; and we have noted how, from the lesser significance of
simple portraiture, Diirer's work somehow escaped. Diirer felt
truly the higher functions of his art ; and he chose his own way
of gaining the higher success. He created the style which
governs his expression ; and his creation becomes an influence
which leaves its mark upon future effort.
It may be noticed of Diirer's works, as compared with others
of the German school, that his rich and careful imitation of
nature is never more than is needed for the purposes of his
design. There is a principle of severe selection even in the
abundance of his symbolism, and we are made to feel that each
minute incident has its appointed place ; and that although the
landscape is strikingly individual, no commonest external fact
is there by accident, but all assist the intellectual design. In
others of the German artists we sometimes find the power of
workmanship in excess of the imaginative capability. The
skilful reproduction of minute effect appears only as a means of
filling the given space with rich and decorative workmanship,
G

82 THE GERMAN SCHOOL.
and we miss the strong, intellectual grasp which unites all the
elements of skilful imitation in a combined result. Yet the work
of these lesser men has its own special value, in the proof it
affords of the high artistic qualities of fidelity and exactness.
The design may be timid, and sometimes poor ; but the patience
with which it is wrought out must be highly rated, the courage
with which the technical difficulties are encountered duly ac
knowledged. In one painter of the German school the special aptitude for
portraiture finds its highest expression. There is no longer an
attempt to travel beyond the limits of the art ; there is no sym
bolism, crude or subtle. In his work the power of faithful and
profound insight into individual character is employed in the most
direct way. Holbein's genius ranks as the biographical in art.
Without violating the conditions of pictorial expression, with
out sacrifice of artistic traditions, the artist seems to find in each
face the secrets of its character, as well as its fate and fortune.
Under his scrutiny the countenance gives up its most profound
history without disturbance of present vitality. Indeed, it may
be ranked among the merits of his style, that Holbein combines
an insight into character with the power of recording the signs
that show the outward state and condition of the individual
represented. By the costume and clothing of the men he has
painted and drawn, we seem to acquire a knowledge of their
social life, their foibles and peculiarities of mere manners ; but,
when the face is reached, it is seen that the painter does not
stop here, but that he has penetrated to the abiding qualities of
mind, the governing attributes of character. Thus we find in
these two men, Holbein and Diirer, the two exponents of what
may be done in a school that is intrinsically bounded by the
limits of portraiture. We see the intellectual force of the latter
with its employment of symbolism, carrying his art into the
imagination ; while in Holbein a result scarcely less profound is
gained by studying the lineaments of the individual face until it
yields its deepest secrets.
The Department of Prints and Drawings contains a collec
tion of German drawings scarcely less valuable than that of the

THE GERMAN SCHOOL. 83
Italian school. With regard to Durer and Holbein it is specially
rich, and may compare with the collections of any gallery in
Europe, if we except the splendid series of drawings by Diirer in
that of the Archduke Charles at Vienna.

MARTIN SCHONGAUER.
&HIS meritorious artist, whose engravings we have already
noticed (p. 64), enjoyed in his time the reputation of
a great painter.
These three drawings by him are in pen-and-ink.
1. Studies of Heads, drawn with great freedom and spirit. Several
of these heads occur in his engravings.
2. Christ as Teacher of the World. Full length, giving the bene
diction with his right hand, and holding in his left the Book of Life.
This drawing has the following manuscript inscription, which is said to be
in Diirer's handwriting: "Das hat hiibsch Martin gemacht in 1469 jar."
3. Bust of a Female Saint. She is almost full face, her head slightly
inclined towards her left shoulder. Her hands, which are meant to be
joined, are slightly sketched.

ISRAHEL VAN MECKEN.
|F this artist, whose engravings have already been men
tioned (p. 65), there are four drawings in the Depart
ment.
1 . A Group of Six Female Figures in Costumes. Drawn with metal
point on grey paper.
2. A Man Standing with a Book in his Hand.
3. The Entombment. Pen and washed.
On the other side is another design for the same subject.
4. A Holy Family. Pen, heightened with white, on red paper. It is,
however, doubtful whether this drawing is by Van Mecken ; more pro
bably it is by the " Master E. S."

84 THE GERMAN SCHOOL.
ALBRECHT DURER.
£OST of the drawings of this great master (see p. 70) are
in a folio volume bound in black leather, with the
inscription "Teckening" " 1637 "and Diirer's monogram.
This precious volume, which was most probably at one time
the property of Wilibald Pirckheimer, came to the Museum with
the Sloane collection, in 1753, and once belonged to the famous
collection of the Earl of Arundel.
It contained 229 drawings, some of which have been lately
taken out, and mounted in the usual way.
The various specimens of this inestimable volume, which are
comparatively unknown to the art-world, bear upon them for the
most part the unmistakable impress of the genius of Diirer. As
illustrations of this master — and they do illustrate him in a very
complete manner— this series is second only to that existing in
the Albertina, Vienna. Their excellent preservation is as
remarkable as their high artistic merit. They consist chiefly of
studies for Diirer's engraved works, such as designs, very
elaborately wrought for ornamental work, and symbolic pieces,
portrait-heads, anatomical studies, landscapes, &c, in colour,
most of which are finished with wondrous delicacy and realism.
Many of the drawings will at once recall engravings by the
master, but of others no such reproduction is known.
l.1 The first drawing here is a portrait of Diirer, copied from the
original at Vienna. The following inscription is written in German :
" Anno 1576, February. I copied this portrait from that which the
famous Albrecht Diirer drew with his own hand, and where he wrote under
neath thus : ' I drew this, my own picture, from the reflection of a looking-
glass, in the year 1484, being then a child. Albrecht Diirer.'"
Drawn with the silver point, on prepared paper.
26. Study of an Old Man's Head, remarkably fine in character, seen
nearly in front. He wears a cap and has a long beard. It is touched in
oil colour, and heightened with white or brown on tinted paper. In the
centre above, the monogram and date, 1518.
83. A Curious and Elaborate Design for a Table Ornament. On
the base a great variety of figures. Drawn in pen-and-ink.
1 The numbers refer to the enumeration of the drawings as they now
stand in the volume.

THE GERMAN SCHOOL. 85
1 14. Study for the Engraving called the Great Fortune (Bartsch
No. 77). On the left of the paper is a large sketch for the wing.
The monogram is in the centre below. Pen-and-ink.
181-2. Sheet of Studies for his celebrated engraving "Adam and
Eve" (Bartsch No. l). Pen-and-ink.
The following drawings are on mounts in a Solander case :
A water-colour landscape representing a lake, in the middle of which
is a house similar to that which is to be seen in the engraving called the
" Virgin and the Monkey " (Bartsch No. 42).
A Dead Kingfisher. This is a magnificent drawing. The feathers
are depicted most minutely, and the colouring is very brilliant. Dated 1521.

HANS HOLBEIN.
JOR a notice of Holbein's life and works, see page 67.
Some very fine drawings of his are in the collection,
especially heads, executed in coloured chalk upon
tinted paper ; they exhibit an astounding boldness, considering
how little he made use of shadows.
1. Portrait of John Fisher, Bishop of Rochester. Drawn in chalk
and Indian ink, in Holbein's peculiar style. This drawing is spoiled by
damp. 2. Portrait of a Woman, drawn only in outline, with the silver
point. 3. Five Musicians in a Gallery, Playing on Wind Instruments.
The various expressions of the faces are wonderful.
4 The most important drawings are a set of seven, representing the
Passion ; they have beautiful borders, and are drawn in pen and Indian ink.
Notice the drawing of the Saviour carrying the cross ; it is said to have
been formerly in Rubens' collection, and to have been touched by him.
The original pictures are in the Basle Museum.
5. A superb design for the hilt and sheath of a dagger, in Indian ink.
Formerly in the Hugh Howard collection; purchased in 1874.
Worthy of attention also are several designs for cups, clocks,
and jewellery; the latter are highly praised by Woltmann, in
" Holbein and his Time." Translated by F. E. Bunnett, London,
1872.

86 THE GERMAN SCHOOL.

WENZEL HOLLAR.

?HE collection of drawings by this great engraver is a
very good one, amounting to more than forty ; amongst
them are many views and portraits, which he afterwards
engraved.

NICOLAUS MOSMAN.
)ERY little is known of this artist except that he was born
in Lorraine in 1729, and died in 1787.1
In the Print Room is a collection of 245 of his
drawings, in black" chalk, from paintings in Rome, and also of
statues. These came to the Museum in four large volumes, which
have been lately broken up, and the drawings mounted. On
the first volume there was the following inscription : —
" Mr. Nollekens, Statuary in Mortimer Street, London,
assured me that he was in Rome when the drawings in this
book were made by one Mossman, a German, who was recom
mended to Brownlow, Earl of Exeter ; and he worked at them
several years at five shillings a day : afterwards Lord Exeter
gave him half a guinea."
" Lord Exeter told Mr. Nollekens the book cost him ^"200.
Mossman was a pupil of Mengs."
At the end of the twelfth case of these drawings there are
some others by different artists which formed part of the same
collection, namely, by : —
Pietro Giacomo Palmieri, born 1 7 20. A fan mount in pen-and-ink.
Giovanni Casanova, 1728-1795. Statue of the Laocoon.
Michel Angelo Ricciolini, flourished about 17 50. Drawings after
Guido Reni.
1 See J. T. Smith, " Nollekens and his Times." Vol. i. p. 251. London,
1828. 8°.

The following is a complete List of the German Masters
represented by original Drawings in the
British Museum.

^CHEN, Johann van,
1556-1621.
Aldegrever,Heinrich, c. 1502 to c. 1562.
Altdorfer, Albrecht,
1488-1538.
Baur, Johan Wilhelm, 1600- 1 640.
Beham, Hans Sebald, 1500- 1550.
Brosamer, Hans, 1506-1560.
Burgkmair, Hans, 1474-1543.
Chodowiecki, Daniel N., 1726-
1801.
Cranach, Lucas, 1472-1553.
Dietrich, Christian W. E., 1712-
1774-
Dietzsch, Iohann A., 1720-1782.
Drejer, J. F, L.
Diirer, Albrecht, 1471-1528.
Elsheimer, Adam, 1574-1620.
Ferg, Franz de Paula, 1 689- 1 740.
Grandhomme, Jakob, fl. 1600.

Grimm, Samuel Hieronymus,
1740-1806.
Griin, Hans Baldung.
Hackert, Jakob Philipp, 1737-
1807.
Hartmann.Holbein, Hans, 1498- 1543.
Hollar, Wenzel, 1607-1677.
Karnijeff.
Kneller, Sir Godfrey, 1648-1723.
Lely, Sir Peter, 1618-1680.
Loggan, David, 1630- 1693.
Mayer, Johan Friederich,
Mecken, Israhel van, born about
1503-
Palmenuf.
Pencz, Georg, 1 500- 1 550.
Ramberg, Johann Heinrich, 1763-
1840.
Riedinger, Johann Elias, 1698-
1767.
Roos, Philipp, 1655-1705.

88

THE GERMAN SCHOOL.

Rottenhammer, Johann, 1 564-
1623.
Scharf, George (sen.), 1788-1860.
Scheits, Matthias, c. 1640-1 700.
Schongauer, Martin, 1420-1488.
Schwarz, Christoph, fl. 1 590.
Schweickart, Heinrich Wilhelm,
1746-1797
Speccart. Suavius, Lambert, 1506-1565.

Thier, Bernhard Heinrich, 1 743-
1814.
Vischer, Peter, d. 1530.
Waals, Gottfried, 16th century.
Weirotter, Franz Edmund, 1730-
1771.
Weyer, Gabriel, fl. 1 580.
Zuicke.

THE DUTCH AND FLEMISH

SCHOOLS.

r

THE DUTCH AND FLEMISH SCHOOLS.
jHESE two schools, though not so old as the
Italian and German, have produced artists who
have rivalled some of the greatest masters of
Italy and Germany. As few characteristics of
a national style are to be found in the history
of the art in the Dutch and Flemish Schools, as distinct from
the German, prior to the close of the 16th century, they may
be considered as one and the same. The earliest pictures were
painted upon wood, usually oak, covered sometimes with canvas,
always with a white ground, upon which the subject was
sketched, and the whole overlaid with gilding, the latter forming
the real groundwork of the picture, which was painted in water-
colour or distemper, with great care and diligence. At the
commencement of the 15 th century, however, the Brothers van
Eyck became the founders of a school in which the art of
painting in oil, discovered or invented by the younger, Jan,
was brought into use. This advantage, which contributed
greatly to the valuable qualities of fine colouring and exquisite
finish, placed the Transalpine school in a high position. Jan
van Eyck's paintings were distinguished by brilliant colouring,
magic effect of the chiaro-oscuro, a strong, yet natural expression,
and boldness of conception. He painted historical subjects, land
scapes and portraits, and assisted his brother Hubert in painting
the celebrated picture, "The Adoration of the Lamb," in the
Church of St. Bavon, Ghent. To the Flemish school also be
longed Frans Floris, called the Flemish Raffaello ; Frans Snyders,

92 THE DUTCH AND
whose hunting pieces are among the very best of their kind,
and who excelled in the delineation of animals ; Peter Paul
Rubens, and his pupil Anthony van Dyck, etc. These were
among the Flemish painters. Of the Dutch painters, the
most distinguished during the 16th and 17th centuries were
Lucas van Leyden, the founder of the school ; Cornelius van
Poelenburg of Utrecht, famous for his skill in painting small
landscapes and figures ; Adrian van Ostade, David Teniers,
Paulus Potter, Franz van Mieris, Gaspard Netscher, Gerard
Dou, Meindert Hobbema, and greatest of all, Paul Rembrandt
van Rhyn. Of these two schools, the Flemish is chiefly dis
tinguished by exquisite colouring, great effect in chiaro-oscuro,
and natural expression ; the Dutch, on the other hand, has
been more remarkable for its fine impasto, and delicacy of touch,
which have shown to great advantage in the sea-pieces, land
scapes, etc.
For the sake of simplicity the two schools are not divided
here.
LUCAS VAN LEYDEN.
5?HIS extraordinary engraver was born at Leyden in 1494.
He was instructed first by his father, and subsequently
by Cornelius Engelbrechtsen, at Leyden. Vasari praises
him highly, especially for his arrangement of figures, and his skill
in perspective. He died in 1533. Fine impressions of his works
are very difficult to meet with, perhaps on account of the delicacy
of his execution. For the best impressions the nation is much
indebted to Mr. Henry James Brooke, of Clapham Rise, who
deprived himself, in 1849, of his own copies in order to complete
the Museum set. (B. vii. p. 331.)
1. Samson and Delilah (B. 25). Samson is sleeping on Delilah's
lap ; in the background are the Philistines, armed, and waiting for the
signal to surprise him. This plate is one of Lucas's early works, having
been engraved in 1508.
2. The Return of the Prodigal Son (B. 78). The father is
represented stooping to receive his son, who kneels before him suppli
cating pardon. In the distance, to the left, is a man killing the fatted
calf; and on the right the prodigal son is seen again, kneeling, with
the swine at the trough.

FLEMISH SCHOOLS. 93
3. The Dance of the Magdalen (B. 122). The Magdalen is seen
in a beautiful landscape, her head encircled by a glory ; she is led out to
dance by a man. Two musicians are near a large tree. In the back
ground the Magdalen is represented again on horseback, following the
chase. This print, which is considered the best work of Lucas, was sold during
his lifetime for a gold florin.

HENDRIK GOLTZIUS.
|/HIS well-known master was born at Mulbrecht in 1558.
He travelled much in Germany and Italy, but resided
chiefly at Rome, where he attentively studied the works
of Raffaello and Michel Angelo.
He imitated the works of Diirer, Lucas van Leyden, and
others with great skill, and died at Haarlem in 16 17.
The Museum collection of his works, which is very fine,
is arranged in four volumes, according to Bartsch, vol. iii. p. 1.
1. A set of six prints, imitating the style of the most celebrated
masters, known by the name of his " masterpieces."
1. The Annunciation (B. 15-20). In the style of Raffaello.
2. The Visitation. In the style of Parmigianino.
3. The Adoration of the Shepherds. In the style of Basan.
4. The Circumcision. In the style of Diirer.
5. The Adoration of the Magi. In the style of Lucas van Leyden.
6. The Holy Family. In the style of Baroccio.
2. Venus and Cupid (B. 257). Venus is sitting at the foot of a tree,
holding a bunch of grapes in one hand, and receiving with the other some
ears of corn, presented to her by Cupid.
This, the best work of Goltzius, is engraved after a print by Agostino
Caracci.

JACOB MATHAM
AS born at Haarlem in 1571, and died in 1631. He was
the son-in-law and pupil of Goltzius. His works are
very similar to those of his master, but distinctly
inferior.

94 THE DUTCH AND
They are here arranged in four volumes, according to Bartsch,
vol. iii. p. 129.
1. Abraham dismissing Hagar (B. 63). A large upright print after
Abraham Bloemaert.
2. The Allegory of Human Life (B. 139). This composition represents
the varying fortunes of man during the progress of his life according
to Cebes. It contains upwards of two hundred figures, and is engraved on
three plates, which were intended to be joined together.
3. Samson and Delilah (B. 194). A Philistine is cutting Samson's
hair as he lies asleep on Delilah's knees.
This fine engraving is after Rubens.
JAN SAENREDAM
j^AS born at Leyden in 1565, and died 1607. He was
most probably a pupil of Goltzius, from whom he copied
a great deal. His engravings, which have a neat and
clear appearance, are remarkable for their softness.
There is a fine collection of his works in the Print Room,
arranged in two volumes, according to Bartsch, vol. iii. p. 215.
I. The Cavern of Plato (B. 39). An allegorical print, representing
some disciples of Plato collected round the light ; while the greater
portion of mankind, preferring darkness, pursue only the shadow of
Truth and the vain pleasures of the world.
This, the best work of Saenredam, is after Cornelius Cornelis.
2. Jael (B. 43). Half length, standing, holding the nail and hammer
ready to kill Sisera. After a design by Goltzius.
3. Judith (B. 44). Represented standing, and holding the head of
Holofernes, which she gives to her attendant. After Goltzius.
JAN MULLER.
)ERY little is known respecting the life of Muller, except
that he flourished between 1589 and 1625. His style of
engraving is extremely good, though his drawing is very
often incorrect.
His works are arranged in two volumes, according to Bartsch,
vol. iii. p. 261.
1. The Resurrection of Lazarus (B. 27). A large plate, length
wise, after Bloemaert.
2. An Allegory of the Arts (B. 76). Painting, sculpture, and

FLEMISH SCHOOLS. 95
architecture, banished by the Turks from the spot in which they appeared
to flourish most, retire to Olympus, under the guidance of Fame.
Two plates joined together after B. Spranger. There is in the col
lection a rare, if not unique, impression of this plate, before any writing,
and unfinished in several of the groups on the left.
THE BROTHERS WIERIX (JAN, HIERONYMUS,
ANTON).
^JHESE three eminent engravers, who were natives of
Amsterdam, flourished at the end of the 16th and
in the early part of the 17th century. They formed their
style by carefully studying the works of Diirer, and are re
markable for extraordinary neatness and minute delicacy of
execution. Their works, which are very numerous, are arranged according
to Alvin's1 catalogue ; they are placed on mounts, and fill three
Solander cases.
1. Adam and Eve (Alvin 81). Adam receiving the forbidden fruit
from Eve ; copied from Diirer's chef-d'ceuvre. Upon a tablet is inscribed
"Albrecht Diirer, inventor, Johannes Wierix, fee. aet. 16."
2. A Set of Devotional Subjects. After Martin de Vos and
B. Passero. 3. Portraits of James I. and his Queen. Whole length.
SIR ANTHONY VAN DYCK.
|HIS great artist and most eminent of portrait painters
was born at Antwerp on the 22nd March 1599. He
received his first instructions from Hendrik van Balen,
and afterwards became the favourite pupil of Rubens. He sub
sequently visited Italy, where he studied the art of colouring, in
the works of Titian and Paolo Veronese, with such success as
almost to rival the great masters whose art he imitated. After
residing for some time at Rome, he removed to Genoa, where he
was employed by Prince Philibert of Savoy, and other great per
sonages. In the early part of the reign of Charles I. he came to
England, and was employed by that monarch, who conferred
1 Catalogue raisonne de Pceuvre des trois freres Jean, JeV6me, et
Antoine Wierix. 8°. Bruxelles, 1866.

96 THE DUTCH AND
upon him the honour of knighthood, and a pension. His
greatest works were executed in this country. He painted
some historical subjects ; but his fame chiefly rests upon his
portraits of Royal and celebrated personages. His masterpieces
are held to be the portraits of the Earl of Strafford, at Went-
worth House, and the head of Cornelius vander Geest,1 in the
National Gallery. He died in London on the 9th December
1641, and his remains were interred in St. Paul's Cathedral,
near the tomb of John of Gaunt. He has left us a few etchings,
chiefly portraits, which are truly worthy of his great name.
They are arranged in two volumes, and a description of the
whole set will be found in Mr. Carpenter's book,2 and also in
a work lately published by M. Duplessis of Paris.
1 . Portrait of Anthony van Dyck. Pure etching of the head, which
is turned towards the right. It has neither marginal lines nor inscriptions.
In page 13, vol i. there is the original design, freely executed in black
chalk and Indian ink, with the exception of the head, which is a counter-
proof. This plate was afterwards finished, as an engraving, by Isaac Neefs.
2. Portrait of Joannes Snellinx. A very vigorous etching. He
wears a skull cap, and a plain collar turned down over the vest. A
mass of drapery hangs over the right shoulder ; the right hand is
expanded on the chest, and he has a linen wristband turned over his cuff.
Snellinx was born at MechlinJ in 1544 and died in 1638; he is dis
tinguished as an historical painter.
3. Portrait of Franciscus Snyders. This is one of the most elaborate
and delicate etchings of Van Dyck. The face is seen in nearly a front
view. He wears a turned down collar.
Snyders was born at Antwerp in 1579 and died in 1657, he is known
for his marvellous hunting pieces ; he worked as an assistant to Rubens.
4. Portrait of Willem de Vos. This is another fine specimen of
the artist's power. De Vos is represented three-quarters length, slightly
turned towards the left, and wears a stiff collar turned down. With his
left arm he supports his cloak.
1 Erroneously called the portrait of Gevartius, born in 1593.
2 " Pictorial notices, consisting of a memoir of Sir Anthony van Dyck,
with a descriptive catalogue of the etchings executed by him, .... by
William Hookham Carpenter. 40. London, 1844."

FLEMISH SCHOOLS. 97
De Vos was a native of Antwerp and a painter of historical pictures.
Little is known of his life.
Notice here the impression with the effect worked in sepia bv Van
Dyck. 5. Christ Crowned with Thorns. The Saviour is seen in front ;
behind him on the right is a soldier and another person, the latter mocking
him as he offers him a reed.
6. Titian and his Mistress. An etching full of effect. On the left
is Titian, in profile, leaning forward towards the right, his right elbow
resting on a balustrade. On the right is his mistress, resting her left
arm on a pedestal, on which is a human skull. The impression in
page 39 is touched with chalk.
With regard to the work entitled : — " Icones principum,
virorum doctorum, pictorum, chalcographorum, statuariorum,
nee non amatorum pictoriae artis numero centum, ab Antonio
Van Dyck pictore ad vivum expressse ejusque sumtibus seri
incisse (100 plates). Folio. Antverpiae. Gillis Hendricx (1641) "
— the Print Room contains a great number of the portraits in
proofs before letters ; but the set is not complete. They are
arranged in eight volumes, and a description of them will be
found in- a work entitled, — " Anton van Dycks Bildnisse
bekannter Personen." 8vo. Leipzig, 1859. By Ignaz von
Szwykowski.

JONAS SUYDERHOEF.1
^HIS eminent artist was born at Leyden in 1600, and
was the pupil of Peter Soutman. He excelled chiefly in
combining the etching needle and burin, which produced
a very picturesque effect. The date of his death is not certain.
The Peace of MBnster. This print represents the Plenipotentiaries
of Philip IV. of Spain, and the Delegates of the Dutch United Provinces,
assembled in the Rath-haus, at Miinster, on the 1 5th of May, 1 648, for the
purpose of ratifying and confirming by oath the Treaty of Peace between
the Spaniards and the Dutch.
1 See "Jonas Suyderhoef: Verzeichniss Seiner Kupferstiohe, Be-
schrieben von Johann Wussin." Leipzig, 1861. 8vo,
H

98 THE DUTCH AND
Of this, his finest work, there is in the Print Room a proof before any
letters, and also before the inscription " Pax Optima Rerum," on the
tablet suspended against the wall on the left. (The original painting of
this engraving is byTerburg; it is now in the National Gallery, presented
by Sir Richard Wallace, Bart, in 1871.)
CORNELIUS VISSCHER,
fHE well-known engraver, was born at Haarlem in 1629
and died in 1658. He also combined, with great success,
the burin and etching needle. His drawing is correct,
especially in those plates which he engraved from his own
designs. His works, which are very numerous, are arranged in six
volumes, according to Mr. William Smith's catalogue.1
1. The Ratcatcher (S. 43). Near him a boy holding a pole, at the
end of which is a basket of live rats.
There are several states.
2. Portrait of Alexander VII. (S. 86). Nearly half length, full
face, in oval, surrounded by a cartouche.
Several states. The first state is perhaps unique.
3. Andreas Deonyszoon Winius (S. 126). Three-quarters length,
sitting, full face, holding a paper.
This print is also known as " The Pistol Man," and is one of the
rarest by this master.
PAUL REMBRANDT VAN RHYN,
NE of the most celebrated artists of the Dutch school,
ft who may be looked upon as the king of etchers, was
the son of a miller who resided on the banks of the river
Rhine, between Leyderdop and Leyden, and born July 15, 1606
from which circumstance he derived the surname of Van Rhyn.
It is generally believed that Jacob Van Zwaanenberg was his
master ; but he afterwards received instructions in the art of
painting from Pieter Lastman and Jacob Pinas, of Amsterdam.
On his return home, he pursued his labours, taking nature for his
1 William Smith, F.S.A. " A Catalogue of the Works of Cornelius
Visscher." Royal 8°. London, 1864.

FLEMISH SCHOOLS. gg
guide. He was proficient in all that relates to colouring and dis
tribution of light and shade ; whilst his management of the pencil
was masterly and unique, grand, exceedingly energetic, and
effective. His etchings are truly picturesque, and possess a
wonderful freedom, facility, and boldness. Several fine paint
ings of his are in the National Gallery. He resided for the
greater part of his life at Amsterdam, where he died in 1669.
The almost complete and very choice collection of his
etchings in the British Museum, second to none elsewhere,
deserves the close attention of the student of this branch of
engraving. They are remarkable for the magic chiaro-oscuro, and
expression of the heads. The combination of the etching needle,
burin, and dry point, is very successful, producing the effect of
pictures rather than of engravings.
The etchings are arranged in eight volumes, according to
Daulby's catalogue.1 At the beginning of each volume is a
manuscript list of its contents.
1. Portrait of Rembrandt (D. 28). The face, three-quarters, and
body turned to the right. He is dressed in the costume of a Persian,
wearing a cap with a feather in front.
There are various states of this plate, the first of which is extremely

rare.

2. The Marriage of Jason and Creusa (D. 124). This represents
the interior of a temple, crowded with people. Jason and Creusa are
kneeling before the altar. On the right is a statue of Juno.
This print was engraved as a frontispiece to a tragedy called " Medea,"
written by the Burgomaster Six, when Secretary of Amsterdam.
3. The Little Dog Sleeping (D. 153). This etching is famous
for its history. It was originally etched in one corner of a plate
measuring about four inches and a quarter wide, by two and a half high,
and afterwards reduced to three and a quarter wide, by one and a half
high. The impression in the Print Room is the only one that was taken
before the plate was reduced ; it was first sold at Mr. Hibbert's sale in
1809; afterwards the Duke of Buckingham purchased it for £6; at the
sale of his engravings it fetched the sum of ,£66. The British Museum
purchased it, in 1842, for ^120.
1 " A descriptive Catalogue of the Prints of Rembrandt." 8vo. 1836.
See also a more miodern work, by Charles Blanc, " L'OZuvre complet de
Rembrandt. Paris, -1859-64. T. 2. 8vo."

loo THE DUTCH AND
4. " The Three Trees " (D. 204). This beautiful landscape is so-
called on account of three trees which are on the right. In the distance
is a large town. The sky is cloudy and stormy.
5. Ephraim Bonus (D. 258). A Jewish Physician coming down a
staircase after considering the case of a patient. This is one of the most
expressive of Rembrandt's portraits.
Notice the impression in p. 35, in which the ring is dark instead of
white. This is almost unique. It was formerly in the Denon, Wilson,
and Verstolk collections. Purchased in 1847.
6. Christ Healing the Sick (D. 75). In this composition Christ is
seen in front, standing towards the left, leaning his elbow upon some stone
work ; his left hand is uplifted, and his right stretched out towards the
people to whom he is speaking. In front is a woman, lying on the ground,
on a mattress, and many other figures in various postures. This is the
chef-d'ceuvre of Rembrandt, and is known as " the Hundred Guilder
Piece," because it sold in Rembrandt's time for that sum. Notice the
first state, before the diagonal lines on the neck of the ass, which is on the
right of the composition. It is said that only eight impressions of this
state are in existence.1 This plate was purchased by Captain Baillie, in
Holland, who retouched it, and, after taking a few impressions, destroyed
it. A fine proof will be seen further on in the same volume. This print,
together with the other large-sized plates, is in a separate volume known
as the "Larger Volume."
We now proceed to describe that portion of the collection
which is the most complete and brilliant, both with regard to
arrangement and beauty of impressions, namely, the etchings by
the Dutch and Flemish masters of the 17th and 18th centuries,
purchased from Mr. Sheepshanks in 1836, which are all arranged
in forty volumes.
PAULUS POTTER
r)AS born at Enkhuizen in 1625. At the early age oi
twelve, he had already acquired a reputation ; but
close application to his profession impaired his health,
and he died at the age of twenty-nine. (Bartsch, vol. i. p. 37.)*
1 At the Palmer sale, in 1868, M. Clement, a Paris dealer, gave
£1,100 for one of these impressions ; it was for M. Dutuit, of Rouen.
2 See " Paulus Potter, sa Vie et ses CEuvres, par T. van Westrheene."
La Haye. Royal 8°. 1867.

FLEMISH SCHOOLS. 101
l. The Cow and Cowherd (B. 14). A group of cattle in a land
scape, some of which are represented as coming down a hill on the right.
This plate, as it will be seen, has been ultimately reduced. The Museum
possesses eight different states of the plate.
2. The Friesland Horse (B. 9). A grey horse, seen in profile,
turned towards the right, standing near a river, on the other side of which
is a town.
3. The Cart Horses (B. 4.). Two horses, in attitudes of fatigue,
standing on an elevation. In front a tree and hedge.

KAREL DU JARDIN
^AS born at Amsterdam about 1635. When young he went
to Rome, where his pictures were held in great esti
mation ; after a residence of several years in that city he
returned to Holland, but soon went to Italy again. He died at
Venice, at the age of thirty-eight. (Bartsch, vol. i. p. 159.)
1. The Dogs (B. 5). Two hounds lying down; in the distance are
various implements of the chase — a net, a cage, fowling-piece, and
cross-bow. 2. The Two Men and the Stone in the Water (B. 10). In the
foreground is a stream, with a man walking in the water, speaking to
another, who tries to remove a large stone from the stream ; beyond are
mountains. 3. The Cow, the Bull, and Calf (B. 34). The cow stands in the
middle, with the calf, which is seen from behind, lying at her feet ; the
bull is standing near.

ADRIAN VAN DE VELDE.
j|3gy||SDRIAN was born at Amsterdam in 1639. He studied
art under Wynants, and devoted himself specially to the
representation of cattle. He died at his native place,
in 1672, leaving about twenty etchings executed in a very
masterly style. (Bartsch, vol. i. p. 209.)
1. (B. 1-10.) A set often different animals ; viz.
1. The Cowherd and Bull.
2. The Cow lying down.

102 THE DUTCH AND
3. The Three Oxen.
4. The Two Cows and the Sheep.
5. The Three Cows.
6. The Ox in the Water.
7. The Horse.
8. The Calf.
9. The Dogs and the Goats.
10. The Two Cows.
2. Two Cows, one standing up, and the other lying at the foot
of a Tree (B. 13).
This is the best etching of Van de Velde.
3. The Two Sheep lying down (B. 14). A small print dated 1670.

HERMAN SAFTLEVEN.
JERY little is known respecting the life of this painter.
I He was born at Rotterdam in 1609, but resided chiefly
at Utrecht, where it is supposed he died in 1685.
In his etchings, the treatment of the landscapes is very
picturesque, and the sky is generally more finished than in
the works of other painters. (Bartsch, vol. i. p. 235.)
1 . A Landscape (B. 1 8). A view of a large river and two villages ;
the river winds through a mountainous country.
2. A companion print to the preceding one, called " The Labourer."
(B. 19.)
These two etchings are, in the opinion of Bartsch, the chefs-d'oeuvre
of this master.
3. The Swineherd (B. 30). A landscape, with mountains sloping
towards the right, where the sun is rising. In the foreground is a man
with a bundle on his back, driving four pigs. Dated 1649.

ADRIAN VAN OSTADE.

ff HIS clever artist may be looked upon as the chief orna-
|fj ment of his school. He was born at Liibeck in the year
1610, and studied under Frank Hals. His pictures are
characterized by an exact imitation of nature. His colouring is

FLEMISH SCHOOLS. 103
rich and clear, his touch spirited and free, and all his works
are highly finished ; but the subjects are taken from low life :
peasants drinking, smoking, or indulging in rural sports. The
peculiar quality of his etchings is the wonderful power displayed
of relieving the figures from the background. He died in 1685.
(Bartsch, vol. i. p. 347.)
1. A Peasant with a Pointed Cap (B. 3). Bust of an old peasant,
seen full face, with beard and mustachios, wearing a pointed cap.
2. The Empty Pitcher (B. 15). Three peasants round a table, one of
whom is seated, has his cap drawn over his eyes, and is peering into an
empty pitcher ; another is looking on ; while a third laughs at the empty
vessel. 3. The Dance in the Ale-House, called " Ostade's Ball" (B. 49).
Inside of an ale-house is a peasant, holding his cap under his right arm,
and dancing with a woman before a number of spectators — some standing,
others sitting down.
This etching is the largest and most beautiful of Ostade's.
ANTONY WATERLOO.
|jOT much is known of this admirable artist's life. He
was born about 1618, either at Amsterdam or Utrecht,
and died about 1662. His etchings are drawn with
great spirit and in a masterly style, and are the genuine
representations of nature. They are very numerous, and the
Print Room has a fine set of them filling two volumes. (Bartsch,
vol. ii. p. 1.)
1. The Fisherman's Return (B. 7)- This print represents a village
on the banks of a river ; on the shore is a high wall, with scaffolding at
the top. Further on is a house ; and in the background are two church
spires and a windmill. A fisherman is in a boat advancing towards the
shore alongside the wall.
2. The Bridge of Planks (B. 52). A river running from the back
ground on the left, divides into two streams in front. One of its banks is
steep, with two large trees on its summit. On the right is a wooden
bridge of four planks, near which are two peasants, one sitting with a dog
by his side.
3. Landscapes (B. 107-112). A set of six prints ; viz.,
1. The Entrance to the Forest over the Wooden Bridge.
2. The Wood newly Cut.

104 THE DUTCH AND
3. The Man and Woman crossing the Stream.
4. The Peasant with the Shovel.
5. The Traveller in the Wood.
6. The Two Men in the Hollow Road.
ALLART OR ALDERT VAN EVERDINGEN
3AS born at Alkmaar in 162 1. He first studied under
Roeland Savery, and subsequently under Pieter Molyn,
and in a very short time distinguished himself greatly
as a landscape painter. His etchings are very spirited and are
drawn in a masterly style. He died at the age of fifty-four.
(Bartsch, vol. ii. p. 155.)
1. A Landscape (B. 4). View of a cottage on a hillock. Towards
the left is a man crossing a bridge, and on the same side are three goats
lying down ; on the right three men, one of them on horseback.
2. The Water-Mill (B. 99). In the centre of the composition is a
mill, built on two rocks, between which the stream of a river falls rapidly
through a trough below the house. On the left is a man with a stick on
his shoulder, leading a child.
3. The Fall near the Water-Mill (B. 102). A water-mill on a
height. A man is seen on the trunk of a tree, near a bridge.

HERCULES SEGHERS.
?HE dates of the birth and death of this artist are not
positively known, though some biographers assert that
he was born in 1625 and died in 1675.
His works are very interesting, as he is supposed to have
invented a method of printing in oil colours on cloth. In vol.
xl. will be found several specimens of this kind of printing.
Rembrandt copied some of his drawings.

FLEMISH SCHOOLS. 105
DAVID TENIERS, THE YOUNGER,
rfAS born at Antwerp in 1610, and received his first
instructions from his father ; he afterwards became the
scholar of Adrian Brouwer, and was so fortunate as to
have obtained some hints from Rubens. His subjects are gene
rally fairs, merry-makings, beer-houses, &c. He died at Brussels
about 1694.
1 . A Merry-making. A composition of many figures. In the middle
are a man and a woman dancing in the court-yard of a village inn, while
a man standing on a tub plays the bagpipe.
2. The Ale-House Party. Scene in the interior of a tavern, with
two peasants playing at cards. A third with a bowl in his hand is laugh
ing at the exposed cards of one of the players. Behind, are two men also
looking on ; one of them is smoking, and the other holds a pipe in his
hand.
JAN BOTH.
?HIS distinguished landscape painter was born at Utrecht
in 1610, and died in 1656. He lived for many years in
Italy, from which circumstance he acquired the name of
" Both of Italy." He chose the works of Claude Lorraine for
his models, while his brother Andrew studied the human figure :
they frequently united in the same works, and their labours
harmonized so well that their pictures have not the appearance
of joint productions.
His etchings, which are not numerous, are exceedingly fine.
(Bartsch, vol. v. p. 199.)
1. A Woman Riding on a Mule (B. 1). A beautiful landscape with
trees, and one woman riding after another. This is supposed to be a
view on the road between Bologna and Florence.
2. A Landscape (B. 3). A tree occupies the centre of the composi
tion, beyond is a man driving an ox, preceded by a peasant riding on
an ass.
NICOLAAS BERCHEM.
!HIS able cattle painter was born at Haerlem in 1624,
He was the pupil of Jan van Goyen, and of J. B. Weenix,
and always studied from nature. His execution is
inimitable, his drawing beautiful, and his figures and animals

106 THE DUTCH AND
generally well grouped. He died in 1683. (Bartsch, vol. v.
p. 245.) 1. Landscape, with Cattle (B. 1). Two cows are seen on the left
of the composition drinking at a brook near some ruins of an ancient
building ; on the right is a peasant talking to a man standing near a
woman who is washing her feet. Bartsch calls this etching " The Drink
ing Cow."
2. The Bagpiper (B. 4). A beautiful landscape, representing a
woody scene, with a man on horseback in the foreground, playing
the bagpipe.
This print is chiefly executed with the dry point.
3. The Man's Book and the Woman's Book (B. 29-40). Two very
fine sets of etchings of goats and sheep ; so called on account of the first
print in one representing a man, and in the other a woman.
In page 45 of this volume there is one of those curiosities which
collectors delight in securing, even at fabulous prices, namely, a sheet
containing six subjects of the set of the "Woman." (B. 41-48.)
These six, viz. Nos. 45, 46, 48, 51, 54, and 56 were etched on one plate,
which was afterwards divided; and so far as we are aware this is the
only known impression taken from the plate before it was cut.
This impression formerly belonged to Mr. Annesley, whose collection
was sold in June 1809. In page 26 of his sale catalogue, lot 105, it
is described thus : — " A proof sheet containing six of the goats and sheep
in the 2 last sets, etched on one plate ; from which it appears that
the original intention of the artist was different from what he afterwards
adopted, of giving a figure of a man or woman for the titles of these sets,
the square stone, which is blank on this sheet, being intended for a title;
but afterwards charged with a basso-relievo, and numbered 8 of the
Woman's Book of Eight. Curious and rariss., perhaps unique."
At this sale it was purchased by M. de Claussin, and subsequently by
Mr. Sheepshanks, and thus it came to the Museum.
There are, besides, etchings by the following artists, and
others not here mentioned : —

Aken, Jan van, b. 1614.
Backer, Jacob de, 1608- 1664.
Backhuysen, Ludolf, 1631-
1709.
Bega, Cornells, 1600- 1664.
Bemmel, Pieter, 1689-1723.
Bloemen, Pieter van, d. 1699.

Brouwer, Adrian, 1608- 1640.
Bril, Paulus, 1 556-1626.
Cabel, Adriaen van der, 1631-
1695.
Camphuysen, Godefridus.
Casteels, Pieter, 1684- 1749.
Chalon, Jan, 1738-1795.

FLEMISH SCHOOLS.

107

Danckerts, Cornelis, 1561-
1620.
Diepenbeck, Abraham van,
1607-1675.
Ducq, Johan le, 1636-1695.
Elsheimer, Adam, 1 574-1620.
Everdingen, Allart van, 1621-
1675.
Francisque (Millet), 1644-
1680.
Fyt, Jan, 1625-1671.
Genoels, Abraham, 1640- 1703.
Glauber, Jan, 1646- 1726.
Glauber, Jan Gottlieb, 1656-
1703.
Haeften, Nicholas van,fl. 1694.
Hoecke, Robert vanden, b.
1609.
Hondekoeter, Melchior de,
1636-1695.
Houbraken, Arnold, 1660-
1719.
Hulst, Pieter van der, 1652-
1708.
Jordaens, Jacobus, 1 594-1678.
Laer, Pieter van, 1613-1673.
Lambart, C.
Lint, H. F. van.
Luyken, Jan, 1649-1712.
Maas, Dirk, 1656- 1700.
Mander, K. van, 1620- 1680.
Meer, Jan van der, 1665-1688,

Mieris, Frans van, 1635- 1681.
Molenaer, Jan, fl. 1640.
Moucheron, Isaac du, 1670-
1744.
Nolpe, Pieter, born 1601.
Nypoort, Justus van der,
fl. 1680.
Oldeland, Hendrick, fl. 1636.
Ossenbeck, Jan van, 1627-
1678.
Paneels, Willem, b. 1600.
Pynacker, Adam, 1 621- 1673.
Quellinus, Erasmus, 1607-
1678.
Rogman, Geertruyt, fl. 1650.
Rombouts, Theodorus, 1597-
1637.
Roos, Iohan Hendrick, 163 1-
1685.
Roos, Philipp Peter, "Rosa
da Tivoli," 1655-1705.
Ruysdael, Jac, 1 630-1 681.
Ryckaert, David, 161 5-1677.
Rysbraeck, Pieter, 165 5- 1729.
Sandrart, Joachim, 1606-1683.
Savery, Roeland, 1 576-1639.
Schalken, Gottfried, born 1643.
Schultz, Daniel, fl. 1660.
Schurman, Anna Maria van,
1607- 1 678.
Stalbent, Adrian, 15 80- 1660.

io8

THE DUTCH AND FLEMISH SCHOOLS.

Stoop, Dirk, fl. 1650.
Swanevelt, Herman, 1620-
1690.
Thomas, Jan, 1610-1672.
Torenvliet, Jacob, 1641-1719.
Uytenbroeck, Moses van, died
1650.
Vaillant, Jan, b. 1624.
Veen, Cornelis van, fl. 1600.

Velde, Adrian van de, 1639-
1672.
Verboom, Abraham, fl. 1660.
Weenix, Jan Baptista, 162 1-
1660.
Wouverman, Philipp, 1620-
1668.
Wyk, Thomas, 161 6-1 686.
Zeeman, Reinier, born c. 1612.
Zilo, Adam.

And also fine proofs by the following Dutch and Flemish
engravers : —
Branck, Peter van der, 1649- 1697.
Bloemaert, Cornelis, 1603-1680.
Blooteling, Abraham, 1634- 1676.
Clouwet, Petrus, born 1606.
Collaert, Adrian, 1520-1567.
Collaert, Jan, born 1545.
Dalen, Cornelis van, (the younger), born about 1620.
Delff, Willem Jacobsz, 15 80-1638.
Folkema, Jacob, 1692- 1767.
Galle, Cornelis, (the elder), born about 1580.
Galle, Cornelis, (the younger), born about 1600.
Houbraken, Jacob, 1698- 1780.
Jode, Arnold de, born about 1636.
J ode, Peter de, (the elder), 15 70- 1634.
Jode, Peter de, (the younger), 1606-1659.
Kock, J eronimus, 1 5 1 o- 1 5 70.
Matham, Theodorus, 1 598-1660.
Meyssens, Joannes, 1612-1666.
Pontius, Paul, born 1596.
Schuppen, Pieter van, 1628-1702.
Tanj6, Pieter, 1 706-1 761.
Vosterman, Lucas, (the elder), 15 80- 1640, and others.

DUTCH AND FLEMISH DRAWINGS.
" ' ^HE drawings of these two Schools are placed to
gether. The collection is very extensive, including

fine specimens of almost every great master. It
is contained in thirty solander cases, and in some
small volumes.

HANS MEMLING OR HEMMELINCK.
)HIS eminent painter was born, it is stated, at Constantz,
in 1439, and he is supposed to have been instructed by
Roger van der Weyden, but very little is known of his
life ; it seems that he travelled a great deal in Italy and Spain,
and was called "Juan Flamenco." He died on the 10th of
December, 1495.
The following fine drawing is by him : —
A rich composition of the Crucifixion, the Cross not indicated. The
Magdalen, and a group of the Virgin, fainting, supported by St. John and
a woman. In front is a horseman, beautifully drawn.

PETER PAUL RUBENS.
j^tpj^pHIS singularly accomplished man, the greatest painter
of the Flemish school, was born at Cologne, June 29, 1577.
From infancy he manifested great talents, which were
cultivated by his parents with care, in every branch of classical
and polite literature. After studying under some of the most
eminent of the Flemish artists, he travelled to Italy to cultivate
the art from the works of the best masters. He was honoured

no THE DUTCH AND
with the friendship of the Duke of Mantua, Vincenzo Gonzaga,
who sent him on an embassy to Madrid ; and while duly per
forming the duties required of him, he so availed himself of
his artistic talents as to acquire the admiration and esteem of
the King Philip III. of Spain.
In 1620, when his talents had procured him great renown, he
was engaged by Maria de Medici to adorn the gallery of the
Luxembourg Palace.
On his return to Antwerp he was again despatched by the
Infanta Isabella on a political mission to the Spanish Court,
in 1628. He acquitted himself so well as to satisfy all parties;
and while his talents as a diplomatist met with the success
they merited, those of the painter were not neglected ; for
the king (Philip IV.), as a mark of his favour, commissioned
Rubens to paint four pictures for the Church of the Carmelites'
Convent, at Loches, which he executed in his grandest style
and richest colouring.
On his return to Flanders he was sent to England on another
diplomatic mission. Charles I. at once honoured him with his
notice ; and he was employed to paint the ceiling of the Banquet
ing House at Whitehall, on which he depicted " The Apotheosis
of James I." Charles was delighted both with the man and
the artist, and bestowed upon him the honour of knighthood, as
well as many munificent presents. Rubens returned soon after
to Antwerp, where he continued to exercise his art, and to
enrich that city with numerous monuments of his artistic genius,
until his death, 30th May, 1640.
There is a fine collection of his drawings in the Museum ;
which, from his habit of putting his first designs on canvas in
chiaro-oscuro, are very scarce.
1 . The Flight into Egypt. An angel bears a torch, while another
leads the ass. In black chalk, worked on with black and white oil
colour. 2. A Sheet of Studies of Eleven Heads, in black chalk, and pen
tinted. A very fine set, beautifully drawn.
3. A very fine study for a portion of the celebrated picture of the " Fall

FLEMISH SCHOOLS. ill
of the Great Dragon," and the " Punishment of the Seven Mortal Trans
gressions." This is the group representing " Gluttony " ; it is done in chalks
washed with India ink and touched with oil colours.
The painting is in the Munich Gallery, and is considered the master
piece of Rubens. It is known that he made five studies for the principal
groups, four of which were in Sir Thomas Lawrence's collection, and
afterwards in Sir Robert Peel's ; the fifth, which is the one now under
consideration, was in Mr. Payne Knight's collection, bequeathed to the
British Museum.
This drawing, being of large size, is placed in a separate volume.
4. There is also by Rubens a very interesting book of 39 pages, in
which are beautifully drawn upwards of 200 costumes of the fourteenth,
fifteenth, and sixteenth centuries. From the number of figures repre
senting the Counts of Flanders and the Dukes of Brabant, we may
suppose that Rubens must have meant them to illustrate the history of
Flanders. In many instances there are names and dates given, the best
are : —
Page 3. Portrait of Duke Anthony of Brabant.
Page 16. Dame Jacoba de Baviere, Comtesse d'Ollande."
Page 30. Five Figures, beautifully drawn.
Pp. 34-35- Some Turkish Costumes, very much in the manner of
Gentile Bellini.

SIR ANTHONY VAN DYCK.
AVING already given some particulars at page 95, rela
tive to. this great artist, we shall here mention a few of
the drawings in this collection.
1. A Portrait of Orazio Gentileschi, the artist; half length.
It bears the marks of the tracing point. On the right above we read :
"A. van Dyck fecit." Below: " D. Horatius Gentileschi, pictor celeber-
rimus apud . . . ."
Executed in chalks, and worked with Indian ink.
2. Studies of the Virgin, looking up at the Cross; in red and
black chalk. This is a sketch for the picture which is at Mechlin, in
the Church of St. Rombout.
3. A very fine Portrait of Gaspar Gevartius, half length. In
black chalk.

112 THE DUTCH AND
4. Portrait of Frances Bridges, Countess of Exeter, half length.
This is the original sketch for the picture, and is done with black and
white chalk, on grey paper.

PAUL REMBRANDT VAN RHYN.
jjHE collection of drawings by this great master (see
page 98) is a very good one. They are, in general,
sketches slightly done, but sufficient to show his great
power in the management of light, so truly wonderful in all his
paintings. They fill two solander cases.
1. A Landscape, with a river spreading over the foreground; on the
left bank are palings, with a boat near them, in the distance is a windmill.
In pen and sepia, heightened with white, which unfortunately has changed.
2. The Descent from the Cross. This is a most interesting study.
The dead Saviour lies on the knees of the Virgin, who is fainting. On
the left is Joseph of Arimathea.
At the back of this drawing, which is done in pen and red chalk, and
touched with oil and water-colours, there is the following note, written by
J. Richardson, jun. : —
" Rembrandt has laboured this study for the lower part of his famous
Descent from the Cross, graved by Picart, and had so often changed his
mind in the disposition of the chiaro-oscuro, which was his point here, that
my father and I counted, I think, seventeen different pieces of paper."
The painting is now in the National Gallery.
3. Portrait of Renier Anslo. This is the original drawing from
which Rembrandt etched his plate. It bears the marks of the tracing
point. In red chalk, touched with white. At the bottom we read,
" Rembrandt, f. 1640," and also four lines of writing.
4. A copy of Andrea Mantegna's beautiful drawing, described as " The
Dominion of Vices over the Virtues."
Rembrandt saw the original at Amsterdam, when in the possession of
Mr. Van der Schelling, and made a copy of it. In the Lawrence catalogue
it is described as " The Misfortunes of Apelles." See Mantegna's drawings,
page 47.

FLEMISH SCHOOLS. 113

ADRIAN VAN OSTADE.
?HE Museum possesses some of this celebrated master's
best water-colour drawings,' which are of very great merit
and value. Most of his finished ones are tinted with
great effect, but some are done with pen and washed with Indian
ink, and others in red chalk.
1. Interior of a Cabaret. In the foreground is a group of three
men and a boy, one of them playing on the violin. In the background is
another group, near a window. This is a highly finished drawing in
water colours.
2. A Group of Peasants, near a cottage door, listening to musicians.
On the right are two boys playing at marbles.
A highly finished drawing in water colours.
3. " The Bowling Green," or " De Klosbaan." A highly finished
drawing in water colours. This was sold with Mr. Jacob de Vos's collec
tion of drawings on the 30th of October, 1833, when it was knocked down
at a large sum to De Heer Albert Brondgeest, who bought it for Baron
Verstolk van Soelen. The British Museum purchased it in 1847.
This drawing has been engraved by Dunker. Ostade painted a
picture of the same subject, which was formerly in the Choiseul collection,
but is now in that of the Duke of Wellington.

DAVID TENIERS, THE YOUNGER.

M S^S

HE drawings by this celebrated master are very scarce,
and consist chiefly of studies of figures from low life;
most of them are executed in black or red chalk.
1. A Sheet containing studies of eight male figures, five standing and
three sitting. At the back are studies of the hilts of rapiers, and the
arm and shoulders of a man holding a match-lock. Pencil.
2. A Sketch of a Village on an Eminence. In the foreground are
stumps of trees.
Black and white chalk on grey paper.
3. Two Sketches of Monkeys, &c. I

n4 THE DUTCH AND

PAUL POTTER.
?HE drawings of this much-admired cattle painter are as
fine as his paintings ; though slight, their character and
faithful representation of nature have never been sur
passed. They are generally executed in black chalk and
heightened with white.
1. Study of an Ox Standing, turned to the right, in black chalk. The
artist's initials are on the right below.
2. A Highly Finished Drawing of a Young Bull, in black chalk.
3. A Sheet of Studies of a Dog in various Positions. Black chalk.
4. A Sheet of Studies of Pigs. Black chalk.

WILLEM VAN DE VELDE, THE YOUNGER,
fHE distinguished marine painter, was born at Amsterdam
' in 1633, and was the pupil of Simon de Vlieger. He
came to this country in 1673, at the invitation of Charles
II. He died in 1707.
There is in the Museum a large collection of his drawings.
Most of them are executed in black lead only ; the more finished
specimens are washed with Indian ink.
1 . View of a Fleet, representing the engagement off Harwich be
tween the Duke of York and the Dutch Admiral, Opdam, 2nd June, 1666.
Pencil, slightly tinted with Indian ink.
2. Another Naval Engagement, representing the battle of Solebay,
in 1672, between the English and Dutch fleets. In the centre in front is
seen the artist's yacht.
A long drawing on five sheets of paper. Pencil, touched with Indian
ink. 3. The Assembling of the Dutch Fleet in the River Y. Freely
executed with the pen, and worked with Indian ink.
There is a note attached to this drawing : — " The original painting by
W. van de Velde, painted in 1686, is, with some alterations, though fol
lowed out in the essentials, from this drawing. The painting may be seen
at the Schreyershocks Tower at Amsterdam, and is of inestimable value."

FLEMISH SCHOOLS. 115

HERMAN SWANEVELT.
IfHIS most exquisite painter was born at Woerden in 1620.
Though a Dutchman by birth, he passed most of his
life in Italy, studying under Claude Lorraine. He died
at Rome in 1690. His drawings, of which there are about
eighteen, are highly finished with the pen and Indian ink.
1. A Landscape; in the foreground a man and a woman with a child
are seated on a bank near the foot of a tree. Beyond is a man leading an
ass. Drawn with a pen in sepia, the sky washed with blue ; it bears the
artist's name, and the date 1649. This is a drawing of singular beauty.
2. A Landscape, in a circle, with male and female figures driving a
flock of goats over a bridge. Done with pen and tinted.
3. A Landscape, with the bank of a river on the right, on which are
two human figures and cattle ; two mules are coming down a hill.
A very fine drawing in pen and Indian ink, inscribed with the artist's
name. From the Sheepshanks collection.

ADRIAN VAN DE VELDE
^AS born at Amsterdam in 1639, and died in 1672.
He studied from a very early age under the celebrated
landscape painter Jan Wynants.
His drawings are generally executed with black chalk, in a
very free and masterly style ; some of the most finished specimens
are washed with Indian ink.
1. A calf Chewing the Cud; executed in black chalk.
2. Cattle and Water ; broadly treated with pen and sepia.
3. A Study of a Cow seen in Profile; done very carefully and
finished in black chalk.

LUDOLF BACKHUYSEN.
HIS eminent marine painter was born at Embden in
163 1, and died in 1709. His drawings, which are scarce,
are very fine, especially the finished ones.

116 DUTCH AND FLEMISH SCHOOLS.
View of Amsterdam from the River Y.1 In the foreground to the
left are a fishing boat and two small boats ; in the centre a state barge,
with Peter the Great and the Burgomaster seated therein and the flag
flying. The buildings are most carefully drawn by Jan van Kail. On a
cask in the lower right corner is "A0 1702 Ams.'' The drawing is seven
feet in length and is framed. Purchased in 1847 at the Versholk sale.

KAREL DU JARDIN.
j/HIS pleasing artist was born at Amsterdam in 1640, and
died at Venice in 1678 ; he was the pupil of Berchem.
His drawings, which are very scarce, are chiefly exe
cuted in Indian ink.
1 . The Painter's own Portrait. Half length, with his right hand
on his hat. A very animated sketch in red chalk, with name, and date
1658. 2. A Landscape ; a view with sunset, in sepia.
3. A Mountainous Landscape, with fine masses of light and shade in
Indian ink.
JAN VAN HUYSUM
fl AS born at Amsterdam in 1682, and died there in 1749.
He was the pupil of Justus van Huysum, a painter of
general subjects. As a fruit and flower painter, Jan
acquired great reputation. Of his works there are 265 drawings
of plants, fruits, &c, arranged in two volumes, which formed part
of Sir Hans Sloane's collection. The greater part of these draw
ings were published in twenty-one plates by a Society of Gardeners
in 1730, under the following title: "Catalogus Arborum Fruti-
cumque turn Exoticarum turn Domesticarum, &c,2 or, the Gar
dener's Catalogue." At the end of the second volume there are
several sketches of plants in Yorkshire by Mr. Knowlton, gar
dener to Lord Burlington, and a draught in colours of the
Seneca snake-root from Dr. Pennant.
1 This drawing came to England in three pieces, and was most
successfully mounted by Mr. W. M. Scott, of this Department.
2 See " A Catalogue of English Authors who have written on Hus
bandry, Gardening, Botany, &c." by R. Weston, 1773, p. 56.

The following is a complete List of the Dutch and Flemish
Masters represented by original Drawings
in the British Museum.

£ELST, P. van, 17th
cent.
Aken, J.van,b. 1556.
Almeloveen, Jan, b.
1614.
Antonissen, H. J., 1737-1794.
Artois, J. d', 1613-1665.
Asselyn, J., 1610-1660.
Assen, J. W. van, b. 1490.
Avercamp, H. van, 16th cent.
Avont, P. van der, b. 1619.
Backer, J. de, 1530- 1560.
Backhuysen, L., 1631-1709.
Balen, H. van, 1560-1632.
Barbiers, Peter, 1717-1 780.
Bargas, A. F., b. 1690.
Battem, G. van, b. 1705.
Bega, C, 1600-1664.
Begeyn, A., 1650-17 10.
Bemmel, W. van, 1630- 1709.
Berchem, N., 1624-1683.
Beerestraten, Jan, d. 1687.
Bergen, D. van, b. 1645.
Beyer, J. de, b. 1705.
Bisschop, J. de, 1646-1686.
Blecker, J. G., b. 1 600.
Blocklandt, A. van (Montfort),
1532-1583-
Bloemaert, A., 1564-1647.
Bloemen, P. van, d. 1699.

Blooteling, A., 1634- 1676.
Bol, F., 1611-1681.
Bol, H, 1534-1583.
Bolten, A. van Swoll.
Borsum, A. van, fl. 1666.
Bos, J., 1450-1500.
Both, A., 1612-1656.
Both, J., 1610-1650.
Bout, P., b. 1660.
Bramer, L., b. 1596.
Brauwer, A., 1608-1640.
Bray, J., 1604-1664.
Bray, S. van, 1579-1664.
Breenbergh, B., 1620-1660.
Breughel, J., 1565-1642.
Breughel,P.(the Elder), 1510-1570.
Breughel, P. (the Younger), 1569-
1625.
Bril, M., 1550-1584.
Bril, P., 1556-1626.
Broeck, C. van der, 1530-1601.
Bronckorst, J. G. van, b. 1 603.
Buys, Cornelius.
Cabel, A. van der, 1631-1695.
Calvart, D., 1555-1619-
Campen, J. van, d. 1638.
Cats, Jakob.
Cleef, H. van, 1 510-1589.
Cock, J., 1510-1570.
Cock, M., c. 1500 to c. 1554.

n8

THE DUTCH AND

Coeck, P. van, 1500-1550.
Colonia, H. A., d. 1701.
Coogen, L. van der, 1610-1681.
Coops, Peter.
Cornelis, 1562- 1638.
Coxcie, M. van, 1497-1592.
Crabeth, F., 1500-1548.
Crayer, G. de, 1582-1669.
Cuyp, A., 1606-1667.
Daele, J. van den, fl. 1 560.
Diepenbeek, A. van, 1607-1675.
Diest, A. van, 1655-1704.
Does, J. van der, 1623-1673.
Doomer, J., b. 1647.
Drielst, E. van, 1746-1818.
Dubbels, H.
Ducq, J. le.
Duquesnoy, see Quesnoy.
Dusart, C, 1665-1704.
Dyck, A. van, 1559-1641.
Eeckout, G. van den, 162 1-1674.
EUigeranton.Engelbrechtsen, C, 1468-1533.
Esselens, Jakob.
Everdingen, A. van, 1621-167 5.
Floris, F., 1520-1590.
Fyt, J., 1625-1671.
Genoels, A., 1640- 1 703.
Goltzius, H., 1558-1617.
Goyen, J. van, 1596-1656.
Graat, B., 1628-1709.
Grandjean, Jan, fl. 1777.
Greemaer, Jakob.
Groningen, J. van.
Haan, A. de, d. c. 1750.
Hackaert, J., 1 540- 1635.
Haerlem, G. van.
Hagen, Christopher.
Hagen, J. van der, 1635-1679.
Hals, F., 1584-1666.

Hals, Jan.
Hameel, Alart du.
Hardenberg, C. van.
Heemskerck, M., 1498-1574.
Heer, G. de.
Hemming, Christian.
Hermann, Jan.
Heusch, W. de, b. 1638.
Heyde, J. van der, fl. 1680.
Himpel, A. J.
Hobbema, M., 1611-1699.
Hoeck, R. van, b. 1609.
Hondekoeter, M., 1636-1695.
Hondius, H, 1580-1 640.
Honthorst, G., 1592-1660.
Horst, N. van der, fl. 1 646.
Houbraken, A., 1660-1719.
Huysum, J. van, 1682-1749.
Janssens, C, 1590-1665.
Jardin, K. du, 1640-1678.
Jong, J. M. de.
Jordaens, J., 1594-1678.
Kabel, A. van der, 1631-1695.
Kessel, J. van, b. 1684.
Kierings, J., 1590- 1646.
Klotz, Valentine.
Kobell, H., 1751-1782.
Koning, P. van, 1619-1689.
Koogen, L. van der, see Cooghen.
Kouwenhoven, J., 1777-1825.
Kuyp, see Cuyp.
Laar, P. van, 1613-1675.
Lairesse, G. de, 1640-17 11.
Lamberts, Gerrit.
Langendyk, D., 1748-1805.
Lastman, P., b. 1562.
Lexmond, J. van, 1769-1838.
Leinder, P. van, 1727-1797.
Leyden, L. van, 1494-1533.
Liender, Jakob van.
Lingelbach, J., 1625-1687.

FLEMISH SCHOOLS.

H9

Lint, H. F. van, fl. 1650.
Livens, J., 1607- 1633.
Londerseel, A. van, b. 1 550.
Luiken, J., 1649-1712.
Maas, D., 1656-1715.
Mabuse, J. van, 1499-1562.
Mander, C. van, 1548-1606.
Marne, J. L. van, 1744-1829.
Matham, J., 1571-1631.
Meer, J. van der (the Younger),
1627-1691.
Memling, H, H39-1495-
Metzu, G., 1615-1665.
Meulen, A. F. van der, 1634-1690.
Meyeringh, A., 1645- 17 14.
Mieris, F. G. van, 1635-1681.
Miel, J., 1599-1664.
Molenaer, J.
Molyn, P. (the Elder), b. 1600.
Momper, J., fl. 1580.
Moucheron, F. du, 1633-1686.
Moucheron, I. du, 1670-1744.
Moyaert, C. L., c. 1600.
Mytens, D., 1636-1688.
Naiwyncx, H, fl. 1630.
Neer, A. van der, 1619-1683.
Netscher, G., 1639-1684.
Neyts, G., fl. 1680.
Nieulandt, W. van, 1584-1635.
Nikkelen, J. van, 1649-1716.
Ommerganck, B., 1775-1826.
Oort, Adam van, 1557-1641.
Orley, B. van, 1470-1 540.
Ostade, A. van, 1610-1685.
Ostade, J., 1617-1654.
Overbeeck, L., 1752-1815.
Overlaet, A.
Parcelles, J., 1 597- 1641.
Passe, C. de, b. 1 540.
Poelenburg, C, 1586- 1666.

Porbus, F. (the Elder), 1540-1582.
Potter, P., 1625-1654.
Pynaker, A., 1621-1673.
Quellinus, E., 1607-1678.
Quesnoy, F. du, 1594-1646.
Rademaker, A., 1675-1735.
Rembrandt, 1608-1669.
Renesse, C. A., fl. 1650.
Rogman, R., 1597-1686.
Romeyn, W. van.
Roos, J. van, 1686-1747.
Roos, J. M., 1659-1731.
Roos, P. {da Tivoli), 1655-1705.
Roos, T., 1638-1698.
Rossum, G. V.
Rotenhamer, J., 1564- 1623.
Rubens, P. P., 1577-1640.
Rutgers, the Elder.
Ruysdael, J., 1630-1681.
Ruysdael, S., 1613-1670.
Rysbrack, M., 1694-1770.
Sadeler, E., 1570-1629.
Saenredam, P., 1597-1666.
Saftleven, C, 1612-1682.
Sallaert, A., 1576-1632.
Sallaert, Herman.
Savery, R., 1576-1639.
Schellinks, W., 1632-1678.
Schoonjans, A., 1650-1726.
Schotel, J. C, 1787-1838.
Schouman, A, 1710-1792.
Schut, C, 1597-1655-
Schwartz, H., b. 1480.
Seghers, G., 1589-1651.
Slingelandt, P. van, 1 640-1 691.
Snyders, F., 1 579-1657-
pranger, B., 1546-1628.
Stalbent, A. van, 1580-1660.
Steen, J., 1636-1679.
Steevensz, P., fl. 1540.
Stolker, J., 1724-1785.

120

DUTCH AND FLEMISH SCHOOLS.

Stork, A,, b. 1650.
Strada, J., 1536-1 604.
Stry, J. van, 1753-1830.
Sustris, F., b. 1525,
Swanevelt, H., 1 620- 1 690.
Swart, Jan.
Teniers, D., 16 10- 1690.
Terburg, G., 1 608- 1681.
Terwesten, A., 1 649- 1711.
Thulden, T. van, 1607-1686.
Tol, D. van, 18th century.
Toorenburgh, G., 1737-1785.
Troost, C, 1697-1750,
Troostwyk, W. J., b. 1782.
Uden, L. van, 1596-1660.
Ulft, J. van der, 1627-1679.
Uytenbroeck, M. van, d. 1650.
Vadder, L. van, 1560-16 23.
Van Dyck, see Dyck.
Velde, A. van de, 1639-1672.
Velde, E. van de, 1597 to c. 1653.
Velde, Jakob van de.
Velde, Jan van de, 1598-1677.
Velde, W. van de (the Younger),
1633-1707.
Venius, O., 1 556-1 634.
Venne, A. van der, 1589-1662.
Verbeeck, P. C, b. 1582.
Verboom, A., fl. 1660.
Verelst, P., b. 1614.
Vermeijen, Jan, 1 500- 1559.
Verschuring, H., 1627-1690.
Versteig, M., 1758-1843.

Verveer, A. H, b. 1646.
Vinckeboons, D., 1578-1629.
Vinne, Adrian van der.
Vinne, J. van der, 1663-1721.
Vinne, V. van der, 1629-1702.
Visscher, C, 16 10- 1660.
Visser, Adrian de.
Vitringa, W., b. c. 1657.
Vlieger, S. de, b. 161 2.
Vliet, J. G. van, b. 1610.
Vorsterman, L. (the Elder), 1578-
1623.
Vos, M. de, 1531-1603.
Vreis, A. de, b. 1560.
Vroom, H. C, 1 566-1 640.
Wael, C. van, 1594-1662.
Waldorp, J. G.
Wandelaar, J., 1690-1759.
Waterloo, A., 1618-1662.
Weenix, J. B., 1621-1660.
Weerdt, A. de, d. 1590.
Weide, R. van der.
Wilkens, T.
Wierix, H, b. 1552.
Willaerts, A., 1577-1626.
Wissing, W., 1656-1687.
Wit, J., b. 1695-
Wouverman, P., 1620-1668.
Wyk, J., 1640-1702.
Wyk, Thomas, 1616-1686.
Wynants, J., fl. 1775.
Xavery, J., b. 1736.
Zeeman, R., b. 1612.

THE FRENCH SCHOOL.

THE FRENCH SCHOOL.
)HE history of engraving in France1 presents few
features of interest. With the exception of some
playing-cards there is little to show that wood-
engraving was much practised before the middle
of the fifteenth century. A characteristic of
the engraving of the latter end of the fifteenth and beginning of
the sixteenth centuries is to be seen in the illustrations of the
well-known "Book of Hours." These are often executed in a
peculiar manner, the background being dotted or crible.
According to some authorities, the inventor of the process
known as "la maniere cribUe" was Bernard Milnet. From
what can now be learned, it would seem that the plate was first
covered with a quantity of small white dots on an uneven back
ground, and then the outline of the design traced with the
graver, in heavy, thick strokes. The process, whatever its merits,
was never in vogue. Of the style, the British Museum possesses
several specimens. Amongst the earliest wood-engravers was
Solomon Bernard, from whose hand the Museum has a fine set
of Bible illustrations. He was an excellent workman, as these
illustrations prove, and was the first to encourage the art in his
country

1 See " Histoire de la Gravure en France," par Georges Duplessis.
Paris, 1861, 8vo.

124 THE FRENCH SCHOOL.

JEAN DUVET.
HfHIS engraver was born at Langres, in 1485 ; he was called
"The Master of the Unicorn," on account of his repre
sentation of an unicorn in many of his plates. His
engravings, which have a rude and Gothic appearance, appear to
be earlier than they really are.
He died about 1560.
The collection in the Museum, which is a good one, is arranged
in two volumes according to Dumesnil (" Le Peintre-Graveur
frangais," vol. v. p. 1).
1 . The Annunciation (D. 5). The Virgin is represented, turned to the
right, kneeling on a priedieu, beyond which are two angels ; on the left is
the archangel Gabriel, surrounded by angels. God the Father and the
Holy Ghost are above. On the right is a pillar bearing the date 1520. In
the middle below is a tablet inscribed " Joannes Duvet.''
2. The Martyrdom of St. Sebastian (D. 23). The saint is bound to a
pillar, and pierced by arrows. On the right is another pillar, decorated
with sculptures, and below, between the martyr's feet, is a tablet with the
initials I. D.
A very fine specimen of the master's handling of the graver.
3. Poison et Contre-Poison (D. 61). This beautiful plate is now
placed with the engraving by Leonardo da Vinci, Mr. Carpenter, the late
keeper of this department, having been of opinion that it is the work of
that artist (see page 23).

JACQUES CALLOT,

?HE great artist, was born at Nancy in 1593, and died
there in 1635. He showed considerable talent whilst he
was very young, and when only twelve years old he
went to Florence with a party of Gipsies, against his father's
inclination. He returned to Paris in 1628, by command of
Louis XIII., who ordered him to engrave the siege of La Rochelle,
which may be looked upon as one of his most important works.
His etchings, some of which are very small, are exceedingly
numerous ; the figures in all being beautifully and spiritedly

THE FRENCH SCHOOL. 125
drawn. They are arranged in six volumes, according to Meaume's
Catalogue.1 Some of the larger plates are in a separate portfolio.
1. The Temptation of St. Anthony2 (M. 138). This is a wonderful
and eccentric production. Above is a fantastic demon, vomiting a number
of evil spirits ; towards the left is a view, and in the right-hand corner
are demons drinking, one of them playing on the guitar. The entire print
is full of diabolical figures.
(This being a large work is in a portfolio.)
2. The Great Fair of Florence (M. 624). This beautiful print is
also called in Italian, " La Fiera dell' Imprunetta." It represents the fair
which takes place on the 18th October, on the feast day of St. Luke,
before the Church of PImprunetta, not far from Florence.
In a portfolio.
3. The Punishments (M. 665). This may be considered the chef-
d'ceuvre of the artist ; it represents the punishment of various criminals at
Florence, and is remarkable for the graceful arrangement of the figures
and minuteness of detail.

ETIENNE DELAUNE,
)NGRAVER and draughtsman, was born at Orleans in
1520, and died in 1595. His works, which are generally
executed with the graver, are beautifully drawn ; and his
ornaments, as well as jewellery, are very fine. As a rule, his prints
are small. The Museum collection, although not complete, is a fine
one. The prints are mounted on boards, and fill one solander
case. They are arranged according to Dumesnil (" Le Peintre-
Graveur frangais," vol. ix. p. 16).
1. A Set of Twelve Prints in Ovals, representing subjects from
the Old Testament (D. 3-14)-
2. The Interior of a Jeweller's Workshop (D. 267). The window
of the workshop is open ; and a gentleman outside is speaking to a work
man seated within, who takes his cap off. On the left are a furnace and
a man with bellows, &c.
(A facsimile of this print is in the " Gazette des Beaux-Arts," vol. ix.
P- 37-) 1 Meaume, E. " Recherches sur la Vie et les Ouvrages de J. Callot ;
suite au Peintre-Graveur frangais de R. Dumesnil." 2 vols. 8vo. Nancy
et Paris, i860.
3 See Callot's drawings.

126 THE FRENCH SCHOOL.

CLAUDE GELEE (LORRAINE),
'/HE eminent artist, was born in Lorraine in 1600. As a
painter he is well known, but few are aware of the exist
ence of his etchings, which are very precious ; first, on
account of their rarity, and secondly, because they exhibit those
qualities for which his paintings were distinguished, namely, the
aerial perspective and a wonderful management of light and shade.
Claude died at Rome in 1682. His works are in one
volume, arranged according to Dumesnil (" Le Peintre-Graveur
frangais," vol. i. p. 3).
1 . Le Bouvier (The Cow-Herd) (D. 8). A charming landscape, with
sunset. A river winding through fields and mountains. In the back
ground, towards the left, are some ancient ruins ; and in the foreground
to the right is the cowherd seated under an old tree, sounding his horn,
and watching his cattle.
2. Sunset (a Sea-port) (D. 15). On the shore, in the middle of the
foreground, are two men arranging some planks, upon which are the
initials CL. I. On the left some ruins, and further on ships at anchor.
On the right a barge surrounded by boats.
A very fine etching.
3. View of Campo Vaccino (D. 23). This view is taken from the
Capitol, formerly the Forum Romanum. On the right are seen the Arch
of Septimius Severus, and the remains of the Temples of Antoninus and
Faustina, and those of the Temple of Peace. In the background the
Coliseum and the Arch of Titus.
There are various states of this etching.
CLAUDE MELLAN.
<HIS engraver was born at Abbeville, in France, in 1598,
and studied, when young, under Simon Vouet. His out
line is very pure ; but what chiefly distinguishes his works
is the system adopted by him of rendering his subjects by single
parallel lines : very few of his engravings have cross strokes,
and it is certainly astonishing that he should have been able to
give so much force and harmony to his plates by so simple a
method. He died in Paris, September 9, i(

THE FRENCH SCHOOL. 127
The Museum collection of his works is a fine one. It consists
of six volumes, arranged according to Montaiglon's Catalogue.1
1. The Sudarium of St. Veronica (M. 25), with the face of Jesus
Christ. This is executed entirely by a single spiral line, which begins at
the extremity of the nose, and is continued, without quitting the plate,
over the whole face and background.
2. St. Peter Nolasque (M. 90). The Saint is borne by two angels.
This is one of the most esteemed and rarest prints of Mellan.
3. A Set of Portraits (M. 1 65-258) ; amongst them one of Urban
VIII. (No. 238), which is a very fine specimen.

ABRAHAM BOSSE
I AS a designer and engraver; born at Tours in 161 1,
he died there in 1678. His plates, which are chiefly
from his own compositions, are very spirited, and
drawn in a bold and masterly style. They are very useful to
artists for the costumes of that time. Arranged according to M.
Duplessis's Catalogue.2
The Print Room possesses a fine set of his works, all mounted ;
some of the best are amongst those published under the title,
" De la maniere de graver a l'Eau-forte et au Burin, &c."

ROBERT NANTEUIL.

[J

?HIS celebrated artist was born at Rheims in 1623. He
was the favourite pupil of Nicolas Regnesson. His great
talent for portraiture recommended him to the notice of
Louis XIV, who pensioned him. Nanteuil engraved the portraits
of almost all the leading men of his time. His plates, according
to Dumesnil (" Le Peintre-Graveur frangais," vol. iv. p. 35),
amount to 234. He died in Paris, December 13, 1678.

1 " Catalogue raisonne de l'ceuvre de C. M., par Anatole de Montaiglon,"
4to. Abbeville, 1856.
2 " Catalogue de l'ceuvre de Abraham Bosse, par Georges Duplessis,"
Paris, 1859, 8vo.

128 THE FRENCH SCHOOL.
Impressions of almost all his best portraits are in the Museum
collection. 1. Pomponne de Bellievre (D. 37). Turned to the right in an oval,
with arms and inscriptions below.
2. Francois de la Mothe-le-Vayer (D. 143.) Turned to the left, in
an oval. With inscriptions below.
3. Henri de la Tour d'Auvergne, Vicomte de Turenne (D. 232).
Turned to the left, in armour. In oval frame, with inscription below.
Of this very fine portrait, the first state, which is extremely rare, is in
the Department.

ANTOINE DE MARCENAY DE GHUY,
j AINTER and etcher, was born in 1724, at Arnay-le-Duc,
and died in Paris in 181 1. When young he carefully
studied the paintings of the old masters, but his inclina
tion led him to imitate the style of Rembrandt, in which he fairly
succeeded ; his etchings and dry-points after Tintoretto, Poussin,
Van Dyck, Greuze, &c, are much appreciated by connoisseurs.
In the Print Room there is a volume containing a complete
set of his etchings purchased in 1840; they amount, including
proofs, to 158.
There are, besides, specimens by the following French
engravers :
Audran, Gerard, 1640-1703.
Balechou, Jean Jacques, 1715-1764.
Beauvarlet, Jacques Firmin, 1731-1797.
Boilly, Alphonse, 1827- 1837.
Chasteau, Guillaume, 1633- 1683.
Chauveau, Frangois, c. 161 8-1676.
Chereau, Jacques, the Younger, 1694- 1776.
Cochin, Charles Nicolas, the Younger, 171 5-1788.
Cochin, Nicolas, 1619-1695.
Daret, Pierre, 1610 to c. 1684.
Edelinck, Gerard, 1640- 1707.
Fiquet, Etienne, 1731-1794.
Huret, Gr^goire, 16 10- 1670.

THE FRENCH SCHOOL. 129
L'Armessin, Nicolas de, the Elder, 1640-1684.
Lenfant, Jean, 1615-1674.
Leu, Thomas de, born about 1570.
Massard, J. B. Raphael, 177 5- 1849.
Masson, Antoine, 1636-1700.
Perelle, Gabriel, died about 1675.
Poilly, Frangois de, 1622-1693.
Poilly, Nicolas de, 1 626- 1 696.
Roullet, Jean-Louis, 1645 -1699.
Stella, Claudine Bouzonnet, 1636- 1697.
Vallat, Philip Joseph, 1796-1840, and others.
And many anonymous masters of the School of Fontainebleau
(Bartsch, xvi. p. 299).

MODERN ETCHINGS.
¦HE art of etching, for a long time lost or neglected, has
been vigorously revived during recent years. It has been
found to be specially fitted to the genius of French art ;
and the modern French etchers form an important body, whose
works are deserving of the highest consideration. As compared
with earlier works, modern etchings exhibit more striving after
sudden and distinct effects, and a corresponding poverty in deli
cate gradation of tone. In an etching by Claude or by Rem
brandt, the light is distributed over the scene represented as
softly and tenderly as in a painting. There is no subtle inter
mixture of light and shade which those artists have not imitated ;
and we must acknowledge that by the side of their etchings the
modern work is still crude and coarse in its effects. The etchers
of the present day are, however, still learning their art. They
deserve the thanks due to those who are endeavouring to recover
a lost taste ; and as the art progresses the sharp and sudden
effects which are now esteemed will give way to the more refined
mysteries of pictorial representation. K

i3o THE FRENCH SCHOOL.
JEAN-JACQUES DE BOISSIEU.
jfHIS admirable etcher and painter was born at Lyons in
1736. He painted very much in the style of the Dutch
masters; and his etchings, which are spirited and
masterly, are considered more pleasing than his paintings. He
died in 18 10. In the Print Room there is a nearly complete set
of his plates, arranged in three volumes, according to Regnault-
Delalande's Catalogue.1
1. St. Jerome (R. 1). The saint is sitting under a tree and writing.
2. View of the Bridge and the Chateau of St. Colombe in
Dauphine (R. 39).
In volume iii. there is a series of studies of heads, and also
portraits.
JEAN-BAPTISTE HUET
-)AS born at Paris in 1745, and was the pupil of Renou.
His pictures, which are of great merit, have been etched
by him in a masterly and firm style. He died in 181 1.
His works form several series, and are in a volume by them
selves. The subjects are of great diversity, including religious repre
sentations, landscapes with figures and animals, &c.
CHARLES MERYON.
;HIS distinguished etcher was born in Paris on 23rd
November, 1821. His father was an Englishman. In
1837 he entered the Naval School at Brest, and took to
the study of mathematics. Eugene Blery taught him to etch,
and his first studies were from the most celebrated Dutch
masters. His best works are those representing views of places
1 " Catalogue raisonne des Estampes du cabinet de M. le Comte Rigal,
par F. L. Regnault-Delalande, Peintre-Graveur." Paris, 1817, 8vo.

THE FRENCH SCHOOL. 131
in Old Paris, now no longer in existence. He died, February 14,
1868, in a state of insanity at Charenton, where he etched some
plates during his illness.
In the Print Room there is an excellent collection of Meryon's
etchings, which are now very difficult to obtain. They fill two
volumes, and are arranged according to M. Philippe Burty's list,
published in the Gazette des Beaux-Arts, vols. xiv. and xv.
1. Le Stryge (B. 35). On the angle of one of the towers of Notre
Dame is seen a horned and winged demon contemplating Paris, his head
resting on his hands. He is looking down on the Seine and the Pavilions
of the Tuileries.
2. Tourelle, rue de la Tisseranderie (B. 41). An interesting ex
ample of the architecture of angle turrets in the Middle Ages. The per
spective is very fine, and the working of the shadows clearly shown.
This tower was demolished in 1851.
3. L'Abside de Notre Dame de Paris (B. 50). This is a view of the
celebrated cathedral, the architecture of which is wonderfully repre
sented. It-is considered the best performance of the artist.

JULES JACQUEMART.
SffHIS artist is one of the most successful etchers of the day
in the reproduction of jewellery, vases, and ornaments.
There is in the Department a very fine set of his
works selected by himself in 1870; it consists chiefly of the
plates, in various states, for his father's celebrated work," Histoire
de la Porcelaine," his chef-d'oeuvre the "Trepied cisele" par
Gouthiere," in the Marquis of Hertford's collection (see Gazette
des Beaux-Arts, vol. xx. p. 132), and various other plates.

MAXIME LALANNE.
I) HE etchings of this able living artist are generally dis
tinguished by neat and graceful touch. The Museum
has specimens of almost all his works, carefully selected
by himself in 1871.

132

THE FRENCH SCHOOL.

l. Demolition pour le Percement de la rue des Ecoles. Avery
fine etching, showing how very closely M. Lalanne has represented the
various objects and their shadows, by means of lines.
2. Chez Victor Hugo. A set of twelve small etchings, most delicately
drawn. 3. Defence of Paris. An interesting set of twelve etchings, from
his own drawings whilst serving as a private in the National Guard, during
the last Franco-German war.
M. Lalanne is the author of " Traite de la Gravure a l'eau-
forte," Paris, 1866.

There are also fine specimens
Louis Hector Allemand.
Frangois Bonvin.
Charles Frangois Daubigny.
Ferdinand V. E. Delacroix.
Leopold Flameng.
Charles Jacque.
Theodore Gudin.
Alphonse Legros.
Louis Marvy.
Jean L. E. Meissonier.
Jules Michelin.
F. de Saint Etienne.
Paul Adolphe Rajon.

of the following artists : —
Felix Bracquemond.
Charles Aubry.
Alex. Gab. Decamps.
F. Faber.
Jean-Leon Gerome.
Jean D. A. Ingres.
Eugene Lamy.
A. P. Martial.
Jean Frangois Millet.
Georges Pilotell.
Pierre-Paul Prud'hon,
and others.

FRENCH DRAWINGS.
w-^-i^jjg collection of drawings belonging to this school is
not so large as those of the preceding ones, but they
are all good specimens of the masters, and almost
every leading artist is well represented.
CLAUDE GELEE {'LORRAINE").
i)HERE is a very fine collection of drawings by this great
master (upwards of 280), 273 of which came with the
Payne-Knight bequest.
They are mostly sketches done with the pen and washed with
brown ; a few are on blue paper, and heightened with white.
They are mounted, and fill seven solander cases.
PIERRE DU MONSTIER.
)ERY little is known of this artist,1 who flourished about
the year 1625. The Print Room possesses some very
fine studies of heads, in chalks, by his hand ; amongst
which the following are remarkable :
1 . Head of a middle-aged Man, with a pointed beard and long flowing
hair. In black chalk.
2. Head of an Old Man, seen full face. ¦ In black and red chalk.
3. Head of an Old Lady, wearing a black cap. In black and red
chalk. 1 See " La Renaissance des Arts a. la cour de France : Etudes sur le
Seizieme Siecle, par le Cte. de Laborde," Paris, 1850, 8vo., vol. i. p. 232.

134 THE FRENCH SCHOOL.

NICOLAS POUSSIN,
?HE celebrated painter, was born at Andelys, in Nor
mandy, in 1594. In the year 1624 he visited Rome,
and there became the favourite of Cardinal Barberini, who
engaged him to execute his two famous pictures, " The Death
of Germanicus," and " The Taking of Jerusalem by Titus."
He died at Rome on the 19th of November, 1665.
His drawings, like his paintings, partake much of that cold
tone which has been imputed to him by several writers.
Amongst the fourteen drawings by him, the following are the
best :
1. A Fine Landscape, with Mars, Venus, and Cupid.
2. A Very Fine Drawing, representing Venus and Adonis.
3. A View in Tivoli.
JACQUES CALLOT.

si

IHE drawings by this distinguished engraver have the
same merit as his etchings. Some of the most finished
specimens are executed with pen alone, and others in
bistre. In our national collection there are thirty-eight drawings,
all very good.
1. An Equestrian Portrait of Prince Louis of Lorraine, with a
battle raging in the background. Bistre.
2. Several Drawings, representing battle-fields, &c.
3. A Drawing for the famous engraving, " The Temptation of St.
Anthony."
RAYMOND DE LA FAGE
$AS born at Lisle in 1656, and died in 1690. He
possessed great facility for drawing, and his execution,
although sketchy, is very pleasing. It is said that
Carlo Maratti, with whom he was very intimate, greatly admired
his works. There are several sketches by him in the Department.

THE FRENCH SCHOOL. 135
1. The Almighty Appearing to Moses. In pen, and washed with
Indian ink.
2. Job Tormented. Pen and sepia.
3. An Allegory of Mercury inciting Love to a desire for Fame. In
pen and Indian ink.

JEAN-ANTOINE WATTEAU.
fHIS artist was born at Valenciennes, October 10, 1684.
He began first by painting scenes for some of the Paris
theatres, but soon gave up that employment, and went
to study under Claude Gillot, whom he very soon surpassed.
His drawings, of which several are in the Museum, are much
sought after by collectors, and therefore not to be obtained
easily. The figures are designed with great taste and spirit. He
died, July 18, 1721.
1 . Studies of Two Women. The upper one is shown only to the waist ;
she is looking down on the other, who turns her head on one side and
holds up her apron with both hands. Red chalk.
2. Studies of Three Female Figures. The one on the right holds
some drapery about her loins, and other drapery floats upwards from her
shoulders. On the left is a bacchanal. The artist's name is on the left.
Red chalk.
3. Sketches of Two Females, seated ; the one on the left is in profile,
and holds a pan in her left hand ; the other on the right turns to the left,
with both hands raised to her bosom. Red and black chalk.
4. A Drawing in red chalk, representing Bernard Baron, the engraver,
sitting at his table engraving.
FRANCOIS BOUCHER.
j?HIS eminent painter was born at Paris, September 29,
1703, and died May 30, 1770. Watelet says, respecting
his talents: "Never was there an artist that so much
misused a brilliant disposition, an extreme facility ; never was
there a painter who so openly set at naught the truly beautiful,
such as it appears in selected nature, such as it was felt and
expressed by the sculptors of Greece and by Raffaello ; never did
any one excite a more general depravity."

136 THE FRENCH SCHOOL.
l. A Female Peasant carrying a baby on her back, and a basket on
her left arm ; in front of her stands a child clinging to her dress. In red
chalk. 2. A fine Study of a Nude Recumbent Female Figure, seen from
behind. Red chalk, touched with white, on dark paper.
3. Figure of a Cupid turned to the left. A beautiful drawing in black
chalk.
JEAN-BAPTISTE GREUZE.
fHIS painter was born at Tournus (Burgundy) in 1726 ;
he was the pupil of Grandon, and studied for some time
at Rome. His favourite subjects were illustrations of the
affections, or domestic duties, besides heads of girls. He died
exceedingly poor, March 21, 1805.
1. A Study of the Head of a Girl; life size, in red chalk.
2. Retour de Nourrice. Avery fine drawing; in pen, shaded with
bistre and Indian ink.

The following is a complete list of the French Masters
represented by original Drawings in the
British Museum.

ELLANGE, Jacques,
fl. 1610.
Boissieu, J. J., 1736-
1810.
Boivin, Rene,b. 1530-
Boucher, Frangois, 1703-1770.
Bourdon, Sebastien, 1616-167 1.
Bourguignon, see Gravelot.
Brun, C. Le, 1619-1690.
Callot, Jacques, 1593-1635.
Champagne, J. B. de, 1645-1688.
Champagne, Philippe de, 1602-
1674.
Chauveau, Frangois, 161 3- 1676.
Cheron, E. S., 1648-17 11.
Cheron, Louis, 1660-1723.
Choffard, P. P., 1 7 30- 1 809.
Clerc, Seb. le, 1637-1714.
Clouet, Frangois, " Janet," fl. 1560.
Corneille,M. (the Younger), 1751-
1801.
Corneille, J. B., 1646-1695.
Courtois, G. (or Cortesi),"le Bour
guignon," 1628-1679.
Cousin, Jean, 1501-1590.
Coypel, Antoine, 1661-1722.
Delaune, E., 1520-1595.
Denon, 1747-1825.

Desprets.Du Monstier, Pierre, fl. 1625.
Dupre, D., 1812.
Fage, R. de la, 1656-1690.
Falconet, P., 1766.
Flamen, Albert, 1650.
Freminet, Martin, 1567-1619.
Gel^e, Claude, "Lorraine," 1600-
1682.
Gillot, Claude, 1673-1722.
Gravelot, H. F., 1699-1773.
Greuze, J. B., 1726-1805.
Gribelin, Simon.
Guillerot.Hire, L. de la, 1 606- 1656.
Huet, J. B.,j745-i8u.
Janet, see Clouet.
Lagrenee, L. J. F., 17 24-1 805.
Lancret, Nicolas, 1690- 1743.
Lavater, J. G., 1741-1801.
Mercier, P., 1689-1760.
Mignard, N., 1605 or 1608-1668.
Millet, J. F., " Francisque," 1644-
1680.

138 THE FRENCH SCHOOL.
Moine, F. le, 1 688-1 737.

Nain, A. le, 1 7th century.
Nain, Louis le, 17th century.
Nanteuil, R., 1623-1678.
Natoire, Ch. F., 1700-1777.
Oudry, J. B., 1686-1755.
Parrocel, Ch., 1688-1752.
Patel, Pierre, 1656-1703.
Pater, J. B., 1695- 1736.
Perelle, Adam, 1638-1695.
Poussin, Gaspard, 16 13- 1675.
Poussin, N., 1594-1665.
Robert, H, 1733-1808.

Rodiers, F.
Rue, F. de la.
Subleyras, P., 1699- 1749.
Sueur, Eust. le, 1617-1655.
Troy, F. de, 1645-1730.
Vanloo, Carlo, 1 705- 1765.
Verdier, F., 1651-1730.
Vernet, Charles, 1714-1789.
Vernet, C. Joseph, 17 14- 1789.
Vivier, Ignace de, 1758-1832.
Vouet, Simon, 1582 or 1590-1649.
Watteau, J. Antoine, 1684-1721.
Wille, P. A., 1748-1815.

THE SPANISH SCHOOL.

THE SPANISH SCHOOL.

ENGRAVINGS.
1HILST in Italy and Germany the art of engrav
ing was making wonderful progress, and astonish
ing the world with its productions, in Spain it was
hardly practised, and still less encouraged. Ribera,
called "to Spagnoletto" (whose nationality has been
and always will be disputed, for the Italians claim him as a master
of the Neapolitan school, and the Spaniards as their great artist),
executed numerous etchings of great merit ; but after him no
remarkable name appears in the list of engravers till we come to
the early part of the seventeenth century, when only second-rate
line engravers appeared, for example, Salvador Carmona, Manuel
Esquivel, &c.
JOSE DE RIBERA.
JE was born at Xativa, in Spain, January 12, 1588; and
when only sixteen went to Italy. He settled at Naples,
where he placed himself under Michel' Angelo da Cara7
vaggio. After passing the greater part of his life in that city he
died there in 1656.
Ribera's etchings are about twenty in number, executed
in a bold and free style. There is a fine set of them in the Print
Room (Bartsch, xx. p. 77).

142 THE SPANISH SCHOOL.
l. Saint Jerome (B. 4). The Saint is seated, looking upwards to
the right, listening to the trumpet of the Last Judgment, which is blown
by an angel in the clouds. On the left is the lion.
2. St. Jerome (B. 5). The same subject. On the right above are
two hands holding the trumpet.
3. The Martyrdom of Saint Bartholomew (B. 6). The Saint is
bound to a tree, and an executioner, who holds a knife in his mouth, is
flaying him. Below is a dedication to Prince Philibert, in Spanish. This
is the chef-d'ceuvre of Ribera.

FRANCISCO GOYA Y LUCIENTES.
jjHIS distinguished artist was born at Fuente-de-Todas,
in Arragon, in 1746. He studied the works of the great
masters at Rome; and on his return to Madrid was
elected a member of the Academy of San Fernando. He died
at Bordeaux in 1828. A great many plates were etched by him,
chiefly from his own designs, but several from portraits by
Velasquez. Mr. Hamerton (" Etching and Etchers," p. 124), in his chapter
on this artist, says : " Goya had imagination, but of a frightful
sort, like the imagination of a man suffering from delirium
tremens ; yet this imaginative familiarity with evil spirits does
not seem to have affected the happiness of his existence, a
happiness, such as it was, based on the substantial realities of the
most robust health and complete professional success, with the
satisfaction of all the appetites of an energetic animal nature.
His etchings are the expression of his violent and ebullient
personality ; they are full of passion, but it is observable that
there is no trace of any delicate or tender sentiment, or rather
that what in other men would have been a sentiment of this
kind, as for instance, pity for the sufferings of the afflicted, takes,
in Goya, the form of protest and antagonism, and becomes a
furious cry of hatred against the oppressor."
Goya's etchings and aquatints are very scarce. The Museum
collection is exceedingly fine ; it is arranged in two volumes
following the order of a list given in the " Gazette des Beaux-
Arts," vols, xxii., xxiv., and xxv., by M. Paul Lefort.

THE SPANISH SCHOOL. 143
1. A Book entitled " Los Disastros de la Guerra" (The Disasters
of War), a collection of 80 plates, &c. " Coleccion de ochenta laminas
y grabados al aguafuerte, por Don F. G." Oblong 4to. Madrid, 1863
(No. 145).
2. Portrait of Philip III. (No. 230). On horseback, turned to the
right, with the following inscription below : —
" Felipe III. rey de Espana. Pintura de D. Diego Velasquez."
3. Bacchus Crowning Drunkards (No. 237). A number of men
around Bacchus holding cups full of wine in their hands.
4. El Garotte1 (No. 246). A prisoner undergoing the punishment
of the garotte. A very rare etching.
There is, besides, a volume containing specimens by the
following artists : —
Luisa Morales, fl. 1671.
Leal Juan de Valdes, 1630-1690.
Juan de Rodriguez.
Mariano Salvador Maella, 1739-1819.
Francisco de Herrera, 1 576-1656.
Hidalgo Jose Garcia, b. about 1656.
Claudio Coello, 1621-1693.
Mariano Fortuny, d. 1875, and others.

See Goya's drawings, Example No. 2 (page 146).

THE SPANJSH DRAWINGS.
HE collection of Spanish drawings, though not very
large, should by no means be disregarded. Those
in the national collection are choice specimens of
the masters of this school. They are in two so-

lander cases.

FRANCISCO DE HERRERA THE ELDER
AS born at Seville, about 1576, and was called "the
Elder," to distinguish him from his son, who was also a
painter and bore the same name. He had the honour
of being the instructor of Velasquez. He died in 1656.
There are only three of Herrera's drawings in the Print Room.
1 . St. Jerome in Penance. He holds up a cross in his left hand, and
by his side lies the lion ; the trumpet of the angel is partially seen on the
left. Sepia.
2. A Winged Figure of a Man putting two Infants in Chains.
Red chalk, and slightly touched with the pen.
3. St. John the Baptist, and two bishops, with mitres and crosiers.
Pen and sepia.

DIEGO VELASQUEZ DE SILVA.
HIS distinguished painter was born at Seville, July 6, 1599.
After having studied with Herrera, he placed himself
under Pacheco, whose daughter he married. He visited
Italy, and was most graciously received at Rome by Francesco

THE SPANISH SCHOOL. 145
Barberini. On his return to Spain he painted many pictures for
Philip IV., from whom he received great favours. He died at
Madrid, August 7, 1660.
1. A Sheet on which are sketches of two horses; the upper one
is in profile, turned towards the right, and has its head turned away. The
lower one is also turned towards the right, and has a man on its back.
Black chalk.
2. Portrait of a Man with flowing Robes, seated, holding in his
right hand a small book, and resting his left on the arm of a chair. The
face is seen in a three-quarters view, turned to the left. Pen and washed.
3. A Study of a Female Figure, in profile, half length, praying. In
black and red chalks on brown paper.

JOSE DE RIBERA.
T|jf HERE are some fine drawings by this great master, in
which, as in his etchings, the extremities especially of
the figures are drawn in a very careful and masterly
manner. 1 . Saint Sebastian, represented as bound to two trees ; on the right
is a stone bearing the date 1626. Carefully drawn in red chalk.
2. Virgin and Child. The Virgin is seated on the clouds, facing the
spectator, with the Infant Jesus standing on her lap and stooping forward.
The heads of three cherubim are seen on the left. Red chalk, and tinted
with red.
3. A Hermit, kneeling, with his hands raised in prayer. Pen and
Indian ink.
BARTOLOME ESTEBAN MURILLO.
a_^3fHIS eminent artist was born at Pilas, near Seville, in 1618,
and evinced his love for art when young by scrawling
over his school-books and on the walls of his house. He
took the works of Titian, Rubens, and Velasquez for his models.
His Madonnas and monks are very fine ; but he is still more
distinguished for his representations of street life. He died
April 3, 1682.
There are six good drawings by this master,
L

146 THE SPANISH SCHOOL.
l. A Group of Cherubs with palm branches amid clouds, below
some drapery and the crescent moon.
This drawing apparently formed the lower portion of the Immaculate
Conception, as some of the drapery also is seen.
Pen, tinted with a reddish brown colour.
2. A Drawing of Saint Francis de Paula, kneeling in prayer ; he
holds a staff in his left hand. The head and hands are in red chalk, the
remainder in black chalk.
3. A Sketch of Ten Cherubs, seated on clouds. In black and white
chalk.

FRANCISCO GOYA Y LUCIENTES.

[HERE are four drawings by this painter.
1 . A Portrait of the Duke of Wellington, when in Spain,
with a manuscript note attached to it.
2. The Garotte, representing a prisoner during the time of the
Inquisition, undergoing the punishment of the garotte. He is confined
by an iron clasp round his throat, and grasps a crucifix with both hands.
On the right is a burning taper. Pen and ink. See No. 246 of this
artist's etchings.

The following is a complete list of the Spanish Masters
represented by original Drawings in the
British Museum.

^LFARO Y GAMEZ,
Juan de, 1640-
1680.
Antolinez y Sarabia,
Francisco, 1644-1700.
Ardemans, Teodoro, 1664-1726.
Bocanegra, P. A., 1638-1688.
Cano, Alonso, 1601-1667.
Carducho, Vincencio, 1568-1638.
Carreno de Miranda, Juan, 1614-
1685.
Cieza, Josef de, 1656-1692.
Coello, Claudio, 1621-1693.
Giachineti, Gonzalez, 1630-1696.
Gomez, V. S., 1645-1698.
Goyay Lucientes, F., 1746-1828.
Herrera-Barnuevo, Seb.de, 1619-
1671.
Herrera, Francisco de (the Elder),
1576-1656.
Herrera, Francisco de (the
Younger), 1622-1685.
Herrera, Juan de, fl. 1625.

Morales, Luis de, "El Divino,"
1509-1586.
Moya, Pedro de, 16 10- 1666.
Murillo, B. E., 1618-1682.
Pereda, Antonio, 1599- 1669.
Prado, Bias de, 1 544 to c. 1 605.
Ribalta, Juan de, 1597-1628.
Ribera, Jose de, 1588-1656.
Saura, Mosen Domingo.
Servidori, Domingo Maria de, fl.
1760.
Toledo, Juan de, 161 1-1665.
Tristan, Juan.
Tristan, Luis, 1586-1 640.
Vargas, Luis de, 1502-1568.
Vega, Francisco la, fl. 1 740.
Velasquez, Diego de Silva, 1599-
1660.
Vieira, Francisco, 1699-1783.
Zurbaran, Francisco, 1598-1662,

THE ENGLISH SCHOOL.

THE ENGLISH SCHOOL.
ENGRAVINGS.
I HE period at which engraving in the present
acceptation of the term was first introduced into
England has never been exactly ascertained.
There can be no doubt, however, that this branch
of art came into use here very soon after that of
printing : for we find woodcut illustrations in some of the earliest
books printed in this country. The first woodcuts to which a
fixed date can be assigned are those in " The Mirrour of the
World," printed in the Abbey of Westminster, by William
Caxton, " 148 1," folio. But if the second edition of "The Game
and Playe of the Chesse, explicit per Caxton," which has wood
cuts but no date, was printed, as has been supposed, in 1474-
1476, the first edition, bearing date 1474, being without cuts,
this would give a specimen of woodcut illustrations several years
earlier than those of 148 1 above mentioned. These cuts, how
ever, may not be the genuine productions of English artists ;
they might have been borrowed from books of an earlier date
printed abroad. The second edition of Chaucer's " Canterbury
Tales," printed by Caxton (148 1-2), is illustrated with cuts which,
with some degree of certainty, may be claimed as the production
of native art ; and, considering the imperfect state of every kind
of engraving at the time when they appeared, some of them are
not without spirit and characteristic propriety.

152 THE ENGLISH SCHOOL.
The art of engraving was much improved in the next period ;
and the books printed by Wynkyn de Worde at that time
exhibit specimens far from contemptible of the taste and skill of
the artists by whom they were executed. For ornamenting
title-pages and other parts of books with cuts -of various
subjects, block engraving was then much used. The Bibles,
books upon religious topics, and chronicles of the period con
tained curious specimens of ancient art. Rastell's " Pastyme of
the People," published in 1529, has eighteen woodcut heads of
the kings, of considerable merit.
Several of the Bibles and Testaments printed in the reigns
of Edward VI. and Elizabeth contain woodcut illustrations.
The edition of Matthew's Bible, " published by John Daye and
William Seres, 17 August, 1549," has cuts throughout. The
figures of the evangelists are in a different style from the others ;
that of St. Mark has the initials of the engraver — I. F. The
first edition of Archbishop Parker's, or the " Bishops' Bible," by
Richard Jugge, in 1568, has numerous cuts, and some copper
plate engravings, including the title-page, with portraits of Queen
Elizabeth, Lord Leicester, and Lord Burleigh.
The first copper-plate impressions, executed by means of a
roller, are supposed to be the frontispiece to Galen, " De Tem-
peramentis," published at Cambridge in 1521, the illustrations to
" The Birth of Mankind, otherwyse named The Woman's Boke,"
published by Thomas Raynalde, in 1 540, and those to Rastell's
Chronicle, or " Pastyme of the People," printed in the same year,
which include many prints by no means ill-executed. An
edition of Vesalius's "Anatomy," with engravings by Thomas
Geminus or Gemini, was printed in 1545 ; and he was the first
engraver in this country whose name is appended to his printed
works. Those who have seen the masterly wood-engravings in
the original Vesalius, published at Padua, in 1542, which were
executed under the eye, and, as has been asserted, touched by
the hand, of Titian, will perceive that Gemini was by no means a
first-rate master of his art ; yet the consideration that his work
was probably a first attempt on his part to transplant a new art
into his native country, will probably conduce to a lenient view

THE ENGLISH SCHOOL. 153
of the defects of these engravings. Gemini is said to have lived
in Blackfriars, and he published other works — " The Phenomena
of the Heavens, &c," illustrated with a number of cuts ; a " Tract
on Midwifery," with copper-plate engravings, &c.
During Elizabeth's reign the art progressed steadily in all its
branches. That accomplished prelate, Archbishop Parker, who
considered that whatever tended to enlighten and cultivate the
human mind was within his province, appears to have been the
most conspicuous patron of it at that period. He employed,
in his Palace at Lambeth, a painter and two or three engravers,
the chief of whom was Remigius Hogenberg, who twice
engraved the Archbishop's likeness, according to Vertue the
first portrait printed in England from a copper-plate. And
Ortelius commends the English engravers of this period, specify
ing, besides those already named, Antony Jenkenson and Robert
Luth. Christopher Sexton deserves mention for at once ex
tending the knowledge of our national geography, enlarging
the field of engraving, and raising himself to eminence from the
condition of a servant. He was a native of Yorkshire, and made
a complete set of maps of all the counties of England and
Wales, the greater portions of which he engraved himself ; the
others were executed by Hogenberg, Nicholas Reynold,, and
Augustin Ryther.
Notwithstanding the praise of Ortelius, it must be acknow
ledged that English engraving retained much of its original
coarseness for nearly a hundred years. We pass over the names
of Elstracke, Delaram, and others, until we arrive at those of the
Passe family, the first of whom came hither from Utrecht early in
the seventeenth century, introduced a better taste, and a neater
and more elaborate style of engraving than had hitherto been
practised in England. Passe worked entirely with the graver, in
a refined, clear style, and with much originality ; his works possess
considerable merit, especially his portraits, many of which he
drew from life ; and most of his historical subjects were engraved
from his own compositions. The proportions and style of his
figures are those of the school of his friend Rubens. The
sons and daughter of Passe equalled, and, in some instances,

154 THE ENGLISH SCHOOL.
surpassed their father. Lists of the numerous portraits and
other engravings of this family may be seen in Walpole's
catalogue. From the Passes the art descended to John Payne, the pupil
of one of them. He was a man of genius and superior abilities ;
but, careless of them and of his good name, he neglected his
business, and died in indigence in 1648.
During the reign of Charles I., who was a great patron of the
art, we have the names of Hollar, Vandervaart, and Vorsterman,
rival competitors for fame, and rivals also for the favour of the
king ; nor must we omit the illustrious name of Sir Anthony
van Dyck amongst those who contributed to accelerate the
progress of British engraving. The transcendental style, taste,
and judgment which he displayed in his pictures guided his hand
in etching ; and though upwards of two centuries, which have
boasted of their improvements and refinements, have elapsed
since the production of his works, they still retain their high
station in the collections of the connoisseur, and are still ranked
among the most highly valued studies of the portrait-painter and
engraver. By liberating British portrait engraving from the
stiff regularity which had previously been regarded as a test of
merit, Van Dyck extended the views of all who were capable of
discrimination, while he taught the true value of outline, of light,
and of shade.
Although it would not be an easy task to ascertain the precise
time when that important branch of the art which is termed
"etching" was introduced into this country, it appears probable
that it was not practised here until the period of Van Dyck's and
of Hollar's residence in London ; and that the honour of its
introduction belongs to one or the other of these distinguished
men. As neither was the discoverer of an art, though each was
the inventor of a style, it may, perhaps, be assumed that Van
Dyck was the first who etched portraits, and Hollar the first
who etched landscape and natural history in England.
The progress of the art of engraving in this country, since
the period when these two great masters flourished, will be indi
cated under the respective names of the many able artists to

THE ENGLISH SCHOOL. 155
whose works reference is hereinafter made. The style of
engraving termed " mezzotinto" will be treated of hereinafter.

WILLIAM FAITHORNE,
^)HE distinguished engraver, was born in London, in 1616,
and was the pupil of Robert Peake. During the Civil
War Faithorne was compelled to leave England and
to seek refuge in France, where he became acquainted with
Nanteuil and Philippe de Champagne. Having returned to his
native country about 1650, he married, and opened a shop near
Temple Bar. He died in 1691. This artist's engravings are
very much sought after by connoisseurs, the portraits especially.
The Museum collection is arranged alphabetically in six
volumes. 1 . Portrait of Charles II. Three-quarters length, in oval, inscribed.
Looking towards the right.
2. Robert Bayfield. A small print bust, in oval, turned to the right.
Below there are four verses. Dated " 1654." This is one of Faithorne 's
best works.
3. John Pordage. Three-quarters length, in oval, turned to the right.
A very fine portrait.
4. Lady Herbert (Margaret Smith). Three-quarters length, turned
towards the left. In oval. After Van Dyck.
WILLIAM HOGARTH.
f/HIS truly great and original delineator of life and
morals was born in London, December 10, 1697. His
early employment was as an engraver of arms on plate,
of ciphers, and shop-bills. In 1724 he undertook the execution
of plates for booksellers, the chief of which are the prints to
"Hudibras," and the illustrations to "La Motraye's Travels."
His first performance as a painter was his representation of
Wanstead Assembly, in which the portraits were taken from life.
In 1730 he married the daughter of Sir James Thornhill, in
whose academy he had studied drawing from the human figure.

156 THE ENGLISH SCHOOL.
After gaining profit and fame by the publication of a series of
small etchings, representing London life and folly, he began
to paint portraits, but soon abandoned this line because of the
drudgery it entailed. In 1733 the series entitled " The Harlot's
Progress " appeared ; this at once stamped his reputation ; and
it was succeeded by other works of the same class, admirably
executed. Soon after the Treaty of Aix-la-Chapelle he went to
France, and, while at Calais, began a sketch of the gate of that
town, for which he was arrested, but soon released. On his
return home he commemorated this affair in a ludicrous carica
ture, entitled " O the Roast Beef of Old England." In 1753 his
" Analysis of Beauty" was published. The sale of the engravings
executed by himself from his pictures, 'was very great. The
'' Harlot's Progress," " Rake's Progress," " Marriage a la Mode,"
"March to Finchley," " Industry and Idleness," as well as many
other works, have characterised him as one of the severest yet
most genial satirists of worldly vices and weaknesses that ever
lived ; while his fine and solid though unpretending efforts as a
colourist have marked him as one of the best painters of the
early English school. He died in London, 26 October, 1764.
The British Museum collection of Hogarth's works is very
complete ; of the plates engraved by himself the following are
the best :
1. Southwark Fair (1734).
2. The Harlot's Progress. In six plates (1733-4).
3. The Rake's Progress. In eight plates (1735).
4. Simon, Lord Lovat (1746).

SIR ROBERT STRANGE, KNT,
5 AS born in one of the Orkney Islands, July 26, 1721.
He was first intended for the law, but on producing
some drawings which were much admired by his friends
he was induced to abandon that profession, and to place himself
under Mr. Cooper, a drawing-master of Edinburgh. Having
made considerable progress in his art, he visited Paris and Italy,

THE ENGLISH SCHOOL. 157
where he was received with remarkable attention. George III.
knighted him in 1787. Sir Robert died in London, July 5, 1792.
The British Museum collection of his works, which are
numerous, is arranged in three volumes.
1. Portrait of Charles I. Whole length, in a landscape. He is
followed by a page ; his horse, which is behind, is held by Lord Hamilton.
Dated "1782." After Van Dyck.
2. Portrait of Henrietta Maria, Queen Consort of Charles I. The
young Prince of Wales stands by her side, and she has James, Duke of
York, in her arms. On a table near is a crown. Dated " 1784." After
Van Dyck.
3. St. Jerome, after the famous picture known as the " San Girolamo "
by Correggio. The painting is at Parma, in the Regia Pinacoteca.
FRANCESCO BARTOLOZZI, R.A.
£HIS prolific engraver was born at Florence in 1730,
and was instructed in the art of engraving by Joseph
Wagner. He came to England in 1764, and passed the
greater part of his life here. Having been a member of the Royal
Academy, Bartolozzi is reckoned as an English artist. He
produced an immense number of plates, both after the old
masters and contemporary artists, especially Cipriani and
Angelica Kauffmann ; all his works are much admired and
sought after by connoisseurs. He died at Lisbon in 18 13.
The Print Room possesses a large collection of Bartolozzi's
works in different states ; but at present it is not arranged.

WILLIAM WOOLLETT,
FHE engraver, was born at Maidstone, August 15, 1735,
and first studied under Tinney. He excelled both in
historical and landscape engraving. In his landscapes
the foreground is remarkable for depth and vigour, and the
distances for delicacy and tenderness. Woollett died in London,
May 23, 1785, leaving a widow and two daughters very poor.
The collection of his engravings in the Print Room is the

158 THE ENGLISH SCHOOL.
finest known. It is arranged in eleven large volumes, comprising
rare states and superb impressions.
l. Cicero at his Villa. After Wilson. Cicero is walking with his
brother Quintus and his friend Atticus.
2. The Death of General Wolfe, 13 September, 1759. After B.
West. 3. The Battle of La Hogue, 19 May, 1692. After B. West.
4. Apollo and Diana destroying the Offspring of Niobe. After
Wilson.

WILLIAM SHARP
j^AS born in the Minories, January 29, 1749, and he learnt
the elements of the art under Barak Longmate, by whom
he was employed in engraving card-plates and door-
plates ; but he soon gave up that kind of work and applied him
self to a higher branch of the art. His works after the great
masters are very much esteemed. Sharp died at Chiswick,
July 25, 1824.1
The Print Room has a complete set of his works, in a variety
of states, arranged in eight volumes.
1 . The Doctors of the Church. After Guido Reni.
2. St. Cecilia. After Domenichino.
3. The Siege of, and Sortie from, Gibraltar, in 1783. After John
Trumbull.
JAMES BARRY, R. A.
|JHIS distinguished painter was born at Cork, October 11,
1741, and died February 6, 1806. At the age of twenty-
two he gained the prize for the best historical painting,
representing Saint Patrick's arrival on the coast of Cashel ; this
was during his study under Mr. West of Dublin. In 1777 he
was made a Royal Academician, and five years after was

1 See " William Sharp, Engraver : with a Descriptive Catalogue of his
Works. By W. S. Baker." Philadelphia, 1875.

THE ENGLISH SCHOOL. 159
elected Professor of Painting. As an engraver Barry is very well
represented in the British Museum collection : there is in various
states, a copy of "A Series of Etchings by James Barry, Esq.,
from his original and justly celebrated Paintings in the Great
Room of the Society of Arts, Manufactures, and Commerce, at
the Adelphi. London, Colnaghi, Son, and Co., 1808,"1 (with
illustrative letterpress) ; presented to the nation by J. H.
Anderdon, Esq.
The collection of fine proofs of the works of English en
gravers is not yet arranged, but those by the following artists
are placed in separate portfolios or papers :
John Boydell, 1719-1804.
Giovanni Battista Cipriani, R.A., 1727-1785.
James Fittler, A.E., 1758-1835.
William Daniell, R.A., 1769-1837.
John Burnet, 1784-1868.
Richard Golding, 1 785-1 865.
Robert Graves, A.E., 1798- 1873.
John Henry Robinson, R.A., 1796- 187 1.
William Miller.
George Thomas Doo, R.A., born 1800 (living).
John Outrim (living), and others.
1 An earlier edition appeared in 1783.

MEZZOTINTS.1
FEW words respecting the art of engraving in
mezzotinto may not be out of place here. It is a
comparatively recent invention, having been intro
duced in the middle of the 17th century. As in the
case of other sister arts, there has been considerable uncertainty
as to how and by whom it was discovered. For a long time the
credit was generally ascribed to Prince Rupert (1619-1682), and
the following account of the alleged circumstance which led to
its discovery has been given by Walpole in his catalogue of
engravers : " The Prince going out early one morning, observed
the sentinel at some distance from his post, very busy doing
something to his piece. The Prince asked him what he was
about. He replied, the dew had fallen in the night, had made
his fusil rusty, and that he was scraping and cleaning it. The
Prince looking at it, was struck with something like a figure
eaten into the barrel, with innumerable little holes closed
together, like friezed work on gold and silver, part of which the
fellow had scraped away ; the genie fecond en experiences from
so trifling an accident conceived Mezzotinto."
This story is now, however, regarded as apocryphal, and it
is considered certain that the person who first engraved in this
manner was Ludwig von Siegen, an officer in the service of the
Landgrave of Hesse, the first plate he produced being a portrait
of Amelia Elizabeth, Landgravine of Hesse, engraved in the
year 1642. He communicated the secret to Prince Rupert, who
1 See " James Chelsum, D.D. A History of the Art of Engraving in
Mezzotinto," anon. 8vo. Winchester, 1786; and also, " Leon de Laborde :
Histoire de la Gravure en Maniere Noire." Paris, 1 839. 8vo.

THE ENGLISH SCHOOL. 161
greatly improved the art, producing several admirable plates ;
his " Executioner of St. John," after Spagnoletto, is particularly
fine ; and indeed for bold and masterly treatment may be said to
have never been excelled. The knowledge of the art soon
spread throughout Europe ; but was nowhere taken up with any
zeal, except in Holland and England. In this country, it was
received with favour, and gradually carried to the greatest
perfection ; one reason, perhaps, being its peculiar suitability to
portraiture, which was the only branch of art that then flourished
here. However that may be, it is certain that this style of en
graving has nowhere else been so successfully practised. Indeed,
so entirely have English artists made it their own, that it is
generally called by foreigners " la maniere anglaise."
LUDWIG VON SlEGEN, born in 1609, died about 1680.
The Portrait of Amelia Elizabeth, Landgravine of Hesse, the
first plate engraved in this manner, was published in 1643,
but there is an earlier state with the date MDCXLii. ; all im
pressions, however, of this date have had an additional " I "
neatly added to the date in pen and ink by the publisher, pre
sumably for the purpose of concealing the fact that any proofs
had been taken before publication. Both states are in the Print
Room. Siegen also engraved a Holy Family after Caracci, and
portraits of Eleanor Gonzaga, wife of Ferdinand III., sometimes
called Queen of Bohemia (of which there are two states in
the Department), William Prince of Orange, Mary Princess of
Orange, and the Emperor Ferdinand III.
BARON. T. C. von FiJRSTENBERG was one of the fathers of
the art. The British Museum has three specimens of his work,
viz. — the Head of Christ, Herodias, and a portrait of Leopold,
Archduke of Austria.
Sir Christopher Wren (1632-1723) was one of the first
Englishmen who scraped in mezzotinto ; and in consequence
of communications he made on the subject to the Royal Society
was at one time thought to have been the inventor of the art.
It is, however, certain that he did not engrave before 1660.
M

162 THE ENGLISH SCHOOL.
The only specimens of his work that exist are two heads of
negroes, which are very rare ; of one of them, indeed, only a
single perfect proof is known ; it is in the Weigel Collection, and
according to Nagler considered almost unique. The British
Museum possesses an impression which is cut down.
Prince Rupert, in addition to the large plate before men
tioned, which is usually styled " the Great Executioner," and
of which there are two states in the Print Room, engraved a
small replica of the head of the same figure for Evelyn's
"Sculptura;" this is called "the Little Executioner." The
"David " or " Standard Bearer," and " Magdalene," after Merian,
are also fine specimens of his work. The British Museum
possesses the finest known collection of his engravings.
Wallerant Vaillant (1623-1677), a Frenchman, was
originally in the service of Prince Rupert, who employed him to
lay his grounds. In this way he learned the secret of the mezzo
tinto process, and became himself one of the ablest and most
prolific professors of the art. He engraved his patron's por
trait, which is inscribed " Prins Robbert, vinder van de Swarte
Prent Konst," i.e., Prince Rupert, inventor of the art of mezzo
tinto. This, together with the numerous copies he made of his
works, was the main cause of the invention being erroneously
attributed to the Prince. Many of Vaillant's plates are admirable ;
and the Museum possesses a fine collection of them.1
JOHN SMITH,
5N engraver of some note, was born in London in the
year 1654, and died there about 17 19. He is said
to have served under Tillet, a painter in Moorfields,
and was also pupil of Isaac Becket. He engraved several plates
after Sir Godfrey Kneller, who took him into his house, and
engaged him to reproduce his portraits.
1. Christ on the Cross, with Angels receiving in cups the blood
which flows from his wounds. After Van Dyck.
1 See Miscellaneous Examples, No. 24.

THE ENGLISH SCHOOL. 163
2. The Virgin and Child. After Schedone.
3. Going a Hunting. A party of huntsmen waiting outside a castle
for a lady, who is escorted down the steps by a page. Proof before the
title. After J. Wyck.
EDWARD KIRKALL.
fHIS artist was born at Sheffield in the year 1695 ; in his
native city he learnt the rudiments of drawing. He
engraved numerous prints in mezzotinto and chiaro-
oscuro ; the latter he executed in a peculiar manner, first etching
the outline of the design, and then putting in the dark shadows
by means of mezzotinto, and the half-tints with wooden blocks.
The date of his death is not ascertained.
The Museum possesses a fair collection of his works, which
are temporarily arranged in a separate volume.
JAMES MCARDELL.
£HIS remarkable engraver was a native of Ireland, and is
said to have been born in 17 10; he was apprenticed to
John Brooks. He came to London when a young man,
and very soon became one of the ablest artists in his branch
of the art. He engraved chiefly after Sir Joshua Reynolds,
Hogarth, Zoffany, and Cotes, besides a few historical sub
jects by Van Dyck, and other known painters. McArdell died
in London, June 2, 1765.
The set in the Museum is very good.
1 . Portrait of George, Duke of Buckingham, withTiis brother Francis.
After Van Dyck.
1st state. Proof before letters.
2nd state. A finished impression.
2. Interior of a Chamber, in which two women are seated, one of
whom rocks a cradle, while the other reads by the light of a lamp. After
Rembrandt. Proof before all letters.
3. Portrait of Mrs. Bonfoy. After Sir J. Reynolds.
Proof before all letters, artist's name etched in.

164 THE ENGLISH SCHOOL.
RICHARD HOUSTON
JAS a native of Ireland, born in 1721. He practised
engraving in London with success. 'His portraits after
Sir Joshua Reynolds are very much esteemed ; as
also his plates after Rembrandt. He also painted miniatures.
Houston died August 4, 1775.
1. Portrait of Maria Walpole, Duchess of Gloucester, when Countess
Waldegrave, with fier daughter Lady Elizabeth Laura. After Sir J.
Reynolds. Proof before all letters.
2. A Woman plucking a Fowl. After Rembrandt.
Proof before all letters.
3. Haman's Condemnation. After Rembrandt.
Proof with inscription etched in.
WILLIAM PETHER,
?ON of Abraham Pether,- was born at Carlisle in 1731.
He began his career as a portrait painter in oil and
miniature, but he gave that up, took to the graver, and
put himself under Thomas Frye. He engraved various plates
after Rembrandt, Gerard Dow, Teniers, and others, and died
about 1795.
1. The Rabbi. After Rembrandt.
First state, with artist's name etched in with dots.
2. The Alchymist. After J. Wright.
Proof before all letters, before the writing on the books and the figures
on the dial.
3. The Orrery. After J. Wright.
Proof before letters, arms before the plate was cleaned, and before the
motto on the arms.
VALENTINE GREEN, A. E.
|ORN at Hales Owen, Salop, in 1739. He was intended
by his father for the profession of the law ; but soon
left his office, and took to the graver. In 1765 he
came to London, and gave up line engraving for scraping in

THE ENGLISH SCHOOL. 165
mezzotinto, which he brought to great perfection. He engraved
many plates after Sir Joshua Reynolds, Benjamin West's historical
subjects, and some of the old masters, and died in London,
July 6, 1813.
1. Portrait of Lady George Cavendish, when Lady Elizabeth
Compton. After Sir J. Reynolds.
Proof before letters, with artist's names, &c, etched in.
2. Portrait of Georgiana Spencer, Duchess of Devonshire. After
Sir J. Reynolds.
Proof before letters, with artist's names, &c, etched in.
3. Regulus returning to Carthage. After B. West.
Proof before the inscription.
4. The Air Pump. After J. Wright.
Proof before letters, artist's names etched in.

RICHARD EARLOM.
jt| HIS eminent engraver was born in London in 1743. He
showed great talent for the art when a boy, and placed
himself under Cipriani. His works, which are numerous,
show great power for imitating the master's style, and especially
good drawing ; they consist of portraits, landscapes, and include
the " Liber Veritatis," after Claude Lorraine. Earlom died
October 9, 1822.
There is a very fine set of his works in the Print Room.
1. Bathsheba leading Abishag to David. After Van der Werff.
This beautiful print is considered to be the chef-d'ceuvre of the artist.
The proof in this collection is before the arms. Artist's and publisher's
name etched in.
2. A Flower Piece. After Van Huysum.
This is Earlom's own proof, with his autograph.
3. Moses receiving the Tables of the Law on Mount Sinai. After
B. West. This has been touched on by the painter.

166 THE ENGLISH SCHOOL.
JOHN RAPHAEL SMITH
|AS the son of Thomas Smith, a landscape painter, and
was born in 1752. He is one of the best engraves in
mezzotinto. His portraits are much admired, especially
those after Sir J. Reynolds. J. R. Smith died suddenly, March
2, 1812. 1. Portrait of Mrs. Carnac. After Sir J. Reynolds.
Proof before letters, artist's name, &c.
2. Portrait of Joseph Tayodaneega, called "the Brant," the Great
Captain of the Six Nations. After Romney.
Proof, with letters only etched in, very fine.
3. Portrait of Lady Catharine Pelham Clinton, a child. After Sir
J. Reynolds. Proof, with letters merely etched in.
WILLIAM SAY.
|HIS celebrated mezzotinto engraver was born at Laken-
ham, near Norwich, in 1768. He studied for several
years under James Ward, R.A., who was at that time
working as an engraver. He produced a great number of por
traits, and also historical subjects, which amount to 335. There
is a complete set at the Museum, which was presented by his
son. Say died August 24, 1834.
SAMUEL COUSINS, R.A.
5LTHOUGH a living artist, the works of Cousins must be
mentioned here, for they are by far the best productions
of mezzotinto engraving that the English school of the
nineteenth century has hitherto produced. It is a special duty
to record the handsome and liberal donation of the entire set of
his works, consisting of a great number of plates ; many of them
in their various states. This collection was deposited in the
National Collection by the artist himself in January and March,
1872. The prints are arranged in four large volumes.

THE ENGLISH SCHOOL. 167
Besides the works of the artists already mentioned, there
are four small volumes and twenty large ones, containing fine
specimens by the following mezzotinto engravers, arranged in
chronological order :
Francis Place, 1650-1728.
Isaac Becket, 1653-1719.
William Faithorne, Jnr., 1656-1686.
John Simon, 1675 to c. 1755.
John Faber, (the younger), 1684- 1756.
John Finlayson, 1730 to c. 1776.
Edward Fisher, 1730 to c. 1785.
James Watson, 1740- 1790.
Thomas Watson, 1743-1781.
John Dixon, c. 1740 to c. 1780.
Robert Dunkarton, b. 1744.
John Dean, c. 1750-1798.
William Doughty, c. 1750-1780.
Charles Turner, 1773-1857.
David Lucas, fl. 1830.
William Ward, 1762- 1826.
Samuel William Reynolds, 1774-1835, and others.

ENGRAVERS ON WOOD.
JOHN BAPTIST JACKSON.
'¦""-¦¦¦-' HIS engraver, who flourished about 1740, was, ac
cording to Papillon, the pupil of the person who
engraved the small head-pieces and ornaments in
Maittaire's Latin Classics, published by Tonson and
Watts in 171 3. He chiefly resided in Paris and Venice.
There is in the Department a copy of his work entitled,
" Titiani Vecelii, Pauli Caliarii, Jacobi Robusti, et Jacobi de
Ponte, Opera selectiora a Joanne Baptista Jackson, Anglo,
Ligno coelata et coloribus adumbrata." Folio. Venetiis, 1745.
In this volume there are seventeen large cuts in chiaro-oscuro.
The best are :
St. Peter Martyr. After Titian.
The Martyrdom of St. Mark. After Tintoretto.
The Presentation in the Temple. After Paolo Veronese.
Christ Praying in the Garden. After Bassano.
Amongst his single prints is a " Descent from the Cross," after
Rembrandt (see p. 112, Ex. 2). A fine impression is in the British
Museum.

THOMAS BEWICK,
j)HE eminent wood engraver, was born at Cherry Burn, in
the county of Northumberland, in August, 1753, and
died at Gateshead, 8th November, 1828.
The following is from an article on Wilson's "Illustrations
of Zoology " in " Blackwood's Magazine " for June, 1828 :

THE ENGLISH SCHOOL. 169
" Have we forgotten, in our hurried and imperfect enumera
tion of wise worthies, — have we forgotten
' The Genius that dwells on the banks of the Tyne,'
the Matchless, Inimitable Bewick ? No. His books lie in our
parlour, bed-room, dining-room, drawing-room, study table, and
are never out of place or time. Happy old man ! The delight of
childhood, manhood, decaying age ! — a moral in every tail
piece — a sermon in every vignette. Not as if from one fountain
flows the stream of his inspired spirit, gurgling from the Crawley
Spring so many thousand gallons of the element every minute,
and feeding but one city, our own Edinburgh. But it rather
oozes out from unnumbered springs. Here from one scarcely
perceptible, but in the vivid green of the lonesome sward, from
which it trickles away into a little mountain rill — here leaping
into sudden life, as from the rock — here like a well asleep in a
moss-grown cell, built by some thoughtful recluse, in the old mo
nastic day, with a few words from Scripture, or some rude
engraving, religious as Scripture, OMNE BONUM DESUPER —
OPERA DEI MIRIFICA."
There is by him a volume containing nine hundred proofs of
woodcuts.
SAMUEL WILLIAMS.
I; HIS distinguished wood-engraver was born at Colchester
in 1798. In his earlier life he successfully painted
various landscapes in oil. He died on the 19th Septem
ber, 1853.
There is in the Department a collection of proofs of wood-cuts
executed by this artist, amounting to 273, which were presented
by his sons in 1856.

170

THE ENGLISH SCHOOL.

EBENEZER LANDELLS
\ AS born at Newcastle-on-Tyne in 1808 and died in 1861.
As a wood-engraver he ranks amongst the best of the
English masters ; he was a pupil of Bewick, and closely
imitated his style of engraving. There is in the Department
a volume, containing 181 1 proofs on India paper, chiefly executed
by Landells. They are illustrations to various periodical pub
lications issued in 1842 and 1843, including " Punch," "The Old
Curiosity Shop," " Barnaby Rudge," &c.

CARICATURISTS. JAMES SAYERS,
lORN at Yarmouth in August, 1748. He began his
si career as an articled clerk in an attorney's office.
About 1780 he came to London, and a few years
afterwards produced some political sketches, which
were much admired ; this induced him to draw many more.
His caricatures are coarse. Sayers died April 20, 1823.
There is in the Department a volume containing 182 speci
mens of his work.
THOMAS ROWLANDSON
jJAS born in London, July, 1756. At a very early age he
exhibited great talent for drawing ; and when sixteen
years old he was sent to Paris to study the human
figure. Whilst there he indulged in gaming and drinking, and
when he came to London he frequented houses of evil repute,
and squandered a considerable sum of money. However, he
managed to re-establish himself by his pencil. Rowlandson died
April 22, 1827.
His etchings are chiefly admired for grace and boldness of
design, especially in the groups. There are very many of them
amongst the Collection of Satirical Prints in the British Museum.
JAMES GILLRAY
$AS born in 1757, and began life as a goldsmith, but
having soon become tired of his occupation, he abandoned
it, and joined a company of players. As this step led
to no success, he became a student at the Royal Academy. In

172 THE ENGLISH SCHOOL.
1779 he began to caricature every event of importance, or every
conspicuous person. He was a skilful engraver upon copper.
After a very intemperate life, he died June 1, 18 15.
The Museum collection of his works is almost complete.
1 . William Pitt playing Cup and Ball with the Terrestrial Globe.
2. A new way to pay the National Debt. George III. and Queen
Charlotte are coming out of the Treasury loaded with money. On the
right is the Prince of Wales, in a very shabby dress, receiving money
from the Duke of Orleans.
3. L'Assemblee Nationale. The king is supposed to have been
executed, the republic proclaimed, and Charles James Fox, as first
consul, holding a levee at his house at St. Anne's Hill.
JOHN DOYLE.
/jKjSgi HIS celebrated caricaturist is generally known as "H.B."
He was born in Dublin in 1778, and began life as a
portrait painter ; in this branch of art he acquired the
knack of a remarkably faithful representation of face and action,
though there is a want of freedom in his drawing. For upwards
of twenty years he was recognized as the leading caricaturist of
political and social characters and events. He died January 2,
1848. There is a complete set of his lithographs in the Print
Room.
GEORGE CRUIKSHANK.
|JF this well-known living caricaturist and illustrator, born
in 1792, there is an almost complete set of etchings1
in the Print Room. Every one knows that they are
numerous. It would be a difficult task to select from George
Cruikshank's productions such as might be generally considered
as most worthy of praise. On the whole, perhaps, the following
examples may be indicated as the more successful :
1. The Folly of Crime.
2. The Elves and the Shoemaker.
3. Return from a Delightful Trip on the Continent.

1 See a descriptive Catalogue of his works by G. W. Reid, Esq.
London, 1871. 4to.

ETCHERS.
CAPTAIN WILLIAM BAILLIE.
'""' ?£s**a^ HIS amateur artist was born at Killbride, June 5, 1723.
He first studied law ; afterwards he entered the army

and served in the 13th Foot for. several years. He
spent much of his time in etching and scraping, and
altogether his works amount to 107 plates. His engravings are,
for the most part, after Rembrandt, and he restored the " Hun
dred Guilder print," or "Christ healing the Sick,"1 an impression
of which will be found with the Rembrandt etchings mentioned
before. Captain Baillie died in December, 18 10. The Print
Room has a good collection of his works, consisting of 102
specimens, bequeathed by J. M. Parsons, Esq., in July, 1870.
ROBERT HILLS.
,)ERY little is known of this distinguished animal painter
and etcher. He was born June 26, 1769, and received
instructions from John Gresse. His etchings consist
of a great number of plates, all of animals, that have evidently
been drawn from nature. Hills died May 14, 1844.
The Print Room set, formed by the artist himself, was pre
sented to the nation in March, 1861, by Mrs. Garle, of 81,
Hamilton Terrace, St. John's Wood. It contains many unique
states, numbering altogether 1,241 etchings. They are now
arranged in ten volumes, according to the different kinds of
animals. 1 Rembrandt, p. 100.

174 THE ENGLISH SCHOOL.

JAMES A. M. WHISTLER.
?HIS living artist is an American by birth, but has resided
for many years in France. His etchings are most valu
able ; they are beautifully drawn, more especially those
taken on the Thames.
The Print Room set is very good ; it contains some unique
states, and as a rule choice impressions. They are all mounted,
and fill one solander case. The following descriptions are taken
from Mr. Ralph Thomas's Catalogue ; London, 1875 :
1. " Soup a Trois Sous" (No. 25). The title given to this plate suf
ficiently explains itself. There are five figures at tables, some sleeping :
the figure on the left, though much resembling the artist, is not intended
as a portrait of him. " Whistler " written on the wall in the middle of
the plate.
2. Black Lion Wharf (No. 35). On the Thames: to the left there
is " Hoare's Wharf," then " Downe's Wharf," with this notice : " Old
Shipping Clippers to let every day: Glasgow, Inverness, Sec," and the
wharf from which the plate takes its name, " Black Lion Wharf," the k
having dropped off. At the bottom, " Whistler, 1859."
3. The Forge (No. 57). Etched in Brittany. On the left is the
forge ; a smith is holding the iron in the fire, and two men are waiting
for its production on the anvil ; a woman and child at the back. Right-
hand corner, "Whistler, 1861."
There is besides a considerable collection of etchings by
other artists and amateurs of this school, of whom the most
important are :
George Barrett, R.A., 1732-1784.
Saurey Gilpin, R.A., 1733-1807.
David Allan, 1744- 1796.
Samuel Ireland, d. 1800.
John Carter, 1748-18 17.
Robert Blyth, 1750-1784.
John Crome, "old Crome," 1 769-1 821.
Robert Hartley Crome, 1 771-18 12.
John A. Atkinson, b. 1775.
George Cuitt, 1779-1854.

THE ENGLISH SCHOOL. 175
William De La Motte, 1780- 1863.
Charles Wild, 1 781- 183 5.
David Cox, 1783-1859.
John Burnet, 1784- 1868.
Sir David Wilkie, Knt, R.A.,1 1785-1841.
William Collins, R.A., 1787- 1847.
Andrew Geddes, A.R.A., 1789- 1844.
Sir George Hayter, Knt., 1792-1871.
Maria Cecilia Louisa Cosway, fl. 18 10.
Robert Dixon, fl. 18 10.
Charles West Cope, R.A., b. 181 1.
Henry Davy, fl. 1830.
George Vincent, d. 1830.
Jacob George Strutt, fl. 1850.
William Carpenter, living, b. 18 18.
Samuel Palmer (living).
Percy Thomas, living, b. 1846, and others.
1 See " Etchings by Sir David Wilkie, R.A., and Andrew Geddes, A.R. A.
By David Laing. Edin., 1875.

DRAWINGS.
jT cannot be said that the drawings of the English
artists contained in the Museum collection are of
the same high interest as those of the schools of
Italy and Germany. Art is still young in this
country, and its growth, even during the period in which it
has existed, has been uncertain ; sometimes rapid, under the
influence of a distinguished genius, at other times falling almost
into a state of stagnation. As a rule, the English drawings of
most value have been produced either in the department of por
traiture or of landscape. Those finely finished compositions or
ideal faces that we find so often in the drawings of Italian pain
ters, seldom appear in collections of purely English examples.
It cannot be denied that there have been men endowed with
the imagination that recognizes and produces this species of
delineation, but of those so gifted how few have had the requisite
technical training for the creation or the adequate judgment of
such works ! In the last century the genuine and sincere achieve
ments of Blake in the range of imaginative presentment stand
out from a mass of productions by men of inferior talents, unfit
for the ambitious enterprise in which they had engaged ; and at
the present time there is again a sincere movement among a few
of the more enlightened spirits towards superior style in design
and execution. But if the works of English painters fail in
art, they are always interesting records of social life and
manners. We may find in the sketches of most of the draughts
men of the last century very interesting materials to enable
us to judge and idealize the very " forms " and " pressures '' of
those past times. Where is there any one so cold, so careless as

THE ENGLISH SCHOOL. 177
to take no interest in the events of bygone days ? The same
may be said of the few examples that survive of an earlier
national school. But there is one branch of English art ad
mirably illustrated by drawings in the national collection, where
there is no sense of failure. The progress of water-colour paint
ing has been altogether creditable to the force of native artistic
talent. It has been gradual and continuous, culminating at last
in a perfection which the artists of no other nation have attained
in this particular branch of art.
The talent for portraiture possessed by the English school
has never been deficient in representatives.
Looking through the series of English drawings, we find a
very large number of specimens in this kind belonging to every
period. Not only has native talent been largely manifested in
this direction, but if native talent has at all failed, then highly
gifted foreigners have been attracted to practise this art amongst
us. Thus, the English school may be said to begin with the
portraiture of Holbein and Van Dyck, both of whom found
English followers.
Some of the early English portrait painters are well repre
sented by drawings in the British Museum collection, and when
we get to the times of Reynolds and Gainsborough there is
little else but portraiture to be found.
It is true, however, that the higher efforts of such men as
Fuseli, Flaxman, and Blake, and, in a different direction, of
Stothard, have not yet been fairly appreciated. What is good in
them and in others, such as Hamilton and Cosway and Barry,
can be seen to best advantage in their drawings. Their paint
ing is often technically imperfect to a degree that discourages
approval, but their sketches and studies sometimes reveal a true
artistic idea, expressed with a certain measure of power. Many
of these men worked better with pen-and-ink than with the
brush. Their sense of colour was not so true as their power of
design, and thus, for fair and at the same time favourable study,
their drawings are a better material than their pictures.
The school of English landscape painting needs neither
apology nor excuse. The productions of that school rank with
N

178 THE ENGLISH SCHOOL.
the best efforts of any other, and if we would note how the feel
ing for landscape painting has gradually strengthened among
English painters, we cannot do better than follow its progress in
water-colour art. The collection of English water-colours in the
Department of Prints and Drawings is altogether of extraor
dinary interest. It records the earliest as well as the most
mature efforts, and includes some of the finest examples of the
school. The Collection is arranged at present according to the
alphabetical order of the artists' names, in upwards of seventy
solander cases.
WILLIAM HOGARTH.
? AVING already mentioned Hogarth as an engraver it is
only necessary to refer now to one work by him, that is,
the so-called Hogarth Tour. This is the original sketch
book, on the title-page of which is the following inscription : —
" An account of what seem'd most Remarkable in the Five
Days peregrination of the Five Following persons viz. — Messieurs
Tothall, Scott, Hogarth, Thornhill, and Forrest. Begun on
Saturday May the 27th, 1732, and Finish'd on the 31st of the
same month."
" Abi tu et fac similiter. — Inscription on Dulwich Colledge
porch." On the cover of the book is written — " Travels 1732. Vol. I."
This was purchased for the British Museum in 1 847.
There are also a few drawings incorporated with the general
collection of drawings, and amongst them may be mentioned
two sketches in oil, highly interesting as specimens of Hogarth's
powers as a colourist.
WILLIAM PARS, A.R. A.,
| AS born in London in 1742, and studied in the St.
Martin's Lane School. He resided a long time in Rome,
where he made a number of valuable studies. According
to Edwards, " The Dilettanti Society having at that time deter
mined to employ a portion of their accumulated subscriptions in

THE ENGLISH SCHOOL. 17c,
the cultivation of elegant literature, they resolved to send some
persons into Greece, to make further researches among the
remains .of antiquity, which are still to be found in Ionia, for
which purpose the following gentlemen were selected : — The Rev.
Dr. Chandler,. of Oxford, was appointed to the literary Depart
ment, to Mr. Revett was assigned the architectural inquiries, and
Mr. Pars was chosen the draughtsman." The original drawings
are in the Museum. He died in 1782.

ALEXANDER COZENS.
IJHIS distinguished water-colour painter was a native of
Russia. He went to Italy when young ; and there he
studied painting. In 1746, he came to England, and
finally settled here. He died April 23, 1786. A series of very
beautiful examples of his art is in the Print Room.
1. A View of Mount Etna, taken from near Catania.
2. Another View of Mount Etna, by moonlight.
3. Fifty-two drawings 5 his original sketch-book.
THOMAS GAINSBOROUGH, R.A.,
IJHE celebrated landscape and portrait painter, was born
in 1727. He came to London at the age of fifteen, and
studied first under Gravelot, and subsequently under
Frank Hayman. In 1760 he became a member of the Incor
porated Society of Artists ; and was chosen as one of the
foundation members of the Royal Academy, where he was a
constant exhibitor. He died August 2, 1788.
1. A Sketch of a whole-length male figure, seated in a chair, wearing a
cocked hat, and turned to the left. This drawing in chalk is said to be
the original sketch for his own portrait, painted in a picture with his wife
sitting on a garden seat.
2. A Study of a gentleman, seated. Black and white chalk, on tinted
paper. 3. Two Landscapes, with men on horseback, and shepherds. Both in
chalk, and washed with bistre.

180 THE ENGLISH SCHOOL.
SIR JOSHUA REYNOLDS, Knt., P.R.A.,
[jUR eminent portrait and historical painter, was born at
Plympton, in Devonshire, July 16, 1723, and died on the
23rd of February, 1792. Much has been written about
his life by Northcote, Dr. Johnson, and Burke. The last-men
tioned says : " Sir Joshua Reynolds was, on very many accounts,
one of the most remarkable men of his time. He was the first
Englishman who added the praise of the elegant arts to the
other glories of his country. In taste, in grace, in facility, in
happy invention, and in the richness of harmony of colouring, he
was equal to the great masters of the renowned ages. In portrait
he was beyond them, for he communicated to that description of
the art in which English artists are the most engaged a variety,
a fancy, and a dignity, derived from the highest branches, which
even those who professed them in a superior manner did not
always preserve when they delineated individual nature."
The Print Room is certainly hot rich in drawings by Sir J.
Reynolds' own hand ; but it has two most interesting sketch
books which were purchased in 1859 from Miss Gwatkin.
The following is an exact description of the two books :
" Two books filled with notes and sketches made by Sir
Joshua Reynolds during his tour in Italy ; bound in old vellum.
The larger volume has a flap, and measures nine inches by six
inches and a half. It has on it in ink ' Lot 62,' which was its
number in Lady Thomond's sale, where it was purchased by Mr.
Gwatkin at the price of one hundred guineas on the 25th May,
1 82 1. It contains seventy-eight leaves, which are numbered.
" The smaller volume measures seven inches five-eighths by
five inches two-eighths ; and was one of the three sketch-books
sold in ' Lot 64 ' of the same sale ; the pages are numbered
one to seventy-nine, but the lower half of page twenty-eight has
been cut out, and likewise the whole of page sixty-seven, except
a very small slip, on which it is stated to have been cut out by
Mr. Gwatkin. The sale took place at Mr. Christie's in his Great
Room, Pall Mall."

THE ENGLISH SCHOOL. 181

SIR THOMAS LAWRENCE, Knt., P.R.A.,
[HE distinguished portrait painter, was born at Bristol,
May 4, 1769. . His father was the landlord of the White
Lion Inn, which at the time was much frequented by
distinguished travellers. Young Lawrence was often introduced
to visitors, and occasionally astonished them by drawing striking
likenesses. In 1787 he came to London and was introduced to
Sir Joshua Reynolds. He travelled a great deal, and formed a
superb collection of drawings by the old masters (see page 44).
In 1820 he became President of the Royal Academy. He died
January 7, 1830.
1. A Sleeping Infant. Beautifully executed in black chalk. With
his signature, " Feb. 1789."
2. Profile of Lady Hamilton, looking upwards.
3. Head of a Woman, seen in profile, looking down. In red and black
chalk.

THOMAS GIRTIN.1
; HIS talented water-colour painter was born in Southwark,
February 18, 1773. He studied under Edward Dayes.
When twenty-three years of age he painted a panoramic
view of London from the roof of the Albion flour-mills, which
was exhibited in the Great Room in Spring Gardens. He
died November 9, 1802.
The Print Room is exceedingly rich in his works ; the greater
part of the drawings were presented by Chambers Hall, Esq.,
in the year 1855.
1. An interesting drawing of the Albion Mill after a fire. Unfinished.
2. Great Hall, Conway Castle. A very fine study of ruins, with
remains of arches.
3. Ethel Castle, Northumberland.

1 For an account of his life see Thomas Miller, " Turner and Girtin's
Picturesque Views, Sixty Years Since." 8vo. London, 1854.

182 THE ENGLISH SCHOOL.
EDWARD DAYES.
jpjHIS artist was a pupil of William Pether. He painted
in miniature, and engraved a few mezzotints ; but was
chiefly distinguished as a landscape water-colour painter.
His figures are well drawn. He died by his own hand in May,
1804. 1. King George III. reviewing 8,000 Volunteers in Hyde Park,
June 4, 1799.
2. View of a Cottage at Conven, Merionethshire, North Wales.
3. The Royal Procession to St. Paul's on the Thanksgiving for the
King's recovery, in 1789.
PAUL SANDBY, R.A.,
|ORN at Nottingham in the year 1732, was employed at
,-. the age of sixteen in the Tower, where he remained some
years ; but tiring of his duties, he took to the study of
drawing, and became a member of the St. Martin's Lane Aca
demy. In 1768 he was made one of the original members of the
Royal Academy. He has been justly named " the father of
water-colour painting," for he was one of the very first who prac
tised that art with success in England. He died November 9,
1809. 1. The Encampment at Blackheath.
2. The Magic Lantern. An interior, with a picture displayed having
a satirical allusion to an election. In distemper.
3. His sketch-book.
From Thomas Sandby, R.A., 172 1 -1798, the Print Room
has two very fine water-colour drawings of views on the river
Thames, from the garden of Somerset House, one looking west
and the other east. These are in frames.
WILLIAM ALEXANDER
=)AS born at Maidstone, April 10, 1767. He studied under
W. Parr, and in the year 1784 became a member of the
Royal Academy. A few years afterwards he went
with Lord Macartney's mission to China, where he made a

THE ENGLISH SCHOOL. 183
number of sketches. He illustrated various works, and was also
employed to make drawings of the marbles and terra-cottas
in the British Museum, which were published by the Trustees
between 1810 and 1815. He died July 23, 1816.
1. Four drawings in water-colour, representing a Chinese standard-
bearer, a Chinese soldier (called by the missionaries a " Tiger of War"),
a Chinese soldier with a matchlock, and a group of five Chinese at a
meal. 2. A River Scene in China. A very fine water-colour drawing.
3. A volume containing eighty-two drawings in water-colour, executed
during the year 1793.
THOMAS HEARNE.
jjORN at Brinkworth in 1744. He began life as an
engraver, and we find him as an apprentice, in 1765, to
Woollett ; but he subsequently gave up engraving and
took to water-colour painting. He died April 13, 18 17. There
are many drawings by him in the Print Room, nearly all pre
sented by John Henderson, Esq.
1 . Two Views of Chepstow Castle.
2. One of the Gates of Hereford.
3. Shrewsbury.
HENRY EDRIDGE, A. R.A.
jjORN in August, 1769, at the age of fourteen he put himself
under William Pether for two years, who allowed him to
make copies of his portraits in miniature. Edridge after
wards gave up that art, and adopted a much bolder style. Hearne
taught him landscape painting. He died April 23, 1821. The
Museum has a fine collection of his drawings,
1. A View from Windsor Castle. Black chalk on grey paper,
heightened with white.
2. A water-colour drawing of Great Bookham Church, Surrey.
3. A water-colour drawing of Aldenham Church, Hertfordshire.
4. A number of interesting portraits, slightly washed with Indian ink,
and finished with pencil.

184 THE ENGLISH SCHOOL.
WILLIAM BLAKE,
j/HE highly gifted but eccentric artist and writer, was a
painter, a poet, and an engraver. He was born in London,
November 28, 1757, and at fourteen was apprenticed
to the engraver Basire. Afterwards he studied at the school of
the Royal Academy. He engraved both from his own designs
and the works of other artists. Some of his engraving is
executed after a process devised by himself; and he published
poems of his own composition with ornamental engraved designs,
which he afterwards coloured by hand. He died August 12,
1827. The most finished of his original drawings are :
1. The Whore of Babylon. A colossal sitting figure, around whose
head a wreath of figures issues from the golden cup of abominations ;
below is a group of kings, &c. Dated " 1809."
2. Spirits ascending to Heaven. Dated "1806." Intended as a
frontispiece to " Blair's Grave."
3. A Tomb, inscribed " Letho similis."
Of his printed books the Department possesses a fine series,
amongst which may be specially mentioned as exhibiting his
gifts as a colourist the " Song of Los," and two volumes lettered
" Designs by W. Blake." With regard to his mode of printing,
Jackson ("Wood-Engraving," page 716) says : " Blake's metallic
relief engravings were printed by himself by means of a rolling
or copper-plate press, though the impression was obtained from
the lines in relief in the same manner as from a wood-cut. The
only difference in the printing consisted in the different manner
in which the pressure was applied. As it is difficult, according
to Blake's process, to corrode the large white parts to a depth
sufficient to prevent their being touched by the dauber or ball in
the process of inking, and thus presenting a soiled appearance
in the impression, he was accustomed to wipe the ink out where
it had touched in the hollows. As this occupied more time than
the mere inking of the plate, his progress in printing was
necessarily slow."

THE ENGLISH SCHOOL. 185

RICHARD PARKES BONINGTON.
ijHIS distinguished landscape and subject painter was
born at Arnold, near Nottingham, October 25, 1801. At
the age of fifteen he began to study in the Louvre, at
Paris, where his family was compelled to retire. He travelled a
great deal in Italy, where he painted several views. B onington
died of consumption, September 23, 1828.
1. Sketch-book.
2. View of the Cathedral of Notre Dame, at Rouen, as it appeared
before the fire in 1822. In colours.
3. The Death of Queen Katherine. In colours.

THOMAS STOTHARD, R. A.,
|AS born in London, August 17, 1755. At an early age
he evinced great taste for the fine arts, an4 was soon
employed in making designs for an edition of " Ossian "
and for " Bell's Poets." He was elected a member of the Royal
Academy in 1794, and six years afterwards he was appointed
librarian to that institution. He died April 27, 1834.
1. Nymphs gathering Grapes. A design for a plate, in sepia.
2. The Dance, from the "Vicar of Wakefield." In Indian ink.
3. Four Ladies, seated, reading. In colours.
SIR WILLIAM GELL, Knt.,
jKE archaeologist and traveller, was born at Hopton,
Derbyshire, in 1777, and died at Naples, February 4,
1836. There is in the Department a collection of
original drawings made by him during his travels through
Spain, Italy, Syria, Dalmatia, the Ionian Islands, Greece, and
European Turkey, amounting to nearly 800 in number. These
were bequeathed to the nation by the Hon. Richard Keppel
Craven, and were received at the British Museum in April, 1852.

186 THE ENGLISH SCHOOL.

JOHN VARLEY.
;HIS water-colour painter was born in Lincolnshire,
August 17, 1778. Being discouraged by his father in his
pursuit of the fine arts, he was placed under a silver
smith ; but on his father's death he began to paint portraits, &c.
He became one of the foundation members of the Water-Colour
Society, and was a constant and successful exhibitor for many
years. He also taught drawing. Varley died November 17, 1842.
1 . A Landscape. A cottage on the left, and a pond in the foreground.
In colours. 2. A Landscape. A cottage towards the left, three sheep feeding,
and a shepherd on the road. In colours.
3. View of Cader Idris, Wales. In colours.
JOSEPH MALLORD WILLIAM TURNER, R.A.,
fHE eminent and original artist, was born in London,
April 23, 1775, and died at Chelsea, December 19, 1851.
So much has been written respecting his life and talents,
that it is only necessary to mention here his munificent gift to the
nation of his whole collection of pictures and drawings. His
will, however, having been disputed, his next of kin obtained
the engravings ; but one hundred of his finest oil-paintings, and
several hundred drawings and sketches, became national pro
perty. These last were arranged by Mr. Ruskin for exhibition,
and, together with his pictures, may be seen at the Gallery of
British Art in the South Kensington Museum.
The British Museum possesses only three drawings from his
hand, but they are sufficiently fine to illustrate his powers in
drawing and composition.
1. Sketch of Sion House. Pen and sepia.
2. Pan and Syrinx. Pen and sepia.
3. Huntsmen in a Wood, near a river, and accompanied by dogs.
Pen and bistre.

*fej

THE ENGLISH SCHOOL. 187
"LIBER STUDIORUM."
HE choice set of the " Liber Studiorum " now in the
Print Room, was formerly the property of Mr. John Pye
(born in 1782, died in 1874), the distinguished engraver,
and great friend of Turner; It was purchased from Mr. Pye in
the year 1869. For upwards of fifty years his aim was to bring
the set into its present perfect condition. The publication began
in 1807, and five prints at a time were issued at various intervals
during twelve years. The complete collection consisted alto
gether of seventy prints and a frontispiece.
We may quote the following passage describing the manner
in which the work was produced. " Of each subject Turner first
made the drawing carefully and completely in sepia ; as the pre
liminary stage of engraving it, he etched or got etched on the
copper-plate all the leading outlines of the design, and the out
lines only, without shading or toning ; finally the shading and
toning were filled in on the plate by the mezzotint process of
engraving, carried out sometimes by the artist's own hand, more
commonly by engravers whom he employed, but always with
a perpetual and scrupulous supervision of the work, and repeated
trials and improvements made under his fastidious eye. The
technical peculiarity lies in the combination of the processes
of etching and mezzotint upon the same plate, and in the use of
a warm brown-coloured ink in printing, to effect as complete
a likeness as possible to the original sepia drawing."
This set is contained in eight solander' cases ; the prints
arranged according to the order of publication. The number
will be seen on each print in the centre above, and on the left,
below, the state. The observations here given, in inverted commas,
are literally copied from Mr. Pye's own notes :
1. Vessels at Sea (rough weather). (No. 8.)
1 st state. Proof. " The plate being overcharged with ink when this
proof was printed, the darks are too dark and the lights too white and
spotty ; hence the graduations of the tints are false."
2nd state. Proof. " The shadows of this proof are more truthful as
to depth than those of the preceding, and the lights are consequently

188 THE ENGLISH SCHOOL.
more correct ; therefore the breadth of this effect represents objects in
motion rather than spots or patches of light and shade. This production
is especially to be commended, as it is full of the truthful variety of gra
dation for which the painter always worked."
3rd state. "A worn-out print bearing the letters of the proofs."1
This is in solander case I.
2. Little Devil's Bridge, over the Russ, above Altdorf, Switzerland.
(No. 18.) Three states.
Mr. Pye makes no remark upon this, but Mr. Hamerton, in
his work, entitled " Etching and Etchers," writes as follows : —
" The heavy etching of the rock and pines to the left, and of
the riven tree on the isolated central rock, has the artistic ad
vantage of harmonizing with the rugged material. When the
foreground is occupied by things whose nature is opposed to
human effeminacy, and affords enjoyment to none but our hardiest
instincts, the iron pencil may be blunt and strong, and the hand
of the artist resolute ; but we might not safely infer from the
success of such work as this that it would be well to apply a like
method to all foregrounds. Turner's use of mezzotint was an
evasion of these difficulties, and the effect of drifting mist and
broken light beyond the bridge in this design, being rendered in
pure mezzotint, does not concern us." In solander case II.
3. The Source of the Arveyron, in the Valley of Chamonix, Savoy
(No. 58). In solander case V.
GEORGE JONES, R.A.,
^AS born January 6, 1786. He served as a volunteer
during the Peninsular War till 181 5. In 1822, he was
elected an Associate of the Royal Academy, and two
years afterwards a Royal Academician. He is known as a
battle painter. Geo. Jones died September 19, 1869.
There are in the Museum eleven volumes, containing 1,021
academical studies, executed chiefly in pencil and touched with
white on toned paper. These drawings, which were bequeathed
by the painter, were made by him at the school of the Royal
Academy. 1 The original drawing is at the South Kensington Museum.

THE ENGLISH SCHOOL. 189
WILLIAM COLLINS, R.A.,
|AS born in London, September 18, 1787. When twenty
years of age he entered the Royal Academy as a
student, and two years afterwards he obtained a medal
in the life school. His subjects are generally landscapes, with
figures, which he treated with great boldness and fine drawing.
He died February 17, 1847.
1. Cottage at Shedfield, Hants. Outlined in pen and coloured on
grey paper.
2. Rat-Catcheh. In colours.
3. Landing Fish. In water-colours.
SAMUEL PROUT.
j|HIS eminent water-colour painter was born at Plymouth,
September 17, 1783, and settled in London in 1805.
Here his drawings commanded a ready sale. In 18 16
Mr. Ackermann published a work in parts, called " Studies," after
Prout's designs, executed in lithography. This was followed
by similar productions : — " Progressive Fragments," " Rudiments
of Landscape," " Views in the North and West of England ;" and
other works. Prout subsequently visited France, Italy, Flanders,
and Germany ; with what result may be seen in his illustrations
of these countries, which are considered the finest of his collec
tive works. He also published " Hints on Light and Shade,
Composition, &c." His works are remarkable for brilliancy of
colouring, and the pleasing arrangement of his figures. He died
February 10, 1852.
1. View of Stirling Castle. Drawing in pencil on grey paper
washed.
THOMAS UWINS, R.A.,
5ORN in London, February 24, 1782, began life as an
engraver, but at the age of sixteen he abandoned that
pursuit and became an art student at the Royal Academy.
Amongst his first works were illustrations of books ; he also

190 THE ENGLISH SCHOOL.
painted in water-colours, and some of his views and sketches
made in Italy are very much esteemed by connoisseurs. He was
made a member of the Royal Academy in 1838,' and died
August 25, 1857.
The Museum possesses several drawings of views near
Naples in pen-and-ink, washed with sepia.
JOHN WYKEHAM ARCHER.
f HIS water-colour painter was born at Newcastle-on-Tyne,
August 2, 1808. He came to London in 1830, and
began to draw old buildings, by which he acquired great
reputation amongst antiquarians. There are in the British
Museum 479 drawings by him, representing buildings and other
objects in London and the immediate environs. He died May
25, 1864.

The following is a complete list of the English Masters
represented by original Drawings in the
British Museum.

^DAMS, Miss L.
Alexander, John,
c. 1718.
Alexander, William,
1767-1816.
Allan, David, 1744-1796.
Allen, Joseph W., d. 1852.
Allston, Washington, A.R. A., 1779-
1843.
Archer, J. W., 1808-1864.
Athow, T.
Attwold, R., fl. 1750.
Aylesford, Lord, 1751-1812.

Bank, John van der, fl. 1720.
Barker, Thomas, of Bath, 1769-
1847-
Barlow, Francis, 1626-1702.
Barret, George, R.A., 1732-1784.
Barralet, John James, d. c. 1812.
Barry, James, R.A., 1741-1806.
Bartolozzi,1 Francesco, R.A., 1 728-
1815.
Beale, Mary, 1632-1697.
Beaumont, Sir George, 1753-1827.

Beechey, Sir William, R.A., 1753-
1839-
Behnes, William, 1795-1864.
Bell, Edward, fl. 1790.
Blackey, Nicholas, fl. 1760.
Blake, William, 1757-1827.
Bonington, Richard P., 1801-1828,
Bonner, Geo. William, 1796-1836.
Bourgeois, Sir Francis, R.A., 1756-
1811.
Bourne, James, fl. 1805.
Bowles, John.
Bray, Gabriel.
Bright, J.
Bromley, James, 1800-1838.
Brown, Mather, d. 18-31.
Buck, Adam, fl. 1 830.
Buckler, John Chesel, 1 770- 185 1.
Bulmans J.
Bullfinch, J.
Burnet, James M., 1788-1816.
Burnet, John, 1784-1868.
Burney, Edward Francis, 1 760-
1848.
Callcot, Lady Maria, 1785-1842.

1 It may seem strange to find the names of foreign artists here
amongst English masters, but it has hitherto been the practice so to
arrange foreigners who have either resided a long time in this country,
or who have been elected members of the Royal Academy.

192

THE ENGLISH SCHOOL.

Calvert, Frederick, fl. 1820.
Capon, William, 1757-1827.
Carlini, Agostino, R.A., d. 1790.
Carter, John, 1 748-1817.
Casanova, Francesco, 1 727-1805.
Cave, Le, P., see Le Cave, P.
Chalmers, J.
Chalon, John James, R.A., 1778-
1854-
Chambers, George, 1 803- 1 840.
Chantrey, Sir Francis Legatt, R.A.,
1781-1842.
Chatelain, John Baptist, 1710-
1771.
Cheesman, Thomas, fl. 181 5-
Chinnery, George, R.H.A. fl. 1835.
Cipriani, Giovanni Battista, R.A.,
1727-1785.
Claret, William, d. 1706.
Clennell, Luke, 1781-1840.
Clerk, John, 1 728- 1 81 2.
Cockerell, Charles Robert, R.A.,
1788-1863.
Collins, William, R.A., 1787-1847.
Coney, John, 1786-1833.
Constable, John, R.A., 1776-1837.
Cook, Richard, R.A., 1784-1857.
Cooke, Edward William, R.A.
(living).
Cooper, Edward, fl. 1779.
Cooper, Richard, c. 1730-1764.
Cooper, Samuel, 1609-1672.
Copley, John Singleton, R.A. , 1 737-
1815.
Corbould, Henry, 1787-1844.
Corbould, Richard, 1757-1831.
Cort, Henri de, 1742-1 8 10.
Cosway, Richard, R.A., 1 740-
1821.
Cotes, Francis, R.A., 1725-1770.
Cotman, John Sell, 1782-1842.
Cowen, W., fl. 1824.
Cox, David, 1783-1859.
Cozens, Alexander, d. 1786.
Cozens, John Robert, 1752-1799.

Cradock, Luke, c. 1660-1717.
Craig, William Marshall, fl. 1820.
Crome, John, 1769-1821.
Cruikshank, George, b. 1792
(living).
Cruikshank, Robert, 1790- 1856,
Cumberland, G., sen.
Dockett, T., fl. 1684.
Danby, Francis, A.R. A. , 1 7 93- 1 86 1 .
Dance, George, 1740-1825.
Dance, Nathaniel, R.A., 1 7 34- 1818.
Daniell, William, 1769-1837.
Davis, John Scarlett, fl.*l830.
Dayes, Edward, d. 1804.
Deacon, James, d. 1750.
De laMotte, William, 1780-1863.
Denning, Stephen Poyntz, 1795-
1864.
Devis, Antony J., 1729-1817.
Devoto, James.
De Wilde, Samuel, 1748-1832.
De Wint, Peter, 1784-1849.
Dighton, Denis, 1792-1827.
Dighton, Robert, 1742-1814.
Donaldson.
Dowman, John, A.R.A., d. 1824.
Doo, George Thomas, b. 1800
(living).
Earle, Augustus, fl. 1822.
Eastlake, Sir Charles Locke,P.R.A.,
1793-1865.
Edridge, Henry, A.R.A., 1769-
1821.
Edwards, George, 1694-1773.
Elford, Sir William, Bart, 1747-
1837-
Ernes, James.
Evans, William, 1 809- 1858.
Faber, John, d. 1721.
Faithorne,William, the Elder, 1616-
1691.
Faithorne, William, the Younger,
1656-1686.

Falconet, Peter, fl. 1 765.
Fanshawe, Catherine Maria, 1765
to c. 1834.
Farnborough, Lady Amelia.
Ffoster, Thomas, 1797-1826.
Field, J.
Fielding, Anthony Vandyke Copley,
1787-1855.
Finch, Francis Oliver, 1802-1862.
Fisher.Flaxman, John, R.A., 1755-1826.
Forbes, Alexander.
Ford, W.
Forster, John.
Forster, William.
Fox, Charles, d. 1854.
Francia, F. L. T., 1772-1839,
Fuller, J., 1606-1672.
Fuseli, Henry, R.A., 1741-1825.
Gainsborough,Thomas, R.A., 1727-
1788.
Gardiner, W. N., 1766-1814.
Geddes, Andrew, A.R. A., 1789-
1844.
Geikie, Walter, R.S.A., 1795-1837.
Gell, Sir William, Knt., 1774- 1836.
Gent, G. W.
Gibson, John, R.A., 1790-1866.
Gillray, James, 1757-1815.
Gilpin, Sawrey, R.A., 1733-1807.
Gilpin, William Sawrey, 1724-
1804.
Girtin, Thomas, 1773-1802.
Goodall, Frederick, R.A., b. 1822.
Gore, Charles, fl. about 1 790.
Goupy, Joseph, d. 1763.
Grant, Sir Francis, P.R. A., b. 1803
(living).
Gravalt, Colonel.
Grimm, Samuel Hieronymus, d.
1794.
Grignion, Charles, c. 1716-1810.
Grose, Captain Francis, 1713-1791.

THE ENGLISH SCHOOL.
Gyles, Henry, fl. 1650.

193

Hamilton, William, R.A., 1751-
1801.
Hannan, William, d. 1775.
Harding, George Perfect, d. 1853.
Harding, James Duffield, 1798-
1863.
Harding, Sylvester, 1745-1809.
Hardy, W. J.
Harlow, George Henry, 1787-
1819.
Harley, G.
Harvey, Thomas.
Havell, William, 1782-1857.
Hayman, Francis, R.A., 1 708-1 776.
Hayter, Sir George, Knt, 1792-
1871.
Hearne, Thomas, 1744-1817.
Heath, William, 1795-1840.
Herbert, John Rogers, R.A., b.
1800 (living).
Heriot, George.
Hickey, T., fl. 1771.
Highmore, Joseph, 1692-1780.
Hills, Robert, 1769-1844.
Hilton, William, R.A., 1786-1839.
Hixon, James Thompson, 1836-
1868.
Hoare, William, R.A., 1706-1792.
Hodgkin.
Hogarth, William, 1697- 1764.
Holden, T.
Holland, Sir Nathaniel Dance,
Bart, R.A., 1734-1811.
Holmes, Richard Rivington, b.
1835-
Home, Robert, d. c. 1 836.
Hood, Thomas, 1799-1855.
Hooker, W. D.
Hoppner, John, R.A., 1758-1810.
Hoskins, John, d. 1664.
Howard, Henry, R.A., 1769-1847.
Howitt, Samuel, 1765-1822.

194

THE ENGLISH SCHOOL.

Hume, Amelia.
Humphrys, Ozias, R.A., 1742-
1810.
Hussey, Giles, 1710-1788.
Ibbetson, Julius Caesar, 1 7 59- 1 8 1 7 .
Jackson, John, R.A., 1 778-1831.
Jenkins, Thomas, d. 1798.
Jones, Inigo, c. 1572-1651.
Jones, T. H, fl. 1830.
Kauffmann, Angelica, R.A., 1741-
1807.
Kent, William, 1685-1748.
Kerrich, Thomas, 1747-1828.
Kinnard, William.
Kip, Leonard.
Landseer, Sir Edwin Henry, R.A.,
1802-1873.
Lane, Theodore, 1800-1828.
Lansdown.
Laporte, John, 176 1-1 839.
Laroon, Marcellus, 1679-1772.
Lawrence, Sir Thomas, P.R. A.,
1769-1830.
Le Cave, P., fl. 1 800.
Lemon, George.
Lens, Bernard, 1680-1 740.
Le Piper, Francis, c. 1698-1740.
Leslie, Charles Robert, R.A., 1794"
1859.
Lewis, Charles George.
Lewis, Frederick Christian, 1 779-
1856.
Lewis, George Robert, 1782-1871.
Lewis, J. F.
Locker, Edward Hawke.
Loggan, David, 1635-1693.
Long, Lady Amelia, see Farn-
borough.
Loutherbourg, Philip James, R.A.
1740-1812.

Mackenzie, Frederick, 1787-1854.
Maclise, Daniel, R.A., 1811-1870.
Malchair, J., fl. 1790.
Malton, Thomas, 1748-1804.
Marlow, William, 1740-1813.
Marten, J.
Martin, C.
Maskins.Maurer, J., fl. 1746.
Medina, Sir John Baptist, Knt.,
1660-1711.
Metz, Conrad Martin, 1755-1827.
Monamy, Peter, 1670-1749.
Moore, Charles.
Morland, George, 1763-1804.
Mortimer, John Hamilton, R.A.,
1741-1779.
Moser,George Michael, R.A.,1704-
1783-
Muller, William John, 1812-1845.
Mulready, William, R.A., 1786-
1863.
Munn, Paul Sandby, 1773-1845.
Nantam, J. P.
Nash, Frederick, 1 782-1856.
Nasmyth, Patrick, 1 787-1831.
Newton, GilbertStuart,R.A., 1 795-
1835.
Newton, Richard, 1777-1798.
Nicholson, William, R.S.A., 1784-
1844
Oliver, Isaac, 1556-1617.
Oliver, Peter, 1 601- 1660.
O'Neil, Hugh.
Ottley, William Young, 1771-
1836.
Owen, Samuel, 1768-1857.
Owen, William, R.A., 1769-1825.
Paine, James, 1716-1789.
Parkinson, Thomas, fl. 1780.
Pars, William, A. R. A., 1742-1782.

THE ENGLISH SCHOOL.

195

Payne, William, fl. 1 809.
Perry, Francis, d. 1765.
Philips, Charles, fl. 1730.
Place, Francis, d. 1728.
Pocock, Nicholas, 1 740- 1 8 2 1 .
Pope, Alexander, 1668-1744.
Porter, Sir Robert Kerr, Knt.,
1777-1842.
Powell, C. M., d. 1824.
Powell, John, c. 1780.
Prior, William Henry.
Prout, Samuel, 1783-1852.
Pugin, Augustus, 1762-1832.
Pyne, William Henry, 1769-1843.
Raimbach, Abraham, 1776-1843.
Ramberg, John Henry, 1 763- 1 840.
Rathbone, John, 1750-1807.
Record.Re vett, Nicholas, 1721-1804.
Reynolds, Sir Joshua, P.R.A.,
1723-1792.
Richards, John Inigo, R.A., 1810.
Richardson, John, fl. 1725.
Richardson, Jonathan, Sen., 1665-
1745-
Richardson, Jonathan, Jun., d.
177L
Rigaud, John Francis, R.A., 1742-
1810.
Rigaud, Stephen Francis, fl. 1800.
Riley, John, 1646-1 691.
Roberts, James, fl. 1780.
Robertson, Charles.
Romney, George, R.A., 1734-
1802.
Rooker, Michael Angelo, A.R.A.,
1743-1801.
Ross, Sir William, R.A., 1794-
1860.
Rowlandson, Thomas, 1756-1827.
Runciman, Alexander, 1736-1785-
Rysbrack, John Michael, 1693-
1770.

Salt, Henry, 1785- 1827.
Sandby, Paul, R.A., 1732-1809.
Sandby, Thomas, R.A., 1721-1798.
Schriebbelie, Robert Bremmel,
d. c. 1869.
Scott, John, 1774-1828.
Scott, Samuel, c. 17 10-1772.
Serres, Dominic, R.A., 1722-1793.
Seymour, James, 1702-1752.
Sharp, William, 1749-1824.
Shelley, Samuel, c. 1750-1808.
Shepherd, George, fl. 18 10.
Shepherd, Thomas H.
Shepperson, M.
Sherlock, William, 1738.
Sherwin, John Keyse, 1751-1790.
Shipster, Robert.
Simon, Abraham.
Singleton, Henry, 1766-1839.
Skippe, John, fl. 1 790.
Smirke, Sir Robert, R.A., 1780-
1867.
Smith, Benjamin, d. 1833.
Smith, John, 1654-1727.
Smith, John Raphael, 1752- 181 2.
Smith, John Thomas, 1766-1833.
Smith, John, " Warwick," 1 749-
1831.
Smith, Lorraine.
Smith, Nathaniel, fl. 1790.
Solomon, Abraham, 1824-1862.
Stark, James, 1794- 1859.
Stevens, George.
Stewart, Col. C. J., fl. 1845.
Storm, G. F.
Stothard, Thomas, R.A., 1755-
1834.
Strachan.
Strange, Sir Robert, 1721-1792.
Strutt, Joseph, 1 749-1 802.
Stuart, Gilbert.
Stuart, James, 1713-1788.
Sullivan, Luke, 1 705- 1771.
Swaine, Francis, d. 1782.

196

THE ENGLISH SCHOOL.

Taverner, William, 1703-1772-
Taylor, Isaac, 1730-1807.
Taylor, T.
Taylor, William Dean, 1794-1857.
Thornhill, Sir James, 1676-1734.
Thurston, John, 1774-1822.
Tomkins, Charles, fl. 1780.
Towne, Francis, 1739-1816.
Townsend, John.
Tresham, Henry, R.A., c. 1756-
1814.
Turnbull, John.
Turner, Joseph Mallord William,
R.A., 1775-1851.
Turner, William, "of Oxford,"
1789-1862.
Turner, T., fl. 1754.
Uwins, Thomas, R.A., 1782-1857.
Vanderbank, John, 1694-1739.
Varley, John, 1778-1842.
Vertue, George, F.R.S., 1684-
1756.
Vickers, Alfred Gomersal, 1810-
1837-
Warren, Charles, 1 767- 1823.

Webber, John, R.A., 1752-1793.
Weller, J., fl. 171 8.
West, Benjamin, P.R.A., 1738-
1820.
Westall, Richard, R.A., 1765-
1836.
Wheatley, Francis, R.A., 1747-
1801.
White, George, fl. 1725.
White, Robert, 1645- 1704.
Wild, Charles, 1781-1835.
Wilde, Samuel de, fl. 1810.
Wilkie, Sir David, R.A, 1785-
1841.
Wilkinson, Joseph.
Williams, Edward, 1782-1855.
Wilson, Andrew, 1 780- 1848.
Wilson, Richard, R.A., 1714-1782.
Winstanley, Hamlet, fl. 1740.
Winter, C. J. W., fl. 1846.
Woodward, George M., d. 1809.
Woollett, William, 1735-1785.
Wootton, John, d. 1765.
Worlidge, Thomas, 1 700-1 766.
Wright, John Massey, 1773-1866.
Wyatville, Sir Jeffery, R.A, 1766-
1840.
Ziegler, C.

MISCELLANEOUS EXAMPLES.

MISCELLANEOUS EXAMPLES.

| HE following illustrated works and collections are
in the Department of Prints and Drawings.
i. A collection of Prints after English masters
arranged in portfolios in alphabetical order.
Amongst the painters best represented may be
mentioned : — Sir Edwin Landseer, R.A., Richard Parkes Bon-
ington, John Constable, R.A., Sir Thomas Lawrence, P.R. A.,
Sir Joshua Reynolds, P.R. A., Benjamin West, P. R. A., George
Morland, Robert Smirke, R. A., James Northcote, R.A., Sir David
Wilkie, R.A., Thomas Stothard, R.A.,1 J. M. W. Turner, R.A.,
J. H. Mortimer, R.A., Angelica Kauffmann, R.A., &c.
2. A collection of Prints after foreign masters. These are
divided according to schools. Each school has a separate set of
portfolios, and the names of the artists are for the present
arranged in alphabetical order. The schools are : — Italian,
German, French, Dutch, and Flemish, Spanish, and Portuguese.
The works of the Italian masters are subdivided into fifteen
schools, according to Lanzi's 2 arrangement : viz. — Florentine,
Sienese, Roman, Neapolitan, Venetian, Veronese, Mantuan,
Modenese, Parmesan, Cremonese, Milanese, Bolognese, Ferrarese,
Genoese, and Piedmontese.
Most of the prints after Dutch masters are bound in fourteen
large folio volumes, two of which are exclusively Rembrandts.
1 The Print Room possesses a collection of upwards of 2,200
engravings, a large portion of which are choice engravers' proofs. They
are arranged chronologically in four folio volumes. Purchased in 1 849.
2 Lanzi, Luigi, " Storia Pittorica dell' Italia." 6 vols. 8vo. Firenze,
1822.

200

MISCELLANEOUS EXAMPLES.

The principal painters of whose works there are reproductions
in the Print Room are the following ; their names are arranged
in alphabetical order under the several schools : —
Italian School.

Albani, Francesco.
Allegri, Antonio, " il Correg
gio."
Amerighi, Michelangiolo, da
Caravaggio.
Barbarelli, Giorgio, " Gior-
gione."
Barbieri, Giovanni Francesco,
" il Guercino."
Barocci, Federigo.
Berrettini, Pietro, da Cortona.
Buonarroti, Michel Angelo.
Caldara, Polidoro, da Cara
vaggio.
Caliari, Paolo, "Veronese."
Campagnola, Domenico.
Canal, Antonio, " Canaletto."
Caracci, Agostino.
Caracci, Annibale.
Caracci, Lodovico.
Dolci, Carlo.
Ferri, Ciro.
Feti, Domenico.
Fiesole, da, Fra Giovanni An
gelico.
Ghirlandajo, Domenico del.
Giordano, Luca.
Giotto.Mantegna, Andrea.
Maratti, Carlo.

Mazzuoli, Francesco, " il Par-
migianino."
Meldolla, Andrea.
Palma, Jacopo, " il Giovine."
Palma, Jacopo, " il Vecchio."
Pippi, Giulio Romano.
Ponte, Jacopo, " il Bassano."
Porta, Baccio della, " Fra Bar
tolommeo."
Reni, Guido.
Robusti, Jacopo, " il Tinto
retto."
Romanelli, Giovanni Fran
cesco.
Rosa, Salvatore.
Sacchi, Andrea.
Salvi, Giovanni Batista, " il
Sassoferrato."
Sanzio, Raffaello.
Tempesti, Antonio.
Vannucchi, Andrea, " del Sar
to."
Vannucci, Pietro, " Perugino."
Vecellio, Tiziano.
Vinci, Leonardo da.
Zampieri, Domenico, " il Do-
menichino."
Zuccaro, Federigo.
Zuccaro, Taddeo.

MISCELLANEOUS EXAMPLES.

201

German School.

Dietricy, Christian W. E.
Diirer, Albrecht.

Hartwich, F.

Holbein, Hans.
Kaulbach, Wilhelm von.

Bega, Cornelis.
Berchem, Nicolaas.
Bril, Paulus.
Cuyp, Aldert.
Dow, Gerhard.
Dyck, Sir Anthony van.
Heemskerk, Marten.
Hobbema, Meindert.

Bourdon, Sebastien.
Brun, Charles le-
Charlet, Nichar Toussaint.
Dughet, Gaspard, " Poussin.'
Eisen, Charles.
Getee, Claude, " Lorrain."
Gravelot, Hubert Frangois.
Greuze, Jean Baptiste.

Dutch and Flemish Schools.
Potter, Paulus.

Rembrandt.Rubens, Sir Peter Paul.
Snyders, Franz.
Teniers, David.
Terburg, Gerard.
Wouverman, Philipp.

French School. Lafage, Raymond de.
Le Sueur, Eustache.
Monnet, C.
Moreau, Jean Michel.
Poussin, Nicolas.
Vernet, Horace.
Vernet, Joseph.
Vouet, Simon.
Watteau, Antoine.

Spanish School.
Murillo, Bartolome Esteban.
Ribera, Jos6, "lo Spagnoletto."

Velasquez, Diego de Silva.

202 MISCELLANEOUS EXAMPLES.
3. A collection of English Portraits arranged in twelve
periods, each divided in nine classes, according to Bromley's
Catalogue of Portraits. Also a separate collection of Theatrical
Portraits formed by Mr. Burney.
4. A collection of Foreign Portraits arranged according to
their nationality, and afterwards alphabetically. They are
" French, Italian, German, Dutch and Flemish, Russian, Swedish
and Norwegian, Polish, Danish, Turkish, and Miscellaneous
Portraits." 5. A collection of English Historical Prints, arranged chrono
logically. 6. A collection of Foreign Historical Prints, arranged
chronologically. 7. A collection of Prints of Costumes, arranged chronologi
cally. 8. A collection of Topographical Prints.
9. An extensive collection of Catalogues of Sales of Prints
that have taken place in England, France, and Holland, from
17 16 to 1847. Bound in volumes. Presented by William Smith,
Esq., in the year 1850. Also, a consecutive set, up to a recent
period. 10. The Letters of Madame de Sevign6, illustrated. (Ed.
Paris, 1823, by M. Gault de Saint-Germain.) In thirty-
eight volumes, embellished by 9,316 portraits, views, fac
similes of letters, &c. Presented to the Department of
Prints and Drawings in 1859 by Ellis Ellis, Esq., of Bath.
With the following letter in the first volume : " This illus
trated edition of Madame de Sdvignd's letters I intend to present
to the British Museum, to be kept in the Print Room, as more
easy of access, to those who may be curious, to see particular
Prints not easily found elsewhere. In case I should die previous
to its completion, I request my Executors, will fulfil my Wishes
as expressed above. 12 April, 1847. (Signed) Ellis Ellis.
38 Quarto Volumes."
11. The Annual Catalogues of the " Society of Artists of
Great Britain," 1 760-1 791, founded by Hogarth and his contem
poraries, illustrated with a large number of drawings and prints,

MISCELLANEOUS EXAMPLES. 203
some of them very rare and curious ; and enriched with copious
notes by the donor. In six thick quarto volumes. Also Ed
wards' " Anecdotes of Painters," illustrated in a similar manner.
Presented by J. H. Anderdon, Esq., in 1869.
12. A complete set of the Catalogues of the Royal Academy
from 1769 to 1838, embellished with prints, drawings, and
etchings. In thirteen quarto volumes. Presented by J. H.
Anderdon, Esq., in 1867.
13. Whitelocke's "Historical Memorials." Illustrated. Be
queathed to the British Museum in 1834 by H.R.H. William
Frederick, Duke of Gloucester. In two volumes.
14. Clarendon's " History of the Rebellion." Illustrated. Be
queathed to the British Museum in 1834 by H.R.H. William
Frederick, Duke of Gloucester. In eight volumes.
15. Pennant's account of London. Illustrated by J. Charles
Crowle, Esq. Bequeathed by him to the British Museum in
1 8 1 1 . Fourteen volumes.
16. A collection of Drawings from ancient Glass Paintings.
Bequeathed by the artist, Charles Winston, in 1866.1
17. A collection of 500 proofs of Vignettes, printed on
Indian paper from Bank-notes engraved by the American Bank
note Company ; also fifty-three specimens of perfect notes and
postage stamps, arranged in a handsomely bound guard book.
Presented by the American Bank-note Company in 1869.
18. A collection of Architectural Drawings, by William
Twopeny : consisting of thirteen folio, and eight quarto
volumes ; together with seventeen small sketch-books ; accom
panied by a Catalogue and Alphabetical Index. Presented by
Edward Twopeny, Esq., in February, 1874.
19. A collection of Pamphlets, relating chiefly to matters
of art. 20. A collection of Carbon Photographs by M. Braun, of
Dornach, of drawings in foreign galleries.
1 See a " Catalogue of Drawings of Ancient Glass Painting. By
the late C. W., Esq., of the Inner Temple." Exhibited at the rooms of
the Arundel Society. 1865. 8vo.

204

MISCELLANEOUS EXAMPLES.

21. Three green oblong volumes, containing highly finished
Drawings of Chinese manners and customs.
22. Ornaments. There are five solander cases, containing
ornaments of various kinds, by the following artists :—

M. Benedetto Battini.
Lorenzo Berger.
Mathias Beytler.
Paul Birckenhultz.
Michel le Blon.
Jean Bourguet.
Abraham de Bruyn.
Dirk de Bry.
Jan Dirk de Bry.
Jacques Androuet du Cerceau.
Philippe C. Daubigny.
Michel Dorigny.

Martin Engelbrecht.
Philipp Galle.
Antoine de Jacquart.
C. Jacquinet.
Lucas Kilian.
Jean le Pautre.
Battista Pittoni.
Pieter Schenck.
Johann Stephens.
Claes Jansz Visscher.
Pierre Woeiriot.
Bernhard Zan, &c, &c.

23. A collection of Rubbings from monumental brasses in
England, Wales, Scotland, and Belgium, bequeathed by the
Rev. ^Eneas Barkly Hutchison in the year 1867. Also a volume
containing similar rubbings, which formerly belonged to Craven
Ord, Esq. The mode in which they were taken is described in a
letter from Mr. J. C. Brooke, dated " Heralds' College, March 29,
1780," to Mr. Gough, in Nichols's " Illustrations of the Literary
History of the eighteenth century," vol. vi. p, 393 : " He has French
paper, damped, and kept in a tin case made on purpose to keep
it so ; printer's ink in a bottle, and a quantity of rags. He inks
the brass, and then wipes it very clean ; lays on the paper,
covers it with a cloth, and treads upon it, and takes the im
pression ; and he has a man at home to finish them with printer's
ink where the lines have failed ; he then cuts out the figure,
and pastes them into a large portfolio with blue paper leaves,
large enough to contain a figure six feet high ; and you cannot
imagine how beautiful they appear."
The portfolio was afterwards purchased by Mr. Douce, and
bequeathed by him to the Trustees of the British Museum.

MISCELLANEOUS EXAMPLES. 205
24. A collection of Mezzotints by foreign artists, arranged
alphabetically, of whom the following are the most important : —
H. Herman Quiter, born 1620.
Wallerant Vaillant, 1623-1677.
Gerard Valck.
Abraham Blooteling, 1634- 1676.
Martin Dichtl.
Peter Schenck, born 1645.
Jan van Somer, 1645-1694.
Paul van Somer, born 1649.
Johan Verkolje, 1650-1693.
Jakob Gole, born 1660.
Cornelius Dusart, 1665-1704.
Nicolas Verkolje, 1673-1746.
Jakob Mannl, born 1695,
and others.
25. A Silver Cup. The following is taken from the Payne-
Knight MS. catalogue, page 272, No. 89 : — " A silver cup 4 inches
in diameter at top and 8 inches high, including its pedestal and
base ; the whole exquisitely wrought, and adorned with the finest
chased or embossed Italian work of the sixteenth century. The
bowl is divided into six compartments, each having a composition
from Ovid's ' Metamorphoses ' relative to art, above a symbolical
Genius, with an appropriate Emblem and Inscription below.
The pedestal and base are triangular ; and on each angle is a
ram's head above, and below a lizard upon one, a serpent
upon another, and a horned beetle upon the other. As Ben-
venuto Cellini is the most celebrated artist in this way, all works
of great excellence are attributed to him ; and this is un
questionably the most excellent now known. It was purchased
at Delhi, in Hindostan ; whither it had probably been
carried by some Venetian merchant as a present to the Mogul."
This cup is now in the centre show-case ; competent authorities
have decided that it is not by the hand of Cellini.
26. A Niello Cup. In Henry Shaw's " Dresses and Decora
tions," vol. ii., it is described thus : — " The beautiful Niello Cup

206 MISCELLANEOUS EXAMPLES.
represented in our engraving, is supposed to have been executed
about the end of the fifteenth century. It was formerly in the
possession of the noble family of Van Bekerhout, who presented
it to Calonier, the celebrated sculptor of the statue of John
van Eyk, in the Academy of Arts at Bruges. It was purchased
from his widow by Mr. Henry Farrer, and has recently been ac
quired (Dec. 1841) by the British Museum for the sum of £350.
This cup is of silver, the lower part, the ornamental rim of the lid,
and the ornament at the top, being gilt. The designs appear to
be altogether fanciful. The whole height being 9f inches ; the
diameter of the rim of the lid being 4^ inches. The figure on
the lid holds a shield, the device on which is understood to be
merely ornamental ; it is not the armorial bearings of the family
to which the cup belonged. This beautiful piece of workman
ship was not known to M. Duchesne Aine, when he published
his useful ' Essai sur les Nielles,' 8vo., Paris, 1826." This cup is
now in the centre show-case, and is considered to be the larges t
Niello work known.
27. A volume containing a collection of Engravings after the
celebrated picture of the Madonna della Seggiola by Raffaello
Sanzio, in the Pitti Palace, Florence. Presented by John Dillon,
Esq., in April, 1865.
28. The original Wood-block engraved by William Harvey
from the picture of the Death of Dentatus by B. R. Haydon.
It is fifteen inches high by eleven inches and a quarter wide,
formed of seven pieces joined together. Jackson (" A Treatise
on Wood-Engraving," p. 624) says : "Asa large subject, this is
unquestionably one of the most elaborately engraved wood-cuts
that has ever appeared. It scarcely, however, can be considered
a successful specimen of the art ; for though the execution in
many parts be superior to anything of the kind, either of earlier
or more recent times, the cut, as a whole, is rather an attempt to
rival copper-plate engraving than a perfect specimen of en
graving on wood, displaying the peculiar advantages and ex
cellences of the art within its own legitimate bounds. More has
been attempted than can be efficiently represented by means
of wood-engraving. The figure of Dentatus is indeed one of the

MISCELLANEOUS EXAMPLES. 207
finest specimens of the art that has ever been executed, and
the other figures in the foreground display no less talent ; but
the rocks are of too uniform a tone, and some of the more distant
figures appear to stick to each other. These defects, however,
result from the very nature of the art, not from inability in the
engraver ; for all that wood-engraving admits of he has effected."
The print was published in 1821, and this block presented to
the nation in 1866 by Miss Portis, together with a few proofs
taken from it. William Harvey was born at Newcastle-on-Tyne,
13th July, 1796, and died at Richmond, January 13, 1866.
29. A collection of Prints and notes on Costumes, amounting
in the whole to 4,250 articles ; bequeathed by Frederick W.
Fairholt, Esq., May, 1866.
30. A unique copy, with impressions of each plate in every
state of it, of John Sell Cotman's work, entitled : "A Series of
Etchings, illustrative of the Architectural Antiquities of Norfolk,
with references to the Authors who have described or figured
them." Folio. London (Yarmouth, printed) 18 18. Purchased
in 1859.

AUTHORITIES WHICH HAVE BEEN
CONSULTED FOR THIS WORK.
£RCO, CARLO D'. Di Cinque Valenti Incisori Mantovani del
secolo xvi. e delle stampe da loro operate. Memoria di
C. d'A. Mantova, 1840. 8vo.
Bartsch, Adam. Catalogue raisonne de toutes les
Estampes qui forment l'ceuvre de Lucas de Leyde. Vienne,
1798. 8vo.
Bartsch, Adam. Catalogue raisonne' de toutes les Estampes qui
forment l'ceuvre de Rembrandt, et ceux de ses principaux imitateurs.
Vienne, 1797. 8vo. (2 vols.)
Bartsch, Adam. Le Peintre Graveur. Vienne, 1803-1821. 8vo.
(21 vols.) This is the work which is so frequently referred to throughout
the Handbook.
Basan, Pierre Francois. Dictionnaire des Graveurs anciens et
modernes. 2me edition. Paris, 1789. (2 vols.)
Blanc, Charles le. Le Graveur en taille-douce, ou catalogues
raisonnes des Estampes dues aux Graveurs les plus celebres. 1. J. G. Wille.
2. Rob. Strange. Leipzic, 1847. 8vo.
Bonnardot, Alfred. Histoire artistique et archeologique de la
Gravure en France. Paris, 1849. 8vo.
Boutell, Charles. Monumental Brasses and Slabs. London and
Oxford, 1847. 8vo.
Brulliot, Francois. Dictionnaire des Monogrammes, &c. Munich,
1820-32. 4to.
Bryan, Michael. A Biographical and Critical Dictionary of Painters
and Engravers. New edition, revised by G. Stanley. London, 1865. 8vo.

AUTHORITIES CONSULTED. 209
Cerroti, Francesco. Memorie per servire alia storia della incisione,
compilate nella descrizione o dichiarazione delle stampe, che trovansi
nella Biblioteca Cominiana da F. C. bibliotecario- Roma, 1858. 4to.
Chatto, W. A. Facts and Speculations on the Origin and History of
Playing-Cards. London, 1848.- 8vo.
Chelsum, James, D.D. A History of the Art of Engraving in
Mezzotinto. (Anon.) Winchester, 1786. 8vo.
Cicognara, Leopoldo. Dell' origine, composizione e decomposizione
dei Nielli. Exercitazione. Venezia, 1 827. 4to.
Codde, P. & L. Memorie biografiche poste in forma di Dizionario dei
Pittori, Scultori, Architetti ed Incisori Mantovani, per la piu parte finora
sconosciuti. Royal 8vo. Mantova, 1837.
Cumberland, George. An essay on the utility of collecting the best
works of the ancient engravers of the Italian School, '&c. London,
1827. 4to.
Dibdin, Thomas Frognall. The Bibliographical Decameron ; or, ten
days' pleasant discourse upon illuminated manuscripts, and subjects con
nected with early engraving, typography, and bibliography. Plates.
(3 vols.) London, 1817. Imp. 8vo.
Didot, Ambroise F. Essai typographique et bibliographique sur
l'histoire de la Gravure sur Bois. Paris, 1863. 8vo.
Duchesne aine, J. Essai sur les Nielles, Gravures des Orfevres
Florentins du xve. Siecle. Paris, 1826. 8vo.
Dumesnil, A. P. F. Robert. Les Peintres Graveurs Francais, ou Cata
logue Raisonne' des Estampes de l'Ecole Francaise. Paris, 1835-1850.
(8 vols.) Continued by G. Duplessis (1 1 vols.). 8vo.
Duplessis, Georges. Histoire de la Gravure en France. Paris,
1861. 8vo.
Duplessis, Georges. Les Merveilles de la Gravure. Paris, 1869. 8vo.
(There is an English translation.)
Emeric-David, T. B. Discours historique sur la gravure en taille-
douce et sur la gravure en bois. Paris, 1808. 8vo.
Evelyn, John. Sculptura ; or, the History and Art of Chalcography,
and Engraving in copper, &c. London, 1794- 8vo.
Ferrario, Giulio. Le Classiche Stampe dal cominciamento della Cal-
cografia fino al presente compresi gli artisti viventi descritte e corredate
di Storiehe critiche osservazioni, etc. Milano, 1836. 8vo.
Gaye, Giovanni. Carteggio inedito d'Artisti dei Secoli xiv., xv., xvi.
Pubblicato ed illustrato con documenti pure inediti, dal Dott. G. G., con
fac-simile. 3 vols. 8vo. Firenze, 1839-40.
P

210 AUTHORITIES CONSULTED.
Gilpin, William. An Essay upon Prints, &c. London, 1802. 8vo.
Hamerton, P. G. Etchings and Etchers. London, 1876. 8vo.
Heinecken, Von C. H. Id<k Generate d'une collection complette
d'Estampes. Leipsic et Vienne. 1 77 1 . 8vo.
Heller, Joseph. Geschichte der Holzschneide-Kunst. Bamberg,
1823. 8vo.
Huber, Michel. Notices Generates des Graveurs divises par Nations,
et des Peintres ranges par Ecoles, &c. Dresde, 1787. 8vo.
Huber, Michel. Manuel des Curieux et des Amateurs de l'Art, etc.
Zurich, 1797-1808. 8vo. (9 vols.)
Humphreys, H. N. A History of the Art of Printing. London,
1867. Folio.
Humphreys, H. N. Masterpieces of the early Printers and Engravers.
London, 1870. Folio.
Jackson, John, and Chatto, W. A. A Treatise on Wood-engraving.
London, 1839. 8vo.
Jansen, H. Essai sur l'Origine de la Gravure en Bois, et en taille-
douce. Paris, 1808. 8vo. (2 vols.)
Kramm, Christian. De levens en werken der Hollandsche en
Vlaamsche Kunstschilders, Beeldhouwers, Graveurs en Bouwmeesters,
van den vroegsten tot op onzen tijd. Amsterdam, 1856. 4to.
Laborde, Leon de. Histoire de la Gravure en maniere Noire. Paris,
1839. Royal 8vo.
Lanzi, Luigi. The History of Painting in Italy, from the period of
the revival of the fine arts to the end of the eighteenth century (translated
by T. Roscoe). London, 1847. 8vo. (3 vols.)
Maberly, Joseph. The Print Collector : an introduction to the
knowledge necessary for forming a Collection of Ancient Prints. Post 4to.
1844. Malaspina di Sannazaro. Catalogo di una raccolta di Stampe
antiche, compilato dallo Stesso possessore. Milano, 1824. 8vo. (5 vols.)
Marolles, Michel de. Le Livre des Peintres et Graveurs, par
M. de Marolles. Abbe' de Villeloin. Nouvelle Edition, revue par
M. Georges Duplessis. Paris, 1855. 8vo.
Marsand, Antonio. II Fiore dell' arte dell' intaglio nelle Stampe . . .
raccolte dal Sig. L. Gaudio, descritte ed illustrate dall' abbate A. M. etc.
Padova, 1823. Folio.

AUTHORITIES CONSULTED. 211
Morelli, Jacopo. Notizie d' Opere di Disegno nella prima meta del
Secolo xvi. esistenti in Padova, Cremona, Milano, Pavia, Bergamo, Crema
e Venezia. Scritta da un Anonimo di quel tempo ; publicata ed illustrata
da D. J. M. 8vo. Bassano, 1800.
Murr, C. G.von. Notice sur les Estampes gravies par Marc' Antoine
Raimondi, d'apres les dessins de Jules Romain, et accompagne'es des
sonnets de l'Aretin. Bruxelles, 1865. 8vo.
Nagler, Dr. G. K. Neues Allgemeines Kiinstler-Lexicon. Miinchen,
1835-52. (22 vols.)
Nagler, Dr. G. K. Die Monogrammisten, &c. Miinchen, 1858-1871.
8vo. (4 vols.)
Neu-mayr, Antonio. Collezione Manfredini di Classiche Stampe divise
in quattro epoche dell' incisione da Maso Finiguerra a Raffaello Morghen,
custodita nel Seminario Vescovile di Padova. Venezia, 1 853. 8vo.
Ottley, W. Young. An inquiry concerning the invention of printing,
with an introduction by J. P. Berjeau. London, 1863. 4to.
Ottley, W. Young. An inquiry into the origin and early history of
engraving upon copper and wood. London, 1816. 4to. (2 vols.)
Ottley, W. Young. A collection of 129 fac-similes of scarce and
curious prints. London, 1828. Folio.
Papillon, J. B. M. Traite1 historique et pratique de la Gravure en
Bois. Paris, 1766. 8vo. (2 vols.)
Passavant, J. D. Le Peintre-Graveur. Leipzic, 1860-64. 8vo.
(6 vols.) Redgrave, Samuel. A Dictionary of Artists of the English School :
Painters, Sculptors, Architects, Engravers, and Ornamentists, &c. London,
1874. 8vo.
Renouvier, J. M. B. Histoire de l'Origine et des Progres de la
Gravure dans les Pays-Bas et en Allemagne, jusqu'a la fin du quinzieme
siecle. Bruxelles, i860. 8vo.
Renouvier, J. M. B. Des Types et des Manieres des Maitres-Graveurs,
pour servir a I'histoire de la Gravure en Italie, en Allemagne, dans les
Pays-Bas et en France. Montpellier, 1853-56. 410.
Reveley, Henry. Notices illustrative of the Drawings and Sketches
of some of the most distinguished Masters in all the principal Schools of
Design. London, 1820. 4to.
Scannelli, Francesco da Forli. II microcosmo della Pittura, overo
trattato diviso in due Libri. Cesena, 1657. Small 410.

212 AUTHORITIES CONSULTED.
Singer, Samuel Weller. Researches into the History of Playing
Cards, with illustrations of the origin of Printing and Engraving on Wood.
London, 1816. 4to.
Strutt, Joseph. A Biographical Dictionary ; containing an Historical
account of all the Engravers, from the earliest period of the Art of En
graving to the present time. London, 1785-6. 4to. (2 vols.)
Taja, Agostino. Descrizione del Palazzo Apostolico-Vaticano. Roma,
1750. l2mo.
Vasari, Giorgio. Vite de' piu eccelenti Pittori, Scultori, e Archi
tetti. Firenze, 1845-57.
Waagen, G. F. Treasures of Art in Great Britain, with supplement.
London, 1854-57. 8vo. (4 vols.)
Weigel, Rudolph. Supplements au Peintre-Graveur de Adam
Bartsch. Leipzig, 1842. l2mo.
Willshire, W. H., M. D. An Introduction to the Study and Collection
of Ancient Prints. London, 1874. 8vo. (A second edition of this work
in two volumes is in the press.)
Wilson, Thomas. Catalogue Raisonne of the Select Collection of
Engravings of an Amateur. Illustrated with etchings. London, 1828.
4to. Zani, Pietro, Abbate. Enciclopedia metodica critico-ragionata delle
Belle-Arti. Parma, 1817-25. (28 vols.)
Zani, Pietro, Abbate. Materiali per servire alia Storia dell' origine e
de' progressi dell' incisione in Rame e in Legno, &c. Parma, 1802. 8vo.

INDEX.

£CHEN, J. VAN, 87.
Adams, Miss L., 191.
Aelst, P. van, 117.
Agresti, L., see Forli, L.
da.
Aken, J. van, 106, 117.
Albani, F., 56, 200.
Alberti, D., 56.
Alberti, G., 56.
Aldegrever, H., 70, 87.
Alexander, J., 191.
Alexander, W., 182, 191.
Alfaro y Gamez, J. de, 147.
Algardi, A., 56.
Allan, D., 174, 191.
Allegri, A., " Correggio," 55, 200.
Allemand, L. H., 132.
Allen, J. W., 191.
Allston, W., 191.
Almeloveen, J., 117.
Altdorfer, A., 69, 87.
Amerighi, M. A. da Caravaggio, 56, 200.
Anderloni, F., 39.
Anderloni, P., 37.
Andreani, A., 7, 30.
Angeli, F. d', 56.
Angelico, Fra, see Fiesole.
Antolinez y Sarabia, F., 147.
Antonissen, H. J., 117.
Aquila, P. dell', 56.
Archer, J. W., 190, 191.
Ardemans, T., 147.
Aretusi, P., see Munari.
Arezzo, B. d', 56.
Arpino, C. d', see Cesari.

Artois, J. d', 117.
Asselyn, J., 117.
Assen, J. W. van, 117.
Athow, T., 191.
Atkinson, J. A., 174.
Attwold, R., 191.
Aubry, C, 132.
Audran, G., 128.
Avercamp, H. van, 117.
Avont, P. van der, 1 17.
Aylesford, Lord, 191.
Baciccio, G. B., see Gaulli.
Backer, Jakob de, 117.
Backer, J. de, 106.
Backhuysen, L., 106, 115, 117.
Baglione, G., 56.
Baglioni, G, 56.
Baillie, W., 173.
Baldassare da Siena, see Peruzzi.
Baldini, B., 17.
Baldovinetti, A., 56.
Balducci, G., 56.
Balechou, J. J., 128.
Balen, H. van, 117.
Bambini, N., 56.
Bandinelli, B., 56.
Bandini, G., 56.
Bank, J. van der, 191.
Barbarelli, G., " Giorgione," 56, 200.
Barbarj, J. de, see " Master of the
Caduceus."
Barbatelli, B., " Poccetti," 56.
Barbieri, G. F., " il Guercino," 56, 200.
Barbiers, P., 117.

214

INDEX.

Bardi, D., " Donatello," 56.
Bargas, A. F., 117.
Barker, T., 191.
Barlacchi, T., 13.
Barlow, F., 191.
Barocci, F., 56, 200.
Barralet, J. J., 191.
Barrett, G., 174, 191.
Barry, J., 158, 191.
Bartoli, P. S., 56.
Bartolommeo, Fra, see Porta, Baccio da.
Bartolozzi, F., 157, 191.
Bassano, see Ponte, Jacopo da.
Batoni, P., 56.
Battem, G. van, 117.
Battini, M. B., 204.
Baur, J. W., 87.
Beale, M., 191.
Beatrice, N., 56.
Beaumont, Sir G., 191.
Beauvarlet, J. F., 128.
Beccafumi, D., 56.
Becket, I., 167.
Beechey, Sir W., 191.
Beerestraten, J., 117.
Bega, G, 106, 117, 201.
Begeyn, A., 117.
Beham, B., 69.
Beham, H. S., 70, 87.
Behnes, W., 191.
Bell, E., 191.
Bella, S. della, 34.
Bellange, J., 137.
Bellini, Gentile, 46.
Bellini, Giovanni, 46.
Bellini, J., 42, 45-
Bemmel, P., 106.
Bemmel, W. van, 117.
Berchem, N., 105, 117, 201.
Bergen, D. van, 117.
Berger, L., 204.
Bernard, S., 123.
Bernini, G. L., 56.
Berrettini, P., 56, 200.
Berrettoni, N., 56.
Bertani, G. B., " Ghisi," 56.
Bettellini, P., 39.
Bewick, T., 168.
Beyer, J. de, 117.

Beytler, M., 204.
Bigordi, D., "del Ghirlandajo," 56,
200.
Binck, J., 70.
Birckenhultz, P., 204.
Biscaino, B., 56.
Bisi, M., 39.
Bisschop, J. de, 117.
Blackey, N., 191.
Blake, W., 184, 191.
Blecker, J. G., 117.
Bleysweyk, F. van, 78.
Blocklandt, A. van, 117.
Bloemaert, A., 117.
Bloemaert, C, 108.
Bloemen, P. van, 106, 117.
Blon, M. le, 204.
Blooteling, A., 108, 117, 205.
Blyth, R., 174.
Bocanegra, P. A., 147.
Bocholt, F. von, 64.
Boilly, A., 128.
Boissieu, J. J. de, 130, 137.
Boivin, R., 137.
Bol, F., 117.
Bol, H., 117.
Bolognese, il, see Grimaldi.
Bolten, A. van Swoll, 117.
Bonaccorsi, P. del Vaga, 56.
Bonasone, G., 30.
Bonati, G., 56.
Bonifazio, F., 57.
Bonington, R. P., 185, 191, 199.
Bonner, G. W., 191.
Bonone, C, 57.
Bonvin, F., 132.
Borsum, A. van, 117.
Bos, J., 117.
Boscoli, A., 57.
Bosse, A., 127.
Both, A., 117.
Both, J., 105, 117.
Botticelli, S., 18, 57.
Boucher, F., 135, 137.
Bourdon, S., 137, 201.
Bourgeois, Sir F., 191.
Bourguet, J., 204.
Bourguignon, see Gravelot.
Bourne, J., 191.

INDEX.

215

Bout, P., 117.
Bowles, J., 191.
Boydell, J., 159.
Bracquemond, F., 132.
Bramante, Donato Lazzari, 21.
Bramer, L., 117.
Branck, P. van der, 108.
Brandi, G., 57.
Brauwer, A., 117.
Bray, G., 191.
Bray, J., 117.
Bray, S., 117.
Breenbergh, B., 117.
Brescia, G. A. da, 23, 31.
Brescia, G. M. da, 31.
Breughel, J., 117.
Breughel, P. (the Younger), 117.
Breughel, P. (the Elder), 117.
Bright, J., 191.
Bril, M., 117.
Bril, P., 106, 117, 201.
Brizio, F., 57.
Broeck, C. van der, 117.
Bromley, J., 191.
Bronckorst, J. G. van, 117.
Brosamer, H., 87.
Brouwen, A., 106.
Brown, M., 191.
Bran, C. le, 137, 201.
Brusasorci, see Riccio, D.
Bruyn, A. de, 204.
Bry, D. de, 204.
Bry, J. D. de, 204.
Buck, A., 191.
Buckinck, A., 4.
Buckler, J. C, 191.
Bullfinch, J., 191.
Bulman, J., 191.
Buonarroti, M. A., 50, 200.
Burgkmair, H., 67, 87.
Burnet, J., 159, 175, 191.
Burnet, J. M., 191.
Burney, E. F., 191.
Burrini, G. A., 57.
Buys, C, 117.
Cabel, A. van der, 106, 116.
Caccioli, G. B., 57.
Cagliari, P., see Caliari.

Calabrese, il, see Preti, Mattia.
Caldara, P., da Caravaggio, 57, 200.
Caliari, P., " Veronese," 57, 200.
Callcot, Lady M., 191.
Callot, J., 124, 134, 137.
Calvart, D., 117.
Calvert, F., 192.
Cambiaso, L., 57.
Campagnola, D., 31, 57, 200.
Campagnola, Girolamo, 31.
Campagnola, Giulio, 31.
Campen, J. van, 117.
Camphuysen, G., 106.
Campi, G., 57.
Canal, A., " Canaletto," 57, 200.
Canaletto, see Canal, A.
Cangiagio, see Cambiaso.
Cano, A., 147.
Cantagallina, R., 57.
Cantarini, S., da Pesaro, 57.
Capanna, P., 57.
Capon, W., 192.
Caraglio, G. G., 29.
Caracci, Agostino, 32, 57, 200.
Caracci, Annibale, 32, 57, 200.
Caracci, L, 31, 57, 200.
Caravaggio, Polidoro da, see Caldara.
Cardi, L., " Cigoli," 57.
Carducci, B., 57.
Carducho, V., 147.
Carlini, A., 192.
Carpenter, W., 175.
Carpi, G, 57.
Carpi, U. da, 7, 57.
Carpioni, G., 57.
Carrefio de Miranda, J., 147.
Carrucci, J., " da Pontormo," 57.
Carter, J., 174, 192.
Casanova, F., 192.
Casanova, G., 86.
Casolani, A., 57.
Castagno, A. del, 57.
Casteels, P, 106.
Castello, B., 57.
Castiglione, G. B., 57.
Cats, J., 117.
Cave, Le, P., see Le Cave, P.
Cavedone, G., 57.
Celesti, A., 57.

216

INDEX.

Cellini, B., 57, 205.
Cerceau, J. A. du, 204.
Cesari, G. d' Arpino, 57.
Cesena, Peregrini da, 31.
Chalmers, J., 192.
Chalon, J., 106.
Chalon, J. J., 192.
Chambers, G., 192.
Champagne, J. B. de, 137.
Champagne, P. de, 137.
Chantrey, Sir F. L, 192.
Charlet, N. T., 201.
Chasteau, G., 128.
Chatelain, J. B., 192.
Chauveau, F., 128, 137.
Cheesman, T., 192.
Chereau, J., (the Younger), 128.
Cheron, E. S., 137.
Che'ron, L., 137.
Chimenti, J., da Empoli, 57.
Chinnery, G., 192.
Chodowiecki, D. N., 76, 87,
Choffard, P. P., 137.
Cieza, J. de, 147.
Cignani, C, 57.
Cigoli, L., see Cardi.
Cima, G. B. da Conegliano, 57.
Cipriani, G. B., 159, 192.
Circignani, N. dalle Pomarance, 57.
Clarendon, 203.
Claret, W., 192.
Claude Lorraine, see Gdlee.
Cleef, H. van, 117.
Clennell, L., 192.
Clerc, S. le, 137.
Clerk, J., 192.
Clouet, F., "Janet," 137.
Clouwet, P., 108.
Clovio, G. G., 57.
Cochin, N., 128.
Cock, J., 117.
Cock, M., 117.
Cockerell, C. R., 192.
Coeck, P. van, 118.
Coello, C, 143, 147.
Collaert, A., 108.
Collaert, J., 108.
Collin, R., 78.
Collins, W., 175, 189, 192.

Colmar, Martin de, see Schongauer,
Martin.
Colonia, H. A., 118.
Conca, S., 57.
Coney, J., 192.
Constable, J., 192, 199.
Coogen, L. van der, 118.
Cook, R., 192.
Cooke, E. W., 192.
Cooper, E., 192.
Cooper, R., 192.
Cooper, S., 192.
Coops, P., 118.
Cope, C. W., 175.
Copley, J. S., 192.
Corbould, H., 192.
Corbould, R., 192.
Corneille, J. B., 137.
Corneille, M. (the Younger), 137.
Cornelis, 118.
Corona, L., 57.
Corradi, D., see Bigordi.
Correggio, see Allegri.
Cort, H. de, 192.
Cortona, P. da, see Berrettini.
Costa, L., 31.
Cosway, M. C. L., 175.
Cosway, R., 192.
Cotes, F., 192.
Cotman, J. S., 192, 207.
Courtois, G., "le Bourguignon," 137.
Cousin, J., 137.
Cousins, S., 166.
Cowen, W., 192.
Cox, D., 175, 192.
Coxcie, M. van, 118.
Coypel, A., 137.
Cozens, A., 179, 192.
Cozens, J. R., 192.
Crabeth, F., 118.
Cradock, L., 192.
Craig, W. M., 192.
Cranach, L., 7, 74, 87.
Crayer, G. de, 118.
Credi, L. di, see Sciarpelloni.
Crespi, D., 57.
Crespi, G. B., 57.
Creti, D., 57.
Crome, J., 174, 192.

INDEX.

217

Crome, R. H., 174.
Cruikshank, G., 172, 192.
Cruikshank, R., 192.
Cuitt, G., 174.
Culmbach, H. von, 74.
Cumberland, G., sen., 192.
Cuyp, A., 118, 201.
Daele, J. van den, 118.
Dalco, A., 39.
Dalen, C. van (the Younger), 108.
Darnini, P. da, 57.
Danby, F., 192.
Dance, G., 192.
Dance, N., 192.
Danckerts, C, 107.
Daniell, W., 159, 192.
Danielli, B., 57.
Daret, P., 128.
Daubigny, C. F., 132.
Daubigny, P. C, 204.
Davis, J. S., 192.
Davy, H., 175.
Dayes, E., 182, 192.
Dela Motte, W., 175, 192.
De Wilde, S., 192.
De Wint, P., 192.
Deacon, J., 192.
Dean, J., 167.
Decamps, A. G., 132.
Delacroix, F. V. E., 132.
Delaune, E., 125, 137.
Delff, W. J., 108.
Dello, 57.
Denning, S. P., 192.
Denon, 137.
Dente, Marco, see Ravenna, Marco da.
Desprets, 137.
Devis, A. T., 192.
Devoto, J., 192.
Dichtl, M, 205.
Diepenbeck, A. van, 107, 118.
Diest, A. van, 118.
Dietrich, C. W. E., 75, 87, 201.
Dietzsch, J. A., 87.
Dighton, D., 192.
Dighton, R., 192.
" Divino, El," see Morales, L. de.
Dixon, J., 167.

Dixon, R., 175.
Dockett, T., 192.
Does, J. van der, 118.
Dolci, C, 57, 200.
Domenichino, il, see Zampieri.
Donaldson, 192.
Donatello, see Bardi.
Donducci, G. A., 57.
Doo, G. T., 159, 192.
Doomer, J., 118.
Dorigny, M., 204.
Dosio, G. A., 57.
Doughty, W., 167.
Dow, G., 201.
Dowman, J., 192.
Doyle, J., 172.
Drejer, J. F. L., 87.
Drielst, E. van, 118.
Du Monstier, P., 137.
Dubbels, H., 118.
Ducq, J. le, 107, 118.
Dujardin, K., see Jardin, du.
Dunkarton, R., 167.
Dupre", D., 137.
Duquesnoy, see Quesnoy.
Durante, A., see Alberti.
Diirer, A., 12, 70, 84, 87, 201.
Dusart, C, 118, 205.
Duvet, J., 23, 124.
Dyck, A. van, 95, m, 118, 201.

Earle, A., 192.
Earlom, R., 165.
Eastlake, Sir C, 192.
Edelinck, G, 128.
Edridge, H., 183, 192.
Edwards, G., 192.
Eeckout, G. van den, 118.
Eisen, C, 201.
Elford, Sir W., 192.
Elliger, A., 118.
Elsheimer, A., 87, 107.
Emes, J., 192.
Empoli, J., see Chimenti.
Engelbrecht, M., 204.
Engelbrechtsen, C, 118.
Esselens, J., 118.
Etienne, F. de Saint, 132.

218

INDEX.

Evans, W., 192.
Everdingen, A. van, 104, 107, 118.
Faber, F., 132.
Faber, J. (the Elder), 192.
Faber, J. (the Younger), 167.
Facini, P., 57.
Fage, R. de la, 134, 137.
Faithorne, W. (the Elder). 155, 192.
Faithorne, W. (the Younger), 167, 192.
Falck, J., 78.
Falconet, P., 137, 193.
Fanshawe, C. M., 193.
Farinato, P., 57.
Farnborough, Lady A., 193.
Ferg, F. de P., 87.
Ferrari, G., 57.
Ferri, C, 57, 200.
Fed, D., 57, 200.
Ffoster, T., 193.
Fialetti, O., 58.
Ficherelli, F., " Riposo," 58.
Field, J., 193.
Fielding, A. V. Copley, 193.
Fiesole, Fra Giovanni Angelico, 58, 200.
Fiesole, Mino da, " Rossi," 58.
Figino, A., 58.
Figolino, M., see Fogolino.
Filipepi, see Botticelli, Sandro.
Finch, F. A., 193.
Finiguerra, Maso, 4, 9, 10.
Finlayson, J., 167.
Fiquet, E., 128.
Fisher, 193.
Fisher, E., 167.
Fittler, J., 159.
Flamen, A., 137.
Flameng, L., 132.
Flaxman, J., 193.
Floris, F., 118.
Fogolino, M., 31.
Folkema, J., 108.
Fontana, P., 58.
Forbes, A., 193.
Ford, W., 193.
Forli, Livio da, 58.
Forster, J., 193.
Forster, W., 193.
Fortuny, M., 143.

Fox, C, 193.
Franceschini, B., 58.
Francesco, G, 58.
Francia, il, see Raibolini.
Francia, F. L. T., 193.
Francia, G., 31.
Francisque, 107.
Franck, J. U., 78.
Franco, B., 58.
Francucci, J., 58.
Freminet, M., 137.
Fuller, J., 193.
Furioni, O., 58.
Furstenberg, T. C. von, 161.
Fuseli, H., 193.
Fyt, J., 107, 118.
Gabbiani, A. D., 58.
Gaddi, A., 58.
Gainsborough, T., 179, 193.
Galle, C. (the Younger), 108.
Galle, C. (the Elder), 108.
Galle, P., 204.
Gambara, L., 58.
Gamberucci, C, 58.
Garavaglia, G., 38.
Garbo, Raffaellino del, 58.
Garcia, H. J., 143.
Gardiner, W. N., 193.
Garofolo, B., see Tisio.
Gaudenzio da Milano, 58.
Gauermann, F., 78.
Gaulli, G. B., 58.
Geddes, A., 175, 193.
Geikie, W., 193.
Gelee, C, " Lorraine," 126, 133, 137,201.
Gell, Sir W., 185.
Gemignani, L., 58.
Gemignano, V., see San Gimignano.
Gennari, B., 58.
Gennari, C, 58.
Genoels, A., 107, 118.
Gent, G. W., 193.
Gerome, J. L., 132.
Gessner, S., 78.
Ghezzi, P. L., 58.
Ghiberti, L., 58.
Ghirlandajo, D., see Bigordi.
Ghisi, D., 28.

INDEX.

219

Ghisi, G., 28.
Ghisi, G. B., 28.
Ghisi, G. B., see Bertani.
Giachineti, G., 147.
Gibson, J., 193.
Gillot, C, 137.
GillrayJ., 171, 193.
Gilpin, S., 174. 193.
Giordano, L., 58, 200.
Giorgione, see Barbarelli.
Giotto, 58, 200.
Giovanni da San Giovanni, see
Mannozzi.
Girtin, T., 181, 193.
Giusti, A., 58.
Glauber, J., 107.
Glauber, J. G., 107.
Golding, R. 159.
Gole, J., 205.
Goltzius, H., 93, 118.
Gomez, V. S., 147.
Goodall, F., 193.
Gore, C, 193.
Goupy, J., 193.
Goya y Lucientes, F., 142, 147.
Goyen, J. van, 118.
Graat, B., 118.
Graf, U., 74.
Grandhomme, J., 87.
Grandjean, J., 118.
Grant, Sir F., 193.
Gravalt, Col., 193.
Gravelot, H. F., 137, 201.
Graves, R., 159.
Greemaer, J., 118.
Green, V., 164.
Greuze, J. B., 136, 137, 201.
Gribelin, S., 137.
Grignion, C, 193.
Grimaldi, G. F., " il Bolognese," 58.
Grimm, S. H., 87, 193.
Groningen, J. van, 118.
Grose, F., 193.
Grim, H. B., 87.
Guercino, il see Barbieri.
Guardi, F., 58.
Gudin, T., 132.
Guidi, T., " Masaccio," 58.
Guillerot, 137.

Guttenberg, H., 78.
Gyles, H., 193.
Haan, A. de, 118.
Hackaert, J., 118.
Hackert, J. P., 87.
Haeften, N. van, 107.
Haerlem, G. van, 118.
Hagen, C, 118.
Hagen, J. van der, 118.
Hals, F., 118.
Hals, J., 118.
Hameel, A. du, 118.
Hamilton, W., 193.
Hannan, W., 193.
Hardenberg, C. van, 118.
Harding, G. P., 193.
Harding, J. D., 193.
Harding, S., 193.
Hardy, W. J., 193.
Harley, G, 193.
Harlow, G. H., 193.
Hartmann, 87.
Hartwich, F., 201.
Harvey, T., 193.
Harvey, W., 206.
Havell, W., 193.
Hayman, F., 193.
Hayter, Sir G., 175, 193,
Hearne, T., 183, 193.
Heath, W., 193.
Heemskerck, M., 118, 201.
Heer, G. de, 118.
Hemmelinck, see Memling, H.
Hemming, C, 118.
Herbert, J. R., 193.
Heriot, G., 193.
Hermann, J., 118.
Herrera-Barnuevo, S. de, 147.
Herrera, F. de (the Elder), 143, 144, 164.
Herrera, F. de (the Younger), 147.
Herrera, J. de, 147.
Heusch, W. de, 118.
Heyde, J. van der, 118.
Hickey, T., 193.
Highmore, J., 193.
Hills, R., 173, 193.
Hilton, W., 193.
Himpel, A. J., 118.

220

INDEX.

Hire, L. de la, 137.
Hixon, J. T., 193.
Hoare, W., 193.
Hobbema, M., 118, 201.
Hodgkin, 193.
Hoeck, R. van, 107, 118.
Hogarth, W., 155, 178, 193.
Holbein, H., 67, 85, 87, 201.
Holden, T., 193.
Holland, Sir N. Dance, 193.
Hollar, W., 74, 86, 87.
Holmes, R. R., 193.
Home, R., 193.
Hondekoeter, M. de, 107, n£
Hondius, H., 118.
Honthorst, G., 118.
Hood, T., 193.
Hooker, W. D., 193.
Hopfer, D., 74.
Hopfer, H., 74.
Hopfer, L., 74.
Hoppner, J., 193.
Horst, N. van der, 118.
Hoskins, J., 193.
Houbraken, A., 107, 118.
Houbraken, J., 108.
Houston, R., 164.
Howard, H., 193.
Howitt, S., 193.
Huet, J. B., 130, 137.
Hulst, P. van der, 107.
Hume, A., 194.
Humphry, O., 194.
Huret, G., 128.
Hussey, G., 194.
Huysum, J. van, 116, 118.
Ibbetson, J. C, 194.
Imola, I., see Francucci.
Ingres, J. D. A., 132.
Ireland, S., 174.
Jackson, J., 194.
Jackson, J. B., 168.
Jacquart, A. de, 204.
Jacque, C, 132.
Jacquemart, J., 131.
Jacquinet, C, 204.
Janet, see Clouet.

Janssens, C, 118.
Jardin, K. du, 101, 116, 118.
Jenkins, T., 194.
Jesi, S., 39.
Jode, A. de, 108.
Jode, P. de (the Younger), 108.
Jode, P. de (the Elder), 108.
Jones, G., 188.
Jones, J., 194.
Jones, T. H., 194.
Jong, J. M. de, 118.
Jordaens, J., 107, 118.
Kabel, A. van der, 118.
Kalenback, Martin de, see Schongauer,
Martin.
Kail, J. van, 116.
Karnijeff, 87.
Kauffmann, A., 194, 199.
Kaulbach, W. von, 201.
Kent, W., 194.
Kerrich, T., 194.
Kessel, J. van, ri8.
Kierings, J., 118.
Kilian, L., 204.
Kinnard, W., 194.
Kip, L., 194.
Kirkall, E., 163.
Klotz, V., 118.
Kneller, Sir G., 87.
Kobell, H., 118.
Kock, J., 108.
Koning, P. van, 118.
Kooghen, L. van der, see Cooghen.
Kouwenhoven, J., 118.
Krug, L., 74.
Kuyp, see Cuyp.
Laar, P. van, 107, 118.
Lafage, R. de, 201.
Lafrery, A., 13.
Lagrenee, L. J. F., 137.
Lairesse, G. de, 118.
Lalanne, M., 131.
Lambart, C, 107.
Lamberts, G., 118.
Lamy, E., 132.
Lancret, N., 137.
Landells, E., 170.

INDEX.

221

Landseer, Sir E., 194, 199.
Lane, T., 194.
Lanfranco, G., 58.
Langendyk, D., 118.
Lansdown, 194.
Laporte, J., 194.
L'Armessin, N. de (the Elder), 129.
Laroon, M., 194.
Lastman, P., 118.
Laune, E. de, see Delaune.
Lauri, F., 58.
Lavater, J. G., 137.
Lawrence, Sir T., 181, 194, 199.
Lazzari, Donato, see Bramante.
Le Cave, P., 194.
Le Piper, F., 194.
Le Sueur, see Sueur, E. le.
Legros, A., 132.
Lelio da Novellara, see Orsi.
Lely, Sir P., 87.
Lemon, G., 194.
Lenfant, J., 129.
Lens, B., 194.
Leoni, O., 58.
Leslie, C. R., 194.
Leu, T. de, 129.
Lewis, C. G., 194.
Lewis, F. C, 194.
Lewis, G. R., 194.
Lewis, J. F., 194.
Lexmond, J. van, 118.
Leyden, L. van, 92, 118.
Licinio, G. A., " il Pordenone," 58.
Liender, J. van, 118.
Liender, P. van, 118.
Ligorio, P., 58.
Ligozzi, J., 58.
Lingelbach, J., 118.
Lint, H. F. van, 107, 119.
Lione, A- di, 58.
Lippi, Fra Filippo, 58.
Lippi, Filippino, 58.
Livens, J., 119.
Locatelli, P., 58.
Locker, E. H., 194.
Loggan, D., 87, 194.
Londerseel, A. van, 119.
Londonio, F., 58.
Long, Lady, see Farnborough.

Longhi, G., 36.
Loo, C. van, see Vanloo, C.
Lorraine, C, see Ge"lee.
Loutherbourg, P. J., 194.
Lucas, D., 167.
Lucatelli, see Locatelli.
Luciani, S. del Piombo, 58.
Luyken, J., 107, 1 19.
McArdell, J., 163.
Maas, D., 107, 119.
Mabuse, J. van, 119.
Mackenzie, F., 194.
Maclise, D., 194.
Maella, M. S., 143.
Maffei, F., 58.
Malchair, J., 194.
Malosso, G., see Trotti.
Malton, T., 194.
Mander, C. van, 107, 119.
Mannl, J., 205.
Mannozzi, G., 58.
Mantegna, A., 20, 47, 300.
Maratta, C, 58, 200.
Marc' Antonio, see Raimondi.
Marcenay, A. de Ghuy, 128.
Marchesi, A., 39.
Marchetti, M., 58.
Marco da Siena, see Pino.
Marinari, O., 58.
Mario w, W., 194.
Marne, J. L. van, 1 19.
Marrucci, G., 58.
Marten, J., 194.
Martial, A. P., 132.
Martin, C, 194.
" Martin le Beau," see Schongauer,
Martin.
Marvy, L., 132.
Masaccio, see Guidi.
Maskins, 194.
Massard, J. B. R., 129.
Massari, L., 58.
Masson, A., 129.
Mastelletta, see Donducci.
" Master of 1466," 63.
" Master of 151 5," 24.
" Master of the Caduceus," 66.
"Master E. S.," 63.

222

INDEX.

" Master a l'Ecrevisse," 74.
" Master a la Navette," 73.
" Master of the Unicorn," see Duvet,
Jean.
Matham, J., 93, 119.
Matham, T., 108.
Maturino, 58.
Maurer, J., 194.
Mayer, J. F., 87.
Mazzuoli, F., " Parmigiano," 29, 58,
200.
Mecherini, see Beccafumi.
Mecken, I. van, 12, 65, 83.
Medina, Sir J. B., 194.
Meer, J. van der (the Younger). 107,
119.
Meissonier, J. L. E., 132.
Meldolla, A., 31, 58, 60, 200.
Mellan, C, 126.
Memling, H., 109, 1 19.
Mercier, P., 137.
Me"ryon, C, 130.
Metz, C. M., 194.
Metzu, G., 119.
Meulen, A. F. van der, 1 19.
Meyeringh, A., 119.
Meyssens, J., 108.
Michelin, J., 132.
Miel, J., 119.
Mieris, F. G. van, 107, 119.
Mignard, N., 137.
Milani, A., 58.
Miller, W., 159.
Millet, J. F., 132, 137.
Millet, see Francisque.
Milnet, B., 123.
Mitelli, G. M., 34.
Mocetto, G., 31.
Modena, N. da, 12, 23.
Modena, Pellegrino da, see Munari.
Moine, F. le, 138.
Mola, G. B., 58.
Mola, P. F., 59.
Molenaer, J., 107, 119.
Molyn, P. (the Elder), no
Momper, J., 119.
Monamy, P., 194.
Monnet, C, 201.
Monsignori, F., 59.

Monstier, P. du, see Du Monstier.
Montagna, B., 31.
Montfort, see Blocklandt.
Moore, C, 194.
Morace, E., 78.
Morales, Luisa, 143.
Morales, L. de, " El Divino," 147.
Moreau, J. M., 201.
Morghen, R., 35, 59.
Morland, G., 194, 199.
Moro, il, see Torbido.
Mortimer, J. H., 194, 199.
Moser,.G. M., 194.
Mosman, N., 86.
Motta, R. da Reggio, 59.
Motte, W. de la, see De la Motte, W.
Moucheron, F. du, 119.
Moucheron, I. du, 107, 119.
Moya, P. de, 147.
Moyaert, C. L., 119.
Muller, C. F. von, 77.
Muller, J., 94.
Muller, J. G. von, 78.
Muller, W. J., 194.
Mulready, W., 194.
Munari, P., " Aretusi," 59.
Munn, P. S., 194.
Mura, F. de, 59.
Murillo, B. E., 145, 147, 201.
Musis, A. de', see Veneziano, Agostino.
Muziano, G., 59.
Mytens, D., 119.
Nain, A. le, 138.
Nain, L. le, 138.
Naiwyncx, H., 119.
Naldini, B., 59.
Nani, G. da Udine, 59.
Nantam, J. P., 194.
Nanteuil, R., 127, 138.
Nash, F., 194.
Nasmyth, P., 194.
Natoire, C. F., 138.
Nebbia, C. da, 59.
Neer, A. van der, 119.
Netscher, G., 119.
Neureuther, E. N., 78.
Newton, G. S., 194.
Newton, R., 194.

INDEX.

223

Neyts, G., 119.
Nicholson, W., 194.
Nieulandt, W. van, 119.
Nikkelen, J. van, 119.
Nocchi, G. B., 39.
Nolpe, P., 107.
Northcote, J., 199.
Nypoort, J. van der, 107.
O'Neil, H., 194.
Oldeland, H., 107.
Oliver, J., 194.
Oliver, P., 194.
Ohnutz, W. von, 74.
Ommerganck, B., 119.
Onofrio di Crescenzio, 59.
Oort, A. van, 119.
Orley, B. van, 119.
Orsi, Lelio da Novellara, 59.
Ossenbeck, J. van, 107.
Ostade, A. van, 102, 113, 119.
Ostade, J., 1 19.1
Ottley, W. Y., 194.
Oudry, J. B., 138.
Outrim, J., 159.
Overbeeck, L., 119.
Overlaet, A., 119.
Owen, S., 194.
Owen, W., 194.
Paggi, G. B., 59.
Paine, J., 194.
Palma, J., " il Vecchio," 59, 200.
Palma, J., " il Giovine," 59, 200.
Palmenuf, 87.
Palmer, S., 175.
Palmieri, P. G., 86.
Paneels, W., 107.
Pannini, G. P., 59.
Parcelles, J., 119.
Parkinson, T., 194.
Parmigianino, il, see Mazzuoli.
Parrocel, C, 138.
Pars, W., 178, 194.
Pasinelli, L., 59.
Passe, C. de, 119.
Passeri, B., 59.
Passeri, G., 59.
Passerotti, B., 59.

Patel, P., 138.
Pater, J. B., 138.
Pautre, J. le, 204.
Payne, W., 195.
Pencz, G, 70, 87.
Pennant, 203.
Pereda, A., 147.
Perelle, A., 138.
Perelle, G, 129.
Perfetti, A., 39.
Perry, F., 195.
Perugino, see Vannucci-
Peruzzi, B., 59.
Pesello, F., 59.
Pether, W., 164.
Philips, C, 195.
Pilotell, G., 132.
Pino, M., da Siena, 59.
Pinturicchio, B., 59.
Piombo, Seb. del, see Luciani.
Pippi, Giulio Romano, 59, 200.
Piranesi, G. B., 59.
Pisanus, 59.
Pittoni, B., 204.
Place, F., 167, 195.
Poccetti, see Barbatelli.
Pocock, N., 195.
Podesta, A., 59.
Poelenburg, C, 119.
Poilly, F. de, 129.
Poilly, N. de, 129.
Polidoro, see Caldara.
Pollajuolo, A., 19, 59.
Pomarance, dalle, see Circignani.
Ponte, J. da, " Bassano," 59, 200.
Pontius, P., 108.
Pontormo, see Carrucci.
Pope, A., 195.
Porbus, F. (the Elder), 119.
Pordenone, see Licinio.
Porta, Baccio della Fra Bartolommeo,
59, 200.
Porta, G, " Salviati," 59.
Porter, Sir R. Kerr, 195.
Porto, G. B. del, 31.
Potter, P., 100, 114, 119, 201.
Poussin, G., " Dughet," 138, 201.
Poussin, N., 134, 138, 201.
Powell, C. M., 195.

224

INDEX.

Powell, J., 195.
Pozzo, A., 59.
Prado, B. de, 147.
Preti, Mattia, " il Calabrese," 59.
Primaticcio, N., 59.
Prior, W. H., 195.
Procaccini, C, 59.
Prout, S., 189, 195.
Prud'hon, P. P., 132.
Pugin, A., 195.
Pynacker, A., 107, 119.
Pyne, W. H., 195.
Quellinus, E., 107, 119.
Quesnoy, F. du, 119.
Quiter, H. H., 205.
Rademaker, A., 119.
Raffaello, see Sanzio.
Raibolini, F., " Francia," 59.
Raimbach, A., 195.
Raimondi, C, 39.
Raimondi, Marc' Antonio, 25.
Raimondi, Marc' Antonio, School of, 27.
Rajon, P. A., 132.
Ramberg, J. H., 87, 195.
Rathbone, J., 195.
Ravenna, M. da, 26, 28.
Reclam, F., 78.
Record, 195.
Reinhart, J. C, ?8.
Rembrandt, 47, 48, 98, 102, 119, 201.
Renard, G., see Volpato.
Renesse, C. A., 119.
Reni, G., 33, 59, 200.
Reverdino, G., 31.
Revett, N., 195.
Reynolds, Sir J., 180, 195, 199.
Reynolds, S. W., 167.
Ribalta, J. de, 147.
Ribera, J. de, 141, 145, 147, 201.
Ricciarelli, D. da Volterra, 59.
Ricci, M., 59.
Riccio, D, " Brusasorci," 59.
Ricciolini, M. A., 86.
Richards, J. J., 195.
Richardson, Jonathan, Sen., 195.
Richardson, Jonathan, Jun., 195.
Riedinger, J. E., 87.

Rigaud, J. F., 195.
Rigaud, S. F., 195.
Riley, J., 195.
Riposo, il, see Ficherelli.
Ritter, L., 78.
Robert, H., 138.
Roberts, J., 195.
Robertson, C, 195.
Robetta, 31.
Robinson, J. H., 159.
Robusti, J., " Tintoretto," 59, 200.
Rode, C. B., 78.
Rodiers, F., 138.
Rodriguez, J. de, 143.
Rogman, G., 107.
Rogman, R., 119.
Romanelli, G. F., 59, 200.
Rombouts, T., 107.
Romney, G, 195.
Romano, Giulio, see Pippi.
Romeyn, W. van, 119.
Rooker, M. A., 195.
Roos, J. van, 119.
Roos, J. H., 107.
Roos, J. M., 119.
Roos, P. P. (da Tivoli), 87, 107, 119.
Roos, T., 119.
Rosa, N., see Modena, Nicoletto da.
Rosa, S., 33, 59, 200.
Rosex, Nicoletto, see Modena, Nico
letto da.
Ross, Sir W., 195.
Rossi, F., " il Salviati," 59.
Rossi, Mino da Fiesole, see Fiesole.
Rosso, il, Maestro, 59.
Rossum, G. V., 119.
Rottenhammer, J., 88, 119.
Roullet, J. L., 129.
Rowlandson, T., 171, 195.
Rubens, P. P., 109, 119, 201.
Rue, F. de la, 138.
Runciman, A., 195.
Rupert, Prince, 162.
Rutgers (the Elder), 119.
Ruysdael, J., 107, 119.
Ruysdael, S., 119.
Ryckaert, D., 107.
Rysbrack, J. M., 195.
Rysbraeck, P., 107.

INDEX.

225

Sabbatini, L, 59.
Sacchi, A., 59, 200.
Sadeler, E., 119.
Saenredam, J., 94.
Saenredam, P., 119.
Saftleven, C, 119.
Saftleven, H., 102.
Salamanca, A., 13.
Salimbeni, A., 59.
Salimbeni, V., 59.
Sallaert, A., 1 19.
Sallaert, H., 119.
Salt, H., 195.
Salvi, G. B., " Sassoferrato," 200.
Salviati, F., see Rossi, F.
Salviati, G., see Porta.
San-Gimignano, V. da, 59.
Sandby, P., 182, 195.
Sandby, T., 182, 195.
Sandrart, J., 107.
Sansovino, J., 59.
Sanzio, Raffaello, 52, 200, 206.
Saraceni, C, 60.
Sarto, A. del, see Vannucchi.
Sassoferrato, see Salvi.
Saura, M. D., 147.
Savery, R., 107, 119.
Say, W., 166.
Sayers, J., 171.
Schalken, G., 107.
Scharf, G. (Senior), 88.
Schaiifflein, H., 66.
Schedone, B., 60.
Scheits, M., 88.
Schellinks, W., 119.
Schenck, P., 204, 205.
Schiavone, A, see Meldolla.
Schirmer, J. W., 78.
Schmidt, G. F., 78.
Schmuzer, J., 78.
Schoen, M., see Schongauer, Martin,
Schongauer, M., 64, 83, 88.
Schoonjans, A., 1 19.
Schotel, J. C, 119.
Schouman, A., 1 19.
Schnebbelie, R. B., 195.
Schultz, D., 107.
Schuppen, P, van, 108.
Schurman, A. M. van, 107.

Schiit, C, 119.
Schwartz, H., 119.
Schwarz, C, 88.
Schweickart, H. W., 88.
Sciarpelloni, L. di Credi, 60.
Scott, J., 195.
Scott, S., 195.
Scultore, see Ghisi.
Seghers, G, 119.
Seghers, H., 104.
Serres, D., 195.
Servidori, D. M. de, 147.
Sesto, C. da, 23, 60,
Sevigne", Mad"1*, de, 202.
Seymour, J., 195.
Sharp, W., 158, 195.
Shelley, S., 195.
Shepherd, G., 195.
Shepherd, T. H., 195.
Shepperson, M., 195.
Sherlock, W., 195.
Sherwin, J. K., 195.
Shipster, R., 195.
Siegen, L. von, 161.
Siena, B. da, see Peruzzi.
Siena, M. da, see Pino, Marco da.
Signorelli, L., 60.
Siliani, G. D., 60.
Simon, A., 195.
Simon, J., 167.
Singleton, H., 195.
Skippe, J., 195.
Slingelandt, P. van, 119.
Smirke, R., 195, 199.
Smith, B., 195.
Smith, J., 162.
Smith, J., " Warwick," 195.
Smith, J. R., 166, 195.
Smith, J. T., 195.
Smith, L., 195.
Smith, N., 195.
Snyders, F., 119, 201,
Sole, G. G., 60.
Solimene, F., 60.
Solis, V., 74.
Solomon, A., 195.
Somer, J. van, 205.
Somer, P. van, 205.
Spada, L., 60.

226

INDEX.

Spagnoletto, il, see Ribera, Jose1 de.
Speccart, 88.
Spranger, B., 119.
Springinklee, H. 74.
Squarcione, F., 60.
Stalbent, A. van, 107, 119.
Stark, J., 195.
Steen, J., 119.
Steevensz, P., 119.
Stella, C. B., 129.
Stephens, J., 204.
Stevens, G., 195.
Stewart, C. J., 195.
Stolker, J., 119.
Stoop, D., 108.
Stork, A., 120.
Storm, G. F., 195.
Stothard, T., 185, 195, 199.
Strachan, 195.
Strada, J., 120.
Strange, Sir R., 156, 195.
Strutt, J., 195.
Strutt, J. G., 175.
Stry, J. van, 120.
Stuart, G., 195.
Stuart, J., 195.
Suavius, L., 88.
Subleyras, P., 138.
Sueur, E. le, 138, 201.
Sullivan, L., 195.
Sustris, F., 120.
Suyderhoef, J., 97.
Swaine, F., 195.
Swanevelt, H., 108, 115, 120.
Swart, J., 120.
Sweynheym, C, 4.
Tanje", P., 108.
Tarocchi cards, 24.
Tassi, A., 60.
Taverner, W., 196.
Taylor, I., 196.
Taylor, T., 196.
Taylor, W. D., 196.
Tempesti, A., 60, 200.
Teniers, D., 105, 113, 120, 201.
Terburg, G., 120, 201.
Terwesten, A., 120.
Testa, P., 60.

Thier, B. H., 88.
Thomas, J., 108.
Thomas, P., 175.
ThornhiU, Sir J., 196.
Thulden, T. van, 120.
Thurston, J., 196.
Tiarini, A., 60.
Tibaldi, P., 60.
Tiepolo, G. D., 60.
Tintoretto, J., see Robusti.
Tisio, B., " Garofolo," 60.
Titian, see Vecellio.
Tiziano, see Vecellio.
Tol, D. van, 120.
Toledo, J. de, 147.
Tomkins, C, 196.
Toorenburgh, G., 120.
Torbido, F., " il Moro," 60.
Torenvliet, J., 108.
Toschi, P., 38.
Towne, F., 196.
Townsend, J., 196.
Tresham, H., 196.
Trevisani, F., 60.
Tristan, J., 147.
Tristan, L., 147.
Troost, C, 120.
Troostwyk, W. J., 120.
Trotti, G. B., "il Malosso," 60.
Troy, F. de, 138.
Turchi, G., 60.
Turnbull, J., 196.
Turner, G, 167.
Turner, J. M. W., 186, 196, 199.
Turner, T., 196.
Turner, W., 196.
Twopeny, W., 203.

Uccello, P., 60.
Uden, L. van, 120.
Udine, G. da, see Nani.
Ulft, J. van der, 120.
Umbach, J., 78.
" Unicorn, the Master of," see Duvet
Jean.
Urbani, P., 60.
Uwins, T., 189, 196.
Uytenbroeck, M. van, 108, 120.

INDEX.

227

Vadder, L. van, 120.
Vaga, P. del, see Bonaccorsi.
Vaillant, J., 108.
Vaillant, W., 162, 205.
Valck, G., 205.
Valdes, L. J. de, 143.
Valerio, T., 78.
Vallat, P. J., 129.
Van Dyck, see Dyck.
Vande Velde, A., see Velde, A. van de.
Vanderbank, J., 196.
Vanloo, C, 138.
Vanni, F., 60.
Vannucchi, A. del Sarto, 60, 200.
Vannucci, P., " Perugino," 46, 60, 200.
Vargas, L. de, 147.
Varley, J., 186, 196.
Vasari, G., 60.
Vecellio, Tiziano, 49, 200.
Veen, C. van, 108.
Veen, M. van, see Heemskerck.
Vega, F. la, 147.
Velasquez, Diego de Silva, 144, 147, 120.
Velde, A. van de, 101, 108, 115, 120.
Velde, E. van de, 120.
Velde, Jacob van de, 120.
Velde, Jan van de, 120.
Velde, W. van de (the Younger), 1 14,
120.
Veneziano, A., 27.
Venius, O., 120.
Venne, A. van der, 120.
Venusti, M., 51.
Verbeeck, P. C, 120.
Verboom, A., 108, 120.
Verdier, F., 138.
Verelst, P., 120.
Verkolje, J., 205.
Verkolje, N., 205.
Vermeijen, J., 120.
Vernet, C, 138.
Vernet, C. J., 138.
Vernet, H., 201.
Vernet, J., 201.
Verocchio, A. del, 23, 60.
Veronese, P., see Caliari.
Verrio, A., 60.
Verschuring, H., 120.
Versteig, M., 120.

Vertue, G., 196.
Verveer, A. H., 120.
Vickers, A. G, 196.
Vieira, F., 147.
Vignola, G. da, 60.
Villamena, F., 60.
Vincent, G., 175.
Vinckeboons, D., 120.
Vinci, L. da, 22, 55, 200.
Vinne, A. van der, 120.
Vinne, J. van der, 120.
Vinne, V. van der, 120.
Viola, G. B., 60.
Vischer, P., 88.
Visscher, C, 98, 120.
Visscher, C. J., 204.
Visser, A. de, 120.
Vite, T. della, 60.
Vitringa, W., 120.
Vittinghoff, C. Baron Von, 78.
Vivier, J. de, 138.
Vlieger, S. de, 120.
Vliet, J. G. van, 120.
Volpato, G, 35.
Volterra, D. da, see Ricciarelli.
Vorsterman, L. (the Elder), 108, 120.
Vos, M. de, 120.
Vouet, S. 138, 201.
Vreis, A. de, 120.
Vroom, H. C, 120.
Waals, G., 88.
Wael, C. van, 120.
Walch, Jacob, see " Master of the Cadu
ceus."
Waldorp, J. G., 120.
Wandelaar, J., 120.
Ward, W., 167.
Warren, C, 196.
Waterloo, A., 103, 120.
Watson, J., 167.
Watson, T., 167.
Watteau, J. A., 135, 138, 201.
Webber, J., 196.
Weenix, J. B., 108, 120.
Weerdt, A., de, 120.
Weide, R. van der, 120.
Weirotter, F. E., 75, 88.
Weller, J., 196.

228

INDEX.

West, B., 196, 199.
Westall, R., 196.
Weyer, G., 88.
Wheatley, F., 196.
Whistler, J. A. M., 174.
White, G, 196.
White, R., 196.
Whitelocke, 203.
Wierix, A., 95.
Wierix, J., 95.
Wierix, H., 95, 120.
Wild, C, 175, 196.
Wilde, S., 196.
Wilkens, T., 120.
Wilkie, Sir D., 175, 196, 199.
Wilkinson, J., 196.
Willaerts, A., 120.
Wille, J. G, 76.
Wille, P. A., 138.
Williams, E., 196.
Williams, S., 169.
Wilson, A., 196.
Wilson, R., 196.
Winstanley, H., 196.
Winston, C, 203.
Winter, C. J. W., 196.
Wissing, W., 120.
Wit, J., 120.
Woeriot, P., 204.

Wohlgemuth, M., 24.
Woodward, G. M., 196.
Woollett, W., 157, 196.
Wootton, J., 196.
Worlidge, T., 196.
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THE END.

CHISWICK PRESS : — C. WHITTINGHAM, TOOKS COURT,
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