,,handbook ,,to ,,the ,,national ,,gallery ,,the ,,national ,,gallery is open to the ,public on week-days throughout the year4 ,on ,,mondays1 ,,tuesdays1 ,,wednesdays1 and ,,saturdays admission is free1 and the ,gallery is open during the following hours3-- ,january ,from #aj ,a4,m4 until #d ,p4,m4 ,february ,from #aj ,a4,m4 until dusk4 ,march ,april ,may ,june ,july ,from #aj ,a4,m4 until #f ,p4,m4 ,august ,september ,october ,november ,from #aj ,a4,m4 until dusk4 ,december ,on ,,thursdays and ,,fridays 7,students' ,days7 the ,gallery is open to the ,public on payment of ,sixpence each person1 from #aa ,a4,m4 to #d ,p4,m4 in winter1 and from #aa ,a4,m4 to #e ,p4,m4 in summer4 ,on ,,sundays the ,gallery is open1 free1 from #b ,p4,m4 till dusk1 or #f ,p4,m4 7according to the season74 -- ,persons desirous of becoming ,students should address the ,secretary and ,keeper1 ,national ,gallery1 ,trafalgar ,square1 ,s4,w4 ,the ,,national ,,gallery ,,of ,,british ,,art 7,tate ,gallery7 is open under the same regulations1 and during the same hours1 as those given above1 except that ,students' ,days are ,tuesdays and ,wednesdays4 ,a ,,popular ,,handbook ,,to ,,the ,,national ,,gallery ,,including ,,by ,,special ,,permission ,,notes ,,collected ,,from ,,the ,,works ,,of ,,john ,,ruskin ,,volume ,i4--,,foreign ,,schools ,,compiled ,,by ,e4 ,t4 ,,cook ,,with ,,preface ,,by ,,john ,,ruskin1 ,,ll4,d41 ,d4,c4,l4 ,,eighth ,,edition ,,macmillan ,,and ,,co41 ,,limited ,,st4 ,,martin',s ,,street1 ,,london #aibb ,a picture which is worth buying is also worth seeing4 ,every noble picture is a manuscript book1 of which only one copy exists1 or ever can exist4 ,a ,national ,gallery is a great library1 of which the books must be read upon their shelves 7,,ruskin3 ,arrows of the ,chace1 i4 #ga74 ,there1 the long dim galleries threading1 ,may the artist's eye behold ,breathing from the deathless canvass ,records of the years of old3 ,pallas there1 and ,jove1 and ,juno1 ,take once more their walks abroad1 ,under ,titian's fiery woodlands ,and the saffron skies of ,claude3 ,there the ,amazons of ,rubens ,lift the failing arm to strike1 ,and the pale light falls in masses ,on the horsemen of ,vandyke2 ,and in ,berghem's pools reflected ,hang the cattle's graceful shapes1 ,and ,murillo's soft boy-faces ,laugh amid the ,seville grapes2 ,and all purest1 loveliest fancies ,that in poet's soul may dwell1 ,started into shape and substance ,at the touch of ,raphael4 ,lo6 her wan arms folded meekly1 ,and the glory of her hair1 ,falling as a robe around her1 ,kneels the ,magdalen in prayer2 ,and the white-robed ,virgin-mother ,smiles1 as centuries back she smiled1 ,half in gladness1 half in wonder1 ,on the calm face of her ,child3-- ,and that mighty ,judgment-vision ,tells how men essayed to climb ,up the ladder of the ages1 ,past the frontier-walls of ,time2 ,heard the trumpet-echoes rolling ,thro' the phantom-peopled sky1 ,and the still ,voice bid this mortal ,put on immortality4 ,,calverley4 ,illustration ,,contents ,,page ,,preface ,,by ,,john ,,ruskin vii ,,general ,,introduction1 ,,with ,,some ,,account ,,of ,,the ,,national ,,gallery x ,,guide ,,to ,,the ,,gallery ,,and ,,plan ,,of ,,the ,,rooms xxv ,,introductions ,,to ,,the ,,schools ,,of ,,painting3 ,,the ,,early ,,florentine ,,school #a ,,the ,,florentine ,,school #h ,,the ,,sienese ,,school #ad ,,the ,,lombard ,,school #af ,,the ,,ferrarese ,,school #ai ,,the ,,umbrian ,,school #bb ,,the ,,venetian ,,school #be ,,the ,,paduan ,,school #cb ,,the ,,later ,,italian ,,schools #cd ,,the ,,early ,,flemish ,,and ,,the ,,german ,,schools #ch ,,the ,,dutch ,,school #dc ,,the ,,later ,,flemish ,,school #dg ,,the ,,spanish ,,school #dh ,,the ,,french ,,school #ea ,,numerical ,,catalogue1 ,,with ,,biographical ,,and ,,descriptive ,,notes #ee ,,pictures ,,on ,,loan #gdi ,,copies ,,from ,,old ,,masters #geb ,,the ,,arundel ,,society',s ,,collection #geg ,,sculptures ,,and ,,marbles #ggj ,,appendix ,i4 ,,index ,,list ,,of ,,painters 7with the subjects of their pictures7 #gga ,,appendix ,,ii4 ,,index ,,list ,,of ,,pictures #gia ,first ,edition printed #ahhh4 ,second ,edition printed #ahhi4 ,third ,edition printed #ahij4 ,fourth ,edition printed #ahic4 ,fifth ,edition printed #ahig4 ,sixth ,edition printed #aija4 ,seventh ,edition1 ,vol4 ,i4 printed #aiji4 ,eighth ,edition1 ,vol4 ,i4 printed #aiab4 ,seventh ,edition1 ,vol4 ,,ii4 printed #aiab4 ,re-issue #aibb4 ,illustration ,,preface ,,by ,,john ,,ruskin ,so far as ,i know1 there has never yet been compiled1 for the illustration of any collection of paintings whatever1 a series of notes at once so copious1 carefully chosen1 and usefully arranged1 as this which has been prepared1 by the industry and good sense of ,mr4 ,edward ,t4 ,cook1 to be our companion through the magnificent rooms of our own ,national ,gallery2 without question now the most important collection of paintings in ,europe for the purposes of the general student4 ,of course the ,florentine ,school must always be studied in ,florence1 the ,dutch in ,holland1 and the ,roman in ,rome2 but to obtain a clear knowledge of their relations to each other1 and compare with the best advantage the characters in which they severally excel1 the thoughtful scholars of any foreign country ought now to become pilgrims to the ,dome--7such as it is7--of ,trafalgar ,square4 ,we have indeed--be it to our humiliation remembered--small reason to congratulate ourselves on the enlargement of the collection now belonging to the public1 by the sale of the former possessions of our nobles4 ,but since the parks and castles which were once the pride1 beauty1 and political strength of ,england are doomed by the progress of democracy to be cut up into lots on building leases1 and have their libraries and pictures sold at ,sotheby's and ,christie's1 we may at least be thankful that the funds placed by the ,government at the disposal of the ,trustees for the ,national ,gallery have permitted them to save so much from the wreck of ,english mansions and ,italian monasteries1 and enrich the recreations of our metropolis with graceful interludes by ,perugino and ,raphael4 ,it will be at once felt by the readers of the following catalogue that it tells them1 about every picture and its painter1 just the things they wished to know4 ,they may rest satisfied also that it tells them these things on the best historical authorities1 and that they have in its concise pages an account of the rise and decline of the arts of the ,old ,masters1 and record of their personal characters and worldly state and fortunes1 leaving nothing of authentic tradition1 and essential interest1 untold4 ,as a collection of critical remarks by esteemed judges1 and of clearly formed opinions by earnest lovers of art1 the little book possesses a metaphysical interest quite as great as its historical one4 ,of course the first persons to be consulted on the merit of a picture are those for whom the artist painted it3 with those in after generations who have sympathy with them2 one does not ask a ,roundhead or a ,republican his opinion of the ,vandyke at ,wilton1 nor a ,presbyterian minister his impressions of the ,sistine ,chapel3--but from any one honestly taking pleasure in any sort of painting1 it is always worth while to hear the grounds of his admiration1 if he can himself analyse them4 ,for those who take no pleasure in painting1 or who are offended by its inevitable faults1 any form of criticism is insolent4 ,opinion is only valuable when it gilds with various rays ,these painted clouds that beautify our days4 ,when ,i last lingered in the ,gallery before my old favourites1 ,i thought them more wonderful than ever before2 but as ,i draw towards the close of life1 ,i feel that the real world is more wonderful yet3 that ,painting has not yet fulfilled half her mission1--she has told us only of the heroism of men and the happiness of angels3 she may perhaps record in future the beauty of a world whose mortal inhabitants are happy1 and which angels may be glad to visit4 ,j4 ,,ruskin4 ,april #ahhh4 ,illustration ,,general ,,introduction ,,with ,,some ,,account ,,of ,,the ,,national ,,gallery ,division into ,volumes4--,in arrangement and1 to some degree1 in contents the ,handbook in its present form differs from the earlier editions4 ,important changes have been made during the last few years in the constitution and scope of the ,national ,gallery itself4 ,the ,gallery now consists of two branches controlled by a single ,board of ,trustees3 7#a7 the ,national ,gallery in ,trafalgar ,square2 and 7#b7 the ,tate ,gallery or1 as it is officially called1 the ,national ,gallery of ,british ,art on the ,thames ,embankment at ,millbank4#a ,at the former ,gallery are hung all the pictures belonging to ,foreign ,schools4 ,pictures of the ,british ,schools are hung partly in ,trafalgar ,square and partly at ,millbank1 and from time to time pictures are moved from one ,gallery to the other4 ,it has therefore been decided to divide the ,handbook into volumes according to subject rather than according to position4 ,volume ,i4 deals with the ,foreign ,schools 7,national ,gallery72 ,volume ,,ii41 with the ,british ,schools 7,national ,gallery and ,tate ,gallery74 ,by this division the convenience of the books for purposes of reference or use in the ,galleries will not be disturbed by future changes in the allocation of ,british pictures between ,trafalgar ,square and ,millbank respectively4 ,how to use the ,handbook4--,the one fixed point in the arrangement of the ,national ,gallery is the numbering of the pictures4 ,the numbers affixed to the frames1 and referred to in the ,official ,reports and ,catalogues1 are never changed4 ,this is an excellent rule1 the observance of which1 in the case of some foreign galleries1 would have saved no little inconvenience to students and visitors4 ,in the present1 as in the preceding editions of the ,handbook1 advantage has been taken of this fixed system of numbering2 and in the pages devoted to the ,biographical and ,descriptive ,catalogue the pictures are enumerated in their numerical order4 ,the introductory remarks on the chief ,schools of ,painting represented in the ,gallery are brought together at the beginning of the book4 ,the visitor who desires to make an historical study of the ,collection may1 if he will1 glance first at the general introduction given to the pictures in each ,school2 and then1 as he makes his survey of the rooms devoted to the several ,schools1 note the numbers on the frames1 and refer to the ,numerical ,catalogue following the series of introductions4 ,on the other hand1 the visitor who does not care to use the ,handbook in this way has only to skip the preliminary chapters1 and to pass at once1 as he finds himself before this picture or that1 to the ,numerical ,catalogue4 ,for the convenience1 again1 of visitors or students desiring to find the works of some particular painter1 the full and detailed ,index of ,painters1 first introduced in the ,third ,edition1 has here been retained4 ,references to all the pictures by each painter1 and to the page where some account of his life and work is given1 will be found in this ,index4 ,finally1 a concise ,numerical ,index is given1 wherein the reader may find at once the particulars of acquisition1 the provenance1 and other circumstances regarding every picture 7by a foreign artist7 in the possession of the ,national ,gallery1 wherever deposited4 ,history of the ,national ,gallery4--,for the purposes of the general student1 the ,national ,gallery is now1 said ,mr4 ,ruskin in #ahhh1 without question the most important collection of paintings in ,europe4 ,forty years before he said of the same ,gallery that it was an ,european jest4 ,the growth of the ,gallery from jest to glory#b may be traced in the final index to this book1 where the pictures are enumerated in the order of their acquisition4 ,many incidents connected with the acquisition of particular pictures will also be found chronicled in the ,catalogue#c2 but it may here be interesting to summarise the history of the institution4 ,the ,national ,gallery of ,england dates from the year #ahbd1 when the ,angerstein ,collection of thirty-eight pictures was purchased4 ,they were exhibited for some years in ,mr4 ,angerstein's house in ,pall ,mall2 for it was not till #ahcb that the building in which the collection is now deposited was begun4 ,this building1 which was designed expressly for the purpose by ,william ,wilkins1 ,r4,a41 was opened to the public in #ahch4d ,at that time1 however1 the ,gallery comprised only six rooms1 the remaining space in the building being devoted to the ,royal ,academy of ,arts--whose inscription may still be seen above a disused doorway to the right of the main entrance4 ,in #ahfj the first enlargement was made--consisting of one new room4 ,in #ahfi the ,royal ,academy removed to ,burlington ,house1 and five more rooms were gained for the ,national ,gallery4 ,in #ahgf the so-called ,new ,wing was added1 erected from a design by ,e4 ,m4 ,barry1 ,r4,a4 ,in that year the whole collection was for the first time housed under a single roof4 ,the ,english ,school had1 since its increase in #ahdg by the ,vernon gift1 been exhibited first at ,marlborough ,house 7up to #ahei71 and afterwards at ,south ,kensington4 ,in #ahhd a further addition of five rooms was commenced under the superintendence of ,sir ,john ,taylor1 of ,her ,majesty's ,office of ,works2 these rooms 7numbered ,i41 ,,ii41 ,,iii41 ,v41 ,,vi4 on the plan71 with a new staircase and other improvements1 were opened to the public in #ahhg2 and the ,gallery then consisted of twenty-two rooms1 besides ample accommodation for the offices of the ,director and the convenience of the students4#e ,a further extension of the ,gallery1 on the site of ,st4 ,george's ,barracks1 was completed in #aiaa2 this consisted of six new rooms4#f ,at the same time the older portions of the building were reconstructed1 in order to make it fire-proof4 ,the rearrangement of the ,gallery is described below 7p4 xxv74 ,growth of the ,collection4--,this growth in the ,galleries has1 however1 barely sufficed to keep pace with the growth of the pictures4 ,in #ahch the total number of national pictures was still only #aej4 ,in #ahge the number was #ibf4 ,in #aiaa the number of pictures1 etc4 7exclusive of the ,turner water-colours7 vested in the ,trustees of the ,gallery was nearly #bhgj4 ,this result has been due to the combination of private generosity and ,state aid which is characteristic of our country4 ,the ,vernon gift of ,english pictures in #ahdg added over #aej at a stroke4 ,ten years later ,turner's bequest added 7besides some #ai1jjj drawings in various stages of completion7 #ajj pictures4 ,in #ahgf the ,wynn ,ellis gift of foreign pictures added nearly another hundred4 ,in #aiaj the bequest of ,mr4 ,george ,salting added #aib pictures 7#afj foreign and #cb ,british74 ,particulars of other gifts and bequests may be gathered from the ,appendix4 ,parliamentary grants have of late years been supplemented by private subscriptions and bequests4 ,in #ahij ,messrs4 ,n4 ,m4 ,rothschild and ,sons1 ,sir ,edward ,guinness1 ,bart4 7now ,lord ,iveagh71 and ,mr4 ,charles ,cotes1 each contributed #aj1jjj towards the purchase of three important pictures 7#acad-e-f72 whilst in #aijd1 ,mr4 ,astor1 ,mr4 ,beit1 ,lord ,burton1 ,lord ,iveagh1 ,mr4 ,pierpont ,morgan1 and ,lady ,wantage subscribed #ba1jjj to supplement a ,government grant for the purchase of ,titian's ,portrait of ,ariosto 7#aidd74 ,in #aijc a ,national ,art-,collections ,fund was established for organising private benefactions to the ,galleries and ,museums of the ,united ,kingdom2 it was through this agency that the famous ,venus by ,velazquez 7#bjeg71 in #aijf1 and the still more famous ,christina1 ,duchess of ,milan1 by ,holbein 7#bdge71 in #aiji1 were added to the ,national ,gallery4 ,the same ,fund contributed also to the purchase in #aiaa1 of the ,castle ,howard ,mabuse 7#bgij74 ,mr4 ,francis ,clarke bequeathed #bc1ajd1 and ,mr4 ,t4 ,d4 ,lewis #aj1jjj1 the interest upon which sums was to be expended in pictures4 ,mr4 ,r4 ,c4 ,wheeler left a sum of #bfee1 the interest on which was to purchase ,english pictures4 ,mr4 ,j4 ,l4 ,walker left #aj1jjj1 not to form a fund1 but to be spent on a picture or pictures4 ,in #aijc a large bequest was made to the ,gallery by ,colonel ,temple ,west4 ,the will was disputed2 but by the settlement ultimately effected 7#aijg1 #aijh7 a sum of #ii1iji was received1 of which the interest is available for the purchase of pictures4 ,in #aijf ,mr4 ,c4 ,e4 ,g4 ,mackerell made a bequest1 and this will also was disputed4 ,by the settlement 7#aijh7 a sum of #bhei was received1 and a further sum will be forthcoming at the expiration of certain life-interests1 of which sums1 again1 the interest will be available for the purchase of pictures4 ,appendix ,,ii4 shows the pictures acquired from these several funds4 ,this growth of the ,gallery by private gift and public expenditure concurrently accords with the manner of its birth4 ,one of the factors which decided ,lord ,liverpool in favour of the purchase of ,mr4 ,angerstein's ,collection was the generous offer of a private citizen--,sir ,george ,beaumont4 ,value of the ,pictures4--,sir ,george's gift1 as we shall see from a little story attaching to one of his pictures 7#fa71 was not of that which cost him nothing in the giving4 ,the generosity of private donors1 which that little story places in so pleasing and even pathetic a light1 has been accompanied by public expenditure at once liberal and prudent4 ,the total cost of the collection so far has been about #ijj1jjjg2 at present prices there is little doubt that the pictures so acquired could be sold for several times that sum4 ,it will be seen in the following pages that there have been some bad bargains2 but these mostly belong to the period when responsibility was divided1 in an undefined way1 between the ,trustees and the ,keeper4 ,the present organisation of the ,gallery dates from #ahee1 when1 as the result of several ,commissions and ,committees1 a ,treasury ,minute was drawn up--appointing a ,director to preside over the ,gallery1 and placing an annual grant of money at his disposal4#h ,the curious reader may trace the use of this discretion made by successive ,directors in the table of prices given in the final index--a table which would afford material for an instructive history of recent fashions in art4 ,the annual grant has from time to time been supplemented by special grants1 of which the most notable were those for the ,peel ,collection1 the ,blenheim pictures1 the ,longford ,castle pictures1 two new ,rembrandts 7#afgd-e71 ,titian's ,ariosto 7#aidd71 ,holbein's ,duchess of ,milan 7#bdge71 and ,mabuse's ,adoration of the ,magi 7#bgij7 respectively4 ,the ,peel ,collection consisted of seventy-seven pictures4 ,the vote was proposed in the ,house of ,commons on ,march #bj1 #ahga1 and in supporting it the late ,sir ,w4 ,h4 ,gregory 7one of the ,trustees of the ,gallery7 alluded to the additional interest connected with the collection1 for it was the labour of love of one of our greatest ,english ,statesmen1 and it was gratifying to see that the taste of the amateur was on a par with the sagacity of the minister1 for throughout this large collection there could hardly be named more than two or three pictures which were not of the very highest order of merit4 ,the price paid for this collection1 #gj1jjj1 was exceedingly moderate4#i ,the princely price given for the two ,blenheim pictures is more open to exception2 but if the price was unprecedented1 so also was the sale of so superb a ,raphael in the present day unprecedented4 ,features of the ,collection4--,the result of the expenditure with which successive ,parliaments have thus supplemented private gifts has been to raise the ,national ,gallery to a position second to that of no single collection in the world4 ,the number of pictures now on view in ,trafalgar ,square1 exclusive of the water-colours1 is about #afjj4aj ,this number is very much smaller than that of the galleries at ,dresden1 ,madrid1 and ,paris--the three largest in the world4 ,on the other hand no foreign gallery has been so carefully acquired1 or so wisely weeded1 as ours4 ,an ,act was passed in #ahef authorising the sale of unsuitable works1 whilst another passed in #ahhc sanctioned the thinning of the ,gallery in favour of ,provincial collections4 ,there are still many serious gaps4 ,in the ,italian ,school we have no work by ,masaccio--the first of the naturalisers in landscape2 only one doubtful example of ,palma ,vecchio1 the greatest of the ,bergamese painters2 no first-rate portrait by ,tintoret4 ,the ,french ,school is little represented--an omission which is1 however1 splendidly supplied in the ,wallace ,collection at ,hertford ,house1 now the property of the nation4 ,in the ,national ,gallery itself there is no picture by the incomparable ,watteau1 the prince of ,court painters4 ,the specimens of the ,spanish ,school are few in number1 though ,velazquez is now finely represented2 whilst amongst the old masters of our own ,british ,school there are many gaps for some future ,vernon or ,tate to fill up4 ,but on the other hand we can set against these deficiencies many painters who1 and even schools which1 can nowhere--in one place--be so well studied as in ,trafalgar ,square4 ,the works of ,crivelli--one of the quaintest and most charming of the earlier ,venetians--which hang together in one room2 the works of the ,brescian ,school1 including those of its splendid portrait painters--,moroni and ,il ,moretto2 the series of ,raphaels1 showing each of his successive styles2 and in the ,english ,school the unrivalled and incomparable collection of ,turners1--are amongst the particular glories of the ,national ,collection4 ,historically the collection is remarkably instructive4 ,this is a point which successive ,directors have1 on the recommendation of ,royal ,commissions1 kept steadily in view2 and which has been very clearly shown since the successive re-arrangements of the ,gallery after the extension in #ahhg4 ,scope of the ,handbook4--,it is in order to help visitors to take full advantage of the opportunities thus afforded for historical study that ,i have furnished some general introductions to the various ,schools of ,painting represented in the ,national ,gallery4 ,with regard to the notes in the ,numerical ,catalogue1 my object has been to interest the daily increasing numbers of the general public who visit the ,national ,gallery4 ,the full inventories and other details1 which are necessary for the identification of pictures1 and which are most admirably given in the 7unabridged7 ,official ,catalogue--would obviously be out of place in a book designed for popular use4 ,nor1 secondly1 would any elaborate technical criticism have been in keeping--even had it been in my power to offer it--with a guide intended for unprofessional readers4 ,c4 ,r4 ,leslie1 the father of the present ,academician1 tells how he spoke one day to ,stothard of his touching picture of a sailor taking leave of his wife or sweetheart4 ',i am glad you like it1 sir1' said ,stothard2 'it was painted with japanner's gold size4' ,i have been mainly concerned with the sentiment of the pictures1 and have for the most part left the japanner's gold size alone4 ,mr4 ,ruskin's ,notes4--,it had often occurred to me1 as a student of ,mr4 ,ruskin's writings1 that a collection of his scattered notes upon painters and pictures now in the ,national ,gallery would be of great value4 ,i applied to ,mr4 ,ruskin in the matter1 and he readily permitted me to make what use ,i liked of any1 or all1 of his writings4 ,the generosity of this permission1 which was supplemented by constant encouragement and counsel1 makes me the more anxious to explain clearly the limits of his responsibility for the book4 ,he did not attempt to revise1 or correct1 either my gleanings from his own books1 or the notes added by myself from other sources4 ,beyond his general permission to me to reprint his past writings1 ,mr4 ,ruskin had1 therefore1 no responsibility for this compilation whatever4 ,i should more particularly state that the pages upon the ,turner ,gallery in the ,second ,volume were not even glanced at by him4 ,the criticisms from his books there collected represent1 therefore1 solely his attitude to ,turner at the time they were severally written4 ,but1 subject to this deduction1 the passages from ,ruskin arranged throughout the following pages will1 ,i hope1 enable the ,handbook to serve a second purpose4 ,any student who goes through the ,gallery under ,ruskin's guidance--even at second-hand--can hardly fail to obtain some insight into the system of art-teaching embodied in his works4 ,the full exposition of that system must still be studied in the original text-books1 but here the reader may find a series of examples and illustrations which will perhaps make the study more vivid and actual4 ,attribution of ,pictures4--,in the matter of attributions1 the rule1 in the successive editions of this ,handbook1 has been to follow the authority of the ,official ,labels and ,catalogues4 ,criticism has been very busy of late years with the traditional attribution of pictures in our ,gallery1 and successive ,directors introduce their several1 and sometimes contradictory1 opinions on such points4 ,thus more than ,one ,old ,master hitherto supposed to be represented in the ,gallery has been banished1 and others1 whose fame had not previously been bruited abroad1 have been credited with familiar masterpieces4 ,thus--to notice some of the changes made by ,sir ,edward ,poynter 7,catalogue of #aijf7--;among the ,venetians1 ,bastiani and ,catena have come into favour4 ,to ,bastiani was given the picture of ,the ,doge ,giovanni ,mocenigo 7#gej7 which for forty years has been exhibited as a work by ,carpaccio2 that charming painter now disappears from the ,national ,gallery4 ,to ,catena is attributed the ,st4 ,jerome 7#fid71 which for several decades had been cited as peculiarly characteristic of ,bellini4 ,to ,catena also is given the ,warrior in ,adoration 7#bcd74 ,in this case ,catena's gain is ,giorgione's loss4 ,but elsewhere ,giorgione has received compensation for disturbance4 ,to him has been given the ,adoration of the ,magi 7#aafj71 which some critics attributed to ,catena4 ,the beautiful ,ecce ,homo 7#acaj71 which was sold as a ,carlo ,dolci and bought by ,sir ,frederick ,burton as a ,bellini1 was ascribed by ,sir ,edward ,poynter to ,cima4 ,one of the minor ,venetians--,basaiti1 who enjoyed a high reputation at the ,national ,gallery--was deprived of the pretty ,madonna of the ,meadow 7#eii71 which went to swell the opulent record of ,bellini4 ,among the ,florentines1 a newcomer is ,zenobio ,macchiavelli1 to whom is attributed an altar-piece 7#ehf7 formerly catalogued under the name of ,fra ,filippo ,lippi4 ,cosimo ,rosselli1 hitherto credited with a large ,st4 ,jerome in the ,desert 7#bbg71 now disappears2 it was labelled ,tuscan ,school1 and was any one's picture4 ,the attribution of pictures belonging to the group of the two ,lippis and ,botticelli is still very uncertain4 ,a note on these critical diversities will be found under ,no4 #bic4 ,among alterations in other schools we may note the substitution of ,zurbaran for ,velazquez as the painter of ,the ,nativity1 ,no4 #bcb2 the attribution to ,patinir1 the ,fleming1 of a landscape formerly labelled ,venetian ,school 7#abih72 and the discovery of ,jacob van ,oost as the painter of a charming ,portrait of a ,boy 7#aacg71 which1 but for an impossibility in the dates1 might well continue to pass as ,isaac van ,ostade's4 ,such were the principal changes made in the ascriptions of the pictures during ,sir ,edward ,poynter's directorate4 ,his successor1 ,sir ,charles ,holroyd1 has recently made many others1 as shown in the following list3 #ig 7,p4 ,veronese71 now described as after ,veronese4 #bae1 #baf 7,school of ,t4 ,gaddi71 now assigned to ,lorenzo ,monaco 7see #ahig74 #bbg 7,florentine ,school71 now assigned to ,francesco ,botticini 7a ,tuscan painter of the #aeth century74 #bgf 7,school of ,giotto71 now assigned to ,spinello ,aretino2 for whom1 see #eha4 #bif 7,florentine ,school71 now assigned to ,verrocchio2 see below1 p4 #bfb4 #efh 7,school of ,giotto71 now assigned to ,angelo di ,taddeo ,gaddi1 a pupil of ,giotto's chief disciple1 ,taddeo ,gaddi 7for whom1 see p4 #baa74 #egi 7,school of ,taddeo ,gaddi71 now assigned to ,niccolo di ,pietro ,gerini1 a painter of ,florence who was inscribed in the guild in #acfh and died in #adae4 ,our picture is dated #achg4 #egi;,a 7,school of ,taddeo ,gaddi71 now assigned to ,gaddi's pupil1 ,giovanni da ,milano4 #eha 7,spinello ,aretino71 now assigned to ,orcagna2 for whom1 see #efi4 #ehe 7,umbrian ,school71 now assigned to ,school of ,pollajuolo2 for whom1 see #bib4 #eia 7,benozzo ,gozzoli71 now described as ,school of ,benozzo4 #eib 7,filippino ,lippi71 now assigned to ,botticelli2 see below1 p4 #bid n4 #eii 7,giovanni ,bellini71 now re-assigned to ,basaiti2 see below1 p4 #bii4 #fcf 7,titian or ,palma74 ,after a period of ascription to ,titian1 this portrait is now re-assigned to ,palma2 see below1 p4 #cae4 #fej 7,angelo ,bronzino71 now assigned to his pupil1 ,alessandro ,allori 7,florentine3 #aece-afjg74 #fed 7,school of ,roger van der ,weyden71 now assigned to ,school of ,robert ,campin2 for whom1 see #bfjh4 #fee 7,bernard van ,orley71 now ascribed to ,ambrosius ,benson2 born in ,lombardy1 painted in ,bruges1 living in #aede4 #feh 7after ,schongauer71 now assigned to ,school of ,campin4 ,the picture ascribed to the ,master of ,flmalle1 as referred to in the text 7p4 #cbh71 is now ,no4 #bfjh 7also now assigned to ,campin74 #fei 7,johann ,rottenhammer71 now assigned to ,jan ,brueghel1 the younger 7#afja-affg71 a scholar of ,brueghel1 the elder4 #ffd 7,roger van der ,weyden71 now assigned to ,dierick ,bouts2 for whom1 see #beie4 #fgj 7,angelo ,bronzino71 now described as ,school of ,bronzino4 #fif 7,flemish ,school71 now assigned to ,petrus ,cristus2 for whom1 see #beic4 #gjd 7,bronzino71 now described as ,school of ,bronzino4 #gji 7,flemish ,school71 now assigned to ,memlinc2 for whom1 see #fhf4 #gac 7,jan ,mostaert71 now assigned to ,jan ,prevost 7,flemish3 #adfb-aebi71 a painter of ,bruges and a friend of ,albert ,drer4 #gad 7,cornelis ,engelbertsz71 now assigned to ,bernard van ,orley2 for whom1 see #fee4 #gae 7,joachim ,patinir71 now assigned to ,quentin ,metsys2 for whom1 see #bie4 #gej 7,lazzaro ,bastiani71 now described as ,school of ,gentile ,bellini2 for whom1 see #abac4 #ggd 7,flemish ,school71 now assigned to ,dierick ,bouts2 for whom1 see #beie4 #ggi1 #ghj 7,borgognone71 now described as ,school of ,borgognone4 #gha 7,florentine ,school71 now attributed to ,botticini4 #ghb 7,botticelli71 now described as ,school of ,botticelli4 #hjh 7,giovanni ,bellini71 now assigned to ,gentile ,bellini2 see below1 p4 #dbb n4 #iaf 7,school of ,botticelli71 now assigned to ,jacopo del ,sellaio2 for whom1 see #bdib4 #idc 7,flemish ,school71 now assigned to ,d4 ,bouts4 #ajag 7,flemish ,school71 now assigned to ,josse de ,momper2 see below1 p4 #dhi4 #ajcc 7,filippino ,lippi71 now assigned to ,botticelli2 see below1 p4 #did4 #ajdh 7,italian71 now assigned to ,scipione ,pulzone2 see below1 p4 #eje4 #ajgh1 #ajgi 7,flemish ,school71 now attributed to ,gerard ,david2 for whom1 see #ajde4 #ajhj 7,school of the ,rhine71 now assigned to ,flemish ,school4 #ajhc 7,flemish ,school71 now assigned to ,albrecht ,bouts 7a son of ,d4 ,bouts71 who died in #aedi4 #ajhe 7,school of the ,rhine71 now assigned to ,geertgen ,tot ,sint ,jans 7,dutch3 #aeth century74 ,this painter was a pupil of ,albert van ,ouwater2 he established himself at ,haarlem in a convent belonging to the ,knights of ,st4 ,john 7whence his name1 ,gerard of ,st4 ,john's74 ,his works were seen and admired by ,drer4 #ajhf 7,flemish ,school71 now assigned to the ,school of ,robert ,campin2 for whom1 see #bfjh4 #aaji;,a 7,mengs74 ,to this picture the number #ajii 7noted in previous editions of this ,handbook as having been missed in the official numbering7 is now given4 #aaba 7,venetian ,school71 now assigned to ,catena2 for whom1 see #bcd4 #aabd 7,filippino ,lippi71 now described as ,school of ,botticelli4 #aabf 7,botticelli71 now assigned to ,botticini2 see on this subject p4 #ecf n4 #aafj 7,school of ,giorgione71 now assigned to ,giorgione himself4 #aaii 7,florentine ,school71 now assigned to ,pier ,francesco ,fiorentino2 a ,tuscan painter of the #aeth century4 #acgf 7,velazquez71 now ascribed to ,velazquez4 #adab 7,filippino ,lippi71 now described as ,school of ,botticelli4 #adai 7,flemish ,school71 now assigned to ,early ,french ,school4 ,the picture formed part of a diptych2 the companion picture was in the ,dudley ,collection 7,no4 #bi in the sale catalogue of #ahib1 where an illustration of it was given74 ,in this the choir of ,st4 ,denis is shown4 ,there are two portraits by the same hand at ,chantilly4 #adcc 7,flemish ,school71 now assigned to ,roger van der ,weyden2 for whom1 see #ffd4 #adcd 7,velazquez71 now ascribed to ,velazquez1 and it is added that the picture has been attributed to ,luca ,giordano 7,neapolitan3 #afcb-agje74 #addj 7,giovanni ,bellini71 now assigned to ,gentile ,bellini2 for whom1 see #abac4 #adfh 7,spinello ,aretino71 now assigned to ,jacopo di ,cione1 the younger brother of ,andrea ,cione 7called ,orcagna72 he was still living in #acid4 #afeb ,this picture has hitherto been assigned to the ,british ,school 7and therefore included in vol4 ii4 of the ,handbook71 and called a portrait of ,katharine ,parr4 ,it is now discovered to belong to the ,dutch ,school and to be a portrait of ,madame van der ,goes4 #afii 7,jan ,vermeer71 now attributed to ,vermeer4 #ahdb 7,tuscan ,school71 now attributed to ,stefano di ,giovanni1 known as ,sassetta 7,sienese3 #acib-adej74 #ahgj ,angels with ,keys1 by ,sebastiano ,conca 7,neapolitan3 #afgi-agfd74 ,lent by the ,victoria and ,albert ,museum4 #aijc 7,jan ,fyt71 now assigned to ,pieter ,boel 7,flemish3 #afbb-afgd71 of ,antwerp1 who became official painter to ,louis ,,xiv4 ,it will be observed that critical fashions are unstable1 and that in several cases ,sir ,edward ,poynter's changes have been reversed4 ,the recent alterations were made just as this edition of the ,handbook was going to press4 ,the ascriptions in the body of my ,catalogue remain1 therefore1 in conformity with the ,official ,catalogue of #aijf which embodied ,sir ,edward ,poynter's views4 ,the lists of painters and pictures at the end 7,appendix ,i4 and ,,ii47 have1 on the other hand1 been revised in accordance with ,sir ,charles ,holroyd's alterations4 ,additional ,notes4--,in the notes upon the pictures1 a large number of additional remarks have been introduced since this ,handbook first appeared4 ,these1 it is hoped1 may serve here and there to deepen the visitor's impression1 to suggest fresh points of view1 to open up incidental sources of interest4 ,attention may be called1 by way of example1 under this head1 to several notes upon the designs depicted on the dresses1 draperies1 and backgrounds of the ,italian pictures4 ,these designs1 sometimes invented by the artists themselves and sometimes copied from actual stuffs1 form a series of examples which illustrate the art fabrics of the best period of ,italian decorative art1 and which might well give hints for the decoration of textile fabrics to-day4#aa ,another incidental source of interest in a collection of pictures such as ours1 is the historical development of art as it may be traced in the several representations of the same subject by different painters1 in successive periods1 and in different schools4 ,such comparisons are instructive to those interested alike in the evolution of art and in the history of religious ideas4 ,in the art of medival ,christendom we find an unwritten theology1 a popular figurative teaching of the sublime story of ,christianity blended with the traditions of many generations4 ,on the walls of the ,national ,gallery we may see a series of typical scenes from the ,annunciation to the ,passion1 from the childhood of ,christ to ,his ,death1 ,resurrection1 and ,ascension1 together with ideal forms of apostles and saints4 ,these pictures1 contemplated in sequence and compared with one another1 afford1 as a writer in the ,dublin ,review 7,october #ahhh7 has pointed out1 a large and interesting field for thought4 ,very interesting it is also to trace the different types which prevail in the different schools4 ,thus at ,florence1 the ,madonna is a tender1 shrinking1 delicate maiden4 ,at ,venice1 she is a calm1 serene1 and pure-spirited mother4 ,the ,florentine handmaiden of the ,lord often wears a mystic1 and almost always an intellectual air4 ,the ,venetian type1 seen at its central perfection in ,bellini1 has a neck firm as a column2 the child is nude and plays with a flower or fruit2 grandeur of mien and a noble type of motherhood are the ideals the ,venetian painters set before themselves4 ,the ,lombard ,madonna is less spiritual and severe than the ,florentine4 ,a refined worldly beauty replaces here the poetic idealism of the ,tuscan artists4 ,with the ,umbrian painters the model of the ,madonna is usually a softly-rounded and very girlish maiden4 ,a certain mystic pensiveness informs her features4 ,her feet tread this earth1 but her soul is absorbed in the contemplation of the infinite4#ab ,a study of the successive characteristics of ,raphael's ,madonnas1 passing from the vaguely divine to the frankly human1 would form material for a volume in itself4#ac ,in another department of the painter's art1 the comparative method of study is no less suggestive4 ,it is one of the most curious points of interest in any large collection of pictures to notice the different impressions that the same elements of natural scenery make upon different painters4 ,as figure painting came to be perfected1 some adequate suggestion of landscape background was required4 ,giotto and ,orcagna first attempted to give resemblance to nature in this respect4 ,subsequent painters carried the attempt to greater success1 but it was long before landscape for its own sake obtained attention4 ,when it did1 the preferences of individual painters1 now freed from conventionalism1 found abundant scope1 as we may see by pausing in succession before the flowery meadows of the primitives1 the fiery woodlands of ,titian1 the savage crags of ,salvator ,rosa1 the saffron skies of ,claude4#ad ,these are some of the incidental points of interest upon which additional notes have been supplied in recent editions4 ,many others will be discovered by the patient reader of the following pages4 ,notices of ,painters4--,lastly1 the biographical and critical notices of the painters have been revised and expanded since the first appearance of the book4 ,many have been re-written throughout1 nearly all have been re-cast1 and a good many references to pictures in other galleries and countries have been introduced4 ,the important accession to the ,national ,gallery of the ,arundel ,society's unique collection of copies from the old masters affords an opportunity even to the untraveled visitor to become acquainted1 in some sort1 with the most famous wall-paintings of ,italy4 ,mr4 ,ruskin1 by whose death the ,national ,gallery lost one of its best and oldest friends1 once expressed a hope to me that the notices of the painters given in this ,handbook would be found useful by some readers not only as a companion in ,trafalgar ,square1 but also for other galleries1 at home and abroad4 ,nobody can know better than the compiler how far ,mr4 ,ruskin's kindness led him in the direction of over-indulgence4 ,i can only hope that the later editions have been made--largely owing to the suggestions of critics and private correspondents--a little more deserving of the kind reception which1 now for a period of nearly twenty-five years1 has been given by the public to my ,handbook4 ,e4 ,t4 ,c4 ,may #aiab4 ,illustration ,,footnotes3 #a ,the ,tate ,gallery is ten minutes' drive or twenty minutes' walk from ,trafalgar ,square4 ,it is reached in a straight line by ,whitehall1 ,parliament ,street1 past the ,houses of ,parliament1 ,millbank ,street1 and ,grosvenor ,road4 #b ,mr4 ,ruskin himself was converted by the acquisition of the great ,perugino 7,no4 #bhh74 ,in congratulating the ,trustees on their acquisition of this noble picture1 he wrote3 ,it at once1 to my mind1 raises our ,national ,gallery from a second-rate to a first-rate collection4 ,i have always loved the master1 and given much time to the study of his works2 but this is the best ,i have ever seen 7,notes on the ,turner ,gallery1 p4 #hi n474 #c ,see1 for instance1 ,nos4 #aj1 #fa1 #aic1 #aie1 #dgi and #dih1 #geg1 #gij1 #hif1 #aaca1 and #aaga4 #d ,the exterior of the building is not generally considered an architectural success1 and the ugliness of the dome is almost proverbial4 ,but it should be remembered that the original design included the erection of suitable pieces of sculpture--such as may be seen in old engravings of the ,gallery1 made from the architect's drawings--on the still vacant pedestals4 #e ,the several extensions of the ,gallery are shown in the plan on a later page4 #f ,the total number should thus be #bh2 but in the reconstruction four smaller rooms were thrown into two larger ones4 ,the plan thus shows #be numbered rooms and one called the ,dome4 #g ,this sum only includes amounts paid out of ,parliamentary grants or other ,national ,gallery funds or special contributions4 #h ,in #ahid1 however1 an alteration was made in the ,minute1 and the responsibility for purchases was vested in the ,director and the ,trustees jointly4 #i ,sir ,william ,gregory relates in his ,autobiography the following story3 ,in #ahhd1 when the ,trustees were endeavouring to secure some of the pre-eminently fine ,rubenses from the ,duke of ,marlborough1 ,alfred ,rothschild met me in ,st4 ,james's ,street1 and said1 ',if you think the ,blenheim ,rubenses are more important than your ,dutch pictures to the ,gallery1 and that you cannot get the money from the ,government1 ,i am prepared to give you #bej1jjj for the ,peel pictures2 and ,i will hold good to this offer till the day after to-morrow4' #aj ,of the #aagj pieces thus unaccounted for 7the total number belonging to the ,trustees being roughly #bhgj7 the greater number are at ,millbank4 ,others are on loan to provincial institutions 7see ,app4 ,,ii474 #aa ,with this object in view1 several of them have been published with descriptive letterpress by ,mr4 ,sydney ,vacher4 #ab ,these contrasts were worked out and illustrated by ,mr4 ,grant ,allen in his papers on ,the ,evolution of ,italian ,art in the ,pall ,mall ,magazine for #ahie4 #ac ,see ,raphael's ,madonnas1 by ,karl ,kroly1 #ahid4 #ad ,ruskin's ,modern ,painters is of course the great book on this subject4 ,the evolution of ,landscape in ,art has been historically treated by ,mr4 ,josiah ,gilbert in a work thus entitled1 which contains numerous illustrations from the ,national ,gallery4 ,,guide ,,to ,,the ,,gallery ,,and ,,introductions ,,to ,,the ,,schools ,,of ,,painting ,the pictures in the ,national ,gallery are hung methodically1 so far as the wall-space and other circumstances will admit1 in order to illustrate the different schools of painting1 and to facilitate their historical study4 ,introductions to the several ,foreign ,schools of ,painting1 thus arranged1 will be found in the following pages together with references to many of the chief painters in each school who are represented in the ,gallery4 ,introductory remarks on the ,british ,school and ,british ,painters will be found in ,volume ,,ii4 ,at the present time 7,may #aiab7 the arrangement of the ,gallery is in a transitional state1 as some of the ,rooms are still in process of reconstruction or rearrangement4 ,when this work is finished1 the arrangement of the whole ,gallery will1 it is expected1 be as shown below3-- ,,archaic ,,greek ,,portraits3 ,north ,vestibule4 ,,italian ,,schools3-- ,early ,tuscan3 ,north ,vestibule4 ,florentine and ,sienese3 ,rooms ,i41 ,,ii41 ,v4 ,florentine 7later73 ,room ,,iii4 ,milanese3 ,room ,,iv4 ,umbrian3 ,room ,,vi4 ,venetian3 ,room ,,vii4 ,venetian 7later73 ,room ,,ix4 ,paduan3 ,room ,,viii4 ,venice1 etc43 the ,dome4 ,brescian and ,bergamese3 ,room ,,xv4 ,bolognese3 ,room ,,xxv4 ,late ,italian3 ,room ,,xxiii4 ,,schools ,,of ,,the ,,netherlands ,,and ,,germany3-- ,early ,netherlands3 ,room ,,xi4 ,later ,flemish 7,rubens1 etc473 ,room ,x4 ,dutch 7landscape3 ,ruysdael1 etc473 ,room ,,xii4 ,dutch 7,rembrandt73 ,room ,,xiii4 ,dutch3 ,room ,,xiv4 ,german3 ,room ,,xxiv4 ,,spanish ,,school3 ,room ,,xvi4 ,,french ,,school3 ,rooms ,,xvii41 ,,xviii4 ,,british ,,schools3-- ,hogarth1 etc43 ,room ,,xxii4 ,reynolds1 ,gainsborough1 etc43 ,room ,,xxi4 ,romney1 ,morland1 etc43 ,room ,,xx4 ,turner3 ,room ,,xix4 ,the rooms on the ground floor1 hitherto occupied by the ,turner ,water-,colours 7now for the most part removed to the ,tate ,gallery3 see ,vol4 ,,ii471 will be arranged with pictures of minor importance1 with the ,arundel ,society's collection and other copies1 and with photographs and other aids to study4 ,it should1 however1 be understood that the scheme of arrangement set out above is provisional1 and may be modified4 ,it is also possible that the numbering of the rooms may be altered4 ,should this be the case1 the visitor would have no difficulty in marking the changes on the ,plan4 ,illustration3 ,,plan ,,of ,,the ,,rooms4 ,w4 ,wilkins #ahch ,e4 ,m4 ,barry #ahgf ,sir ,j4 ,taylor #ahhg ,,vestibule--,florentine ,school4 ,,room ,i--,florentine ,school4 ,,ii--,sienese ,school4 ,,iii--,florentine ,school4 ,,iv--,schools of ,lombardy and ,parma4 ,v--,ferrarese and ,bolognese ,schools4 ,,vi--,umbrian ,school4 ,,vii--,venetian ,allied ,schools4 ,,viii--,paduan ,school4 ,,octagon4--,venetian ,school4 ,,room ,,ix--,paolo ,veronese1 etc4 ,x--,dutch ,school4 ,,xi--,early ,flemish ,school4 ,,xii--,dutch ,school4 ,,xiii--,flemish ,school4 ,,xiv--,spanish ,school4 ,,xv--,german ,school4 ,,xvi--,french ,school4 ,,xvii--,french ,school4 ,,east ,,and ,,west ,,vestibules ,english ,,rooms ,,xviii1 ,,xix1 ,,xx1 ,,xxi ,school4 ,,room ,,xxii--,turner ,gallery4 ,,room ,a--,drawings4 ,,room ,b--,pictures by ,turner1 etc4 ,illustration ,,the ,,early ,,florentine ,,school ,the early efforts of ,cimabue and ,giotto are the burning messages of prophecy1 delivered by the stammering lips of infants 7,,ruskin3 ,modern ,painters1 vol4 i4 pt4 i4 sec4 i4 ch4 ii4 #g74 ,give these1 ,i exhort you1 their guerdon and glory ,for daring so much1 before they well did it4 ,the first of the new1 in our race's story1 ,beats the last of the old2 'tis no idle quiddit4 ,,browning3 ,old ,pictures in ,florence4 ,on entering the ,gallery from ,trafalgar ,square1 and ascending the main staircase1 the visitor reaches the ,north ,vestibule4 ,what1 he may be inclined to ask1 is there worth looking at in the quaint and gaunt pictures around him here8 ,the answer is a very simple one4 ,this vestibule is the nursery of ,italian art4 ,here is the first stammering of infant painting4 ,accustomed as we are at the present day to so much technical skill even in the commonest works of art1 we may be inclined to think that the art of painting--the art of giving the resemblances of things by means of colour laid on to wood or canvas--is an easy one1 of which men have everywhere and at all times possessed the mastery4 ,but this of course is not the case4 ,the skill of to-day is the acquired result of long centuries of gradual improvement2 and the pictures in this vestibule bear the same relation to the pictures of our own time as the stone huts of our forefathers to the ,gallery in which we stand4 ,the poorness of the pictures here is the measure of the richness of others4 ,to feel the full greatness of ,raphael's ,madonna 7#aaga71 one should first pause awhile before the earliest ,italian picture here 7#efd71 the gaunt and forbidding ,madonna by ,margaritone of ,arezzo1 ,with the grave-clothes garb and swaddling barret 7,why purse up mouth and beak in a pet so1 ,you bald old saturnine poll-clawed parrot87 7,r4 ,browning74 ,but even in the earliest efforts of infancy1 there is a certain amount of inherited gift4 ,first of all1 therefore1 one should look at a specimen of such art as ,italians had before them when they first began to paint for themselves4 ,with the fall of the ,roman ,empire and the invasion of the ,goths1 the centre of civilisation shifted to the capital of the ,eastern ,church1 ,byzantium 7,constantinople74 ,the characteristics of ,byzantine art may be seen in a ,greek picture 7#eid74 ,the history of early ,italian art is the history of the effort to escape from the swaddling clothes of this rigid ,byzantine ,school4 ,the effort was of two kinds3 first the painters had to see nature truly1 instead of contenting themselves with fixed symbols--art had to become natural1 instead of conventional4 ,secondly1 having learned to see truly1 they had to learn how to give a true resemblance of what they saw2 how to exhibit things in relief1 in perspective1 and in illumination4 ,in relief3 that is1 they had to learn to show one thing as standing out from another2 in perspective3 that is1 to show things as they really look1 instead of as we infer they are2 in illumination3 that is1 to show things in the colours they assume under such and such lights4 ,the first distinct advance was made by ,cimabue and ,giotto at ,florence1 but contemporaneous with them was the similar work of ,duccio and his successors at ,siena1 whose pictures should be studied in this connection4 ,various stages in the advance will be pointed out under the pictures themselves2 and the student of art will perhaps find the same kind of pleasure in tracing the painter's progress as grown-up people feel in watching the gradual development of children4 ,but there is another kind of interest also4 ,wordsworth says that children are the best philosophers2 and in the case of art at any rate there is some truth in what he says1 for this is a general law1 that supposing the intellect of the workman the same1 the more imitatively complete his art1 the less he will mean by it2 and the ruder the symbol1 the deeper is its intention 7,ruskin's ,lectures on ,art1 #ai74 ,the more complete his powers of imitation become1 the more intellectual interest he takes in the expression1 and the less therefore in the thing meant4 ,what then is the meaning of these early pictures8 ,to answer this question1 we must go back to consider what it was that gave the original impulse to the revival of art in ,italy4 ,to this revival two circumstances contributed4 ,first1 no school of painting can exist until society is comparatively rich1 until there is wealth enough to support a class of men with leisure to produce beautiful things4 ,such an increase of wealth took place at ,florence in the thirteenth century3 the gay and courteous life of the ,florentines at that time was ready for the adornment of art4 ,the particular direction which art took was due to the religious revival1 headed by ,st4 ,francis and ,st4 ,dominic1 which occurred at the same time4 ,churches were everywhere built1 and on the church walls frescoes were wanted1 alike to satisfy the growing sense of beauty and to assist in teaching ,christian doctrine4 ,these early pictures are thus to be considered as a kind of painted preaching4 ,the story of ,cimabue's great picture 7see ,no4 #efe7 well illustrates the double origin of the revival of art4 ,it was to its place above the altar in the great ,dominican church of ,sta4 ,maria ,novella at ,florence that the picture was carried in triumphal procession2 whilst the fact that a whole city should thus have turned out to rejoice over the completion of a picture1 proves the widespread sensibility of the ,florentines to things of beauty1 and shows the sympathy which1 emanating from the people1 was destined to inspire and brace the artist for his work 7,symonds3 ,renaissance1 iii4 #acg74ae ,the history of ,giotto is no less significant4 ,it was for the walls of the church of ,st4 ,francis at ,assisi that his greatest work was done4 ,it was there that he at once pondered over the meaning of the ,christian faith 7with what result is shown by ,ruskin in ,fors ,clavigera and elsewhere71 and learned the secret of giving the resemblance of the objects of that faith in painting4 ,thus1 then1 we arrive at the second source of interest in these old pictures of ,florence--rude and foolish as they sometimes seem4 ,those were noble days for the painter1 when the whole belief of ,christendom1 grasped by his own faith1 and firmly rooted in the faith of the people round him1 as yet unimpaired by alien emanations from the world of classic culture1 had to be set forth for the first time in art4 ,his work was then a ,bible1 a compendium of grave divinity and human history1 a book embracing all things needful for the spiritual and civil life of man4 ,he spoke to men who could not read1 for whom there were no printed pages1 but whose hearts received his teaching through the eye4 ,thus painting was not then what it is now1 a decoration of existence1 but a potent and efficient agent in the education of the race 7ibid4 p4 #adc74 ,the message which these painters had to deliver was painted on the walls of churches or civic buildings2 and it is only there--at ,assisi1 and ,padua1 and ,florence1 and ,siena--that they can be properly read4 ,but from such scraps and fragments as are here preserved1 one may learn1 as it were1 the alphabet1 and catch the necessary point of view4 ,but why1 it may be asked1 did painting come to its new birth first at ,florence1 rather than elsewhere in ,italy8 ,the first answer is that painting thus arose at ,florence because it was there that a new style of building at this time arose4 ,the painters were wanted1 as we have seen1 to decorate the churches1 and in those days there was no sharp distinction between the arts4 ,not only were architects sculptors1 but they were often painters and goldsmiths as well4 ,giotto and ,orcagna are instances of this union of the arts4 ,but why did the new style of building arise specially in ,florence8 ,the answer to this is twofold3 first1 the ,florentines inherited the artistic gifts and faculties of the ,etruscan 7,tuscan7 race4 ,even in late ,florentine pictures1 pure ,etruscan design will often be found surviving 7see #ehf74 ,secondly1 in the middle of the thirteenth century new art impulse came from the ,north in the shape of a northern builder1 who1 after building ,assisi1 visited ,florence and instructed ,arnolfo in ,gothic1 as opposed to ,greek architecture4 ,thus there met the two principles of art--the ,norman 7or ,lombard71 vigorous and savage2 the ,greek 7or ,byzantine71 contemplative but sterile4 ,the new spirit in ,florence adopts what is best in each1 and gives to what it adopts a new energy of its own1 444 collects and animates the ,norman and ,byzantine tradition1 and forms out of the perfected worship and work of both1 the honest ,christian faith and vital craftsmanship of the world4444 ,central stood ,etruscan ,florence3 agricultural in occupation1 religious in thought1 she directed the industry of the ,northman into the arts of peace2 kindled the dreams of the ,byzantine with the fire of charity4 ,child of her peace1 and exponent of her passion1 her ,cimabue became the interpreter to mankind of the meaning of the ,birth of ,christ 7,ariadne ,florentina1 ch4 ii42 ,mornings in ,florence1 ii4 #dd1 #de74 -- ,in the left-hand corner of the ,vestibule will be found a very remarkable series of archaic ,greek portraits dating from the second or third century ,a4,d4 7,nos4 #abfj-abgj74 99 99 99 99 99 ,the architecture of the ,entrance ,hall and ,vestibule is worth some attention1 for here is the finest collection of marbles in ,london4 ,many distant parts of the world have contributed to it4 ,the ,alps1 from a steep face of mountain #bjjj feet high on the ,simplon ,pass1 send the two massive square pillars of light green cipollino which form the approach to the ,vestibule from the ,square4 ,their carved capitals are of alabaster from ,derbyshire1 whilst the bases on which they stand are of ,corrennie granite from near ,aberdeen4 ,the square blocks of bluish gray beneath the upper columns come from ,new ,zealand4 ,ascending the stone steps1 the visitor should notice the side walls1 built up of squares of giallo antico1 which was brought from the quarry at ,simittu1 in the territory of ,tunis4 ,it had long been known that ,rome was full of the beautiful giallo antico1 sometimes yellow1 sometimes rosy in colour1 but always of exquisite texture and even to work4 ,it had come from the province of ,africa2 and the quarry was rediscovered by a ,belgian engineer working on the railway then being made from ,tunis to the ,algerian frontier4 ,he observed at ,simittu a half-consumed mountain with gaps clearly marked1 from which the last monoliths had been cut1 and the work of the ,romans was presently resumed by a ,belgian ,company4 ,no more beautiful specimen of the giallo antico similar to that used in ,augustan ,rome could be desired than slabs in the entrance to the ,national ,gallery4 ,the cornice above the giallo antico walls is of pavonazzetto from the ,apennines1 near ,pisa1 and the same marble forms the base of the red columns4 ,these splendid columns come from quarries near ,chenouah1 just west of ,algiers1 which were first opened by the ,french some years ago4 ,red ,etruscan is the unmeaning trade name of this jasper-like stone1 which is also used for door frames in many of the new rooms with very sumptuous effect4 ,illustration ,,footnotes3 #ae ,my references to this book are to the new edition of #ahig4 ,,the ,,florentine ,,school ,this is the way people look when they feel this or that--when they have this or that other mental character3 are they devotional1 thoughtful1 affectionate1 indignant1 or inspired8 are they prophets1 saints1 priests1 or kings8 then--whatsoever is truly thoughtful1 affectionate1 prophetic1 priestly1 kingly--that the ,florentine ,school lived to discern and show2 that they have discerned and shown2 and all their greatness is first fastened in their aim at this central truth--the open expression of the living human soul 7,,ruskin3 ,two ,paths1 #ba74 ,each face obedient to its passion's law1 ,each passion clear proclaimed without a tongue4 ,,robert ,,browning3 ,pictor ,ignotus4 ,great nations write their autobiographies in three manuscripts2--the book of their deeds1 the book of their words1 and the book of their art4 ,not one of these books can be understood unless we read the two others2 but of the three1 the only quite trustworthy one is the last4 ,the reason for this faithfulness in the record of art is twofold4 ,the art of any nation can only be great by the general gifts and common sympathies of the race2 and secondly1 art is always instinctive1 and the honesty or pretence of it therefore open to the day 7,st4 ,mark's ,rest1 ,preface74 ,it has been seen from the remarks already made how ,florentine art in its infancy was thus in a certain sense a record of the times out of which it sprang4 ,in the later pictures1 we may trace some of the developments which characterised the inner history of ,florence in succeeding stages4 ,the first thing that will strike any one who takes a general look at the early ,florentine pictures and then at the later1 is the fact that easel pictures have now superseded fragments of fresco and altar-pieces4 ,here at once we see reflected two features of the time of the ,renaissance4 ,pictures were no longer wanted merely for church decoration and ,scripture teaching2 there was a growing taste for beautiful things as household possessions4 ,and then also the influence of the church itself was declining2 the exclusive place hitherto occupied by religion as a motive for art was being superseded by the revival of classical learning4 ,benozzo ,gozzoli paints the ,rape of ,helen1 ,botticelli paints ,mars and ,venus1 ,piero di ,cosimo paints the ,death of ,procris1 and ,pollajuolo the story of ,apollo and ,daphne4 ,the ,renaissance was1 however1 a new birth in another way than this2 it opened men's eyes not only to the learning of the ancient world1 but to the beauties of the world in which they themselves lived4 ,in previous times the burden of serious and thoughtful minds had been1 ,the world is very evil1 the times are waxing late2 the burden of the new song is1 ,the world is very beautiful4 ,thus we see the painters no longer confined to a fixed cycle of subjects represented with the traditional surroundings1 but ranging at will over everything that they found beautiful or interesting around them4 ,and above all they took to representing the noblest embodiment of life--the human form4 ,some attempts at portraiture may be perceived in the saints of the earliest pictures2 but here we find professed portraits on every wall4 ,this indeed was one of the chief glories of the ,florentine ,school--the open expression of the living human soul4 ,this widening and secularising of art did not pass in ,florence1 as we know1 without a protest2 and here1 too1 history is painted on the walls4 ,some of the protest was silent1 as ,angelico's1 who painted on through a later generation in the old spirit2 some of it was vocal1 in the fiery eloquence of ,savonarola1 whose influence may be seen in ,botticelli's work 7#ajcd74 ,but the development went on1 all protests notwithstanding2 for as the life of every nation runs its appointed course1 so does its art2 and the second point of interest in studying a school of painting is to watch its successive periods of birth1 growth1 maturity1 and decay4 ,in no school is this development so completely marked as in the ,florentine1 which for this reason1 as well as for its priority in time1 and therefore influence on succeeding schools1 takes precedence of all others4 ,the first period--covering roughly the fourteenth century1 called the ,giottesque1 from its principal master--is that in which the thing told is of more importance than the manner of telling it1 and in which the religious sentiment dominated the plastic faculty4 ,in the second period1 covering roughly the fifteenth century1 and called by the ,italians the period of the quattro-centisti1#af the artist1 beginning as we have seen to look freely at the world around him1 begins also to study deeply with a view to represent nature more exactly4 ,one may see the new passion for the scientific study of the art in ,paolo ,uccello 7#ehc71 who devoted himself to perspective2 and in ,pollajuolo 7#bib71 who first studied anatomy from the dead body4 ,it is customary to group the ,florentine artists of this scientific and realistic period under three heads1 according to the main tendencies which they severally exhibit4 ,the first group aimed especially at action1 movement1 and the expression of intense passions4 ,the artist who stands at the head of this group1 ,masaccio1 is1 unhappily1 not represented in the ,national ,gallery1 but the descent from him is represented by ,fra ,filippo ,lippi1 ,pesellino1 ,botticelli1 ,filippino ,lippi4 ,the second group aimed rather at realistic probability1 and correctness in hitting off the characteristics of individual things1 and is represented by ,cosimo ,rosselli1 ,piero di ,cosimo1 ,ghirlandajo1 ,andrea del ,sarto1 ,francia ,bigio4 ,thirdly1 some of the ,florentine ,school were directly influenced by the work of contemporary sculptors4 ,chief amongst this group are ,pollajuolo1 ,verocchio1 himself a sculptor1 and ,lorenzo di ,credi4 ,we come now to the third stage in the ,florentine1 as in every other vital school of painting4 ,this period witnesses the perfection of the technical processes of the art1 and the attempt of the painter to raise forms1 imitated by the artists of the preceding period from nature1 to ideal beauty1 and to give to the representations of the sentiments and affections the utmost grace and energy4 ,the great ,florentine masters of this culminating period are ,leonardo da ,vinci and ,michael ,angelo4 ,the former is especially typical of this stage of development4 ,when a nation's culture has reached its culminating point1 we see everywhere1 says ,morelli1#ag in daily life as well as in literature and art1 that grace#ah comes to be valued more than character4 ,so it was in ,italy during the closing decades of the fifteenth century and the opening ones of the sixteenth4 ,to no artist was it given to express this feeling so fully as to the great ,leonardo da ,vinci1 perhaps the most richly gifted man that mother ,nature ever made4 ,he was the first who tried to express the smile of inward happiness1 the sweetness of the soul4 ,but this culminating period of art already contained within it the germs of decay4 ,the very perfection of the technical processes of painting caused in all1 except painters of the highest mental gifts1 a certain deadness and coldness1 such as ,browning makes ,andrea del ,sarto 7#adhg-aeca7 be conscious of in his own works2 the faultless painter as compared with others less technically perfect but more full of soul 7see under #fij74 ,moreover the very fascination of the great men1 the pleasure in imitating their technical skill1 led to decay4 ,grace soon passed into insipidity1 and the dramatic energy of ,michael ,angelo into exaggerated violence4 ,one mannerism led to another until the school of the ,eclectics sought to unite the mannerisms of all1 and ,italian art1 having run its course1 became extinct4#ai ,the growth and decay of painting described above is connected by ,ruskin with a corresponding growth and decay in religion4 ,he divides the course of medival art into two stages3 the first stage 7covering the first two periods above7 is that of the formation of conscience by the discovery of the true laws of social order and personal virtue1 coupled with sincere effort to live by such laws as they are discovered4 ,all the ,arts advance steadily during this stage of national growth1 and are lovely1 even in their deficiencies1 as the buds of flowers are lovely by their vital force1 swift change1 and continent beauty4 ,the next stage is that in which the conscience is entirely formed1 and the nation1 finding it painful to live in obedience to the precepts it has discovered1 looks about to discover1 also1 a compromise for obedience to them4 ,in this condition of mind its first endeavour is nearly always to make its religion pompous1 and please the gods by giving them gifts and entertainments1 in which it may piously and pleasurably share itself2 so that a magnificent display of the powers of art it has gained by sincerity1 takes place for a few years1 and is then followed by their extinction1 rapid and complete exactly in the degree in which the nation resigns itself to hypocrisy4 ,the works of ,raphael1 ,michael ,angelo1 and ,tintoret1 belong to this period of compromise in the career of the greatest nation of the world2 and are the most splendid efforts yet made by human creatures to maintain the dignity of states with beautiful colours1 and defend the doctrines of theology with anatomical designs4 ,it is easy to see how the progress in realism led to a decline in religion4 ,the greater the 7painter's7 powers became1 the more 7his7 mind was absorbed in their attainment1 and complacent in their display4 ,the early arts of laying on bright colours smoothly1 of burnishing golden ornaments1 or tracing1 leaf by leaf1 the outlines of flowers1 were not so difficult as that they should materially occupy the thoughts of the artist1 or furnish foundation for his conceit2 he learned these rudiments of his work without pain1 and employed them without pride1 his spirit being left free to express1 so far as it was capable of them1 the reaches of higher thought4 ,but when accurate shade1 and subtle colour1 and perfect anatomy1 and complicated perspective1 became necessary to the work1 the artist's whole energy was employed in learning the laws of these1 and his whole pleasure consisted in exhibiting them4 ,his life was devoted1 not to the objects of art1 but to the cunning of it2 and the sciences of composition and light and shade were pursued as if there were abstract good in them2--as if1 like astronomy or mathematics1 they were ends in themselves1 irrespective of anything to be effected by them4 ,and without perception1 on the part of any one1 of the abyss to which all were hastening1 a fatal change of aim took place throughout the whole world of art4 ,in early times art was employed for the display of religious facts2 now1 religious facts were employed for the display of art4 ,the transition1 though imperceptible1 was consummate2 it involved the entire destiny of painting4 ,it was passing from the paths of life to the paths of death 7,relation between ,michael ,angelo and ,tintoret1 pp4 #h1 #i1 and ,modern ,painters1 vol4 iii4 pt4 iv4 ch4 iv4 #aa4 ,see also under ,no4 #gdd74 ,illustration ,,footnotes3 #af ,it should be noted that the ,italian terms quattro-cento and cinque-cento correspond with our fifteenth 7#adjj-aejj7 and sixteenth 7#aejj-afjj7 centuries respectively4 #ag ,italian ,masters in ,german ,galleries1 p4 #abd4 ,my references to this work are to ,mrs4 ,richter's translation1 #ahhc2 in the case of ,morelli's ,borghese and ,doria-,pamfili ,galleries in ,rome1 they are to ,miss ,ffoulkes's translation1 #ahib4 #ah ,well said3 but it remains to be asked1 whether the grace sought is modest1 or wanton3 affectionate1 or licentious 7,j4 ,r474 #ai ,not by its own natural course or decay2 but by the political and moral ruin of the cities by whose virtue it had been taught1 and in whose glory it had flourished4 ,the analysis of the decline of religious faith quoted below does not enough regard the social and material mischief which accompanied that decline 7,j4 ,r47 ,,the ,,sienese ,,school ,since we are teachers to unlearned men1 who know not how to read1 of the marvels done by the power and strength of holy religion1 444 and since no undertaking1 however small1 can have a beginning or an end without these three things1--that is1 without the power to do1 without knowledge1 and without true love of the work2 and since in ,god every perfection is eminently united2 now1 to the end that in this our calling1 however unworthy it may be1 we may have a good beginning and a good ending in all our works and deeds1 we will earnestly ask the aid of the ,divine grace1 and commence by a dedication to the honour of the ,name1 and in the ,name of the most ,holy ,trinity 7,extract from the ,statutes of the ,painters' ,guild of ,siena1 #acee74 ,the school of ,siena1 though in the main closely resembling that of ,florence1 has yet an independent origin and a distinct character4 ,there is a ,madonna at ,siena1 painted in #abha1 which is decidedly superior to such work as ,margaritone's 7#efd74 ,but the start which ,siena obtained at first was soon lost2 and at a time when ,florentine art was finding new directions1 that at ,siena was running still in the old grooves4 ,this was owing to the markedly religious character of its painting1 shown in the tone of the statutes above quoted4 ,such religious fervour seems at first sight inconsistent with the character of a people who were famed for factious quarrels and delicate living4#bj ,but the contradiction is more apparent than real4 ,the people of ,siena were highly impressible and emotional1 quick to obey the promptings of their passion1 whether it took the form of hatred or of love1 of spiritual fervour or of carnal violence4 ,the religious feeling was a passion with them1 on a par with all the other movements of their quick and mobile temperament4#ba ,sienese art reflects this spirit2 it is like the religion of their ,st4 ,catherine1 rapt and ecstatic4 ,the early ,florentine pictures are not very dissimilar2 but in ,siena the same kind of art lasted much longer4 ,in the work1 for instance1 of ,matteo di ,giovanni 7see #aaee71 there is still the same expression of religious ecstasy1 and the same prodigal use of gold in the background1 as marked the works of the preceding century2 yet he was contemporary with the ,florentine ,botticelli1 who introduced many new motives into art4 ,matteo was the best ,sienese painter of the fifteenth century1 and with him the independent school of ,siena comes to an end4 ,girolamo del ,pacchia 7#bdf7 betrays the influence of ,florence2 whilst ,il ,sodoma 7#aadd71 who settled at ,siena and had many pupils1 was not a native1 and shows in his style no affinity with the true ,sienese ,school4 ,peruzzi 7#bah71 on the other hand1 was a native of ,siena1 but belongs in his artistic development to the ,roman ,school4 ,illustration ,,footnotes3 #bj ,see ,dante1 ,inferno xxix4 #aba4 ,there was1 moreover1 in ,siena a ,prodigal ,club1 and a poet of the day wrote a series of sonnets 7translated by ,d4 ,g4 ,rossetti7 ,unto the blithe and lordly fellowship4 #ba ,history of the ,renaissance in ,italy1 iii4 #afa4 ,,the ,,schools ,,of ,,lombardy ,painters of the loveliest district of ,north ,italy1 where hills1 and streams1 and air1 meet in softest harmonies 7,,ruskin3 ,queen of the ,air1 #aeg74 ',twere pleasant could ,correggio's fleeting glow ,hang full in face of one where'er one roams1 ,since he more than the others brings with him ,italy's self1--the marvellous ,modenese6 ,,browning3 ,bishop ,blougram's ,apology4 ,the loose use of the term school has caused much confusion in the history and criticism of art4 ,sometimes the term is used with reference only to the place where such and such painters principally worked4 ,thus ,raphael and ,michael ,angelo1 together with their followers1 are sometimes called the ,roman ,school4 ,but ,rome produced no great native painters2 she was merely a centre to which painters were drawn from elsewhere4 ,so too when the phrase ,milanese ,school occurs1 it generally means ,leonardo da ,vinci and his immediate pupils1 because1 though a ,florentine1 he taught at ,milan4 ,sometimes1 again1 the term school is used as mere geographical expression4 ,thus under ,lombard ,school are often included the painters of ,parma1 simply because ,parma is contiguous to ,lombardy4 ,a third use of the term school1 however1 is that in which it means a definite quality1 native to the district1 shared through many generations by all its painters1 and culminating in a few men of commanding genius4 ,such a definite quality is generally marked by a special collection of traditions1 and processes1 a particular method1 a peculiar style in design1 and an equally peculiar taste in colouring--all contributing to the representation of a national ideal existing in the minds of the artists of the same country at the same time4 ,this is the use of the term which is suggested by the main arrangement of the ,national ,gallery1 and which is at once the most instructive and the most interesting4 ,following this principle in the case of the present chapter1 we must first dispose of the pseudo-,lombards--the ,cremonese1 namely1 and ,correggio4 ,the pictures belonging to artists of ,cremona are1 as will be seen below1 practically ,venetian4 ,correggio and his imitator ,parmigiano are more difficult to deal with4 ,the truth is that ,correggio stands very much apart 7see under #aj72 but if he must be labelled1 it seems best to follow ,morelli and class him1 on the score of his early training1 with the ,ferrarese4 ,coming now to the genuine ,lombard ,school1 one sees by looking round the room that it is by no means identical with ,leonardo da ,vinci4 ,he himself was a ,florentine1 who settled at ,milan1 and whose powerful individuality exercised a strong influence on succeeding painters there4 ,but before his coming1 there was a native ,lombard ,school--with artists scattered about in the towns and villages around ,milan1 and with a distinct style of its own4 ,long before ,leonardo came to settle at ,milan1 the ,lombard ,madonnas--with their long oval faces and somewhat simpering smile--have already what we now describe as a ,leonardesque character4 ,among technical points we may notice as characteristic of the ,lombard ,school1 in its earlier phases1 a partiality for sombre tints and high finish in the rendering of detail4 ,in spirit the ,school is characterised by great simplicity of feeling4 ,it will be noticed that among the ,milanese pictures there are few with any allegorical or mythological subject4 ,even after ,leonardo came to ,milan1 bringing with him new motives and a wide curiosity1 the native ,lombard masters1 such as ,luini and ,gaudenzio ,ferrari1 adhered in the main to sacred subjects4 ,the ,lombard ,school1 it should be observed1 was late in arising4 ,the building of ,milan ,cathedral and the ,certosa of ,pavia in the first part of the fifteenth century directed the art-impulse of the time rather to sculpture1 and it was not till about #adej that ,vincenzo ,foppa came from ,brescia and established the principal school of painting at ,milan4 ,other schools started with spiritual aims1 which wore off1 as it were1 under the new pleasure of sharpening their means of execution2 but the ,lombards first took up the art when it had already been reduced to a science4 ,and then most of the painters were natives1 not of some large capital1 but of small towns or country villages4 ,thus ,luini was born on the ,lago ,maggiore1 and the traditions of his life all murmur about the lake district4 ,but he learned technique at ,milan2 and thus came to stand alone1 adds ,ruskin1 in uniting consummate art power with untainted simplicity of religious imagination 7see references under #ah74 ,with regard to the historical development of the school1 it was founded1 as we have seen1 by ,vincenzo ,foppa1 the ,mantegna of the ,lombard ,school4 ,borgognone1 his pupil1 was its ,perugino4 ,then came ,leonardo from ,florence1 and the school divides into two sets--those who were immediately and directly his imitators1 and those who1 whilst feeling his influence1 yet preserved the independent ,lombard traditions4 ,the visitor will have no difficulty in recognising the pictures of ,beltraffio1 ,oggionno1 and ,martino ,piazza as belonging to the former class4 ,solario1 ,luini1 and ,lanini are more independent4 ,lastly ,sodoma1 a pupil of ,leonardo1 went off to ,siena and established a second ,sienese ,school there1 which is represented at the ,national ,gallery by ,peruzzi 7#bah74 ,illustration ,,ferrarese ,,and ,,bolognese ,,schools ,one may almost apply to the ,school of ,ferrara the proud boast of its ducal ,house of ,este-- ,whoe'er in ,italy is known to fame1 ,this lordly house as frequent guest can claim4 ,guidebook4 ,the ,schools of ,ferrara and ,bologna1 which1 as will be seen1 are substantially one and the same1 are interesting both for themselves and for their influence on others4 ,two of the greatest of all ,italian painters--,correggio and ,raphael--may be claimed as guests1 as it were1 of this lordly school4 ,correggio's master was ,francesco ,bianchi of ,ferrara1 a scholar of ,cosimo ,tura1 and may possibly have afterwards studied under ,francia at ,bologna2#bb whilst as for ,raphael1 his master1 ,timoteo ,viti1 was also a pupil of ,francia4 ,the important influence of this school is natural enough1 for the ,ferrarese appear to have had much innate genius for art1 and there is a note of unmistakable originality in their work4 ,the ,art of the ,emilia1 the region that lies between the river ,po and the ,apennines1 has been unduly neglected4 ,here there once dwelt a vigorous and gifted race1 as original in their way as the ,umbrians1 ,tuscans or ,venetians1 who found means of self-expression in form and colour under the political security of the ,court of ,este1 and whose art forms an organic whole with stages of development and decay1 characteristically differing1 like their dialect1 from that of other parts of ,italy4444 ,the traveller visiting the now deserted city of ,ferrara1 who meditates on its records of the past1 may still in fancy see erected again the triumphal arches which welcomed emperors1 popes and princes in the 'quattro-cento'2 the gilded barges ascending the river to the city2 the platforms draped with the arras1 on which were woven in gold and silk stories of cavaliers in tilt and tourney2 the duke in his robes1 stiff with brocade of gold and covered with gems1 bearing a jewelled sceptre in his hand2 the magnificently caparisoned steeds2 the princesses who came in their chariots of triumph1 to be brides of the house of ,este4444 ,to trace the various processes1 alike of thought1 feeling and technique1 which have gone to the making of a masterpiece of ,correggio1 ,l',ortolano or ,dosso is a fascinating pursuit4 ,only through knowledge of the tentative efforts of their predecessors at the splendid jovial court of the ,este1 is it possible to get a total impression4 ,born1 as elsewhere1 in bondage to rigid types and forms of composition1 ,ferrarese genius began by being profoundly dramatic and realistic4 ,the masters of #adej to #adge1 well grounded in geometry1 perspective and anatomy1 painted rather what they saw than what they felt4 ,their aim was to conventionalise ,nature rather than to transfigure her1 and truth was more to them than beauty4 ,the next generation1 #adge to #aejj1 developed technique so as to express movement and emotion1 tempered by the eternal charm of antique ideals1 till upon this sure foundation there arose men of high imagination and sentiment1 who grasped and solved the mysteries of tone and colour1 as distinguished from a brilliant palette 7,r4 ,h4 ,benson and ,a4 ,venturi in ,burlington ,fine ,arts ,club's ,catalogue1 #ahid74 ,of the first or ,giottesque period of the school no pictures survive1 and the founder of the school1 so far as we can now study it1 is ,cosimo ,tura1 who occupies the same place in the art of ,ferrara as ,piero della ,francesca occupied in that of ,umbria1 or ,mantegna in that of ,padua4 ,look at his picture 7#ggb73 one sees at once that here is something different from other pictures1 one feels that one would certainly be able to recognise that rugged1 gnarled1 and angular but vigorous style again4 ,doubtless there was some ,flemish influence upon the school 7see the notes on ,tura1 ,no4 #ggb72 and doubtless also the ,ferrarese were influenced by the neighbouring school of ,squarcione at ,padua4 ,but the pictures of ,tura are enough to show how large an original element of native genius there was4 ,the later developments of this genius are well illustrated in this room1 with the important exception that ,dosso ,dossi1 the greatest colourist amongst the ,ferrarese masters1 is very incompletely represented4 ,his best works are to be seen at ,ferrara1 ,dresden1 ,florence1 and the ,borghese ,palace4 ,he has been called the ,titian of the ,ferrarese ,school1 just as ,lorenzo ,costa has been called its ,perugino and ,garofalo its ,raphael4 ,such phrases are useful as helping the student to compare corresponding pictures in different schools1 and thus to appreciate their characteristics4 ,the early ,bolognese ,school does not really exist except as an offshoot of the ,ferrarese4 ,marco ,zoppo 7#eij7 was no better1 says ,morelli1 than a caricature of his master1 ,squarcione1 and besides1 he spent the greater part of his life at ,venice2 whilst ,lippo ,dalmasii 7#geb7 was very inferior to contemporary artists elsewhere4 ,the so-called earlier ,bolognese ,school was really founded by the ,ferrarese ,francesco ,cossa and ,lorenzo ,costa1 who moved to ,bologna about #adhj1 and the latter of whom set up shop with ,francia in that town 7see under #fbi74 ,remarks on the later ,eclectic ,school of ,bologna1 formed by the ,carracci1 may more conveniently be deferred 7see p4 #ce7 ,illustration ,,footnotes3 #bb ,see for ,correggio's connection with the ,ferrarese-,bolognese ,school1 ,morelli's ,german ,galleries1 pp4 #abj-abd4 ,,the ,,umbrian ,,school ,more allied to the ,tuscan than to the ,venetian spirit1 the ,umbrian masters produced a style of genuine originality4 ,the cities of the ,central ,apennines owed their specific quality of religious fervour to the influences emanating from ,assisi1 the headquarters of the cultus of ,st4 ,francis4 ,this pietism1 nowhere else so paramount1 except for a short period in ,siena1 constitutes the individuality of ,umbria 7,j4 ,a4 ,,symonds3 ,renaissance in ,italy1 iii4 #acc74 ,yonder's a work now1 of that famous youth ,the ,urbinate444 ,well1 ,i can fancy how he did it all1 ,pouring his soul1 with kings and popes to see1 ,reaching1 that heaven might so replenish him1 ,above and through his art4444 ,,browning3 ,andrea del ,sarto4 ,the ,umbrian ,school1 unlike the ,florentine1 was distinctively provincial2 painting was not centralised in any great capital1 but flourished in small towns and retired valleys--in ,perugia1 ,foligno1 ,borgo ,s4 ,sepolcro1 ,s4 ,severino1 ,rimini 7see #baah71 etc4 ,hence the older traditions of ,italian art held their ground1 and the religious feeling of the ,middle ,ages survived long after it had elsewhere been superseded4 ,this tendency was confirmed by the spirit of the district4 ,the little townships of ,umbria begirdle the ,hill of ,assisi1 the hallowed abode of ,st4 ,francis1 and were the peculiar seats of religious enthusiasm4 ,art followed the current of life1 just as it did in ,florence or ,venice or ,padua2 and ,umbria--the ,galilee1 as it has been called1 of ,italy--thus produced a distinct type in painting1 marked by a quality of sentimental pietism4 ,the influence of ,siena1 whose artists worked at ,perugia1 must have made in the same direction1 and it is interesting to notice in this room one picture of ,st4 ,catherine of ,siena 7#bdi71 and two of her namesake of ,alexandria 7#fic1 #afh74 ,it is interesting1 further1 to notice how the purist style of landscape1 identified with this pietistic art 7see under #bhh71 is characteristic of the district itself4 ,whoever visits the hill-town of ,perugia will be struck1 says ,morelli1 with two things3 the fine1 lovely voices of the women1 and the view that opens before the enraptured eye1 over the whole valley1 from the spot where the old castle stood of yore4 ,on your left1 perched on a projecting hill that leans against the bare sunburnt down1 lies ,assisi1 the birthplace of ,s4 ,francis1 where first his fiery soul was kindled to enthusiasm1 where his sister ,clara led a pious life1 and finally found her grave4 ,lower down1 the eye can still reach ,spello and its neighbouring ,foligno1 while the range of hills1 on whose ridge ,montefalco looks out from the midst of its gray olives1 closes the charming picture4 ,this is the gracious nook of earth1 the smiling landscape1 in which ,pietro ,perugino loves to place his chaste1 ,god-fraught ,madonnas1 and which in his pictures1 like soft music1 heightens the mood awakened in us by his martyrs pining after ,paradise 7,german ,galleries1 p4 #beb74 ,all is wrought1 says another writer1 into a quietude and harmony that seem eternal4 ,this is one of the mysterious charms in the ,holy ,families of ,raffaelle and of the early painters before him3 the faces of the ,madonnas are beyond the discomposure of passion1 and their very draperies betoken an ,elysian atmosphere which wind never blew 7,letters of ,edward ,fitz,gerald1 i4 #de74 ,such were the local circumstances of the art which1 beginning with the almost grotesque pietism of ,niccol da ,foligno 7#aajg71 led up to the purist ideal of ,perugino and to the first manner of ,raphael4 ,the scattered character of ,umbrian art above referred to makes it impossible for us to trace its course historically4 ,from that point of view each of the local schools would have to be treated separately4 ,of the local schools which were the earliest to develop--,gubbio1 ,fabriano1 and ,s4 ,severine--the first two are not represented here at all1 and the third has only one picture 7#bdi74 ,the taste for art amongst the people of ,perugia was much later in developing itself4 ,even up to #addj they had to rely on ,sienese artists2 and later still they sent for ,piero della ,francesca1 of ,borgo ,s4 ,sepolcro1 who had studied at ,florence and had greatly advanced the science of perspective4 ,many of the ,umbrian masters--,melozzo1 ,palmezzano1 ,fra ,carnovale1 ,giovanni ,santi1 and even perhaps ,perugino1 were pupils of his4 ,the earliest native artist of ,perugia in the gallery is ,fiorenzo di ,lorenzo 7#aajc71 who1 however1 owed much to the ,florentine ,benozzo ,gozzoli4 ,this ,fiorenzo was probably the master of ,pinturicchio4 ,the latter worked for some time under ,perugino1 who had studied under ,piero della ,francesca and afterwards himself went to study in ,florence4 ,perugino in his turn was the master1 after ,timoteo ,viti1 of ,raphael4 ,the development of ,raphael's art1 leading in its later periods to directions far removed from the ,umbrian ideal1 is traced under the biographical notice of that master 7#aaga74 ,we have thus completed the circle of the principal ,umbrian masters4 ,they are allied1 as it will have been seen1 by teaching1 to the ,florentines1 but they retained a distinctive character throughout4 ,the one exception in this respect is ,luca ,signorelli1 who1 though he was apprenticed to ,piero della ,francesca1 was born nearer to ,florence1 and whose affinities are far more with the ,florentine than with the ,umbrian ,school4 ,illustration ,,the ,,venetian ,,and ,,allied ,,schools#bc ,the ,venetian ,school proposed to itself the representation of the effect of colour and shade on all things2 chiefly on the human form4 ,here you have the most perfect representation possible of colour1 and light1 and shade1 as they affect the external aspect of the human form1 and its immediate accessories1 architecture1 furniture1 and dress4 ,this external aspect of noblest nature was the first aim of the ,venetians1 and all their greatness depended on their patience in achieving it 7,,ruskin3 ,two ,paths1 #bj1 #bb74 ,diego answered thus3 ,i saw in ,venice ,the true test of the good and beautiful2 ,first1 in my judgment1 ever stands that school1 ,and ,titian first of all ,italian men is4 ,,velazquez1 reported by ,boschini1 in curious ,italian verse thus translated by ,dr4 ,donaldson4 ,the general characteristics of the ,venetian ,school1 as defined by ,mr4 ,ruskin in the passage above quoted1 may be traced both to historical circumstances and to physical surroundings4 ,thus the first broad fact to be noticed about the ,venetian ,school of painting is that it is later than the ,florentine by some hundred years or more4 ,from the point of view of art1 ,venice1 from her intimate connection as a trading power with the ,east1 was almost a ,byzantine colony4 ,st4 ,mark's is a ,byzantine church1 her earliest palaces are ,byzantine palaces4 ,and so1 too1 for painting she relied exclusively on a ,byzantine supply4 ,it was not till the latter end of the fourteenth century that the influence of ,giotto's works in the neighbouring town of ,padua began to rouse ,venice to do and think for herself in art1 instead of letting her ,greek subjects do all for her4#bd ,but by the time ,venetian painters had acquired any real mastery over their art1 ,venice was already in a state of great magnificence2 her palaces1 with their fronts of white marble1 porphyry1 and serpentine1 were the admiration of every visitor4 ,painters paint what they see around them1 and hence at the outset we find in the ,venetian ,school the rendering of material magnificence and the brilliant colours that distinguish it throughout4 ,look1 for instance1 at the pictures by a comparatively early ,venetian1 like ,crivelli 7see #fjb72 no other painter of a corresponding age showed such fondness for fruits and stuffs and canopies and jewels and brilliant architecture4 ,and then1 in the second place1 there is the colour of ,venice itself1 caused by her position on the lagoons4 ,the ,venetians had no gardens2 but what are the purples and scarlets and blues of iris1 anemone1 or columbine1 dispersed among deep meadow-grasses or trained in quiet cloister garden-beds1 when compared with that melodrama of flame and gold and rose and orange and azure1 which the skies and lagoons of ,venice yield almost daily to the eye8 7,symonds's ,renaissance1 iii4 #bee74 ,but1 thirdly1 the sea had a further influence on ,venetian painting--it caused at once their love of bodily beauty and the kind of such beauty that they loved4 ,compare1 for instance1 a typical ,venetian beauty1 such as ,paris ,bordone's 7#fgd71 with one of ,botticelli's 7#iae73 how great is the difference between them6 ,well1 the sea tends to induce in us great respect for the whole human body2 for its limbs1 as much as for its tongue or its wit4444 ,to put the helm up at the right moment is the beginning of all cunning1 and for that we need arm and eye2--not tongue4 ,and with this respect for the body as such1 comes also the sailor's preference of massive beauty in bodily form4 ,the landsmen1 among their roses and orange-blossoms1 and chequered shadows of twisted vine1 may well please themselves with pale faces1 and finely drawn eyebrows and fantastic braiding of hair4 ,but from the sweeping glory of the sea we learn to love another kind of beauty2 broad-breasted2 level-browed1 like the horizon2--thighed and shouldered like the billows2--footed like their stealing foam2--bathed in clouds of golden hair like their sunsets4 ,then further1 this ocean-work is wholly adverse to any morbid conditions of sentiment4 ,reverie1 above all things1 is forbidden by ,scylla and ,charybdis4 ,by the dogs and the depths1 no dreaming6 ,the first thing required of us is presence of mind4 ,neither love1 nor poetry1 nor piety1 must ever so take up our thoughts as to make us slow or unready4 ,herein will be found the source of a notable distinction between the treatment of sacred subjects by ,venetian painters and all others4 ,the first ,venetian artists began with asceticism1 just as the ,florentines did2 always1 however1 delighting in more massive and deep colour than other religious painters4 ,they are especially fond of saints who have been cardinals1 because of their red hats1 and they sunburn all their hermits into splendid russet brown 7see #gfh74 ,then again1 through all enthusiasm they retain a supreme common sense4 ,look back1 for instance1 from the religious pictures in this room1 from ,titian's ,holy ,family 7#fce71 or ,cima's ,madonna 7#fcd71 to those of the ,umbrians1 which we have just left4 ,the ,umbrian religion is something apart from the world1 the ,venetian is of it4 ,the religion of the ,venetian painters is as real as that of ,fra ,angelico4 ,but it was the faith not of humble men or of mystics1 not of profound thinkers or ecstatic visionaries1 so much as of courtiers and statesmen1 of senators and merchants1 for whom religion was not a thing by itself but a part and parcel of ordinary life4 ,throughout the rest of ,italy1 piety had become abstract1 and opposed theoretically to worldly life2 hence the ,florentine and ,umbrian painters generally separated their saints from living men4 ,they delighted in imagining scenes of spiritual perfectness2--,paradises1 and companies of the redeemed at the judgment2--glorified meetings of martyrs2--madonnas surrounded by circles of angels4 ,if1 which was rare1 definite portraitures of living men were introduced1 these real characters formed a kind of chorus or attendant company1 taking no part in the action4 ,at ,venice all this was reversed1 and so boldly as at first to shock1 with its seeming irreverence1 a spectator accustomed to the formalities and abstractions of the so-called sacred schools4 ,the madonnas are no more seated apart on their thrones1 the saints no more breathe celestial air4 ,they are on our own plain ground--nay1 here in our houses with us4 ,cima places the ,madonna in his own country-side1 whilst at ,venice itself ,tintoret paints ,paradise as the decoration for the hall of the ,greater ,council of the ,state4 ,the religion of the ,venetian ,school was not less sincere than that of others1 but it was less formal1 less didactic2 for ,venice was constantly at feud with the popes1 and here we come to the last circumstance which need be noticed as determining the characteristics of the school4 ,among ,italian cities ,venice was unique4 ,she alone was tranquil in her empire1 unimpeded in her constitutional development1 independent of ,church interference1 undisturbed by the cross purposes and intrigues of the despots1 inhabited by merchants who were princes1 and by a freeborn people who had never seen war at their gates4 ,the serenity of undisturbed security1 the luxury of wealth amassed abroad and liberally spent at home1 gave a physiognomy of ease and proud self-confidence to all her edifices4444 ,the conditions of ,florence stimulated mental energy and turned the face of the soul inwards4 ,those of ,venice inclined the individual to accept life as he found it 7,symonds1 iii4 #bei74 ,hence the ideal of ,venetian painting was stateliness and power2 high intercourse with kingly and beautiful humanity1 proud thoughts1 or splendid pleasures2 throned sensualities2 and ennobled appetites4 ,a speciality of the ,venetian ,school arising from the characteristics we have described is its portraiture4 ,if there be any one sign by which the ,venetian countenance1 as it is recorded for us1 to the very life1 by a school of portraiture which has never been equalled 7chiefly because no portraiture ever had subjects so noble71--,i say1 if there be one thing more notable than another in the ,venetian features1 it is their deep pensiveness and solemnity4 ,in other districts of ,italy1 the dignity of the heads which occur in the most celebrated compositions is clearly owing to the feeling of the painter4 ,he has visibly realised or idealised his models1 and appears always to be veiling the faults or failings of the human nature around him1 so that the best of his work is that which has most perfectly taken the colour of his own mind2 and the least impressive1 if not the least valuable1 that which appears to have been unaffected and unmodified portraiture4 ,but at ,venice1 all is exactly the reverse of this4 ,the tone of mind in the painter appears often in some degree frivolous or sensual2 delighting in costume1 in domestic and grotesque incident1 and in studies of the naked form4 ,but the moment he gives himself definitely to portraiture1 all is noble and grave2 the more literally true his work1 the more majestic2 and the same artist who will produce little beyond what is commonplace in painting a ,madonna or an ,apostle1 will rise into unapproachable sublimity when his subject is a ,member of the ,forty1 or a ,master of the ,mint 7,stones of ,venice1 vol4 iii4 ch4 iii4 lxxv474 ,in its historical development the ,venetian ,school may be divided1 like other schools1 into three main periods4 ,first we have the ,giottesque or heroic period1 or1 as it should in the case of ,venice be called1 the ,vivarini epoch1 bright1 innocent1 more or less elementary1 entirely religious art1 reaching from #adjj-adhj4 ,next comes the ,bellini epoch1 sometimes classic and mythic as well as religious1 #adhj-aebj4 ,in this period ,venetian art is entirely characteristic of her calm and brave statesmanship1 her modest and faithful religion4 ,bright costumes1 distinct and sunny landscapes1 broad backgrounds of architecture1 large skies1 polished armour1 gilded cornices1 young faces of fisher-boys and country girls1 grave faces of old men brown with sea-wind and sunlight1 withered faces of women hearty in a hale old age1 the strong manhood of ,venetian senators1 the dignity of patrician ladies1 the gracefulness of children1 the rosy whiteness and amber-coloured tresses of the daughters of the ,adriatic and the lagoons--these are the source of inspiration to the ,venetians of the second period4444 ,among the loveliest motives in the altar-pieces of this period are the boy-angels playing flutes and mandolines beneath the ,madonna on the steps of her throne4 ,they are more earthly than ,fra ,angelico's melodists1 and yet they are not precisely of human lineage4 ,it is not1 perhaps1 too much to say that they strike the keynote of ,venetian devotion1 at once real and devoid of pietistic rapture 7,symonds1 iii4 #bff47 ,thirdly comes the epoch of supremely powerful art corrupted by taint of death1 #aebj-afjj4 ,this final transition may perhaps best be seen by tracing the similar progress in the technical feature which distinguishes the ,venetian painters4 ,they are the school of colour4 ,their speciality consists in seeing that shadow is not an absence of colour1 but is1 on the contrary1 necessary to the full presence of colour2 every colour in painting must be a shadow to some brighter colour1 and a light to some darker one--all the while being a positive colour itself4 ,and the great splendour of the ,venetian ,school arises from their having seen and held from the beginning this great fact--that shadow is as much colour as light1 often much more4 ,in ,titian's fullest red the lights are pale rose-colour1 passing into white--the shadows warm deep crimson4 ,in ,veronese's most splendid orange the lights are pale1 the shadows crocus colour4444 ,observe that this is no matter of taste1 but fact4 ,it is an absolute fact that shadows are as much colours as lights are2 and whoever represents them by merely the subdued or darkened tint of the light1 represents them falsely4 ,but in the two earlier periods above specified1 the ,venetians are further separated from other schools by their contentment with tranquil cheerfulness of light2 by their never wanting to be dazzled4 ,none of their lights are flashing or blinding2 they are soft1 winning1 precious2 lights of pearl1 not of lime3 only1 you know1 on this condition they cannot have sunshine3 their day is the day of ,paradise2 they need no candles1 neither light of the sun1 in their cities2 and everything is seen clear1 as through crystal1 far or near4 ,this holds to the end of the fifteenth century4 ,then they begin to see that this1 beautiful as it may be1 is still a make-believe light2 that we do not live in the inside of a pearl2 but in an atmosphere through which a burning sun shines thwartedly1 and over which a sorrowful night must far prevail4 ,and then the chiaroscurists succeed in persuading them of the fact that there is mystery in the day as in the night1 and show them how constantly to see truly1 is to see dimly4 ,and also they teach them the brilliancy of light1 and the degree in which it is raised from the darkness2 and instead of their sweet and pearly peace1 tempt them to look for the strength of flame and coruscation of lightning4 ,three pictures may be noted in which the whole process may be traced4 ,first in ,bellini's ,st4 ,jerome#be 7#fid7 is the serene light of the ,master of ,peace4 ,in another ,bellini 7#gbf7 is a first twilight effect--such as ,titian afterwards developed into more solemn hues2 whilst in ,no4 #aacj is an example of the light far withdrawn and the coils of shade of ,tintoret4 7,for ,ruskin's general remarks on the ,venetian ,school see ,modern ,painters1 vol4 v4 pt4 ix4 ch4 iii42 ,guide to ,venetian ,academy2 ,oxford ,lectures on ,art1 #acd1 #agc-agg47 ,illustration ,,footnotes3 #bc ,with the pictures of ,venice1 those of many neighbouring towns--,brescia1 ,bergamo1 ,treviso1 and ,verona--are associated4 ,all these local schools have certain peculiarities of their own1 and some of them are well represented here4 ,nowhere1 for instance1 out of ,brescia itself can the ,brescian ,school be so well studied as in the ,national ,gallery4 ,but above these local peculiarities there are common characteristics in the work of all these schools which they share with that of ,venice4 ,it is only these common characteristics that can here be noticed4 7,some interesting remarks by ,dr4 ,richter1 on the independence of the ,veronese ,school1 will be found in ,the ,art ,journal1 ,february #ahie47 #bd ,it should1 however1 be remembered that before the ,venetian ,school of painting had got much beyond a lisp1 ,venetian artists were already expressing themselves strikingly and beautifully in stone1 in architectural and sculptural works 7see ,morelli's ,german ,galleries1 p4 #e74 #be ,now ascribed1 however1 to ,catena4 ,,the ,,paduan ,,school ,padovani gran dottori 7the ,paduans are great scholars7 ,italian ,proverb4 ,padua1 more than any other ,italian city1 was the home of the classical ,renaissance in painting4 ,it was at ,padua1 that is to say1 that the principles which governed classical art were first and most distinctly applied to painting4 ,the founder of this learned ,paduan school#bf was ,squarcione 7#acid-adgd74 ,he had travelled in ,italy and ,greece1 and the school which he set up in ,padua on his return--filled with models and casts from the antique--enjoyed in its day such a reputation that travelling princes and great lords used to honour it with their visits4 ,it was the influence of ancient sculpture that gave the ,paduan ,school its characteristics4 ,squarcione was pre-eminently a teacher of the learned science of linear perspective2 and the study of antique sculpture led his pupils to define all their forms severely and sharply4 ,in truth1 says ,layard1 the peculiarity of this school consists in a style of conception and treatment more plastic than pictorial4 ,this characteristic of the school is pointed out below under some of ,mantegna's pictures1 but is seen best of all in ,gregorio ,schiavone 7see especially #fcj74 ,a second mark of the classical learning of the school may be observed in the choice of antique embellishments1 of bas-reliefs and festoons of fruits in the accessories4 ,for a third and crowning characteristic of the school--the repose and self-control of classical art--the reader is referred to the remarks under ,mantegna's pictures4 ,with ,mantegna the school of ,padua reached its consummation4 ,crivelli's pictures are hung with those of the ,paduan school1 for he too is believed to have been a pupil of ,squarcione4 ,but after ,mantegna the learning of ,padua must be traced not in native painters1 but in its influence on other schools4 ,illustration ,,footnotes3 #bf ,the earlier ,paduan ,school1 represented in the ,national ,gallery by ,no #gja1 was only an offshoot from the ,florentine4 ,,the ,,later ,,italian ,,schools ,the eclectic school endeavoured to unite opposite partialities and weaknesses4 ,they trained themselves under masters of exaggeration1 and tried to unite opposite exaggerations4 ,that was impossible4 ,they did not see that the only possible eclecticism had been already accomplished2--the eclecticism of temperance1 which1 by the restraint of force1 gains higher force2 and by the self-denial of delight1 gains higher delight 7,,ruskin3 ,two ,paths1 #ei74 ,the typical painters1 with whom this chapter is concerned1 are those of the ,eclectic ,school of ,bologna--the ,carracci1 ,domenichino1 ,guido ,reni2 and ,salvator ,rosa1 the ,neapolitan painter of about the same period4 ,it may be noticed1 in the first place1 that the lower repute in which these ,italian painters of the seventeenth century are now held is of comparatively recent date4 ,poussin1 for instance1 ranked ,domenichino next to ,raphael1 and preferred the works of the ,carracci to all others in ,rome1 except only ,raphael's1 and ,sir ,joshua ,reynolds cited them as models of perfection4 ,why1 then1 is it that modern criticism stamps the later ,italian ,schools as schools of the decadence8 ,to examine the pictures themselves and to compare them with earlier works is the best way of finding out2 but a few general remarks may be found of assistance4 ,the painting of the schools now under consideration was not spontaneous art4 ,it was art mechanically revived during a period of critical hesitancy and declining enthusiasms4 ,it was largely produced at ,bologna by men not eminently gifted for the arts4 ,when ,ludovico ,carracci1 for instance1 went to ,venice1 the veteran ,tintoretto warned him that he had no vocation4 ,moreover the painting which emerged there at the close of the sixteenth century embodied religion and culture1 both of a base alloy4444 ,therefore1 though the painters went on painting the old subjects1 they painted all alike with frigid superficiality4 ,nothing new or vital1 fanciful or imaginative1 has been breathed into antique mythology4 ,what has been added to religious expression is repellent1 444 extravagantly ideal in ecstatic ,magdalens and ,maries1 extravagantly realistic in martyrdoms and torments1 extravagantly harsh in dogmatic mysteries1 extravagantly soft in sentimental tenderness and tearful piety4444 ,if we turn from the ideas of the late ,italian painters to their execution1 we shall find similar reasons for its failure to delight 7,symonds's ,renaissance1 vii4 #bcb74 ,for all these old eclectic theories were based not upon an endeavour to unite the various characters of nature 7which it is possible to do71 but the various narrownesses of taste1 which it is impossible to do4444 ,all these specialities have their own charm in their own way2 and there are times when the particular humour of each man is refreshing to us from its very distinctness2 but the effort to add any other qualities to this refreshing one instantly takes away the distinctiveness 7,two ,paths1 #eh74 ,it was not an attempt to unite the various characters of nature4 ,on the contrary1 these painters1 in selecting1 omitted just those features which had given grace and character to their models4 ,the substitution of generic types for portraiture1 the avoidance of individuality1 the contempt for what is simple and natural in details1 deprived their work of attractiveness and suggestion4 ,it is noticeable that they never painted flowers4 ,while studying ,titian's landscapes1 they omitted the iris and the caper-blossom and the columbine1 which star the grass beneath ,ariadne's feet4444 ,they began the false system of depicting ideal foliage and ideal precipices--that is to say1 trees which are not trees1 and cliffs which cannot be distinguished from cork or stucco4 ,in like manner1 the cloths wherewith they clad their personages were not of brocade1 or satin1 or broadcloth1 but of that empty lie called drapery 444 one monstrous nondescript stuff1 differently dyed in dull or glaring colours1 but always shoddy4 ,characteristic costumes have disappeared4444 ,after the same fashion furniture1 utensils1 houses1 animals1 birds1 weapons1 are idealised--stripped1 that is to say1 of what in these things is specific and vital#bg 7,symonds1 ibid4 p4 #bcc74 ,with regard to the historical development of the declining art whose general characteristics we have been discussing1 it is usual to group the painters under three heads--the ,mannerists1 the ,eclectics1 and the ,naturalists4 ,by the first of these are meant the painters in the several schools who succeeded the culminating masters and imitated their peculiarities4 ,we have already noticed1 under the ,florentine ,school1 how this mannerism set in1 and all the other schools show a like process4 ,thus ,giulio ,romano shows the dramatic energy of ,raphael and ,michael ,angelo passed into mannerism4 ,tiepolo is a mannerised ,paolo ,veronese1 ,baroccio a mannerised ,correggio4 ,later on1 however1 and largely under the influence of the counter-,reformation--the renewed activity1 that is1 of the ,roman church consequent on the ,reformation1#bh--;a reaction against the ,mannerists set in4 ,this reaction took two forms4 ,the first was that of the ,eclectic ,school founded by the ,carraccis at ,bologna in about the year #aehj4 ,this school--so called from its principle of selecting the qualities of different schools--includes1 besides the ,carraccis themselves1 ,guido ,reni1 ,domenichino1 ,sassoferrato1 and ,guercino4 ,the last-mentioned1 however1 combined in some measure the aims both of the ,eclectics and of the other school which was formed in protest against the ,mannerists4 ,this was the school of the so-called ,naturalists1 of whom ,caravaggio 7#aefi-afji7 was the first representative1 and whose influence may be traced in the ,spanish ,ribera 7see page #bbj7 and the ,neapolitan ,salvator ,rosa4 ,they called themselves ,naturalists1 as being opposed to the ideal aims alike of the ,mannerists and the ,eclectics2 but they made the fatal mistake--a mistake which seems to have a permanent hold on a certain order of minds1 for it is at the root of much of the art-effort of our own day--that there is something more real and natural in the vulgarities of human life than in its nobleness1 and in the ugliness of nature than in its beauty 7see below under #agb1 and under ,salvator ,rosa passim74 ,the later ,venetian pictures make a most interesting group4 ,in the eighteenth century ,venetian art experienced a partial revival1 and the painters of this revival--,tiepolo1 ,longhi1 ,canaletto1 and ,guardi may here be well studied4 ,illustration ,,footnotes3 #bg ,it was this false striving after the ideal1 as ,mr4 ,symonds points out1 that caused ,reynolds1 with his obsolete doctrine about the nature of the grand style1 to admire the ,bolognese masters4 ,for ,reynolds's statement of his doctrine see his ,discourses1 ii4 and iii41 and his papers in the ,idler 7,nos4 #gi and #hb72 for ,ruskin's destructive criticism of it1 see ,modern ,painters1 vol4 iii4 pt4 iv4 ch4 i4-iii4 #bh ,the realism and the morbid taint in the religious pictures of the ,italian decadence were in some measure the direct outcome of ecclesiastical teaching4 ,depict well the flaying of ,st4 ,bartholomew1 said a ,jesuit father1 it may win hearts to piety4 ,the comment of ,shelley on the ,bolognese ,schools was this3 ,why write books against religion when we may hang up such pictures8 ,,the ,,early ,,flemish ,,and ,,the ,,german ,,schools ,why is it1 probably1 that ,pictures exist in the world1 and to what end was the divine art of ,painting bestowed1 by the earnest gods1 upon poor mankind8 ,i could advise once1 for a little6 ,to make this poor authentic earth a little memorable for us4 ,flaying of ,st4 ,bartholomew1 ,rape of ,europa1 ,rape of the ,sabines1 ,piping and ,amours of goat-footed ,pan1 ,romulus suckled by the ,wolf3 all this and much else of fabulous1 distant1 unimportant1 not to say impossible1 ugly and unworthy shall pass4 ,but ,i say1 ,herewithal is something not phantasmal2 of indisputable certainty1 home-grown 7,,carlyle3 ,friedrich1 bk4 iv4 ch4 vi41 slightly altered74 ,the ,early ,flemish and ,german schools are by no means so completely represented as the nearly contemporary schools of ,italy2 but there are enough pictures to bring out the characteristics of the northern art4 ,nothing can be more instructive1 and convincing of the value of art as a means of national autobiography1 than to compare the early pictures in these rooms en bloc with those in any of the ,italian rooms 7e4g4 the ,umbrian74 ,no one can fail to be struck at once by the contrast between what ,mr4 ,ruskin has called the angular and bony sanctities of the ,north1 and the drooping graces and pensive pieties of the ,south4 ,this is the first distinguishing character of the early northern art3 there is little feeling1 or care1 for beauty as such4 ,look round the rooms1 and see whether there is a single face which will haunt you for its beauty4 ,look at the pictures which interest you most1 choose out the brightest and the most exquisitely finished3 and see if it is not an almost defiant absence of beautiful feature that characterises them4 ,coupled with their absence of feeling for the beautiful there is in the work of these artists a strange fondness for death--for agonies1 crucifixions1 depositions1 exhumations4 ,it is not that the person needs excitement or has any such strong perceptions as would cause excitement1 but he is dead to the horror1 and a strange evil influence guides his feebleness of mind rather to fearful images than to beautiful ones1--as our disturbed dreams are sometimes filled with ghastlinesses which seem not to arise out of any conceivable association of our waking ideas1 but to be a vapour out of the very chambers of the tomb1 to which the mind1 in its palsy1 has approached 7,modern ,painters1 vol4 iv4 pt4 v4 ch4 xix4 #af74 ,thus1 in painting scenes from the ,passion or stories from the book of martyrs1 the ,italians of the earlier time endured the painfulness1 the northern artists rejoiced in it4 ,what1 then1 is it that gives these pictures their worth and has caused their painters to be included amongst the great masters of the world8 ,look at some of the best1 and the more you look the more you will see that their goodness consists in an absolute fidelity to nature--in dress1 in ornaments1 and especially in portraiture4 ,here are unmistakably the men and women of the time1 set down precisely in their habit as they lived4 ,in this grim1 unrelenting truthfulness these pictures correspond exactly to the ideal which ,carlyle--himself a typical northerner--lays down1 in the passage above quoted1 for the art of painting4 ,look at these pictures and at the ,italian again1 and another obvious difference is apparent4 ,the ,flemish pictures are on the whole much smaller4 ,this is a fact full of significance4 ,in the sunny ,south the artists spent their best energies in covering large spaces of wall with frescoes2 in the damp climate of the ,north they were obliged to paint chiefly upon panels4 ,the conditions of their climate were no doubt what led to the discovery of the ,van ,eyck method 7described under #ahf71 the point of which was a way of drying pictures rapidly without the necessity of exposure to the sun4 ,it was a method only applicable to work on a small scale1 but it permitted such work to be brought to the highest finish4 ,this precisely suited the painstaking1 patient men of the ,low ,countries4 ,hence the minuteness and finish which characterise their work4 ,moreover1 every charm that can be bestowed upon so small a surface is requisite to intensify its attractive power2 and hence ,flemish painters developed a jewel-like quality of colouring which remained peculiar to themselves4 444 ,further1 the ,van ,eyck method1 requiring absolute forethought and forbidding any alterations1 tended to a set of stock subjects treated more or less in the same way4 ,thus the chief qualities of the ,flemish ,school may be called ,veracity of ,imitation1 ,jewel-like richness of ,colour1 perfection of ,finish1 emphasis of ,character1 and ,conservatism in design4 ,these indeed are virtues enough to make a school of art great in the annals of time1 even though they may never be able to win for it the clatter of popular applause4 ,the paintings of ,flanders were not1 and were not intended to be1 popular4 ,flemish artists did not1 like the ,italians1 paint for the folk1 but for the delight of a small cultured clique4#bi ,such are the general characteristics of the ,early ,flemish ,school4 ,passing now to its historical development and to its relations with the schools of ,germany1 we may distinguish three successive periods4 7#a7 ,the birthplace of painting as a separate art in the ,north was on the ,lower ,rhine1 at ,maastricht and ,cologne4 ,of this school of the ,lower ,rhine a characteristic specimen is ,no4 #fhg4 ,it is properly grouped with the ,early ,flemish ,school1 because in the fourteenth century most of the ,flemish artists were ,germans from the valley of the ,rhine4 7#b7 ,later on1 however1 the great development in the prosperity and wealth of the ,low ,countries--the land of the ,woolsack and the ,golden ,fleece1 led to the growth of a native art4 ,this was closely connected with the schools of illuminators patronised by the ,courts of ,france and ,burgundy1 and many works of the ,primitifs cannot be distinguished1 with any complete certainty1 as ,french or ,flemish4 ,just as at ,venice the people1 busy with their trade1 preferred for a long time to buy rather than produce their works of art1 but afterwards settled down and made works for themselves1 so in ,flanders the ,german art came to be superseded by a native ,flemish art4 ,the ,early ,flemish ,school1 covering roughly the period #adjj-aejj1 was the result1 the most important masters being ,van ,eyck1 ,van der ,weyden1 ,bouts1 ,david1 and ,memlinc4 7#c47 ,it was now the turn of this school to influence that of ,germany4 ,the ,flemish masters were great travellers1 and the ,german masters were no doubt attracted to ,flanders by the great technical skill there in vogue4 ,hence we now come to a second period in ,german painting--marked by ,flemish influence4 ,there is less of the mysticism and more realism2 but with the realism there is an element of brutality and ugliness4 ,nos4 #gjg and #ajdi are typical ,german pictures of this period4 ,finally1 it will be noticed1 as the visitor goes round the rooms1 that many of the pictures are either altogether unknown or are attributed to artists whose names are not given1 and who are merely described as the master of such and such other pictures4 ,this is an interesting and characteristic point4 ,of individual painters of the ,early ,german ,school1 and for the most part of those of the ,early ,flemish1 very little is known4 ,they seldom signed their names1#cj and the works of the fifteenth century were in the next two centuries treated with neglect4 ,hence both the attribution of these pictures1 and the lives of the painters to whom they are attributed1 are still very uncertain4 ,a second reason for this uncertainty is to be found in the ,guild system1 which was very strict amongst the northern artists4 ,painting1 to the medival mind1 was a craft like any other1 and was subject to the same rules4 ,the ,guild educated the artist and bought his materials1 and even when he emerged into mastership1 stood in many ways between him and his patron4 ,hence pictures were often regarded as the work not of this or that individual1 but of this or that ,guild4 ,hence too the quiet industry and the uncompetitive patience of these ,early ,flemish painters4 ,it was not merely the result of chance that the brothers ,van ,eyck invented their peculiar method of painting by which they were enabled to produce pictures of almost unlimited durability and of unsurpassable finish1 provided sufficient care were bestowed upon the work4 ,the spirit of the day and the method of the day were reflections one of another4444 ,take any picture of this old ,flemish ,school1 and regard it carefully1 you will find that only so do its beauties strike you at all4444 ,the old ,flemish artists did always the thing that was within their powers1 striving indeed by daily industry to increase the strength of those powers1 but never hoping either by luck or momentary insanity to attain anything unattainable by patient thought and long-continued labour4 ',patient continuance in well-doing' was the open secret of their success 7,conway1 ch4 ii47 ,of the later ,german ,school1 specially distinguished in portraiture1 the ,gallery has now some fine examples1 and here again there is similarity between the ,german and the early ,flemish painters4 ,if1 says ,ruskin1 the reader were to make the circuit of this collection for the purpose of determining which picture united in its modes of execution the highest reach of achievement with the strongest assurance of durability1 we believe that he would finally pause before a small picture or panel1 representing two quaintly dressed figures in a dimly lighted room4 ,turn from the portraits by ,jan van ,eyck to the portraits by ,cranach and ,albert ,drer1 and much of the same minute fidelity and careful workmanship will be found4 ,for ,holbein's portraits1 the reader is referred to the notes 7pp4 #fac-d74 ,illustration ,,footnotes3 #bi ,sir ,w4 ,m4 ,conway3 ,early ,flemish ,artists and their ,predecessors on the ,lower ,rhine1 #ahhg4 #cj ,the letters often found on pictures1 which for a long time excited the curiosity and imagination of critics1 are now fully explained as the initials not of the painters but of the patrons 7see ,wauters3 ,the ,flemish ,school1 p4 #fa74 ,,the ,,dutch ,,school 444 ,artists should descry abundant worth ,in trivial commonplace1 nor groan at dearth ,if fortune bade the painter's craft be plied ,in vulgar town and country6 ,,robert ,,browning3 ,gerard de ,lairesse4 ,the ,dutch and ,flemish schools were formerly hung together at the ,national ,gallery4 ,they are now separated1 and with the early ,flemish school we have already dealt4 ,we take up the story here at the point where it leaves off there1 and proceed to discuss the ,dutch school2 passing afterwards to the later ,flemish school4 ,the confusion between ,dutch and ,flemish art is1 it may first be remarked1 historical4 ,just as ,flanders derived its earliest artistic impulse from ,german painters1 so did the ,dutch derive theirs from the ,flemings4 ,in the two first periods of ,flemish art1 ,dutch art runs precisely parallel with it4 ,during the sixteenth century a new development began in both schools4 ,this is the period of ,italian influence1 of the ,romanists or ,italianisers1 as they are called1 represented typically by ,bernard van ,orley and ,mabuse4 ,at the end of the sixteenth century1 however1 a national movement began in both schools--corresponding closely to political changes4 ,in #aegi the ,union of ,utrecht was effected1 whereby the ,dutch ,united ,provinces 7 roughly what is now ,holland7 were separated alike from the ,spanish ,netherlands and from the ,empire1 and ,dutch independence thus began4 ,within the next fifty years nearly all the great ,dutch painters were born--,berchem1 ,bol1 ,cuyp1 ,frans ,hals1 ,van der ,helst1 ,de ,keyser1 ,rembrandt1 ,ruysdael4 ,in characteristics1 as well as in chronology1 ,dutch art was the direct outcome of ,dutch history4 ,this art has come to be identified in common parlance1 owing to its chief and distinguishing characteristic1 with what is known as genre painting1--the painting1 that is1 which takes its subject from small incidents of everyday life4 ,three historical conditions combined to bring this kind of painting into vogue4 ,first1 the ,reformation4 ,the ,dutch1 when they asserted their independence1 were no longer ,catholics2 but ,protestantism despised the arts1 and hence the arts became entirely dissociated from religion4 ,there were no more churches to ornament1 and hence no more religious pictures were painted#ca whilst religious rapture is superseded by what one of their own critics describes as the boisterous outbursts which betoken approaching drunkenness 7,havard3 ,the ,dutch ,school1 p4 #ab74cb ,secondly1 the ,dutch were ,republicans4 ,there was no reigning family4 ,there were no palaces to decorate1 and hence no more historical or mythological pictures were in demand4 ,this point of distinction may best be remembered by the supreme contempt which the great ,king ,louis ,,xiv4 of ,france entertained for the genre style4 ,eloignez de mot ces magots1 he said1 take away the absurd things1 when some one showed him some works by ,teniers4 ,but the plain1 simple citizens of the ,united ,provinces did not want their faces idealised--hence the prosaic excellence of ,dutch portraiture1--nor had they any ambition to see on their walls anything but an imitation of their actual lives--of their dykes1 their courtyards1 their kitchens1 and their sculleries4 ,thirdly1 the ,dutch were a very self-centred people4 ,with the ,dutch1 says ,sir ,joshua ,reynolds 7,discourse iv471 a history piece is properly a portrait of themselves2 whether they describe the inside or outside of their houses1 we have their own people engaged in their own peculiar occupations2 working or drinking1 playing or fighting4 ,the circumstances that enter into a picture of this kind1 are so far from giving a general view of human life1 that they exhibit all the minute particularities of a nation differing in several respects from the rest of mankind4 ,those innumerable genre pieces--conversation1 music1 play--were in truth1 says ,mr4 ,pater1 the equivalent of novel-reading for that day2 its own actual life1 in its own proper circumstances1 reflected in various degrees of idealisation1 with no diminution of the sense of reality 7that is to say71 but with more and more purged and perfected delightfulness of interest4 ,themselves illustrating1 as every student of their history knows1 the good-fellowship of family life1 it was the ideal of that life which these artists depicted2 the ideal of home in a country where the preponderant interest of life1 after all1 could not well be out of doors4 ,of the earth earthy1#cc it was an ideal very different from that which the sacred ,italian painters had evoked from the life of ,italy2 yet1 in its best types1 was not without a kind of natural religiousness4 ,and in the achievement of a type of beauty so national and vernacular1 the votaries of purely ,italian art might well feel that the ,italianisers1 like ,berghem1 ,bol1 and ,jan ,weenix1 went so far afield in vain 7,imaginary ,portraits1 p4 #ii74 ,the same awakening of a national taste made itself felt in the native school of ,dutch landscape--a landscape excellent in many ways1 but cabin'd1 cribbed1 and confined1 like their own dykes4 ,of deities or virtues1 angels1 principalities1 or powers1 in the name of our ditches1 no more4 ,let us have cattle1 and market vegetables 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 vi4 #aa74 ,but the ,dutch ,school of landscape had the qualities of its defects4 ,the ,dutch began to see what a picture their country was--its canals1 and boompjis1 and endless broadly-lighted meadows1 and thousands of miles of quaint water-side2 and their painters were the first true masters of landscape for its own sake 7,pater1 ib4 p4 #ih74 ,illustration ,,footnotes3 #ca ,this statement1 like all others in so short and general a summary as alone can be here attempted1 is of course only broadly true4 #cb ,it is interesting to note that this spirit of anti-religious revolt is what fascinated ,heine in ,dutch pictures4 ,in the house ,i lodged at in ,leyden there once lived1 he says1 the great ,jan ,steen1 whom ,i hold to be as great as ,raphael4 ,even as a sacred painter ,jan was as great1 and that will be clearly seen when the religion of sorrow has passed away4444 ,how often1 during my stay1 did ,i think myself back for whole hours into the household scenes in which the excellent ,jan must have lived and suffered4 ,many a time ,i thought ,i saw him bodily1 sitting at his easel1 now and then grasping the great jug1 'reflecting and therewith drinking1 and then again drinking without reflecting4' ,it was no gloomy ,catholic spectre that ,i saw1 but a modern bright spirit of joy1 who after death still visited his old workroom to paint many pictures and to drink 7,heine's ,prose ,writings1 ,camelot ,series1 p4 #fg74 #cc ,the ,dutch painters were not poets1 nor the sons of poets1 but their fathers rescued a ,republic from the slime and covered it with such fair farms that ,i declare to this day ,i like ,dutch cheese as well as any1 because it sends one in imagination to the many-uddered meadows which ,cuyp has embossed in gold and silver4 ,what savoury hares and rabbits they had in the low blunt sand-hills1 and how the ,teniers boor snared them1 and how the big-breech'd ,gunn-,mann 7,i haven't any knowledge of ,dutch1 but ,i am sure that must be the ,dutch for 'sportsman'7 banged off his piece at them1 and then how the shining ,vrow saw them in the ,schopp and bargained for them4 ,the ,schopp had often a window with a green curtain in it1 and a basso-relievo of ,cupids and goats beneath1 with a crack across the bas-relief1 and iron stains on the marble1 and a bright brass bulging bottle on the sill1 and such pickling cabbage as makes the mouth water 7,letters of ,james ,smetham1 p4 #agb74 ,,the ,,later ,,flemish ,,school ,the early history of the ,flemish school has been already traced 7pp4 #ch-da74 ,the birth of its later period is almost exactly contemporaneous with that which has been described in the case of the ,dutch school4 ,in #aeih the ,archduke ,albert and his consort ,isabel established what was almost an independent ,state in the ,spanish ,netherlands 7 roughly ,flanders1 or the modern ,belgium74 ,the ,spanish ,fury was at an end1 the ,inquisition was relaxed4 ,albert and ,isabel eagerly welcomed artists and men of letters1 and the exuberant art of ,rubens responded to the call4 ,this is the third and great period in the ,flemish school--the succession being carried on by ,rubens's pupils1 ,van ,dyck and ,teniers4 ,rubens1 the greatest master of the ,flemish ,school1 was born in #aegg in ,germany1 but brought up at ,antwerp1 then the depository of western commerce1 and he coloured every subject that he touched with the same hues of gay magnificence4 ,it is by his pictures1 and those of ,van ,dyck1 that this room is dominated1 and it is unnecessary to anticipate here the accounts of those masters given below 7pp4 #aaa1 #acj74 ,they were painters of the ,courts4 ,the works of ,teniers complete the picture of ,flemish life and manners by taking us among the common people in country fairs and village taverns4 ,illustration ,,the ,,spanish ,,school ,for the learned and the lettered1 says a ,spanish author in the reign of ,philip ,,iv41 written knowledge may suffice2 but for the ignorant1 what master is like ,painting8 ,they may read their duty in a picture1 although they cannot search for it in books4 ,what we are all attempting1 said ,sir ,joshua ,reynolds1 to do with great labour1 ,velazquez does at once4 ,none of the great schools of painting is so scantily represented in the ,national ,gallery as the ,spanish1 although the works in this room by its greatest master1 ,velazquez1 are of exceptional excellence in quality and of exceptional interest as illustrating the progress of his art4 ,the deficiency in ,spanish pictures is not peculiar to ,london4 ,spain1 said ,sir ,david ,wilkie1 is the ,timbuctoo of artists4 ,the ,spanish ,school of painters and their history are still only half explored1 and can only be fully studied in ,spain itself4 ,he who ,seville 7and ,madrid7 has not seen1 has not seen the marvels great of ,spanish painting4#cd ,there are1 however1 enough examples of the school here to make some few general remarks desirable4 ,the first point to be noticed is this1 that all the painters represented in the room 7with two or three exceptions7 are nearly contemporary4 ,the period #aehh-afhb covers all their lives4 ,they are four of the chief painters of ,spain1 and they all reach a high level of technical skill4 ,this fact suggests at once the first characteristic point in the history of the ,spanish ,school4 ,it has no infancy4#ce ,it sprang full-grown into birth4 ,the reason of this was its ,italian origin4 ,the art of painting1 except as purely decorative1 was forbidden to the ,moors2 and it was only in #adib1 when the banner of ,castile first hung on the towers of the ,alhambra1 that the age of painting1 as of other greatness1 began for ,spain4 ,but the very greatness of ,spain led to ,italian influence in art4 ,the early ,spanish painters nearly all found means of going to ,italy 7,theotocopuli1--#aabb--was born there in #aedh71 and the great ,italian painters were constantly attracted to the ,spanish court4 ,but though ,spanish art sprang thus rapidly to perfection under foreign influence1 it was yet stamped throughout with a thoroughly distinctive character4 ,in the first place the proverbial gravity of the ,spaniard is reflected also in his art4 ,look round this room1 and see if the prevailing impression is not of something grave1 dark1 lurid4 ,there is here nothing of the sweet fancifulness of the early ,florentines1 nothing of the gay voluptuousness of the later ,venetians4 ,the shadow of the ,spaniard's dark cloak seems to be over every canvas4 ,then secondly1 ,spanish painting is intensely naturalist4 ,velazquez exhibits this tendency at its best3 there is an irresistible reality about his portraits which makes the men alive to all who look at them2 ,murillo exhibits it in its excess3 his best religious pictures are spoiled by their too close adherence to ordinary and even vulgar types4 ,both these characteristics are partly accounted for by a third4 ,painting in ,spain was not so much the handmaid1 as the bondslave1 of the ,church4 ,as the ,church was in ,spain1 so had art to be--monastic1 severe1 immutable4 ,to have changed an attitude or an attribute would have been a change of ,deity4 ,pacheco1 the master of ,velazquez1 was charged by the ,inquisition to see that no pictures were painted likely to disturb the true faith4 ,angels were on no account1 he prescribed1 to be drawn without wings4 ,the feet of the ,blessed ,virgin were on no account to be exhibited1 and she was to be dressed in blue and white1 for that she was so dressed when she appeared to ,beatrix de ,silva1 a ,portuguese nun1 who founded the order called after her4 ,one sees at once how an art1 working under such conditions as these1 would be likely to lose free play of fancy4 ,and then1 lastly1 one may note how the ,spanish church tended also to make ,spanish art intensely naturalistic4 ,pictures were expected to teach religious dogmas and to enforce mystical ideas4 ,but1 in the inevitable course of superstition1 the symbol passed into a reality4 ,this was more particularly the case with statues4 ,everything was done to get images accepted as realities4 ,to this day they are not only painted but dressed3 they have1 like queens1 their mistress of the robes4 ,this idea of art--as something which was not to appeal to the imagination1 but was to pass itself off as a reality--inevitably extended also to ,spanish painting4 ,how far it did so is best shown in a story gravely related by ,pacheco4 ,a painter on a high scaffold had just half finished the figure of the ,blessed ,virgin when he felt the whole woodwork on which he stood giving way4 ,he called out in his horror1 ,holy ,virgin1 hold me1 and straightway the painted arm of the ,virgin was thrust out from the wall1 supporting the painter in mid-air6 ,when a ladder was brought and the painter got his feet on it1 the ,virgin's arm relapsed and became again only a painting on the wall4 ,one need not go farther than this story to see the origin of the realistic character of ,spanish art1 or to understand how ,murillo1 although often the most mystic of all painters in his conceptions of religious subjects1 was also the most naturalistic in his treatment of them 7see ,w4 ,b4 ,scott3 ,murillo and the ,spanish ,school of ,painting74 -- ,we now pass into ,rooms ,,xvi4 and ,,xvii41 where pictures of the ,french ,school are hung4 ,illustration ,,footnotes3 #cd ,on the ground floor small copies of many of the famous pictures at ,madrid may be seen4 #ce ,this statement1 though broadly true1 requires1 of course1 much modification3 see the early ,spanish picture 7of the #aeth century7 on loan in this room from the ,victoria and ,albert ,museum4 ,,the ,,french ,,school ,,rooms ,,xvi ,,and ,,xvii ,whate'er ,lorraine light-touch'd with softening hue1 ,or savage ,rosa dash'd1 or learned ,poussin drew4 ,,thomson4 ,of the pictures in this room nearly all the more important are the works of three masters--,claude and the two ,poussins4 ,it is of them1 therefore1 that a few general remarks will here be made4 ,it should be noticed in the first place how very different this ,french ,school of the seventeenth and eighteenth centuries is from the ,french ,school of to-day4 ,the latter school is distinguished for its technical skill1 which makes ,paris the chief centre of art teaching in the world1 but1 also1 and still more markedly1 for its excessive realism and gross sensuality4 ,a few years ago1 adds ,professor ,middleton1 a gold medal was won at the ,paris ,salon by a 'naturalist' picture--a real masterpiece of technical skill4 ,it represented ,job as an emaciated old man covered with ulcers1 carefully studied in the ,paris hospitals for skin diseases4 ,there could not be a greater contrast than between such art as that and the ideal landscapes of ,claude1 the ,bacchanalian scenes of ,poussin1 or the soft girl-faces of ,greuze4 ,confining ourselves now to ,claude and the ,poussins--with whom1 however1 the contemporary works of ,salvator ,rosa 7in ,room ,,xiii47 should be studied1 we note that in spite of considerable differences between them they agree in marking a great advance in the art of landscape painting4 ,the old conventionalism has now altogether disappeared2 there is an attempt to paint nature as she really is4 ,there are effects of nature1 too1--not shown in any earlier pictures1 and here painted for the first time1--graceful effects of foliage1 smooth surface of water1 diffusion of yellow sunlight4 ,in some of these effects ,claude has never been surpassed2 but when his pictures are more closely examined1 they are often found to be untrue to the forms of nature4 ,trees are not branched1 nor rocks formed1 nor mountains grouped as ,claude and ,poussin represent4 ,their conception of landscape1 and especially of its relation to human life1 is governed by the classical ideal1 to which as far as possible they made their pictures approach4 ,this classical landscape is the representation of 7#a7 perfectly trained and civilised human life2 7#b7 associated with perfect natural scenery1 and 7#c7 with decorative spiritual powers4 7#a7 ,there are no signs in it of humiliating labour or abasing misfortune4 ,classical persons must be trained in all the polite arts1 and1 because their health is to be perfect1 chiefly in the open air4 ,hence the architecture around them must be of the most finished kind1 the rough country and ground being subdued by frequent and happy humanity4 7#b7 ,such personages and buildings must be associated with natural scenery1 uninjured by storms or inclemency of climate 7such injury implying interruption of the open air life72 and it must be scenery conducing to pleasure1 not to material service2 all cornfields1 orchards1 olive-yards1 and such-like being under the management of slaves1 and the superior beings having nothing to do with them2 but passing their lives under avenues of scented and otherwise delightful trees--under picturesque rocks and by clear fountains4 ,it is curious1 as marking the classical spirit1 that a sailing vessel is hardly admissible1 but a galley with oars is admissible1 because the rowers may be conceived as absolute slaves4 7#c7 ,the spiritual powers in classical scenery must be decorative2 ornamental gods1 not governing gods2 otherwise they could not be subjected to the principles of taste1 but would demand reverence4 ,in order1 therefore1 as far as possible1 without taking away their supernatural power1 to destroy their dignity 444 those only are introduced who are the lords of lascivious pleasures4 ,for the appearance of any great god would at once destroy the whole theory of classical life2 therefore ,pan1 ,bacchus1 and the ,satyrs1 with ,venus and the ,nymphs1 are the principal spiritual powers of the classical landscape 7abridged from ,modern ,painters1 vol4 v4 pt4 ix4 ch4 v4 #a-h74 ,it may be interesting to point out how entirely this ideal accords with the prevailing taste and literature of their time4 ,the painting of ,claude and ,salvator precisely corresponds to what is called pastoral poetry1 that is to say1 poetry written in praise of the country1 by men who lived in coffee-houses and on the ,mall#cf-- 444 the class of poetry in which a farmer's girl is spoken of as a 'nymph1' and a farmer's boy as a 'swain1' and in which1 throughout1 a ridiculous and unnatural refinement is supposed to exist in rural life1 merely because the poet himself has neither had the courage to endure its hardships1 nor the wit to conceive its realities4444 ,examine the novels of ,smollett1 ,fielding1 and ,sterne1 the comedies of ,molire1 and the writings of ,johnson and ,addison1 and ,i do not think you will find a single expression of true delight in sublime nature in any one of them4 ,perhaps ,sterne's ,sentimental ,journey1 in its total absence of sentiment on any subject but humanity 444 is the most striking instance2 444 and if you compare with this negation of feeling on one side1 the interludes of ,molire1 in which shepherds and shepherdesses are introduced in court dress1 you will have a very accurate conception of the general spirit of the age4#cg ,it was in such a state of society that the landscape of ,claude1 ,gaspar ,poussin1 and ,salvator ,rosa attained its reputation4 ,it is the complete expression on canvas of the spirit of the time 7,edinburgh ,lectures on ,architecture and ,painting1 pp4 #afc-afg74 ,the reputation thus gained survived unimpaired almost into the present century1 until ,wordsworth in poetry and ,turner in painting led the return to nature1 and the modern school of landscape arose4 ,it is1 however1 the art of ,constable to which direct influence must be attributed in the foundation of the modern school of landscape--paysage intime--in ,france 7see ,vol4 ,,ii41 pp4 #ic-d74 ,of this school1 wholly unrepresented until lately in our ,national ,gallery1 a few examples--characteristic1 if not very important--may now be seen in ,room ,,xvii4 7see ,nos4 #bjeh1 #bace1 etc474 -- ,we have now concluded our survey of the ,foreign ,schools4 ,the western doors in ,room ,,xvii4 lead down a side staircase into the entrance ,hall1 and thus form an exit from the ,gallery4 ,on the staircases leading to the ,hall and thence down to the basement1 some foreign pictures are now placed4 ,the visitor who wishes to see the ,british ,school should return into ,room ,,xvi4 and thence proceed into the ,east ,vestibule1 where a few portraits by ,british masters are hung4 ,descending the steps and ascending those opposite1 the visitor will come into the ,west ,vestibule1 which leads to the rooms of the ,british ,school--,,xviii41 ,,xix41 ,,xx41 and ,,xxi4 ,finally1 at the east end of the ,gallery1 we reach ,room ,,xxii41 devoted to the ,turner ,collection4 ,for remarks on the ,british ,school see ,volume ,,ii4 ,from the ,entrance ,hall1 the visitor reaches the ,west ,basement1 and by corresponding stairs on the other side the ,east ,basement4 ,in the ,basement ,rooms are collections of copies from ,old ,masters and the ,turner ,water ,colours4 ,for notes on the former1 see end of this volume2 for the ,turners1 see ,volume ,,ii4 ,illustration ,,footnotes3 #cf ,elsewhere ,mr4 ,ruskin speaks of ,twickenham classicism 7with a side allusion1 of course1 to ,pope7 consisting principally in conceptions of ancient or of rural life such as have influenced the erection of most of our suburban villas 7,pre-,raphaelitism1 reprinted in ,on the ,old ,road1 i4 #bhc74 #cg ,in a later lecture on landscape 7delivered at ,oxford and reported in ,cook's ,studies in ,ruskin1 p4 #bij7 ,ruskin cited ,evelyn 7who was nearly contemporary with ,claude7 as another case in point3 ,we passed through a forest 7of ,fontainebleau71 says ,evelyn1 so prodigiously encompass'd with hideous rocks of white hard stone1 heaped one on another in mountainous height1 that ,i think the like is nowhere to be found more horrid and solitary4 ,it is interesting to note how long this ignorance of mountains lasted1 even amongst painters4 ,james ,barry1 the ,r4 ,a41 was amazed at finding the realities of the ,alps grander than the imaginations of ,salvator1 and writes to ,edmund ,burke from ,turin in #agff to say that he saw the moon from the ,mont ,cenis five times as big as usual1 from being so much nearer to it6 ,,numerical ,,catalogue1 ,,with ,,biographical ,,and ,,descriptive ,,notes ,n4 ,b4--,the pictures here described are pictures belonging to ,foreign ,schools only4 ,the numerals refer to the numbers on the frames4 ,pictures in the ,national ,gallery to which1 because they are deposited on loan or for other reasons1 no numbers are attached1 are described at the end of the ,numerical ,catalogue4 ,references to books in the following pages are1 except where otherwise stated1 to the works of ,ruskin4 ,wherever possible1 the references to his books are by sections and paragraphs1 instead of by pages1 so as to make them applicable to all the different editions4 ,the references to ,vasari are to ,bohn's translation1 #e vols41 #ahee4 #a4 ,,the ,,raising ,,of ,,lazarus4 ,sebastiano del ,piombo 7,venetian3 #adhe-aedg74 ,this large picture is generally accounted the masterpiece of ,sebastiano ,luciani4 ,he was called del ,piombo 7lead71 from his holding the office of ,keeper of the ,leaden ,seal 7see ,no4 #bj74 ,sebastiano was originally a painter and musician at ,venice1 where he studied successively under ,john ,bellini and ,giorgione4 ,but in #aeab he was invited to ,rome by the famous banker ,agostino ,chigi4 ,here he fell under the influence of ,michael ,angelo1 who employed ,sebastiano to execute several of his designs1 and saw in him a means1 says ,vasari1 of outdoing ,raphael4 ,the opportunity occurred when the ,cardinal ,giulio de' ,medici commissioned ,raphael to paint the ,transfiguration 7now in the ,vatican71 and at the same time ,sebastiano to paint this picture1 on the same scale1 of the ,raising of ,lazarus4 ,the pictures when finished were exhibited side by side1 and there were some who preferred ,sebastiano's4 ,the picture was painted1 says ,vasari1 with the utmost care1 under the direction1 and in some parts with the design1 of ,michael ,angelo4 ,there are in the ,british ,museum two original drawings by ,michael ,angelo which are evidently preparatory studies for the figure of ,lazarus2 but ,sebastiano cannot have painted under his friend's direction1 for ,michael ,angelo was at ,florence at the time1 and ,sebastiano writes to him1 ,there has been some delay with my work4 ,i have endeavoured to keep it back as long as possible1 that ,raphael might not see it before it is finished4444 ,but now ,i do not hesitate any more4 ,i believe ,i shall not1 with my work1 bring discredit upon you4 ,another masterpiece of ,sebastiano has recently been added to the ,gallery 7#adej71 which also contains two of his portrait pieces 7#bj and #bd71 a branch of art in which he obtained great success2 ,vasari particularly notices his skill in painting the head and hands4 ,this famous picture is especially remarkable for its dramatic unity4 ,it is crowded with figures1 but all combine to concentrate attention on the central subject4 ,the time chosen by the painter is after the completion of the miracle3 ,he that was dead came forth1 bound hand and foot with grave-clothes2 and his face was bound about with a napkin4 ,jesus in the middle of the picture is uttering the words1 ,loose him1 and let him go2 with his right hand ,jesus points to heaven1 as if he said1 ,i have raised thee by the power of him who sent me4 ,the three men1 who have already removed the lid of the sepulchre1 are fulfilling ,christ's command4 ,the grave-clothes1 by which the face of ,lazarus is thrown into deep shade1 express the idea of the night of the grave which but just before enveloped him2 and the eye looking eagerly from beneath the shade upon ,christ shows the new life in its most intellectual organ4 ,to the left1 behind ,christ1 is ,st4 ,john1 answering objections raised against the credibility of the miracle4 ,farther off1 behind this group1 is one of the ,pharisees1 whose unbelief is combated by the man who points in evidence to the raised ,lazarus4 ,behind ,lazarus is his sister ,martha1 sickening now at what she most desired2 behind her are other women--holding their noses4#ch ,at the foot of ,jesus is the other sister1 ,mary1 full of faith and gratitude-- ,her eyes are homes of silent prayer1 ,nor other thought her mind admits ,but1 he was dead1 and there he sits1 ,and he that brought him back is there4 ,then one deep love doth supersede ,all other1 when her ardent gaze ,roves from the living brother's face1 ,and rests upon the ,life indeed4 ,,tennyson3 ,in ,memoriam1 xxxii4 #b4 ,,cephalus ,,and ,,procris4 ,claude ,lorraine 7,french3 #afjj-afhb74 ,claude ,gelle was the son of humble parents1 and to the end he was an unlettered man4 ,he was born in the village of ,champagne1 in the ,vosges1 ,duchy of ,lorraine1 and thence acquired the name of ,le ,lorrain4 ,lineal descendants of ,claude's brother still live in the village1 and the house in which he was born is now preserved as a museum of relics of the painter4 ,he was brought up1 it is said1 as a pastry-cook1 but he entered the household of ,agostino ,tassi1 a ,perugian landscape painter1 at ,rome1 in the capacity of general factotum1 cooking his master's meals and grinding his colours4 ,from him ,claude received his first instruction in art4 ,subsequently he travelled to the ,tyrol and to ,venice--the influence of which place may be seen in the gentle ripples of waveless seas in his ,seaports4 ,after working for some time at ,nancy1 the capital of ,lorraine1 he returned in ,october #afbg to ,rome1 and there settled down for the remainder of his life4 ,the house which he inhabited may still be seen at the angle of the streets ,sistina and ,gregoriana4 ,of his life at ,rome many interesting particulars are given by his friend ,sandrart1 a ,german painter1 who was for some years his companion4 ,in order1 says ,sandrart1 that he might be able to study closely the innermost secrets of nature1 he used to linger in the open air from before daybreak even to nightfall1 so that he might learn to depict with a scrupulous adherence to nature's model the changing phases of dawn1 the rising and setting sun1 as well as the hours of twilight4444 ,in this most difficult and toilsome mode of study he spent many years2 making excursions into the country every day1 and returning even after a long journey without finding it irksome4 ,sometimes ,i have chanced to meet him amongst the steepest cliffs at ,tivoli1 handling the brush before those well-known waterfalls1 and painting the actual scene1 not by the aid of imagination or invention1 but according to the very objects which nature placed before him4#ci 7,one of these sketches is now in the ,british ,museum47 ,on one expedition to ,tivoli1 ,claude was accompanied1 we know1 by ,poussin1 but for the most part he lived a secluded life2 he did not1 says ,sandrart1 in everyday life much affect the civilities of polite society4 ,such seclusion must partly have been necessary to enable ,claude to cope with the commissions that crowded in upon him4 ,for the ,pope ,urban ,,viii4 he painted the four pictures now in the ,louvre1 and the three succeeding popes were all among his patrons4 ,so was ,cardinal ,mazarin and the ,duke of ,bouillon1 the ,papal ,commander-in-,chief1 for whom amongst other pictures he painted two 7#ab and #ad7 in this ,gallery4 ,england was a great buyer of his works3 nineteen were ordered from here in #afdd alone2 and commissions came also from ,denmark and the ,low ,countries4 ,one sees the pressure of a busy man in the number of stock subjects which he repeated4 ,he suffered much too from forgers1 and it was partly to check the sale of fictitious ,claudes that he prepared his ,liber ,veritatis--a collection of drawings of all his pictures1 now in the possession of the ,duke of ,devonshire4 ,two hundred and seventy more of his drawings may be seen in the ,british ,museum4 ,for his figures1 however1 he was glad of outside help1 and many painters put these in for him4 ,the soft1 pensive1 and almost feminine charm which characterises his landscapes well agree with what we know of his life4 ,he was passionately fond of music4 ,to a little girl1 living with me and brought up in my house in charity1 he bequeathed much of his treasures4 ,he had received also a poor1 lame lad into his house1 whom he instructed in painting and music1 and who rewarded him by demanding arrears of salary for assistance4 ,towards his poor relations he was uniformly generous1 and when ,sandrart left him it was a nephew from the ,vosges whom he called to keep house for him4 ,with regard to the characteristics of ,claude's art1 his general position in the history of landscape painting has been defined in the chapter on the ,french ,school1 and some further points of detail are noticed under his several works4 ,here1 however1 it may be convenient to give ,ruskin's summary of the matter4 7#a7 ,claude had a fine feeling for beauty of form1 and is seldom ungraceful in his foliage4 ,his tenderness of conception is especially shown in delicate aerial effects1 such as no one had ever rendered before1 and in some respects1 no one has ever done in oil-colour since4 ,but their character appears to rise rather from a delicacy of bodily constitution in ,claude than from any mental sensibility2 such as they are1 they give a kind of feminine charm to his work1 which partly accounts for its wide influence4 ,to whatever their character may be traced1 it renders him incapable of enjoying or painting anything energetic or terrible4 ,thus a perfectly genuine and untouched sky of ,claude is beyond praise in all qualities of air4 ,but he was incapable of rendering great effects of space and infinity4 7#b7 ,as with his skies1 so too with his seas4 ,they are the finest pieces of water painting in ancient art4 ,but they are selections of the particular moment when the sea is most insipid and characterless4 7#c7 ,he had sincerity of purpose2 but in common with the other landscape painters of his day1 neither earnestness1 humility1 nor love1 such as would ever cause him to forget himself4 ,hence there is in his work no simple or honest record of any single truth1 and his pictures1 when examined with reference to essential truth1 are one mass of error from beginning to end4 ,so far as he felt the truth1 he tried to be true2 but he never felt it enough to sacrifice supposed propriety1 or habitual method1 to it4 ,very few of his sketches and none of his pictures show evidence of interest in other natural phenomena than the quiet afternoon sunshine which would fall methodically into a composition4#dj ,one would suppose he had never seen scarlet in a morning cloud1 nor a storm burst on the ,apennines4 7#d7 ,he shows a peculiar incapacity of understanding the main point of a matter1 and of men of name is the best instance of a want of imagination1 nearly total1 borne out by painful but untaught study of nature1 and much feeling for abstract beauty of form1 with none whatever for harmony of expression4 7#e7 ,yet in spite of all his deficiencies ,claude effected a revolution in art4 ,this revolution consisted in setting the sun in heaven4 ,we will give him the credit of this with no drawbacks4#da ,till ,claude's time no one had seriously thought of painting the sun but conventionally2 that is so say1 as a red or yellow star 7often71 with a face in it1 under which type it was constantly represented in illumination2 else it was kept out of the picture1 or introduced in fragmentary distances1 breaking through clouds with almost definite rays4 ,claude first set it in the pictorial heaven 7collected from ,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #c1 #e1 #ad1 sec4 iii4 ch4 i4 #i1 ch4 iii4 #ac-ae1 #ag2 vol4 ii4 pt4 iii4 sec4 ii4 ch4 ii4 #ah2 vol4 iii4 pt4 iv4 ch4 xviii4 #bb1 #bg1 and ,appendix i42 vol4 v4 pt4 ix4 ch4 v4 #aj1 #aa74 ,this summary should show that it is a mistake to represent ,ruskin as blind to the merits of ,claude4 ,he has done full justice to ,claude's amenity and pensive grace2 to the beauty of his skies and the skill and charm of his aerial effects4 ,at the time when ,ruskin began to write ,modern ,painters1 ,claude was still accounted the prince of all landscape painters4 ,the estimate of ,claude against which ,ruskin protested may be found in ,goethe4 ,claude ,lorraine1 he said1 knew the real world thoroughly1 even to its smallest detail1 and he made use of it to express the world contained in his own beautiful soul4 ,he stands to nature in a double relation1--he is both her slave and her master3 her slave1 by the material means which he is obliged to employ to make himself understood2 her master1 because he subordinates these material means to a well reasoned inspiration1 to which he makes them serve as instruments4 ,and elsewhere1 ,goethe expresses his admiration for the depth and grasp of ,claude's powers4 ,ruskin1 in vindicating the greater sweep and depth of ,turner's genius1 fastened with all the emphasis of an advocate upon the weak points in ,claude's artistic and intellectual armoury4 ,by so doing he cleared the ground for a truer appreciation of ,claude4 ,as a corrective or supplement to ,ruskin's adverse criticisms1 the reader may be referred to ,constable's enthusiastic appreciations4 ,i do not wonder1 wrote ,constable to his wife1 at you being jealous of ,claude4 ,if anything could come between our love1 it is him4444 ,the ,claudes1 the ,claudes are all1 all1 ,i can think of here 7,leslie's ,life of ,constable1 #ahde1 p4 #aba74 ,constable was writing from ,sir ,george ,beaumont's house1 where several of the ,claudes1 now in the ,national ,gallery1 were then hanging4 ,constable1 however1 was alive to some of ,claude's defects4 ,claude's exhilaration and light1 he wrote to ,leslie1 departed from him when he was between fifty and sixty1 and he then became a professor of the 'higher walks of art1' and fell in a great degree into the manner of the painters around him2 so difficult is it to be natural1 so easy to be superior in our own opinion4 ,when we have the pleasure of being together at the ,national ,gallery ,i think ,i shall not find it difficult to illustrate these remarks1 as ,carr has sent a large picture of the latter description 7ibid41 p4 #bba74 ,the picture in question is ,no4 #f1 painted in #afeh4 ,for the story of ,cephalus1 who is here receiving from ,procris the presents of ,diana1 the hound ,lelaps1 and the fatal dart with which she was killed1 see under #fih4 ,as for the landscape1 ,mr4 ,ruskin cites this picture as an instance of the childishness and incompetence of ,claude's foregrounds4 ,i will not1 he writes1 say anything of the agreeable composition of the three banks1 rising one behind another from the water1 except only that it amounts to a demonstration that all three were painted in the artist's study1 without any reference to nature whatever4 ,in fact1 there is quite enough intrinsic evidence in each of them to prove this1 seeing that what appears to be meant for vegetation upon them amounts to nothing more than a green stain on their surfaces1 the more evidently false because the leaves of the trees twenty yards farther off are all perfectly visible and distinct2 and that the sharp lines with which each cuts against that beyond it are not only such as crumbling earth could never show or assume1 but are maintained through their whole progress ungraduated1 unchanging1 and unaffected by any of the circumstances of varying shade to which every one of nature's lines is inevitably subjected4 ,in fact the whole arrangement is the impotent struggle of a tyro to express by successive edges that approach of earth which he finds himself incapable of expressing by the drawing of the surface4 ,claude wished to make you understand that the edge of his pond came nearer and nearer2 he had probably often tried to do this with an unbroken bank1 or a bank only varied by the delicate and harmonious anatomy of nature3 and he had found that owing to his total ignorance of the laws of perspective such efforts on his part invariably ended in his reducing his pond to the form of a round ,o1 and making it look perpendicular4 ,much comfort and solace of mind in such unpleasant circumstances may be derived from instantly dividing the obnoxious bank into a number of successive promontories1 and developing their edges with completeness and intensity 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 iv4 ch4 iv4 #ag1 #ah74 #c4 ,a ,,concert4 ,school of ,titian 7,venetian74 ,see under next picture4 ,the young man in the red velvet cap plays on the violoncello2 the other on the oboe1 of which only the reed is visible4 ,the other three are vocalists4 ,the master is keeping time1 and is intent on the boy pupil4 ,the young girl1 with her hand on her husband's shoulder1 is waiting to chime in1 and looks far away the while to where the music takes her4 ,in ,titian's portraits you always see the soul1--faces 'which pale passion loves4' ,look at the ,music-piece by ,titian--it is 'all ear1'--the expression is evanescent as the sounds--the features are seen in a sort of dim chiaroscuro1 as if the confused impressions of another sense intervened--and you might easily suppose some of the performers to have been engaged the night before in ,mask or midnight serenade ,which the starved lover to his mistress sings ,best quitted with disdain4 7,,hazlitt3 ,criticisms on ,art1 edition #ahdc1 p4 #aj74 ,perhaps it is indeed a travelling party of musicians practising for a serenade4 ,certainly one thinks of this picture as one reads of a supper party at ,titian's house4 ,before the tables were set out1 we spent the time in looking at the lifelike figures in the excellent paintings of which the house was full1 and in discussing the real beauty and charm of the garden1 which was a pleasure and a wonder to every one4 ,it is situated in the extreme part of ,venice upon the sea1 and from it may be seen the pretty little island of ,murano1 and other beautiful places4 ,this part of the sea1 as soon as the sun went down1 swarmed with gondolas adorned with beautiful women1 and resounded with varied harmonies--the music of voices and instruments till midnight 7,priscianese1 describing a visit to ,titian in #aedj3 cited in ,heath's ,titian1 ,great ,artists series1 p4 #ec74 #d4 ,a ,,holy ,,family4 ,titian 7,venetian3 #adgg-aegf74 ,tiziano ,vecellio--il divino ,tiziano1 as his countrymen called him--is one of the greatest names in the history of painting3 ,there is a strange undercurrent of everlasting murmur about his name1 which means the deep consent of all great men that he is greater than they 7,two ,paths1 #eg74 ,titian's works are not art1 said one of his contemporaries1 but miracles2 they make upon me the impression of something divine1 and as heaven is the soul's paradise1 so ,god has transfused into ,titian's colours the paradise of our bodies4 ,it is not easy1 however1 to point out the special characteristics of ,titian1 for it is his glory to offer nothing over-prominent and to keep in all things the middle path of perfection4 ,titian's mind was wholly realist1 universal1 and manly4 ,he saw that sensual passion in man was not only a fact1 but a ,divine fact2 the human creature1 though the highest of the animals1 was1 nevertheless1 a perfect animal1 and his happiness1 health1 and nobleness depended on the due power of every animal passion1 as well as the cultivation of every spiritual tendency 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 iii4 #cj74 ,as a youth ,titian worked under the influence of ,giorgione1 of whom 7says ,vasari71 they who were excellent confessed that he was born to put the breath of life into painted figures and to imitate the elasticity and colour of flesh4 ,the so-called ,sacred and ,profane ,love of ,titian marks the culmination of his ,giorgionesque style1 in which sensuous delight and spiritual yearning are mixed in subtle harmony4 ,the ,bacchus and ,ariadne of our own ,gallery belongs to a somewhat later date1 and is a combination of poetry and painting almost unique in the world of art4 ,one object1 says ,sir ,frederick ,burton1#db ,titian kept steadily before him from the beginning--the rendering of the lustre of the skin in its warmth1 its pearliness1 and its light1 such as it is found in the ,european races1 and nowhere perhaps in such perfection as in the blended northern and southern blood of ,venetia4 ,he presents to us humanity in its noblest and most beautiful forms1 and so profoundly had he studied it that the ideal personages introduced in his pictures have an intense individuality4 ,naturally1 therefore1 he stands supreme amongst the great portrait-painters4 ,in the department of landscape he was1 if not the first to perceive1 at least the first to render1 nature in her sublimer aspects4 ,when dealing with classical themes he thoroughly translated the spirit1 without idly imitating the forms1 of antiquity4 ,and as the range of his intellectual sympathy was wide1 so was that of his executive skill4 ,he is1 indeed1 especially supreme as a colourist2 but for the rest1 the very greatness of the master lies in there being no one quality predominant in him4 ,raphael's power is properly called ,raphaelesque1 but ,titian's power is simply the power of doing right4 ,whatever came before ,titian1 he did wholly as it ought to be done 7,two ,paths1 #eg1 #eh1 #fi74 ,this universality of ,titian's art is reflected in his life--a life prolonged far beyond the ordinary human spell1 and full to the end of superhuman toil4 ,he was sent from his country home at ,cadore to ,venice to begin his studies when quite a boy3 he was only nine1 it is said1 when he entered ,gentile ,bellini's studio4 ,he lived to be ninety-nine1 and his life was one long education4 ,he was nearly threescore years and ten when he visited ,rome and saw ,michael ,angelo1 but he had greatly improved1 he said in later years1 after he had been at ,rome4 ,he painted until his dying hour1 and is said to have exclaimed at the last that he was only then beginning to understand what painting was4 ,this continual striving after perfection1 this consciousness of falling short1 is in striking contrast to the honour and glory paid to him by others4 ,he was painter in ordinary to the ,venetian ,state 7a post in which he succeeded ,giovanni ,bellini74 ,he was an honoured guest at the court of ,alphonso ,i41 ,duke of ,ferrara1 for whom he painted the ,bacchus and ,ariadne 7#ce74 ,to the ,emperor ,charles ,v4 he stood as ,apelles to ,alexander the ,great1 the only man worthy to paint his royal master1 and he was made ,count ,palatine and ,knight of the ,golden ,spur1 with precedence for his children as nobles of the ,empire4 ,the emperor's son1 ,philip ,,ii4 7of ,spain71 was an equally generous patron2 the ,pope ,paul ,,iii4 tried hard to induce ,titian to settle in ,rome2 and ,henry ,,iii4 of ,france1 who visited him at his own house1 wished the picture on which the painter was then at work to be placed over his tomb4 ,in his house at ,venice ,titian lived in great style1 attracting kings and nobles and men of letters to him4 ,there is all the keenness of a city of merchants in ,titian's business relations1 and many of the extant documents about him are petitions for further favours and for arrears of pensions4 ,but if he gathered like a beggar1 he spent like a prince4 ,there is a story of two cardinals coming to dine at his house4 ,he flung his purse to the steward1 and bade him make ready1 for all the world was coming to dine with him4 ,certain too it is that if he knocked too much at the doors of princes1 it was for the sake of his children rather than of himself4 ,at the loss of his wife 7when he was fifty-seven7 he was utterly disconsolate1 says the letter of a friend4 ,his sister ,orsa afterwards kept house for him--sister1 daughter1 mother1 companion1 and steward of his household1 so ,aretino described her2 and it was his daughter ,lavinia whom he oftenest loved to paint4 ,she was the person dearest to him in all the world1 and many years after she had died 7#aefj7 in childbirth1 he described her to ,philip ,,ii4 as absolute mistress of his soul4 ,a less pleasant light is thrown upon the great painter by his friendship and close association with the infamous ,aretino4 ,this curious product of the ,renaissance came to ,venice in #aebg1 and with ,titian and ,jacopo del ,sansovino formed the so-called ,triumvirate1 which was a kind of ,council of ,three1 having as its raison d'tre the mutual furtherance of material interests1 and the pursuit of art1 love1 and pleasure4 ,to ,titian's association with ,aretino some critics have ascribed the stronger vein of sensuality which is discernible in some of his later works4 ,to the extreme limit1 however1 of his long life his hand never lost its cunning1 nor was the force of imagination abated4 ,he was carried off by the plague1 and received even in that time of panic the honour of solemn obsequies in the church of the ,frari--the man as highly favoured1 says ,vasari1 by fortune as any of his kind had ever been before him4 ,his house at ,venice is still shown4 ,it looks across the lagoons to the distant mountains of his early home4 ,one of the pictures which mark the advance made by ,titian in the art of landscape4 ,look at the background of some earlier ,holy ,family--at the purist landscape1 for instance1 of ,perugino 7#bhh71--;and the change will be seen at once--a change from the conventional or ideal to the real and the actual4 ,titian was one of the first to relieve the foreground of his landscapes from the grotesque1 quaint1 and crowded formalism of the early painters1 and give a close approximation to the forms of nature in all things2 retaining1 however1 this much of the old system1 that the distances were for the most part painted in deep ultramarine blue1 the foregrounds in rich green and brown 7,lectures on ,architecture and ,painting1 p4 #aeh74 ,in particular he was the first#dc to apprehend the subduing pathos that comes with eventide 7see ,gilbert's ,cadore or ,titian's ,country1 p4 #cc74 ,titian1 says ,ruskin 7,modern ,painters1 vol4 v4 pt4 ii4 #a1 ch4 vii4 #ae71 hardly ever paints sunshine1 but a certain opalescent twilight which has as much of human emotion as of imitative truth in it3 ,the clouds that gather round the setting sun ,do take a sober colouring from an eye ,that hath kept watch o'er man's mortality4 #e4 ,a ,,seaport ,,at ,,sunset4 ,claude ,lorraine 7,french3 #afjj-afhb74 ,see #b4 ,an instance of false tone 7cf4 under ,cuyp1 ,no4 #ec74 ,many even of the best pictures of ,claude must be looked close into to be felt1 and lose light every foot that we retire4 ,the smallest of the three ,seaports in the ,national ,gallery is valuable and right in tone when we are close to it1 but ten yards off it is all brick-dust1 offensively and evidently false in its whole hue4 ,contrast the perfect and unchanging influence of ,turner's picture at any distance4 ,we approach only to follow the sunshine into every cranny of the leafage1 and retire only to feel it diffused over the scene1 the whole picture glowing like a sun or star at whatever distance we stand1 and lighting the air between us and it 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 ii4 ch4 i4 #bj74 #f4 ,,david ,,at ,,the ,,cave ,,of ,,adullam4#dd ,claude ,lorraine 7,french3 #afjj-afhb74 ,see #b4 ,david1 in front of the cave1 longed and said1 ',oh that one would give me to drink of the water of ,bethlehem1 which is by the gate6' ,and the three mighty men brake through the host of the ,philistines 7seen in the valley71 and drew water out of the well of ,bethlehem1 that was by the gate1 and took it1 and brought it to ,david 7#b ,samuel xxiii4 #ae1 #af74 ,with regard to the landscape1 the picture is a good instance at once of ,claude's strength and weakness4 ,thus the central group of trees is a very noble piece of painting 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 iv4 ch4 ii4 #h74 ,on the other hand the rocks1 both in the left corner and in the right1 are highly absurd4 ,the ,claudesque landscape is not1 as so commonly supposed1 an idealised abstract of the nature about ,rome4 ,it is an ultimate condition of the ,florentine conventional landscape1 more or less softened by reference to nature 7ibid41 vol4 iii4 pt4 iv4 ch4 xviii4 #bg74 ,so1 too1 the brown foreground and rocks are as false as colour can be3 first1 because there never was such a brown sunlight1 for even the sand and cinders 7volcanic tufa7 about ,naples1 granting that he had studied from these ugliest of all formations1 are1 where they are fresh fractured1 golden and lustrous in full light1 compared to these ideals of crags1 and become1 like all other rocks1 quiet and gray when weathered2 and secondly1 because no rock that ever nature stained is without its countless breaking tints of varied vegetation 7ibid41 vol4 i4 pt4 ii4 sec4 ii4 ch4 ii4 #af74 #g1 #cg4 ,,groups ,,of ,,heads4 ,after ,correggio4 ,see under #aj4 ,copies by ,annibale ,carracci from ,correggio's compositions in the church of ,s4 ,giovanni at ,parma 7,layard's edition of ,kugler's ,italian ,school of ,painting1 ii4 #fca74 ,these pictures have had an eventful history1 and been connected with the fortunes of many sovereigns4 ,they came to the ,national ,gallery from ,mr4 ,angerstein1 who bought them from the ,orleans collection4 ,they had formerly been in the possession of ,queen ,christina1 having been carried off to ,sweden as part of the plunder of ,prague when that city was captured by the ,swedes in #afdh4 ,the pictures collected there by the ,emperor ,rudolph ,,ii4 were removed to ,stockholm4 #h4 ,a ,,dream ,,of ,,human ,,life4 ,from a design by ,michael ,angelo4 ,see #gij4 ,the naked figure1 typical of the human race1 and reclining against a slippery globe1--with the world1 we may say1 before him1--is awakening1 at the sound of a trumpet from above from the dream of life to the lasting realities of eternity4 ,it may be the sound of the last trump or the call to a new life that comes before4 ,behind his seat are several masks1 illustrating the insincerity or duplicity of a world in which all is vanity2 and around him are visions of the tempting and transitory hopes1 fears1 and vices of humanity4 ,on the right sits a helmed warrior1 moody and discomfited2 his arms hang listlessly and his face is unseen--hidden perhaps from the cruelty of ,war4 ,above him are battling figures--emblematic of ,strife and ,contention4 ,a little detached from this group is a son dragging down his parent by the beard--bringing his grey hair with sorrow to the grave4 ,on the other side sits ,jealousy1 gnawing a heart2 and above are the sordid hands of ,avarice clutching a bag of gold4 ,on the left hand ,lust and ,sorrow are conspicuous2 ,intemperance raises a huge bottle to his lips2 and ,gluttony turns a spit 7see ,landseer's ,catalogue of the ,national ,gallery1 #ahcd1 p4 #da74 ,thus all around the figure of ,human ,life there wait-- ,the ministers of human fate ,and black ,misfortune's baleful train6444 ,these shall the fury ,passions tear1 ,the vultures of the mind1 ,disdainful ,anger1 pallid ,fear1 ,and shame that sculks behind2 ,or pining ,love shall waste their youth1 ,or ,jealousy1 with rankling tooth1 ,that inly gnaws the secret heart2 ,and ,envy wan1 and faded ,care1 ,grim-visag'd comfortless ,despair1 ,and ,sorrow's piercing dart4 ,,gray3 ,ode on a distant prospect of ,eton ,college4 #i4 ,,lord1 ,,whither ,,goest ,,thou8 ,annibale ,carracci 7,eclectic-,bologna3 #aefj-afji74 ,annibale1 younger brother of ,agostino and cousin of ,lodovico ,carracci1 was one of the three masters of the ,eclectic ,school at ,bologna1 the characteristics of which have been discussed in the chapter on the ,later ,italian ,schools4 ,annibale1 the most distinguished of the family as a painter1 was the son of a tailor and was intended for his father's business4 ,he went off1 however1 to his cousin ,lodovico1 with whom he devoted himself to art4 ,in #aehj he visited ,parma1 where he spent three years in studying the works of ,correggio4 ,the copies noticed above 7#g and #cg7 were perhaps made at this time4 ,annibale afterwards studied in ,venice4 ,in #aehi the school of the ,carracci was started at ,bologna4 ,they called it the ,incamminati1 or1 as we might say1 ,the ,right ,road4 ,in #afjj ,annibale was invited to ,rome by the ,cardinal ,odoardo ,farnese to decorate his palace4 ,here1 we are told1 he was received and treated as a gentleman1 and was granted the usual table allowance of a courtier4 ,he was assisted in the ,farnese frescoes by ,lanfranco1 by ,domenichino 7then a young man71 and by his brother ,agostino1 of whom1 however1 he was very jealous 7see under #adg74 ,he died in #afji1 and was buried near ,raphael in the ,pantheon4 ,the frescoes of the ,carracci in the ,farnese palace were preferred by ,poussin to all the works in ,rome after those of ,raphael1 and they undoubtedly possess many technical merits4 ,the subject-pictures by ,annibale in our ,gallery will fail greatly to please2 they are academical and unindividual1 and are deficient in true enthusiasm4 ,annibale was one of the first to practise landscape-painting as a separate department of art4 ,in this field the influence of the ,netherlands and of ,venice may be seen united in ,carracci's pictures1 which in their turn laid the foundation for ,poussin and ,claude4 ,in our ,gallery ,annibale is seen at his best in the two poetic subjects painted for a harpsichord 7#ic and #id72 these are both graceful and spirited4 ,the ,apostle ,peter1 according to a ,roman tradition1 being terrified at the danger which threatened him in ,rome1 betook himself to flight4 ,on the ,via ,appia our ,saviour appeared to him bearing his cross4 ,to ,peter's question3 ,domine quo vadis8 7,lord1 whither goest ,thou87 ,christ replied1 ,to ,rome1 to suffer again crucifixion4 ,upon which the apostle retraced his steps1 and received the crown of martyrdom4 ,so much for the subject4 ,as for its treatment1 the note of almost comic exaggeration in ,st4 ,peter's attitude will not fail to strike the spectator2 and there is this objection to be made to the landscape1 that1 though the day is breaking over the distant hills and pediment on the right hand1 there must be another sun somewhere out of the picture on the left hand1 since the cast shadows from ,st4 ,peter and the ,saviour fall directly to the right 7,landseer's ,catalogue1 p4 #aic74 #aj4 ,,the ,,education ,,of ,,cupid4 ,correggio 7,parmese3 #adid-aecd74 ,antonio ,allegri--called ,il ,correggio from his birthplace1 a small town near ,modena--is one of the most distinctive of the old masters4 ,what is it that constitutes what ,carlyle 7following ,sterne7 calls the ,correggiosity of ,correggio8 ,it is at once a way peculiar to him amongst artists1 of looking at the world1 and an excellence1 peculiar to him also1 in his methods of painting4 ,correggio looked at the world in a single mood of sensuous joy1 as a place in which everything is full of happy life and soft pleasure4 ,the characteristics of his style are sidelong grace1 and an all-pervading sweetness4 ,the method1 peculiar to him1 by which he realised this way of looking at things on canvas1 is the subtle gradation of colours1--a point1 it is interesting to note1 in which of all modern masters ,leighton most nearly resembles him 7,art of ,england1 p4 #ih74 ,correggio is1 says ,ruskin1 the captain of the painter's art as such4 ,other men have nobler or more numerous gifts1 but as a painter1 master of the art of laying colour so as to be lovely1 ,correggio is alone 7,oxford ,lectures on ,art1 #agg74 ,the circumstances of ,correggio's life go far to explain the individuality of his style4 ,he was the son of a modest1 peaceful burgher1 and ,correggio and ,parma1 where he spent his life1 were towns removed from the greater intellectual excitements and political revolutions of his time4 ,ignorant of society1 unpatronised by ,popes or great ,princes1 his mind was touched by no deep passion other than love for his art1 and like a poet hidden in the light of thought1 he worked out for himself the ideals of grace and movement which live in his pictures 7see ,symonds1 ,renaissance1 iii4 #bdh74 ,of the details of his life little is known4 ,his earliest works1 as ,morelli first demonstrated1 reveal the influence of the ,ferrarese masters1 nor was he untouched by the creations of ,mantegna at ,mantua1 where he studied for two or three years4 ,in #aead1 in his twentieth year1 he was entrusted with an important commission by the ,minorite ,friars of ,correggio4 ,the ,court of ,correggio was then a centre of refinement and culture1 under the rule of ,giberto and his wife ,veronica1 who was one of the most accomplished women of the day1 and greatly admired our ,antonio1 as she called the painter4 ,in #aeah ,correggio left his native city for ,parma1 which was to become for ever associated with his name4 ,there is little reason1 says his latest biographer1 to lament that he never visited ,rome or any other great city4 ,parma1 rising in smiling tranquillity upon her fertile plains1 girdled by castles and villages1 and looking out upon the vaporous line of hills from which the streams which give her water descend into the champaign1 offered our painter not only the serenity that suited his temperament1 but a vaster field of activity than had ever been allotted to any artist4 ,there were altar-pieces to be painted1 rooms to be decorated2 and the joyous fancies of his genius were to be allowed ample scope in the decoration of two stately cupolas 7,ricci74 ,he was first employed by the ,abbess of the ,convent of ,s4 ,paolo to paint her principal chamber4 ,it is characteristic of the time that the subjects selected were from pagan mythology4 ,afterwards ,correggio was commissioned to cover with frescoes the cupolas of the ,church of ,s4 ,giovanni ,evangelista1 and of the cathedral4 ,in these compositions1 ,correggio carries the foreshortening of the figures to a point which1 while it displays the daring of the artist1 too often transcends the limits of grace4 ,seen from below1 little of the figures is sometimes distinguishable except legs and arms in vehement commotion4 ,when one of the frescoes in the cathedral was first uncovered1 a canon is said to have remarked that it looked to him like a fricassee of frogs4 ,but many of the angels' heads in ,correggio's frescoes are exquisitely beautiful4 ,it is only in ,parma that ,correggio's power can be fully appreciated4 ,his charm is to be found rather in his oil-paintings1 and in these the ,national ,gallery possesses some acknowledged masterpieces4 ,in #aecj ,correggio lost his wife1 and returned to his native town4 ,although by nature good and well-disposed1 he nevertheless1 says ,vasari1 grieved more than was reasonable under the burden of those passions which are common to all men4 ,he was very melancholic in the exercise of his art1 and felt its fatigues greatly4 ,his life was but little longer than that of ,raphael1 for he died in his forty-first year4 ,the stories of his poverty given in many biographies appear to be ill-founded4 ,he was in constant employment2 he was treated as a person of consideration1 and received good remuneration2 and the ,governor of ,parma wrote to the ,duke of ,mantua on the painter's death1 ,i hear he has made comfortable provision for his heirs4 ,his fame was great1 and has been enduring2 but his influence upon later art was not fortunate4 ,his successors1 attracted by an intoxicating loveliness which they could not analyse1 threw themselves blindly into the imitation of ,correggio's faults4444 ,cupolas through the length and breadth of ,italy began to be covered with clouds and simpering cherubs in the convulsions of artificial ecstasy4 ,the attenuated elegance of ,parmigiano1 the attitudinising of ,anselmi's saints and angels1 and a general sacrifice of what is solid and enduring to sentimental gewgaws on the part of all painters who had submitted to the magic of ,correggio1 proved how easy it was to go astray with the great master4 ,meanwhile1 no one could approach him in that which was truly his own--the delineation of a transient moment in the life of sensuous beauty1 the painting of a smile on ,nature's face1 when light and colour tremble in harmony with the movement of joyous living creatures 7,symonds3 ,sketches and ,studies in ,italy and ,greece1 ii4 #aeh74 ,one of the most celebrated works in the ,gallery--the two pictures which ,i would last part with out of it1 ,ruskin once said1 would be ,titian's ,bacchus and ,correggio's ,venus4 ,it is a great picture first because it is true to nature4 ,look at the foot of ,venus4 ,correggio made it as like a foot as he could1 and you won't easily find anything liker4444 ,great civilised art is always the representation1 to the utmost of its power1 of whatever it has got to show--made to look as like the thing as possible 7,queen of the ,air1 #afc74 ,notice1 too1 the roundness of effect produced in the limbs by the gradation of full colours1 the reflected lights1 and the transparent shadows4 ,the chiaroscuro is so clever that you can look through the shadows into the substance4 ,as for the subject of the picture1 ,mercury1 the messenger of the gods 7dressed therefore in his winged cap and sandals71 is endeavouring to teach ,cupid 7,love7 his letters1 of which1 according to the ,greek story1 ,mercury was the inventor4 ,venus1 the ,goddess of ,beauty and the ,mother of ,love1 looks out to the spectator with a winning smile of self-complacent loveliness and points us to the child4 ,she has taken charge meanwhile of ,cupid's bow 7from which he shoots his arrows into lovers' hearts71 and is herself represented 7as sometimes in classical gems7 with wings1 for ,beauty has wings to fly away as well as ,time and ,love4 ,the picture is sometimes called the ,education of ,cupid1 but ,love learns through the heart and not through the head1 and if you look at this most perfect picture wisely1 you will see that it really ought to be called ',mercury trying1 and failing1 to teach ,cupid to read1' for indeed from the beginning and to the end of time1 ,love reads without letters1 and counts without arithmetic 7,fors ,clavigera1 viii4 #bch74 ,this famous picture has had a strange1 eventful history4 ,it was painted in #aeba or #aebb1 and a century later it was still in the ,ducal ,gallery at ,mantua4 ,in #afbe ,charles ,i4 of ,england despatched his music master1 ,nicholas ,laniere1 to ,italy to buy pictures for him4 ,laniere communicated with a picture-dealer named ,nys1 who purchased several works from the ,mantuan gallery4 ,when the transaction became known1 the citizens took it so ill that the ,duke would have paid double the money to be rid of the bargain4 ,but ,nys would not relent1 and the picture was included in the artistic freight which the ship ,margaret took to ,london in #afbh4 ,on its arrival1 our picture was hung in the king's private apartments in ,whitehall4 ,when he was beheaded1 and his collection sold1 the ,correggio was bought for #dj by the ,duke of ,alva1 and taken to ,spain4 ,it afterwards passed through several collections1 and ultimately into that of ,murat1 ,king of ,naples4 ,upon his fall from power his wife took it with her when she escaped to ,vienna4 ,during the congress of sovereigns in #ahbb her chamberlain communicated with the ministers of all the ,powers1 with a view to the sale of this and another ,correggio 7#ae74 ,russia was negotiating for the purchase of them when ,lord ,londonderry1 hearing by mere accident of the affair1 went to the chamberlain1 paid the larger price against which ,russia was holding out1 and despatched his courier post haste to ,vienna to convey the treasures to ,england4 ,an attempt was made to stop him1 but they reached this country almost before the ,russians had heard of the purchase4#de ,the picture has not come unscathed out of these changes and chances4 ,repairs1 says ,sir ,edward ,poynter1 are visible in many places4 ,injudicious cleaning has done even more injury2 and it has undoubtedly been deprived of much of that final delicate surface-painting which1 in the hands of a great master1 does so much to unite a picture into one harmonious whole4 ,it remains1 nevertheless1 one of the most distinguished works in the collection 7,the ,national ,gallery1 i4 #d74 #aa4 ,,st4 ,,jerome4 ,guido ,reni 7,eclectic-,bologna3 #aege-afdb74 ,guido was a native of ,bologna1 the son of a musician1 and first studied under ,dionysius ,calvaert1 a ,flemish artist established in that city4 ,guido afterwards removed to the school of the ,carracci1 and became one of their most celebrated pupils4 ,for twenty years he worked in ,rome1 where he obtained great distinction4 ,he left ,rome abruptly1 owing to a dispute with one of the ,cardinals1 and settled in ,bologna1 where he lived in splendour and established a school4 ,as a child he was very beautiful1 with blonde hair1 blue eyes1 and a fair complexion4 ,he was specially characterised by devotion to the ,madonna4 ,on every ,christmas-eve1 for seven successive years1 ghostly knockings were heard upon his chamber door2 and every night1 when he awoke from sleep1 the darkness above his bed was illuminated by a mysterious globe of light4 ,in after life1 besides being piously addicted to ,madonna-worship1 he had a great dread of women in general and witches in particular4 ,he was always careful1 it is said1 to leave his studio door open while drawing from a woman 7,symonds's ,renaissance1 vii4 #bae74 ,to the temperament thus indicated we may trace the half-effeminate1 half-spiritual character of some of his works--the few pale rays of fading sanctity1 which ,ruskin sees in him 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 iv4 #d74 ,in later life his effeminate eccentricity amounted to insanity1 and he gave himself wholly up to the gaming table4 ,to extricate himself from money troubles he sold his time1 says his biographer1 at a stipulated sum per hour1 to certain dealers1 one of whom tasked him so rigidly as to stand by him1 watch in hand1 while he worked4 ,how different from the honourable terms on which the earlier masters worked6 ,how easy to understand the number of bad ,guidos in the world6 ,his biographer1 ,malvasia1 relates that ,guido's works were sometimes begun and finished in three hours4 ,his earlier works were in the robust and forcible style of ,caravaggio 7see ,no4 #agb74 ,afterwards he aimed rather at ideal grace4 ,both styles are represented in the ,national ,gallery2 the ,magdalen 7#agg71 the ,youthful ,christ embracing ,st4 ,john 7#aia71 and the ,ecce ,homo 7#bga71 have all been much admired for their sentiment or sentimentality4 ,the head of ,st4 ,john is a work of undoubted grace4 ,but ,guido's best work is the ,aurora of the ,rospigliosi ,palace at ,rome4 ,for the story of ,st4 ,jerome1 see under #bbg4 #ab4 ,,isaac ,,and ,,rebecca1 ,,or ,,the ,,mill4#df ,claude 7,french3 #afjj-afhb74 ,see #b4 ,this and the ,claude on the other side of the door 7#ad7 are of peculiar interest as being the two which ,turner selected for the noble passage of arms to which he challenged his rival from the grave4 ,he left two of his own pictures 7#dgi and #dih7 to the nation on the express condition that they should always hang side by side--as they are hanging to-day--with these two by ,claude4#dg ,to discuss fully the comparative merits of the pictures would be beyond the scope of this handbook2 the whole of the first volume of ,modern ,painters was written to establish the superiority of ,turner4 ,we can only select a few leading points4 ,the greatest picture is that which conveys the greatest number of the greatest ideas4 ,take first what ,ruskin calls ideas of relation1 by which he means the perception of intellectual relations1 including everything productive of expression1 sentiment1 character4 ,now from this point of view this picture is a particularly clear instance of ,claude's inability to see the main point in a matter or to present any harmonious conception3-- ,the foreground is a piece of very lovely and perfect forest scenery1 with a dance of peasants by a brook side2 quite enough subject to form1 in the hands of a master1 an impressive and complete picture4 ,on the other side of the brook1 however1 we have a piece of pastoral life2 a man with some bulls and goats tumbling headforemost into the water1 owing to some sudden paralytic affection of all their legs4 ,even this group is one too many2 the shepherd had no business to drive his flock so near the dancers1 and the dancers will certainly frighten the cattle4 ,but when we look farther into the picture1 our feelings receive a sudden and violent shock1 by the unexpected appearance1 amidst things pastoral and musical1 of the military2 a number of ,roman soldiers riding in on hobby-horses1 with a leader on foot1 apparently encouraging them to make an immediate and decisive charge on the musicians4 ,beyond the soldiers is a circular temple1 in exceedingly bad repair2 and close beside it1 built against its very walls1 a neat watermill in full work4 ,by the mills flows a large river with a weir all across it4 ,the weir has not been made for the mill 7for that receives its water from the hills by a trough carried over the temple71 but it is particularly ugly and monotonous in its line of fall1 and the water below forms a dead-looking pond1 on which some people are fishing in punts4 ,the banks of this river resemble in contour the later geological formations around ,london1 constituted chiefly of broken pots and oyster-shells4 ,at an inconvenient distance from the waterside stands a city1 composed of twenty-five round towers and a pyramid4 ,beyond the city is a handsome bridge2 beyond the bridge1 part of the ,campagna1 with fragments of aqueducts2 beyond the ,campagna the chain of the ,alps2 on the left1 the cascades of ,tivoli4 ,this is1 ,i believe1 a fair example of what is commonly called an 'ideal' landscape2 i4e4 a group of the artist's studies from ,nature1 individually spoiled1 selected with such opposition of character as may ensure their neutralising each other's effect1 and united with sufficient unnaturalness and violence of association to ensure their producing a general sensation of the impossible4 ,let us analyse the separate subjects a little in this ideal work of ,claude's4 ,perhaps there is no more impressive scene on earth than the solitary extent of the ,campagna of ,rome under evening light4444 ,a dull purple poisonous haze stretches level along the desert1 veiling its spectral wrecks of massy ruins1 on whose rents the red light rests1 like dying fire on defiled altars4 ,the blue ridge of the ,alban ,mount lifts itself against a solemn space of green1 clear1 quiet sky4 ,watch-towers of dark clouds stand steadfastly along the promontories of the ,apennines4 ,from the plain to the mountains the shattered aqueducts1 pier beyond pier1 melt into darkness1 like shadowy and countless troops of funeral mourners1 passing from a nation's grave4 ,let us1 with ,claude1 make a few 'ideal' alterations in this landscape4 ,first1 we will reduce the multitudinous precipices of the ,apennines to four sugar loaves4 ,secondly1 we will remove the ,alban ,mount1 and put a large dust-heap in its stead4 ,next we will knock down the greater part of the aqueducts1 and leave only an arch or two1 that their infinity of length may no longer be painful from its monotony4 ,for the purple mist and declining sun1 we will substitute a bright blue sky1 with round white clouds4 ,finally1 we will get rid of the unpleasant ruins in the foreground2 we will plant some handsome trees therein1 we will send for some fiddlers1 and get up a dance1 and a picnic party4 ,it will be found1 throughout the picture1 that the same species of improvement is made on the materials which ,claude had ready to his hand4 ,the descending slopes of the city of ,rome1 towards the pyramid of ,caius ,cestius1 supply not only lines of the most exquisite variety and beauty1 but matter for contemplation and reflection in every fragment of their buildings4 ,this passage has been idealised by ,claude into a set of similar round towers1 respecting which no idea can be formed but that they are uninhabitable1 and to which no interest can be attached beyond the difficulty of conjecturing what they could have been built for4 ,the ruins of the temple are rendered unimpressive by the juxtaposition of the watermill1 and inexplicable by the introduction of the ,roman soldiers4 ,the glide of the muddy streams of the melancholy ,tiber and ,anio through the ,campagna is impressive in itself1 but altogether ceases to be so when we disturb their stillness of motion by a weir1 adorn their neglected flow with a handsome bridge1 and cover their solitary surface with punts1 nets1 and fishermen 7,modern ,painters1 vol i41 preface to second edition1 pp4 xxxvi4-xxxix47 ,take next the ideas of truth in the picture--the perception1 that is to say1 of faithfulness in a statement of facts by the thing produced4 ,and first 7#a7 for truth of colour4 ,can it be seriously supposed that those murky browns and melancholy greens are representative of the tints of leaves under full noonday sun8 ,i know that you cannot help looking upon all these pictures as pieces of dark relief against a light wholly proceeding from the distances2 but they are nothing of the kind1 they are noon and morning effects with full lateral light4 ,be so kind as to match the colour of a leaf in the sun 7the darkest you like7 as nearly as you can1 and bring your matched colour and set it beside one of these groups of trees1 and take a blade of common grass1 and set it beside any part of the fullest light of their foregrounds1 and then talk about the truth of colour of the old masters6 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 ii4 ch4 ii4 #e74 7#b7 ,next for truth of chiaroscuro4 ,claude neglects that distinctness of shadow which is the chief means of expressing vividness of light4 ,thus the trunks of the trees between the water-wheel and the white figure of the middle distance1 are dark and visible2 but their shadows are scarcely discernible on the ground1 and are quite vague and lost in the building4 ,in nature1 every bit of the shadow1 both on the ground and building1 would have been defined and conspicuous2 while the trunks themselves would have been faint1 confused1 and indistinguishable1 in their illumined parts1#dh from the grass or distance 7ibid41 ch4 iii4 #d74 7#c7 ,thirdly1 for truth of space4 ,in nature everything is indistinct1 but nothing vacant4 ,but look at the city on the right bank of the river3-- ,i have seen many cities in my life1 and drawn not a few2 and ,i have seen many fortifications1 fancy ones included1 which frequently supply us with very new ideas indeed1 especially in matters of proportion2 but ,i do not remember ever having met with either a city or a fortress entirely composed of round towers of various heights and sizes1 all facsimiles of each other1 and absolutely agreeing in the number of battlements4 ,i have1 indeed1 some faint recollection of having delineated such a one in the first page of a spelling book when ,i was four years old2 but1 somehow or other1 the dignity and perfection of the ideal were not appreciated1 and the volume was not considered to be increased in value by the frontispiece4 ,without1 however1 venturing to doubt the entire sublimity of the same ideal as it occurs in ,claude1 let us consider how nature1 if she had been fortunate enough to originate so perfect a conception1 would have managed it in its details4 ,claude has permitted us to see every battlement1 and the first impulse we feel upon looking at the picture is to count how many there are4 ,nature would have given us a peculiar confused roughness of the upper lines1 a multitude of intersections and spots1 which we should have known from experience was indicative of battlements1 but which we might as well have thought of creating as of counting4 ,claude has given you the walls below in one dead void of uniform gray4 ,there is nothing to be seen or felt1 or guessed at in it2 it is gray paint or gray shade1 whichever you may choose to call it1 but it is nothing more4 ,nature would have let you see1 nay1 would have compelled you to see1 thousands of spots or lines1 not one to be absolutely understood or accounted for1 but yet all characteristic and different from each other2 breaking lights on shattered stones1 vague shadows from waving vegetation1 irregular stains of time and weather1 mouldering hollows1 sparkling casements3 all would have been there2 none indeed seen as such1 none comprehensible or like themselves1 but all visible2 little shadows and sparkles1 and scratches1 making that whole space of colour a transparent1 palpitating1 various infinity#di 7ibid41 ch4 v4 #g74 7#d7 ,lastly1 the picture entirely ignores truth of mountains4 ,and this in two ways4 ,first1 there is a total want of magnitude and aerial distance3-- ,in the distance is something white1 which ,i believe must be intended for a snowy mountain1 because ,i do not see that it can well be intended for anything else4 ,now no mountain of elevation sufficient to be sheeted with perpetual snow can by any possibility sink so low on the horizon as this something of ,claude's1 unless it be at a distance of from fifty to seventy miles4 ,at such distances 444 the mountains rise from the horizon like transparent films1 only distinguishable from mist by their excessively keen edges and their brilliant flashes of sudden light2 they are as unsubstantial as the air itself1 and impress their enormous size by means of this aerial-ness1 in a far greater degree at these vast distances1 than even when towering above the spectator's head4#ej ,now1 ,i ask of the candid observer if there be the smallest vestige of an effort to attain1 if there be the most miserable1 the most contemptible1 shadow of attainment of such an effect by ,claude8 ,does that white thing on the horizon look seventy miles off8 ,is it faint or fading1 or to be looked for by the eye before it can be found out8 ,does it look high8 ,does it look large8 ,does it look impressive8 ,you cannot but feel that there is not a vestige of any kind or species of truth in that horizon2 and that however artistical it may be1 as giving brilliancy to the distance 7though as far as ,i have any feeling in the matter it only gives coldness71 it is1 in the very branch of art on which ,claude's reputation chiefly rests1 aerial perspective1 hurling defiance to nature in her very teeth4 ,but there are worse failures in this unlucky distance4444 ,no mountain was ever raised to the level of perpetual snow without an infinite multiplicity of form4 ,its foundation is built of a hundred minor mountains1 and from these1 great buttresses run in converging ridges to the central peak4444 ,consequently1 in distant effect1 when chains of such peaks are visible at once1 the multiplicity of form is absolutely oceanic2 and though it is possible in near scenes to find vast and simple masses composed of lines which run unbroken for a thousand feet or more1 it is physically impossible when these masses are thrown seventy miles back to have simple outlines1 for then these large features become mere jags and hillocks1 and are heaped and huddled together in endless confusion4444 ,hence these mountains of ,claude having no indication of the steep vertical summits which are characteristic of the central ridges1 having soft edges instead of decisive ones1 simple forms instead of varied and broken ones1 and being painted with a crude raw white1 having no transparency1 nor filminess1 nor air in it1 instead of rising in the opalescent mystery which invariably characterises the distant snows1 have the forms and the colours of heaps of chalk in a limekiln1 not of ,alps 7ibid41 sec4 iv4 ch4 ii4 #h1 #i74 #ac4 ,,the ,,holy ,,family4 ,murillo 7,spanish3 #afah-afhb74 ,bartolom ,estban ,murillo1 the most widely popular of the ,spanish painters1 was himself sprung from the people4 ,he was born of humble parents in ,seville1 and his earliest attempts at art were pictures for fairs4 ,he is also believed to have supplied some of the ,madonnas which were shipped off by loads for the convents in ,mexico#ea and ,peru4 ,a turning-point in his artistic career came1 however1 when a certain ,pedro de ,moya came into the studio of ,murillo's uncle1 ,castillo4 ,de ,moya had been studying under ,van ,dyck in ,london4 ,van ,dyck's style was a revelation to ,murillo1 who determined forthwith to start off on the grand tour4 ,first1 however1 he went to ,madrid1 where ,velazquez helped him greatly4 ,his studies there were so successful1 and his popularity became so great1 that the foreign journey was abandoned4 ,he married a lady of fortune1 his house became a centre of taste and fashion1 commissions poured in upon him1 and in #affj he formed the ,academy of ,seville4 ,his life was as pious as it was busy4 ,he was often seen praying for long hours in his parish church1 and in his last illness 7which was brought on by his falling1 in a fit of absence of mind1 from a scaffold7 he was carried every day to pray before ,pedro ,campaa's ,descent from the ,cross4 ,i wait here1 he said to the sacristan who asked one day if he were ready to go1 till the pious servants of our ,lord have taken him down4 ,murillo was thus one of the last sincerely religious painters--a class which1 after a few pale rays of fading sanctity from ,guido1 and brown gleams of gipsy ,madonnahood from ,murillo1 came utterly to an end 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 iv4 #d74 ,but it was gipsy ,madonnahood3 there is an entire want of elevation in his religious types1 and the peasants whom he painted as beggars or flower-girls he painted also as angels or ,virgins4 ,this mingling of the common with the religious alike in subject and treatment was no doubt a principal reason of his great popularity in his own country4#eb ,his vulgarity of treatment in his favourite beggar subjects is best seen in the ,dulwich ,gallery2 of his religious style1 the pictures here are characteristic examples4 ,there is a certain sweetness and sentimentality about them which often makes them immensely popular4 ,the ,french in particular are subject to a furore for ,murillo1 his ,immaculate ,conception1 now in the ,louvre1 having been bought in #aheb for #bc1ddj--the largest sum ever given up to that time for a single picture4#ec ,with children1 too1 ,murillo is nearly always a great favourite4 ,a maturer taste1 however1 finds the sentiment of ,murillo overcharged1 and the sweetness of expression an insufficient substitute for elevation of character4 ,his drawing1 says ,ruskin1 is free and not ungraceful1 but most imperfect and slurred to give a melting quality of colour4 ,that colour is agreeable because it has no force or severity2 but it is morbid1 sunless1 and untrue4 ,his expression is sweet1 but shallow2 his models amiable1 but vulgar and mindless2 his chiaroscuro commonplace1 opaque1 and conventional2 and yet all this is so agreeably combined1 and animated by a species of wax-work life1 that it is sure to catch everybody who has not either very high feeling or strong love of truth1 and to keep them from obtaining either 7,letter to ,dean ,liddell1 given in the ,memoir by ,h4 ,l4 ,thompson1 p1 #bbd47ed ,murillo1 says a more appreciative critic1 who assimilated least of foreign elements1 had become the most international of all ,spanish painters2 for he possessed the art of winning the favour of all1 the gift of a language intelligible to all times and peoples1 to all classes and even to aliens of his faith 7,justi3 ,velazquez and his ,times1 p4 #bcf74 ,one charm his pictures have which no criticism is likely to take away3 they are all stamped with the artist's individuality2 there is never any mistaking a ,murillo4 ,this picture--known as the ,pedroso ,murillo1 from the ,pedroso family1 in whose possession it remained until #ahaj--;is one of the painter's last works1 painted when he was about sixty4 ,the look of childlike innocence in the head of the young ,christ is very attractive1 although the attitude is undeniably stagey4 ,the heads of the ,virgin and ,st4 ,joseph also are good instances of ,murillo's plan of supplying the place of intrinsic elevation by a dramatic exhibition of sentiment 7,w4 ,b4 ,scott74 ,the picture is characteristic of what is known as ,murillo's third1 or vaporoso1 manner4 ,his first manner is called frio1 or cold2 his second warm1 or calido1 and the third1 from its melting softness1 vaporoso4 ,the first style is generally spoken of as lasting up to #afdh1 the second up to #afef1 but he did not so much paint in these different manners at different times as adapt them to the different subjects severally in hand4 #ad4 ,,seaport3 ,,the ,,queen ,,of ,,sheba4 ,claude 7,french1 #afjj-afhb74 ,see #b4 ,this seaport--inscribed in the right corner ,la ,reine de ,saba va trouver ,salamon1--is one of ,claude's masterpieces4 ,like its companion1 the picture was painted in #afdh for the ,duke of ,bouillon4 ,the spectator1 says ,sir ,edward ,poynter1 may almost imagine that he feels the freshness of the early morning1 and the breeze which sends the crisp waves rolling in from the open sea1 while the limpid purity of the sunlit atmosphere and the sparkle of the sun on the water1 not only invite sympathy with the more exquisite aspects of nature1 which is1 perhaps1 the highest achievement of this art1 but are expressed with a simplicity and perfection of execution which surpass all the works of other painters in which similar effects have been attempted 7,the ,national ,gallery1 i4 #aib74 ,the picture which ,turner selected to vie with this is not one of his best1 but ,ruskin makes a point out of ,claude's poverty of invention in the details4 ,the queen is starting for a distant expedition1 and was going in great state 7she went with a very great company1 and camels that bare spices1 and gold in abundance1 and precious stones72 yet the prominent incident in the picture is the carrying of one schoolgirl's trunk4 ,she is going by sea1 and is setting out in the early morning 7for the sun is represented only a little above the horizon72#ee yet has no wraps1 nor even a head-dress4 ,for the rest1 ,ruskin notices the tameness of ,claude's waves and a certain conventionality in his treatment of ships and seaports generally4 ,a man accustomed to the broad1 wild sea-shore1 with its bright breakers1 and free winds1 and sounding rocks1 and eternal sensation of tameless power1 can scarcely but be angered when ,claude bids him stand still on some paltry chipped and chiselled quay1 with porters and wheel-barrows running against him1 to watch a weak1 rippling1 bound and barriered water1 that has not strength enough in one of its waves to upset the flower-pots on the wall1 or even to fling one jet of spray over the confining stone#ef 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #e74 ,claude's ships1 too1 and his conception of seaports generally1 show a strange want of true imagination3 ,his ships1 having hulls of a shape something between a cocoanut and a high-heeled shoe1 balanced on their keels on the top of the water1 with some scaffolding and cross-sticks above1 and a flag at the top of every stick1 form perhaps the purest exhibition of human inanity and fatuity which the arts have yet produced4 ,the harbours also1 in which these model navies ride1 are worthy of all observation for the intensity of the false taste which1 endeavouring to unite in them the characters of pleasure-ground and port1 destroys the veracity of both4 ,there are many inlets of the ,italian seas where sweet gardens and regular terraces descend to the water's edge2 but these are not the spots where merchant vessels anchor1 or where bales are disembarked4 ,on the other hand1 there are many busy quays and noisy arsenals upon the shores of ,italy2 but queens' palaces are not built upon the quays1 nor are the docks in any wise adorned with conservatories or ruins4 ,it was reserved for the genius of ,claude to combine the luxurious with the lucrative1 and rise to a commercial ideal1 in which cables are fastened to temple pillars1 and lighthouses adorned with rows of bean-pots 7,harbours of ,england1 pp4 #ag1 #ah74 ,notice1 lastly1 the atrocious error in ordinary perspective in the quay on the left of which the figure is sitting with his hand at his eyes#eg 7,modern ,painters1 vol4 i4 pt4 i4 sec4 i4 ch4 v4 #e1 pt4 ii4 sec4 vi4 ch4 ii4 #a74 #ae4 ,,ecce ,,homo6 ,correggio 7,parmese3 #adid-aecd74 ,see under #aj4 ,then came ,jesus forth1 wearing the crown of thorns1 and the purple robe4 ,and ,pilate saith unto them1 ,behold the ,man6--,ecce ,homo6 7,john xix4 #e74 ,over the domain of tragedy ,correggio--with his pretty grace and sentimentality--had little sway4 ,in this respect he has been called the ,rossini of painting4 ,the melodies of the ,stabat ,mater are the exact analogues in music of ,correggio's voluptuous renderings of grave or mysterious motives 7,symonds3 ,renaissance1 iii4 #bdh74 ,thus here it is rather a not-unpleasant feeling of grief than any profound sense of sorrow or resignation that the painter expresses2 but within these limits the picture is a very effective one4 ,the features of ,christ express pain without being in the least disfigured by it4 ,how striking is the holding out of the fettered hands1 as if to say1 ',behold1 these are bound for you6' ,the ,virgin ,mary1 who1 in order to see her son1 has held by the balustrade which separates him from her1 sinks with grief into the arms of ,mary ,magdalene4 ,her lips still seem to tremble1 but the corners of the mouth are already fixed1 it is involuntarily open2 the arched eyelids are on the point of covering the closing eyes2 the hands with which she has held fast let go the balustrade 7,waagen3 ,treasures of ,art in ,great ,britain1 i4 #cbg74 ,to the right is a ,roman soldier1 robust and rugged1 yet with a touch of pity in his look2 whilst to the left1 standing just within the judgment hall1 is ,pilate1 the ,roman proconsul1 with a mild look of self-satisfaction on his face--as of the man who washed his hands of the affair and left the populace to do with ,christ as they would4 ,this picture 7which is supposed to have been painted in #aeba7 was formerly in the possession of the ,counts ,prati of ,parma1 and subsequently in the ,colonna ,palace at ,rome4 ,it was purchased of the ,colonna family by ,sir ,simon ,clarke1 who1 finding it impossible to take it out of ,italy1 sold it to ,murat1 then ,king of ,naples4 ,it was purchased1 as already related1 with ,no4 #aj by ,lord ,londonderry in #ahcd4 #af4 ,,st4 ,,george ,,and ,,the ,,dragon4 ,tintoretto 7,venetian3 #aeah-aeid74 ,jacopo ,robusti1 called ,tintoretto 7the little dyer71 from the trade of his father1 is the last great master of the ,venetian ,school and the most imaginative of all painters4 ,his artistic ambition was expressed in the line which he wrote on the wall of his studio3 ,the design of ,michelangelo and the colouring of ,titian4 ,he engrafted 7says ,symonds7 on the calm and natural ,venetian manner something of the ,michelangelesque sublimity1 and sought to sway by dramatic movement the romantic motives of the school4 ,he conquers ,michelangelo 7says ,ruskin7 in his own field2 out-flies him in motion1 outnumbers him in multitude1 outwits him in fancy and out-flames him in rage4 ,the imagination of ,tintoret dwelt among the tragic and dramatic scenes in sacred history4 ,while he conceived of these in the largest and most audacious spirit1 his imagination penetrative extended to the minutest details1 and his great works abound in those minor episodes which lend so much reality to a poet's conceptions4 ,in his classical pictures1 ,tintoret combined with the sumptuous colour of ,titian something of the mythopoeic faculty which enabled him to inspire the tales of ancient ,greece with an intense vitality of beauty4 ,in other of his pictures1 effects of light and shade are the vehicle of his imagination4 ,it was ,tintoret 7says ,symonds7 who brought to its perfection the poetry of chiaroscuro1 expressing moods of passion and emotion by brusque lights1 luminous half-shadows1 by semi-opaque darkness1 no less unmistakably than ,beethoven by symphonic modulations 7,renaissance1 iii4 #bgj74 ,the intense vitality which characterises ,tintoret's subject-pictures is conspicuous also in his portraits4 ,they render the man at his best1 full of health and determination1 and make us look back with amazement to a state where the human plant was in such vigour 7,berenson's ,venetian ,painters1 p4 #ei74 ,the picture now before us 7#af7 may give some idea of ,tintoret's power of imagination2 and the decorative piece lately added to the ,gallery 7#acac7 is exemplary of another side of his genius4 ,the ,galleries at ,hampton ,court should also be visited by all admirers of ,tintoretto4 ,but it is only in ,venice that this great master can properly be studied1 and only in the works of ,ruskin that any full appreciation of his powers is to be found4#eh ,one or two points1 however1 may profitably be mentioned which visitors who come across pictures by ,tintoret in foreign galleries should bear in mind4 ,first1 he is the most unequal in execution of all painters4 ,the ,venetians used to say he had three pencils--one of gold1 one of silver1 and a third of iron4 ,annibale ,carracci said of him that if he was sometimes equal to ,titian1 he was often inferior to ,tintoretto4 ,secondly1 when no one would pay for his colours 7and sometimes nobody would even give him space of wall to paint on71 he used cheap blue for ultramarine2 and he worked so rapidly1 and on such large spaces of canvas1 that1 between damp and dry1 his colours must go1 for the most part4 ,tintoret1 from the rapidity of his execution1 received the nickname of il ,furioso2 and ,sebastiano del ,piombo used to say that ,tintoret could paint as much in two days as would occupy him for two years4 ,thirdly1 ,tintoret is entirely unconcerned respecting the satisfaction of the public4 ,he neither cares to display his strength to them1 nor convey his ideas to them2 when he finishes his work1 it is1 because he is in the humour to do so2 and the sketch which a meaner painter would have left incomplete to show how cleverly it was begun1 ,tintoret simply leaves because he has done as much of it as he likes 7,relation between ,michael ,angelo and ,tintoret1 passim74 ,the well-founded pride which is thus stamped on ,tintoret's art is conspicuous in his life4 ,from the first he stood alone4 ,his father had sent him as a boy to ,titian's studio2 but after ten days the master dismissed him4 ,from this time forward the two men remained upon distant terms1--,tintoretto being indeed an ardent admirer of ,titian1 but never a friend1 and ,titian and his set turning the cold shoulder upon ,tintoret4 ,the slight passed by ,titian upon the young ,tintoret threw him back upon his own resources1 and henceforth he pursued his own ideals1 self-taught4 ,he bought casts from the antique and from the works of ,michelangelo2 he devoted the day to painting1 and in the night he made drawings from his casts4 ,his persevering labour won for him in time a high position among the painters of ,venice1 and before he was forty he had become the acknowledged rival of ,titian himself4 ,for some years1 however1 he worked in poverty1 often accepting commissions without pay1 and when he became famous he often worked for nothing4 ,for years he painted in the ,scuola di ,san ,rocco--a shrine reared by ,tintoret to his own genius--at the rate of #ajj ducats a year4 ,for his ,paradise in the ,ducal ,palace1 the greatest picture in the world1 he was asked to name his own price1 but he left it to the ,state1 and abated something from what they tendered4 ,while the commission was still pending1 ,tintoret used to tell the senators that he prayed to ,god for it1 so that paradise itself might perchance be his recompense after death4 ,his exquisite ,three ,graces in the ,ducal ,palace was painted for fifty ducats4 ,he lived aloof from the world1 seldom leaving ,venice4 ,his house1 on the ,fondamenta de' ,mori1 is still standing1 and there are stories told of the way in which his wife1 the daughter of a ,venetian nobleman1 tried to guard against his unworldliness4 ,when he left the house she would wrap up money for him in a handkerchief1 and expected an account of it on his return4 ,tintoretto1 it is said1 had always to confess that he had spent it upon alms4 ,he loved all the arts1 and played the lute and various instruments1 some of them of his own invention4 ,he designed theatrical costumes1 and was well versed in mechanics4 ,he abounded in witty sayings1 but no smile1 we are told1 ever hovered on his lips4 ,he died at the age of seventy-six1 leaving as the record of a long life1 devoted with rare single-mindedness to his art1 the remark that the art of painting was one which became ever increasingly difficult4 ,a picture of particular interest in the ,national ,gallery1 being a representation by one of the greatest of artists of the patron saint of ,england4 ,the fight of ,st4 ,george with the dragon is familiar to every one1 being on the reverse of our gold sovereigns1 and in the ,jubilee coinage on that of our silver crowns4 ,as a piece of mere die-cutting1 that ,st4 ,george is one of the best bits of work we have on our money1 but a reference to its absurdities in design will serve admirably to bring out some of the imaginative merits of this picture4 ,on our coins ,st4 ,george's horse looks abstractedly in the air1 instead of where it would have looked1 at the beast between its legs4 ,here ,tintoret has admirably brought out the chivalry of the horse4 ,knight and charger are alike intent upon their foe1 and note that ,st4 ,george wears no spurs3 the noble animal nature is attuned to his rider4 ,but1 though un-spurred1 ,st4 ,george is every inch a knight4 ,his whole strength is given in the spear-thrust which is to kill the dragon3 compare this with ,st4 ,george on our coins1 with nothing but his helmet on 7being the last piece of armour he is likely to want71 putting his naked feet1 at least his feet showing their toes through the buskins1 well forward1 that the dragon may with the greatest convenience get a bite at them2 and about to deliver a mortal blow at him with a sword which cannot reach him by a couple of yards4 ,to understand the other touches of true imagination in ,tintoret's picture1 it is necessary to recall the meaning of the legend of ,st4 ,george and the ,dragon 7identical with that of ,perseus and ,andromeda74#ei ,the dragon represents the evil of sinful1 fleshly passion1 the element in our nature which is of the earth1 earthy4 ,notice with what savage tenacity1 therefore1 the beast is made to clutch at the earth4 ,from his mouth he is spitting fire--the red fire of consuming passion4 ,st4 ,george is the champion of purity2 he rides therefore on a white horse1 white being the typical colour of a blameless life4 ,he wears no helmet--for that might obscure his sight1 and the difficulty in this warfare is not so much to kill your dragon as to see him4 ,in front of him is the dead body of another man3 ,he gazes on the silent dead ,they perished in their daring deeds4 ,this proverb flashes through his head1 ,the many fail1 the one succeeds4 ,behind him is a long castle wall1 the towers and battlements perhaps of some great city4 ,in many pictures of this subject 7see e4g4 #ge7 there are crowds of spectators on the walls1 who will cheer the knight in his struggle and applaud him in his victory4 ,but here the walls are deserted1 and but for the princess in the foreground1 there are no spectators of the struggle3 it is one which has to be fought alone and in secret places4 ,the princess had been given1 in the story1 as a sacrifice to the dragon1 and ,st4 ,george1 who comes to rescue her1 is thus the type of noble chivalry4 ,she turns away for flight2 and if her hands are raised to heaven1 and her knees fall to earth1 it is more that she stumbles in a woman's weakness1 than that she abides in faith or sweet surrender4 ,tintoret sees the scene as in the first place a matter of fact1 and paints accordingly1 following his judgment of girl nature4 ,but in another sense the princess of the allegory represents the soul of man1 which has to be freed from subjection to the dragon of the flesh4 ,and so perhaps ,tintoret makes her fly1 from a certain ascetic feeling1 a sense growing with the growing license of ,venice1 that the soul must rather escape from this monster by flight than hope to see it subdued and made serviceable 7,st4 ,mark's ,rest1 ,second ,supplement1 pp4 #ad1 #ba1 #cc2 ,fors ,clavigera1 #ahgc1 xxv4 and xxvi47 #ag4 ,,the ,,holy ,,family4 ,andrea del ,sarto#fj 7,florentine3 #adhf-aeca74 ,see #fij4 ,st4 ,elizabeth with her son1 the infant ,john the ,baptist1 visiting the ,madonna and infant ,christ4 ,it is a ,holy ,family1 but except for the symbolical cross of the ,baptist and the faint circlet of golden light surrounding the ,madonna's head1 there is no hint of divinity about this pretty domestic scene4 #ah4 ,,christ ,,and ,,the ,,pharisees4#fa ,bernardino ,luini 7,lombard3 about #adge-aecc74 ,bernardino1 dear little ,bernard1 the son of ,giovanni ,lutero1 called ,luini from his birthplace ,luino1 on the ,lago ,maggiore1 is perhaps1 says ,ruskin1 the best central type of the highly-trained ,italian painter1 being alone in uniting consummate art-power with untainted simplicity of religious imagination4 ,the two elements1 poised in perfect balance1 are so calmed and restrained1 each by the other1 that most of us lose the sense of both4 ,next to nothing is known of his life beyond journeys to various places in the lake district--,lugano1 ,legnano1 and ,saronno1 to paint frescoes4 ,we have no anecdotes of him1 only hundreds of noble works4 ,child of the ,alps1 and of their divinest lake1 he is taught1 without doubt or dismay1 a lofty religious creed1 and a sufficient law of life1 and of its mechanical arts4 ,whether lessoned by ,leonardo himself1 or merely one of many1 disciplined in the system of the ,milanese ,school1 he learns unerringly to draw1 unerringly and enduringly to paint 444 a mighty colourist1 while ,leonardo was only a fine draughtsman in black1 staining the chiaroscuro drawing like a coloured print4 ,luini's tasks are set him without question day by day1 by men who are justly satisfied with his work1 and who accept it without any harmful praise or senseless blame4 ,place1 scale1 and subject are determined for him on the cloister wall or the church dome2 as he is required1 and for sufficient daily bread1 and little more1 he paints what he has been taught to design wisely and has passion to realise gloriously3 every touch he lays is eternal1 every thought he conceives is beautiful and pure 7,queen of the ,air1 #aeg2 ,catalogue of the ,educational ,series1 p4 #dc2 ,oxford ,lectures on ,art1 #gc1 #ib74 ,this picture1 formerly ascribed to ,leonardo1 belongs to ,luini's second period1 when he was under the influence of that master4 ,to his third and independent manner belong the frescoes at ,milan1 ,saronno1 and ,lugano1 and the three pictures in ,como ,cathedral 7,morelli's ,italian ,masters in ,german ,galleries1 #ahhc1 pp4 #dce-dch74 ,luini's female figures 7says ,sir ,frederick ,burton7 are full of sweetness and gracious dignity2 and should we incline to cavil at the monotony of his type1 its loveliness disarms us4 ,but a merit even higher than his sense of beauty is the pathos which he infused into subjects that required it4 ,these he imagined from within outwards1 following his inspiration without egotism or mannerism4 ,he appears to most advantage in fresco2 for few have understood so well as he the management of the limited palette of the fresco painter1 and that skilful juxtaposition of tints by which the value of each is exalted4 ,the decorated party-wall and adjacent chapels in ,s4 ,maurizio at ,milan must once have been as conspicuous for their harmonious colouring as the former still is for the radiant beauty of the ,virgin ,saints in its lower compartment4 ,copies of several of ,luini's frescoes are included in the ,arundel ,society's ,collection4 ,christ is arguing with the ,pharisees1 but he wears the tender expression of the man who did not strive nor cry1 neither was his voice heard in the streets4 ,the disputant on the extreme right1 with the close-shaven face and firm-set features1 has his hand on a volume of the ,scriptures1 and is taking his stand 7as it were7 on the letter of the law4 ,the one on the extreme left1 on the other hand1 is almost persuaded4 ,in contrast to him is the older man with the white beard1 who seems to be marvelling at the presumption of youth4 ,the remaining head is the type of the fanatic2 by our law he ought to die4 ,this picture1 besides its splendid colouring1 is a good instance of that law of order or symmetry which is characteristic of all perfect art4 ,the central figure faces us2 there are two figures on one side1 balanced by two on the other2 the face in the left corner looks right1 that in the right corner looks left1 whilst to break any too obtrusive symmetry the head of ,christ itself inclines somewhat to the left also4 ,this famous picture1 of which there are several old copies1 was formerly in the ,aldobrandini apartments in the ,borghese ,palace at ,rome4 #ai4 ,,narcissus ,,and ,,echo4 ,claude 7,french3 #afjj-afhb74 ,see #b4 ,narcissus1 a beautiful youth1 was beloved by the nymph ,echo1 but he spurned her love1 and when she pined away she was changed into a stone which still retained the power of voice4 ,but ,narcissus1 seeing his own image reflected in a fountain1 became enamoured of it1 and when he could never reach his phantom love he killed himself for grief1 and the nymphs who came to burn his body found only the short-lived flower that bears his name4 ,here1 half-hidden in the trees1 we see the ,naiad hid beneath the bank1 ,by the willowy river-side1 ,where ,narcissus gently sank1 ,where unmarried ,echo died4 ,ionica4 ,this was one of ,sir ,george ,beaumont's ,claudes which ,constable so much admired when he was staying at ,coleorton4 ,i am now going1 wrote ,constable to his wife1 to breakfast before the ,narcissus of ,claude4 ,how enchanting and lovely it is2 far1 very far surpassing any other landscape ,i ever beheld 7,leslie's ,life of ,constable1 #ahde1 p4 #abj74 ,ruskin1 on the other hand1 finds fault with some of the details1 as showing ,claude's ignorance of tree structure4 ,take the stem of the chief tree in ,claude's ,narcissus4 ,it is a very faithful portrait of a large boa-constrictor with a handsome tail2 the kind of trunk which young ladies at fashionable boarding schools represent with nosegays at the top of them by way of forest scenery4 ,again1 ,observe the bough underneath the first bend of the great stem1 444 it sends off four branches like the ribs of a leaf4 ,the two lowest of these are both quite as thick as the parent stem1 and the stem itself is much thicker after it has sent off the first one than it was before4 ,the top boughs of the central tree1 in the ',marriage of ,isaac and ,rebecca' 7#ab71 ramify in the same scientific way 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 vi4 ch4 i4 #g1 #i74 #bj4 ,,ippolito ,,de' ,,medici ,,and ,,the ,,artist4 ,sebastiano del ,piombo 7,venetian3 #adhe-aedg74 ,see #a4 ,in #aeca ,sebastiano received from the ,pope the office of ,frate del ,piombo1 ,monk of the ,leaden ,signet1 which was affixed to the pontifical diplomas4 ,an entertaining account of ,sebastiano's appointment is given in ,benvenuto ,cellini's ,memoirs 7see ,symonds's translation1 i4 #aej74 ,the painter is here dressed in the black robe of his office2 on the table are two parchment-deeds1 with ,sebastiano's hand on the seal of one of them1 and the picture thus represents1 perhaps1 the ratification of the appointment by his friend and patron1 the ,cardinal ,ippolito de' ,medici4 ,the artist's portrait of himself agrees very well with what ,vasari says of his character4 ,he was a painter more of necessity than of choice1 and when once he received his valuable sinecure he forsook his palette for the lute1 and people found it very hard to get any work out of him4 ,he much preferred talking about pictures1 says ,vasari1 to executing them4 ,he was of a very full habit1 and young painters who resorted to him rarely made any great profit1 since from his example they could learn little beside the art of good living4 ,but he was a thoroughly good fellow1 and a kindly withal4 ,a better or more agreeable companion never lived2 and when he died he commanded that his remains should be carried to the tomb without any ceremony of priests and friars1 and that the amount which would have been thus expended should be distributed to the poor1 for the love of ,god3 and so was it done4 ,but in one branch of art1 adds ,vasari1 ,sebastiano was always ready to work1 namely1 in painting portraits1 such as this1 from the life4 ,in this art he did certainly surpass all others in delicacy and excellence--so much so that when ,cardinal ,ippolito fell in love with the lady ,giulia ,gonzaga1 he sent ,sebastiano with four swift horses to her home for the purpose of taking her portrait1 and in about a month the artist completed the likeness1 when1 what with the celestial beauties of that lady1 and what with the able hand of so accomplished a master1 the picture proved to be a most divine one4 ,no4 #bd was formerly thought to be the portrait in question4 #ba4 ,,portrait ,,of ,a ,,florentine ,,lady4 ,cristofano ,allori 7,florentine3 #aegg-afba74 ,an excellent portrait-painter1 who painted many of the distinguished persons of his time4 ,of his other works1 the best known is the ,judith with the head of ,holophernes1 in the ,pitti4 ,the ,judith so beautifully and magnificently attired is a portrait of his mistress2 while her mother appears in the character of ,abra1 and the head of ,holophernes is that of the painter1 who permitted his beard to grow for this purpose4 ,he was very fastidious in his execution4 ,from this method1 and from vicious habits that often seduced him from his labours1 his pictures are rare1 and he himself is little known 7,lanzi's ,history of ,painting1 i4 #bag74 ,cristofano was the son of ,alessandro ,allori1 a painter of ,michelangelo's school4 ,notice the richly embroidered head-dress1 resembling in form the ,venetian rolled coif or turban which often occurs in pictures of ,titian4 #bb4 ,,angels ,,weeping ,,over ,,the ,,dead ,,christ4 ,guercino 7,eclectic-,bologna3 #aeia-afff74 ,giovanni ,francesco ,barbieri was called ,guercino1 the ,squintling1 from an accident which distorted his right eye in babyhood4 ,he attained to much fame and wealth in his day2 but was self-taught1 and the son of humble parents1 his father being a wood-carrier1 and agreeing to pay for his son's education by a load of grain and a vat of grapes delivered yearly4 ,as a young man1 he settled in ,rome1 where he became acquainted with ,caravaggio4 ,he returned to his native town1 ,cento1 in #afbc1 and there founded an academy which was much frequented by young painters4 ,in #afdb he removed to ,bologna1 where he died in affluent circumstances in #afff4 ,in art history ,guercino is interesting as showing the blending of the ,eclectic style of the ,carracci with the ,naturalistic style of ,caravaggio4 ,in the work of his latest1 or ,bolognese1 period1 when he appears to have endeavoured to approximate to the style of ,guido1 he forsook the vigorous handling and treatment of his earlier pictures and fell into an insipid manner 7,burton74 ,guercino 7says ,symonds7 lived the life of an anchorite1 absorbed in studies1 reserved1 sober1 pious1 truthful1 sincere in his commerce with the world1 unaffectedly virtuous1 devoted to his art and ,god4 ,in the motives of his picture one sees reflected the ,catholic revival of his day1--the ,christianity of the age was not nave1 simple1 sincere1 and popular1 but hysterical1 dogmatic1 hypocritical1 and sacerdotal4 ,it was not ,christianity indeed1 but ,catholicism galvanised by terror into reactionary movement 7,renaissance1 vii4 #bcb74 ,a comparison even of this little picture--in its somewhat morbid sentiment--with such an one as ,crivelli's 7#fjb7--with its deeper because simpler feeling--well illustrates the nature of the change4 ,this is1 however1 one of ,guercino's best works4 ,it was formerly in the ,borghese ,gallery1 and ,rumohr1 in his account of that collection 7#aghd71 notices it as one of the productions of the painter's best time4 ,the figure of ,christ is admirable in drawing and foreshortening1 and painted with a broad decisive touch in really astonishing relief2 while the weeping angels1 if not of an elevated type1 are marked by a real navet and sincerity of pathos4 ,the wonderful chiaroscuro is here not only rich1 and well concentrated1 too1 beyond the painter's wont1 but impressive1 and duly accounted for by the supernatural luminosity of the body of ,christ 7,portfolio1 ,august #ahia74 #bc4 ,,the ,,virgin ,,of ,,the ,,basket4 ,correggio 7,parmese3 #adid-aecd74 ,see #aj4 ,a celebrated work of the master1 and one of the principal treasures of the ,national ,gallery--a little gem of extraordinary tenderness1 ,mengs calls it2 and ,frizzoni1 an incomparable marvel of light1 vivacity1 and smiling sweetness4 ,alike in sentiment and in technique1 it is very characteristic4 ,a comparison of it with ,raphael's great ,madonna or any of those of the earlier masters 7e4g4 ,bellini7 will show in a moment wherein the peculiarity of ,correggio consists4 ,the mother has none of the rapt look of the woman who laid these things in her heart1 and the child has no prophetic sense of future suffering4 ,there is nothing to mark the picture as representing the ,holy ,family except the introduction of ,joseph1 the carpenter1 in the background4 ,it is a picture painted solely in the religion of humanity1 and full only of artless grace and melodious tenderness4 ,the child is full of play and fun2 the mother 7with the household basket which gives the picture its name--,la ,vierge au panier7 is dressing him1 and has just succeeded in putting his right arm through the sleeve of his little coat1 and is endeavouring by gentle stratagem to do the same with the left2 but something has caught his fancy1 and she shares in his delight1 smiling with all a young mother's fondness at the waywardness of her curly-haired boy4 ,as a painting1 says ,sir ,edward ,poynter1 it is one of those masterpieces of perfect technicality1 of brilliant purity of lighting and colouring1 and of completeness of modelling in the flesh tints1 combined with the utmost apparent ease of execution1 which may well be the despair of painters for all time4 ,as a design it is no less remarkable2 for though of studied harmony in the arrangement of the forms it is so natural that all appearance of effort is lost1 and we cannot conceive of the scene as being rendered in a more artless manner 7,the ,national ,gallery1 i4 #d74 ,the date of this picture is uncertain4 ,some1 liking to find in it a piece of the painter's own home-life1 have dated it #aeba-bb1 that is just after the birth of ,correggio's first child4 ,others put it earlier in the artist's career1 #aeah4 ,it is perhaps the picture which ,vasari describes as in the possession of the ,cavaliere ,baiardi of ,parma--a marvellous and beautiful work by ,correggio1 in which ,our ,lady puts a little shirt on the ,infant ,christ4 ,it was afterwards in the royal collection at ,madrid1 from which it passed by the gift of ,charles ,,iv4 to ,don ,emanuele ,goday1 at whose instance it was subjected to a most rigorous cleaning4 ,during the ,french invasion of ,spain it fell into various hands1 and in #ahbe was bought for the ,national ,gallery from ,mr4 ,c4 ,j4 ,nieuwenhuys for #chjj--;a sum1 it has been calculated1 that would cover the little panel with sovereigns just twenty-seven times over4 #bd4 ,,an ,,italian ,,lady ,,as ,,st4 ,,agatha4 ,sebastiano del ,piombo 7,venetian3 #adhe-aedg74 ,see #a4 ,the nimbus around the head indicates the saint2 the palm branch and the pincers indicate ,st4 ,agatha1 who was bound and beaten with rods1 and her tender bosom was cruelly torn with iron pincers2 and as her blood flowed forth1 she said1 ',o thou tyrant6 shamest thou not to treat me so--- thou who hast been nourished and fed from the breast of a mother8' ,and this was her only plaint4 ,see also under #bj4 #be4 ,,st4 ,,john ,,in ,,the ,,wilderness4 ,annibale ,carracci 7,eclectic-,bologna3 #aefj-afji74 ,see #i4 ,and the child grew1 and waxed strong in spirit1 and was in the deserts till the day of his shewing unto ,israel 7,luke i4 #hj74 ,in his left hand is the standard of the ,lamb1 the symbol of his mission1 for which he is preparing himself in the desert solitude1 while with his right he catches water in a cup from a stream in the rocks1 symbolical of the water by which that mission1 the baptism unto repentance1 was to be accomplished4 #bf4 ,,the ,,consecration ,,of ,,st4 ,,nicholas4 ,paolo ,veronese 7,veronese3 #aebh-aehh74 ,paolo ,caliari 7called ,veronese from his birthplace7 stands1 says ,ruskin1 in the forefront of the great colourists4 ,titian1 ,veronese1 and ,tintoret were the only painters who ever sought entirely to master1 and who did entirely master1 the truths of light and shade as associated with colour1 in the noblest of all physical created things1 the human form4 ,with ,veronese1 the whole picture is like the rose--glowing with colour in the shadows1 and rising into paler and more delicate hues1 or masses of whiteness1 in the lights4 ,contrasting the aims of ,veronese with those of the great chiaroscurists1 ,ruskin says3 ,veronese chooses to represent the great relations of visible things to each other1 to the heaven above1 and to the earth beneath them4 ,he holds it more important to show how a figure stands relieved from delicate air1 or marble wall2 how as a red1 or purple1 or white figure1 it separates itself1 in clear discernibility1 from things not red1 nor purple1 nor white2 how infinite daylight shines round it2 how innumerable veils of faint shadow invest it2 how its blackness and darkness are1 in the excess of their nature1 just as limited and local as its intensity of light2 all this1 ,i say1 he feels to be more important than showing merely the exact measure of the spark of sunshine that gleams on a dagger-hilt1 or glows on a jewel4 ,all this1 moreover1 he feels to be harmonious1--capable of being joined in one great system of spacious truth4 ,and with inevitable watchfulness1 inestimable subtlety1 he unites all this in tenderest balance1 noting in each hair's-breadth of colour1 not merely what its rightness or wrongness is in itself1 but what its relation is to every other on his canvas4 ,in the tone of his colouring ,paolo retained1 as ,sir ,f4 ,burton points out1 much of the tradition of the ,veronese school4 ,the silvery tone which differentiates his best works from the golden lustre of ,titian was not gained in ,venice1 and under the lightsome skies of the lagoons he was not tempted to alter it4 ,in the tone of his mind ,veronese was thoroughly ,venetian4 ,it is a certain gay grasp of the outside aspects of the world that distinguishes him4 ,by habitual preference1 exquisitely graceful and playful2 religious1 without severity1 and winningly noble2 delighting in slight1 sweet everyday incident1 but hiding deep meanings underneath it2 rarely painting a gloomy subject1 and never a base one 7,modern ,painters1 vol4 iii4 pt4 iv4 ch4 iii4 #af2 vol4 iv4 pt4 v4 ch4 iii4 #ah1 ch4 xx4 #af2 vol4 v4 pt4 ix4 ch4 iii4 #bg2 ,cambridge ,inaugural ,lecture in ,o4,o4,r41 vol4 i4 #cad74 ,thus ,venetian in character1 it is the ,venice of his time--with all its material magnificence and pride of life of a nation of merchant princes--that ,veronese everywhere paints4 ,veronese1 says ,symonds1 elevated pageantry to the height of serious art4 ,his domain is noonday sunlight ablaze on sumptuous dresses and ,palladian architecture4 ,armour1 shot silks and satins1 brocaded canopies1 banners1 plate1 fruit1 sceptres1 crowns--all things1 in fact1 that burn and glitter in the sun--form the habitual furniture of his pictures4 ,it is characteristic of the spirit of his time that the pictures by ,veronese of banquets and other scenes of gaiety were mostly painted for monasteries4 ,the frank introduction of the costumes of the painter's own time1 clothing the fine race to which he belonged1 gives to his pictures of this kind an historical interest4 ,often he introduces portraits into his groups4 ,in expression his figures are often deficient4 ,he will make the ,magdalene wash the feet of ,christ with a countenance as absolutely unmoved as that of any ordinary servant bringing an ewer to her master4 ,animal force in men1 superb voluptuousness in women1 were his favourite types4 ,his noblest creatures are men of about twenty-five1 manly1 brawny1 crisp-haired1 full of nerve and blood4 ,in all this ,veronese resembles ,rubens4 ,but he does not1 like ,rubens1 strike us as gross1 sensual1 fleshly2 he remains proud and powerful1 and frigidly urbane4 ,the same love of display led him to delight in allegory--not allegory of the deep and mystic kind1 but of the pompous and processional1 in which ,venice appears enthroned among the deities1 or the genii of the arts are personified as handsome women and blooming boys4 ,he painted with marvellous facility and revelled1 as we have seen1 in exuberance4 ,in this he resembled ,rubens1 but he combined1 as ,rubens did not1 moderation with profusion4 ,amid so much that is distracting1 ,veronese never loses command over his subject or his brush1 restraining1 for truth's sake1 his exhaustless energy2 reining back1 for truth's sake1 his fiery strength2 veiling1 before truth1 the vanity of brightness2 penetrating1 for truth1 the discouragement of gloom2 ruling his restless invention with a rod of iron2 pardoning no error1 no thoughtlessness1 no forgetfulness2 and subduing all his powers1 impulses1 and imaginations1 to the arbitrament of a merciless justice1 and the obedience of an incorruptible verity4 ,of the life of ,paolo ,veronese few incidents are related4 ,he was the son of a stone carver1 and having shown a propensity to painting was apprenticed to his uncle1 a mediocre artist4 ,in his native city the works of ,cavazzola and other ,veronese masters were before his eyes4 ,after executing some commissions in ,mantua and ,verona1 he went in #aeee to ,venice1 which was henceforward to be his home and the scene of his triumphs4 ,he soon began to rank with ,tintoretto1 who was nearly twenty years his senior1 and with ,titian1 then in his eightieth year4 ,he entered into a competition for painting the ceiling of the library of ,st4 ,mark1 and executed the commission with so much power that his very rivals voted him the golden chain which had been tendered as an honorary distinction4 ,he visited ,verona in #aefe1 where he then married the daughter of his old master2 and in #aefj-fa he went to ,rome in the suite of ,grimani1 the ,venetian ambassador4 ,with these exceptions he remained in ,venice1 full of work and honour4 ,upon his death his two sons and his younger brother1 ,benedetto1 continued the work of his studio1 signing the works which they produced in common as heirs of ,paolo ,caliari ,veronese4 ,this picture1 which was formerly in the church of ,san ,niccolo de' ,frari at ,venice1 represents the consecration of ,nicholas 7for whom see #aaga7 as ,bishop of ,myra1 in ,syria 7hence the turbans of the attendants74 ,two dignitaries of the ,church are presenting him to the patriarch1 who holds aloft the symbolical cross of the ,redeemer1 and with his right hand gives his blessing4 ,the bishop-elect abases himself meanwhile that he may be exalted1 while the angel descending with the mitre and crozier signifies that his call is from above4 ,clearly it is the pageantry of a ,church function that fascinates the painter4 ,his art is seen at its best1 says ,sir ,edward ,poynter1 in the grouping and light and shade in this picture4 ,the boy kneeling on the right is a masterpiece of silvery colour1 and1 with his red stockings1 gives vivacity to the whole composition4 ,we may also observe in this picture the employment of a glaze4 ,the kneeling figure of the ,saint is robed in green1 with sleeves of golden orange4 ,this latter colour is carried through as under-painting over the whole draped portions of the figure1 the green being then floated over and so manipulated that the golden tint shows through in parts and gives the high lights on the folds 7,baldwin ,brown's ,fine ,arts1 #ahia1 p4 #caj74 #bg4 ,,the ,,pope ,,julius ,,ii4 ,raphael 7,urbino3 #adhc-aebj74 ,see #aaga4 ,this is one of nine replicas1 or contemporary copies1 of the portrait in the ,uffizi at ,florence4 ,julius died in #aeac2 the portrait belongs1 therefore1 to the earlier part of ,raphael's ,roman period4 ,the portrait of a ,pope of the church militant4 ,raphael has caught the momentary repose of a restless and passionate spirit1 and has shown all the grace and beauty which are to be found in the sense of power repressed and power at rest4 ,seated in an arm-chair1 with head bent downward1 the ,pope is in deep thought4 ,his furrowed brow and his deep-sunk eyes tell of energy and decision4 ,the down-drawn corners of his mouth betoken constant dealings with the world 7,creighton's ,history of the ,papacy74 ,for it was in the temporal1 not in the spiritual world that ,julius lived and moved and had his being1 and became1 by his combination of military and diplomatic abilities1 the most prominent political figure of his day4 ,but1 like other great princes of the time1 ,julius was a liberal and enlightened patron of the arts3 it was he who laid the foundation-stone of ,st4 ,peter's1 and who called ,michael ,angelo and ,raphael to his court4 ,on the green hanging which forms the background1 the cross-keys of the pontifical office are indicated1 and from the two corners of the back of the chair rise two shafts1 surmounted by gilt ornaments in the form of acorns--in reference to the armorial bearings of the ,pope's family 7della ,rovere74 ,no amount of elaboration in the background could disturb the attention of any one looking at the portrait of ,julius the ,second1 by ,raphael1 also in the ,tribune1 which ,i cannot help thinking is the finished portrait in the world4 ,a portrait is the most truly historical picture1 and this is the most monumental and historical of portraits4 ,the longer one looks at it the more it demands attention4 ,a superficial picture is like a superficial character--it may do for an acquaintance1 but not for a friend4 ,one never gets to the end of things to interest and admire in many old portrait-pictures 7,g4 ,f4 ,watts1 ,r4,a41 in the ,magazine of ,art1 ,january #ahhi74 #bh4 ,,susannah ,,and ,,the ,,elders4 ,lodovico ,carracci 7,eclectic-,bologna3 #aeee-afai74 ,lodovico is famous in art history as the founder of the ,eclectic school of ,bologna4 ,disgusted with the weakness of the ,mannerists 7of whom ,baroccio was the best2 see next picture71 he determined to start a rival school1 and enlisted the services of his two cousins1 ,agostino and ,annibale1 for that purpose4 ,their object1 as expressed in a sonnet by ,agostino1 was to be to acquire the design of ,rome1 ,venetian action1 and ,venetian management of shade1 the dignified colour of ,lombardy 7,leonardo71 the terrible manner of ,michael ,angelo1 ,titian's truth and nature1 the sovereign purity of ,correggio's style1 and the just symmetry of ,raphael4 ,lodovico1 who was the son of a ,bolognese butcher1#fb was a man of very wide culture and of great industry4 ,in natural talent he was deficient4 ,when first sent to an art school at ,bologna1 he was called by his companions the ox1 and when he visited ,venice the veteran ,tintoretto warned him that he had no vocation4 ,but resolving to win by industry what nature seemed to have denied him1 he studied diligently at ,florence1 ,parma1 ,mantua1 and ,venice4 ,he superintended the school1 at first conjointly with his cousins1 afterwards alone1 from #aehi to his death4 ,a less objectionable rendering than most1 of the story of ,susannah in the ,apocrypha--a story for all time1 setting forth as it does the way in which minions of the law too often prey upon the innocent1 and the righteous condemnation that the people1 when there are just judges in the land1 mete out to the offenders4 ,two judges1 ancients of the people1 approached ,susannah and threatened to report her as guilty unless she consented to do their bidding4 ,she refused1 and was reported accordingly4 ,judgment had well-nigh gone against her1 when ,daniel arose to convict the elders of false-witness1 and they were straightway put to death4 ,it is the moment of ,susannah's temptation that the artist here depicts4 ,it is1 says ,hazlitt 7p4 #e71 as if the young ,jewish beauty had been just surprised in that unguarded spot--crouching down in one corner of the picture1 the face turned back with a mingled expression of terror1 shame1 and unconquerable sweetness1 and the whole figure1 with the arms crossed1 shrinking into itself with bewitching grace and modesty4 ,but ,hazlitt never took notes1 and ,susannah's arms are not crossed--nor is her expression quite so nave as he describes4 #bi4 ,,our ,,lady ,,of ,,the ,,cat4 ,baroccio 7,umbrian3 #aebh-afab74 ,federigo ,barocci1 or ,baroccio1 is the best of the ,mannerists4 ,he feebly continued the style of ,correggio1 says ,symonds1 with a certain hectic originality1 infusing sentimental pietism into that great master's pagan sensuousness 7,renaissance1 viii4 #baa74 ,his colouring is peculiar3 he used too much vermilion and ultramarine1 and too few yellows4 ,he was a native of ,urbino1 and the son of a sculptor4 ,in #aedh he went to ,rome and remained there some years1 devoting his time to the study of ,raphael4 ,he then returned to ,urbino1 again visiting ,rome in #aefj1 when he was employed in the ,vatican4 ,while there he was nearly poisoned1 by some rival it is supposed1 and for the rest of his long life he suffered from disease of the stomach1 which rendered him unable to do much work4 ,he died at ,urbino at the age of eighty-four4 ,an admirable example of the decline of ,italian art4 ,the old religious spirit has entirely vanished1 and the ,holy ,family is represented as worrying a bird with a cat6 ,john the ,baptist holds the little goldfinch2 while the ,madonna expressly directs the attention of the infant ,christ to the fun4 ,see1 the cat is trying to get at it1 she seems to say4 ,behind the bird1 the painter1 in unconscious irony1 has placed the ,cross4 ,the visitor who wishes to see how far ,italian art has travelled in a hundred years should compare this picture with such an one as ,bellini's 7#bhj71 or with one of ,raphael's1 of whom ,baroccio was a fellow-countryman4 ,the connecting link should then be seen in ,correggio 7#bc74 ,with ,bellini or ,perugino1 the motive is wholly religious4 ,with ,raphael it is intermingled with artistic display4 ,correggio brings heaven wholly down to earth1 but yet paints his domestic scene with lovely grace4 ,baroccio brings1 one may almost say1 heaven down to hell1#fc and uses all his skill to show the infant ,saviour's pleasure in teasing a bird4 ,but the artist only embodied the spirit of his time4 ,baroccio was one of the most celebrated painters of his day1 and his biographer 7,bellori7 writes of him that his pencil may be said to have been dedicated to religion3 so devout1 so tender1 and so calculated to awaken feelings of piety1 are the sentiments expressed in his pictures4 #cj4 ,,seaport3 ,,st4 ,,ursula4 ,claude 7,french3 #afjj-afhb74 ,see #b4 ,the best ,claude in the ,gallery1 for it is a perfect example of his chief merit--the painting of quiet skies4 ,constable1 in one of his lectures1 refers to it as probably the finest picture of middle-tint in the world4 ,the sun is rising through a thin mist1 which1 like the effect of a gauze blind in a room1 diffuses the light equally4 ,there are no large dark masses1 there is no evasion in any part of this admirable work1 every object is fairly painted in a firm style of execution1 yet in no other picture have ,i seen the evanescent character of light so well expressed 7,leslie's ,life of ,constable1 p4 #cch74 ,the effect of the breeze upon the water and upon the trees1 says ,ottley1 and the freshness of the morning atmosphere1 in this picture1 are expressed with a closeness of imitation bordering on illusion 7,descriptive ,catalogue of the ,national ,gallery1 #ahbf1 p4 #db74 ,as for the subject3 ,st4 ,ursula1 a beautiful and gifted ,sicilian princess1 was sought in marriage by a prince of ,britain2 but having already dedicated herself to ,christ1 she made a condition that before her marriage1 she1 with eleven thousand attendant virgins1 should be permitted for the space of three years to visit the shrines of the ,saints4 ,this being permitted1 the maidens started on a miraculous voyage4 ,guided by angels they proceeded as far as ,rome1 where pagans having plotted their death1 on their further journey to ,cologne they were martyred by the barbarians besieging that city4 ,here in the picture they are represented as embarking4 #ca4 ,,the ,,sacrifice ,,of ,,isaac4 ,gaspard ,poussin 7,french3 #afac-afge74 ,among the artists who were most closely associated with ,nicolas ,poussin 7see #ci7 were his wife's brothers1 ,giovanni and ,gaspard ,dughet4 ,the former was loved by ,poussin as a son2 the latter was also his pupil and adopted his name1 though in ,france he is familiarly known as ,le ,guaspre4 ,gaspard was ,poussin's junior by nineteen years1 and the older man1 recognising his abilities1 encouraged him to landscape painting4 ,by the time he was twenty1 ,gaspard had established himself as an independent painter in ,rome1 and his works were eagerly sought by lovers of art4 ,the ,palazzo ,doria and the ,palazzo ,colonna are especially rich in his works2 the picture now before us1 by some considered ,gaspard's masterpiece1 was formerly in the latter palace4 ,gaspard resided chiefly at ,rome1 but he also rented houses at ,frascati and at ,tivoli4 ,in the noble scenery of those places and elsewhere in the country around ,rome1 he found the subjects for many of his best pictures4 ,he worked so rapidly1 we are told1 that he would often finish a picture in a day4 ,he had a genuine love for nature1 and also a passion for the chase4 ,a little ass1 that he cared for himself1 his only servant1 bore his entire apparatus1 provisions1 and a tent1 under which1 protected from the sun and wind1 he made his landscapes4 ,there is 7says ,ruskin7 more serious feeling in his landscapes1 more perception of the moral truth of nature1 and grander reachings after sympathy than in those either of ,nicolas or of ,claude4 ,it is impossible to look at many of his pictures in this ,gallery without sharing the sense of grandeur and infinity in nature which inspired them1 and hence it is that from ,gaspard's own time till now they have enjoyed a permanent power of address to the human heart4 ,but more than this has been claimed for ,gaspard4 ,critics thought they found in his works faithful adherence to the truths of nature in sky and trees4 ,ottley1 for instance1 in his ,catalogue of the ,national ,gallery 7#ahbf71 speaks of ,gaspard's unrivalled correctness of imitation4 ,against these claims ,ruskin took up his fiery parable4 ,gaspard's pictures are full1 he says1 of the most degraded mannerism2 first and foremost1 in his search of a false sublimity1 he painted every object in his picture1 vegetation and all1 of one dull gray and brown2 and too many of his landscapes are now one dry1 volcanic darkness4 ,and secondly1 he had a total want of imagination in seizing the true forms of natural objects1 so that some passages of his landscapes are1 as we shall see1 perfect epitomes of the falseness to nature in the painters of that age#fd 7collected from ,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #c1 #ad2 vol4 ii4 pt4 iii4 sec4 i4 ch4 v4 #ab1 sec ii4 ch4 ii4 #ah2 vol4 iv4 pt4 v4 ch4 xvi4 #bd74 ,these remarks cannot be better illustrated than in the present picture4 ,abraham and ,isaac--the former with a lighted torch1 the latter with the wood--are ascending the hill on the right to the sacrifice2 while ,abraham's two servants await his return below4 ,the whole spirit of the picture is solemn and unbroken1 in perfect harmony with the subject4 ,but it is kept from being a really grand picture by the hopeless want of imagination in the forms of the clouds1 the colour of the sky1 and the treatment of the distant landscape4 ,these painters1 says ,ruskin1 looked at clouds1 with utter carelessness and bluntness of feeling2 saw that there were a great many rounded passages in them2 found it much easier to sweep circles than to design beauties1 and sat down in their studies1 contented with perpetual repetitions of the same spherical conceptions1 having about the same relation to the clouds of nature1 that a child's carving of a turnip has to the head of the ,apollo4444 ,take the ropy1 tough-looking wreath in the ',sacrifice of ,isaac1' and find one part of it1 if you can1 which is not the repetition of every other part of it1 all together being as round and vapid as the brush could draw them 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 iii4 ch4 iii4 #h74 ,equally deficient is the colour of the sky3-- ,it is here high noon1 as is shown by the shadow of the figures2 and what sort of colour is the sky at the top of the picture8 ,is it pale and gray with heat1 full of sunshine1 and unfathomable in depth8 ,on the contrary1 it is of a pitch of darkness which1 except on ,mont ,blanc or ,chimborazo1 is as purely impossible as colour can be4 ,he might as well have painted it coal-black3 and it is laid on with a dead coat of flat paint1 having no one quality or resemblance of sky about it4 ,it cannot have altered1 because the land horizon is as delicate and tender in tone as possible1 and is evidently unchanged2 and to complete the absurdity of the whole thing1 this colour holds its own1 without gradation or alteration1 to within three or four degrees of the horizon1 where it suddenly becomes bold and unmixed yellow4 ,now the horizon at noon may be yellow when the whole sky is covered with dark clouds1 and only one open streak of light left in the distance from which the whole light proceeds2 but with a clear1 open sky1 and opposite the sun1 at noon1 such a yellow horizon as this is physically impossible4444 ,we have in this sky 7and it is a fine picture1 one of the best of ,gaspar's that ,i know7 a notable example of the truth of the old masters--two impossible colours impossibly united6444 ,nor is this a solitary instance2 it is ,gaspar ,poussin's favourite and characteristic effect 7ibid41 vol4 i4 pt4 ii4 sec4 iii4 ch4 i4 #aj74 ,lastly1 the same want of truth is shown in the wide expanse stretching away to the distance3-- ,it is luminous1 retiring1 delicate and perfect in tone1 and is quite complete enough to deceive and delight the careless eye to which all distances are alike2 nay1 it is perfect and masterly1 and absolutely right1 if we consider it as a sketch1--as a first plan of a distance1 afterwards to be carried out in detail4 ,but we must remember that all these alternate spaces of gray and gold are not the landscape itself1 but the treatment of it2 not its substance1 but its light and shade4 ,they are just what nature would cast over it1 and write upon it with every cloud1 but which she would cast in play1 and without carefulness1 as matters of the very smallest possible importance4 ,all her work and her attention would be given to bring out from underneath this1 and through this1 the forms and the material character which this can only be valuable to illustrate1 not to conceal4 ,every one of those broad spaces she would linger over in protracted delight1 teaching you fresh lessons in every hair's-breadth of it1 until the mind lost itself in following her2 now fringing the dark edge of the shadow with a tufted line of level forest2 now losing it for an instant in a breath of mist2 then breaking it with the white gleaming angle of a narrow brook2 then dwelling upon it again in a gentle1 mounded1 melting undulation1 over the other side of which she would carry you down into a dusty space of soft crowded light1 with the hedges and the paths and the sprinkled cottages and scattered trees mixed up and mingled together in one beautiful1 delicate1 impenetrable mystery1 sparkling and melting1 and passing away into the sky1 without one line of distinctness1 or one instant of vacancy#fe 7ibid41 vol4 i4 pt4 ii4 sec4 ii4 ch4 v4 #h74 #cb4 ,,the ,,rape ,,of ,,ganymede4 ,school of ,titian4 ,see under #d4 ,ganymede--so the ,greek story ran--was a beautiful ,trojan boy beloved of ,jupiter1 and was carried off by an eagle to ,olympus to be the cup-bearer of the gods4 ,which things1 say some1 are an allegory--for those whom the gods love die young1 and are snatched off1 it may be1 in sudden death1 as by an eagle's swoop4 ,flushed ,ganymede1 his rosy thigh ,half-buried in the ,eagle's down1 ,sole as a flying star shot thro' the sky4 ,,tennyson3 ,palace of ,art4 ,this picture was painted1 like ,tintoret's ,milky ,way 7#acac7 and the four ,veroneses 7#acah1 #acbd-f71 for a compartment of a ceiling4 ,it corresponds with a picture described by ,ridolfi as painted by a scholar of ,titian1 though some connect it rather with ,tintoret 7see ,j4 ,b4 ,s4 ,holborn's ,tintoretto1 #aijc1 pp4 #cd1 #ce74 ,it was formerly in the ,colonna ,palace3 the background is a restoration by ,carlo ,maratti 7see #agd74 #cc4 ,,the ,,vision ,,of ,,st4 ,,jerome4 ,parmigiano 7,parmese3 #aejc-aedj74 ,a picture of great interest both for itself and for the circumstances under which it was painted4 ,parmigiano was painting it at ,rome in #aebg when the city was sacked by the army of the ,emperor ,charles ,v4 under ,constable ,bourbon4 ,so intent1 says ,vasari1 was our artist on his work that when his own dwelling was filled with certain of these men1 who were ,germans1 he remained undisturbed by their clamours1 and did not move from his place2 arriving in the room therefore1 and finding him thus employed1 they stood confounded at the beauty of the paintings they beheld1 and1 like good and sensible men as they must have been1 they permitted him to continue his occupation4#ff ,parmigiano had other narrow escapes in his career1 which ultimately came to a bad end1 owing1 ,vasari says1 to his forsaking painting for alchemy1 since he believed that he should make himself rich much more rapidly by the congelation of mercury than by his art4 ,francesco ,maria ,mazzola was called ,parmigiano from ,parma1 his birthplace4 ,after ,correggio settled there1 ,parmigiano devoted himself to the study and imitation of that master4 ,in #aebc he went to ,rome1 to study the works of ,raphael and ,michael ,angelo4 ,in #aeca he returned to ,parma1 and undertook an important commission to paint in one of its churches4 ,he was paid in advance1 and when after five years he had not begun the work he was imprisoned for breach of contract4 ,he was released on a promise that he would proceed with the frescoes1 but he fled the city1 and shortly afterwards died1 in his thirty-seventh year4 ,the chequered life of the artist finds a parallel in the varying fortunes of his reputation as an artist4 ,he was an imitator both of ,correggio and of ,michael ,angelo--here1 for instance1 the head of the infant ,christ recalls the former master1 the figures of ,st4 ,jerome and ,st4 ,john recall the latter2 and in his own day was held to have imitated them successfully1 whilst ,vasari adds that the spirit of ,raphael was said to have passed into ,parmigiano4 ,of one of his works ,reynolds1 two hundred years later1 expressed himself at a loss which to admire most1 the correctness of drawing or grandeur of conception4 ,but the fashion in art has changed since ,reynolds's day1 and modern critics have found ,parmigiano's work incongruous1 insipid1 and affected4 ,this difference of opinion is well exemplified in the case of this picture4 ,vasari calls it singularly beautiful1 and its subsequent popularity is attested by the number of copies of it extant 7visitors on ,students' ,days will still often see copyists at work on it74 ,but other critics have attributed its fame more to its defects than its beauties 7,passavant71 and have found it mannered and theatrical 7,mrs4 ,jameson71 and a pernicious adaptation of an incongruous style 7,dr4 ,richter74 ,leaving the visitor to form his own judgment1 we may remind him that the subject is a supposed dream of ,st4 ,jerome when doing penance in the desert4 ,he is asleep on the ground--doing penance1 it might seem from his distorted position1 even in his sleep1 with a skull before him and a crucifix beside him4 ,he is in the same desert where ,john the ,baptist once preached1 and thinking1 we may suppose1 of him1 ,st4 ,jerome sees him in vision--with his camel skin about him--pointing upwards to the sky4 ,there is the ,virgin ,mary seated as queen of heaven on a crescent moon1 with a palm branch in her hand--the symbol now1 not of martyrdom1 but of victory over sin and death4 ,and on her knee is the ,divine ,child1 who rests his right hand on a little book on the ,madonna's lap4 ,it is a volume1 we may suppose1 of the ,scriptures which ,st4 ,jerome had translated1 and the vision thus foreshadows the time when it should be said unto him1 ,well done1 thou good and faithful servant2 444 enter thou into the joy of thy ,lord4 #cd4 ,,venus ,,and ,,adonis4 ,titian 7,venetian3 #adgg-aegf74 ,see #d4 ,venus is endeavouring to detain ,adonis from the chase2 but the sun is up 7see his chariot in the sky7 and the young huntsman is eager to be off with his hounds and his spear4 ,the enamoured goddess caresses him1 but it will be in vain4 ,for ,cupid1 the god of love1 is not there3 he is asleep and at a distance1 with his bow and quiver hanging on a tree2 and all the blandishments of beauty1 unaided by love1 are as naught4 ,even as the sun with purple-colour'd face ,had ta'en his last leave of the weeping morn1 ,rose-cheek'd ,adonis hied him to the chase2 ,hunting he loved1 but love he laugh'd to scorn2 ,sick-thoughted ,venus makes amain unto him1 ,and like a bold-faced suitor 'gins to woo him4 ,,shakespeare3 ,venus and ,adonis4 ,this picture 7formerly in the ,colonna ,palace at ,rome7 is probably a studio-repetition of an original which is now at ,madrid1 and which was painted by ,titian for ,philip ,,ii4 of ,spain1 then ,king-,consort of ,england4 ,it was forwarded to him in ,london in #aeed4 ,the picture is thus forty years later than the ,bacchus and ,ariadne1 and critics find in it not unjustly a lack of the finer poetry which characterises the earlier classical works of the master4 ,that the aim of the artist was not a very high one1 or this poesia very near to his heart1 is demonstrated by the curiously material fashion in which he recommends it to his royal patron4 ,he says that 'if in the ,dana 7now at ,naples7 the forms were to be seen front-wise1 here was occasion to look at them from a contrary direction--a pleasant variety for the ornament of a camerino4' ,our worldly-wise painter evidently knew that material allurements as well as supreme art were necessary to captivate ,philip 7,claude ,philips3 ,the ,later ,work of ,titian1 p4 #hj74 #ce4 ,,bacchus ,,and ,,ariadne4 ,titian 7,venetian3 #adgg-aegf74 ,see #d4 ,a picture which is at once a school of poetry and a school of art--in its combination of all the qualities which go to make a great work of art possibly the finest picture in the world 7,poynter74 ,it is a translation on canvas of the scene described in ,catullus1 where ,bacchus1 the wine-god1 returning with his revel rout from a sacrifice1 finds ,ariadne on the seashore1 after she had been deserted by ,theseus1 her lover4 ,bacchus no sooner sees her than he is enamoured and determines to make her his bride-- ,bounding along is blooming ,bacchus seen1 ,with all his heart aflame with love for thee1 ,fair ,ariadne6 and behind him1 see1 ,where ,satyrs and ,sileni whirl along1 ,with frenzy fired1 a fierce tumultuous throng4444 ,there some wave thyrsi wreathed with ivy1 here ,some toss the limbs of a dismembered steer4444 ,others with open palms the timbrel smite1 ,or with their brazen rods make tinklings light4 ,carmen lxiv43 ,sir ,t4 ,martin's translation4 ,nothing can be finer than the painter's representation of ,bacchus and his rout3 there is a divine inebriety in the god which is the very incarnation of the spirit of revelry4 ,with this telling of the story1 says ,charles ,lamb 7,essay on ,barrenness of the ,imaginative ,faculty in the ,productions of ,modern ,art71 an artist1 and no ordinary one1 might remain richly proud4444 ,but ,titian has recalled past time1 and made it contributory with the present to one simultaneous effect4 ,with the desert all ringing with the mad cymbals of his followers1 made lucid with the presence and new offers of a god1--as if unconscious of ,bacchus1 or but idly casting her eyes as upon some unconcerning pageant1 her soul undistracted from ,theseus1 ,ariadne is still pacing the solitary shore1 in as much heart-silence1 and in almost the same local solitude1 with which she awoke at daybreak to catch the forlorn last glances of the sail that bore away the ,athenian4 ,but though as yet half unconscious1 ,ariadne is already under her fated star3 for above is the constellation of ,ariadne's crown--the crown with which ,bacchus presented his bride4 ,and observe in connection with the astronomical side of the allegory the figure in ,bacchus's train with the serpent round him3 this is the serpent-bearer 7,milton's ,orphiucus huge7 translated to the skies with ,bacchus and ,ariadne4 ,notice too another piece of poetry3 the marriage of ,bacchus and ,ariadne took place in the spring1 ,ariadne herself being the personification of its return1 and ,bacchus of its gladness2 hence the flowers in the foreground which deck his path4 ,the picture is as full of the painter's art as of the poet's4 ,note first the exquisite painting of the vine leaves1#fg and of the flowers in the foreground1 as an instance of the constant habit of the great masters to render every detail of their foreground with the most laborious botanical fidelity3 ,the foreground is occupied with the common blue iris1 the aquilegia1 and the wild rose 7more correctly the ,capparis spinosa72 every stamen of which latter is given1 while the blossoms and leaves of the columbine 7a difficult flower to draw7 have been studied with the most exquisite accuracy4 ,but this detail is sought not for its own sake1 but only so far as is necessary to mark the typical qualities of beauty in the object4 ,thus while every stamen of the rose is given because this was necessary to mark the flower1 and while the curves and large characters of the leaves are rendered with exquisite fidelity1 there is no vestige of particular texture1 of moss1 bloom1 moisture1 or any other accident1 no dewdrops1 nor flies1 nor trickeries of any kind2 nothing beyond the simple forms and hues of the flowers1 even those hues themselves being simplified and broadly rendered4 ,the varieties of aquilegia have in reality a grayish and uncertain tone of colour1 and never attain the purity of blue with which ,titian has gifted his flower4 ,but the master does not aim at the particular colour of individual blossoms2 he seizes the type of all1 and gives it with the utmost purity and simplicity of which colour is capable4 ,a second point to be noticed is the way in which one kind of truth has often to be sacrificed in order to gain another4 ,thus here ,titian sacrifices truth of aerial effect to richness of tone--tone in the sense1 that is1 of that quality of colour which makes us feel that the whole picture is in one climate1 under one kind of light1 and in one kind of atmosphere4 ,it is difficult to imagine anything more magnificently impossible than the blue of the distant landscape2 impossible1 not from its vividness1 but because it is not faint and aerial enough to account for its purity of colour2 it is too dark and blue at the same time2 and there is indeed so total a want of atmosphere in it1 that1 but for the difference of form1 it would be impossible to tell the mountains intended to be ten miles off1 from the robe of ,ariadne close to the spectator4 ,yet make this blue faint1 aerial1 and distant2 make it in the slightest degree to resemble the tint of nature's colour2 and all the tone of the picture1 all the intensity and splendour1 will vanish on the instant 7,modern ,painters1 vols4 i41 xxvii41 xxx4 7,preface to the ,second ,edition71 pt4 i4 sec4 ii4 ch4 i4 #e1 pt4 ii4 sec4 ii4 ch4 i4 #ae2 vol4 iii4 pt4 iv4 ch4 ix4 #ah2 vol4 v4 pt4 ix4 ch4 iii4 #ca2 ,arrows of the ,chace1 i4 #eh74 ,we may notice lastly what ,sir ,joshua ,reynolds points out 7,discourse viii471 that the harmony of the picture--that wonderful bringing together of two times of which ,lamb speaks above1 is assisted by the distribution of colours4 ,to ,ariadne is given 7say the critics7 a red scarf1 to relieve the figure from the sea1 which is behind her4 ,it is not for that reason alone1 but for another of much greater consequence2 for the sake of the general harmony and effect of the picture4 ,the figure of ,ariadne is separated from the great group1 and is dressed in blue1 which1 added to the colour of the sea1 makes that quantity of cold colour which ,titian thought necessary for the support and brilliancy of the great group2 which group is composed1 with very little exception1 entirely of mellow colours4 ,but as the picture in this case would be divided into two distinct parts1 one half cold and the other warm1 it was necessary to carry some of the mellow colours of the great group into the cold part of the picture1 and a part of the cold into the great group2 accordingly1 ,titian gave ,ariadne a red scarf1 and to one of the ,bacchantes a little blue drapery4 ,this famous picture was a commission from the ,duke ,alfonso ,i4 of ,ferrara4 ,there were great delays in its delivery1 the ,duke and his agents resorting alternately to threats and cajolery in order to extract the promised canvas from the painter4 ,among other excuses ,titian said he had no canvas for it4 ,the ,duke supplied the canvas1 and sent at the same time a frame4 ,but the picture did not come4 ,ultimately ,titian took it with him to ,ferrara in #aebb1 and finished it there4 ,he seems to have been engaged on it1 off and on1 for some three years4 ,the picture subsequently passed into the ,aldobrandini collection at ,rome1 from which it was purchased for an ,english collector in #ahjf4 ,twenty years later it was acquired by the ,national ,gallery4 #cf4 ,a ,,land ,,storm4 ,gaspard ,poussin 7,french3 #afac-afge74 ,see #ca4 ,the one gleam of light breaking through the clouds falls on the watch tower of a castle1 perched on a rock--a stately image of stability1 where all things else are bent beneath the power of the storm4 ,the spirit of the picture is1 however1 better than its execution4 ,take1 for instance1 the clouds4 ,they are mere massive concretions of ink and indigo1 wrung and twisted very hard1 apparently in a vain effort to get some moisture out of them 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 iii4 ch4 iv4 #f74 ,in the tree forms1 again1 ,ruskin sees a concentration of errors4 ,gaspard ,poussin1 by his bad drawing1 does not make his stem strong1 but his tree weak2 he does not make his gust violent1 but his boughs of ,indian-rubber 7for details of this criticism see ibid41 vol4 i4 pt4 ii4 sec4 vi4 ch4 i4 #ab1 #ac74 #cg4 ,see under #g4 #ch4 ,,the ,,abduction ,,of ,,the ,,sabine ,,women4 ,rubens 7,flemish3 #aegg-afdj74 ,peter ,paul ,rubens1 born on the festival of ,saints ,peter and ,paul 7hence his ,christian name71 is the chief glory of the ,flemish ,school1 and one of the great masters of the world4 ,it is impossible to walk round any gallery where there are good specimens of his work and not to be impressed at once with his power4 ,here1 one feels1 is a strong man1 who knew what he wanted to paint1 and was able to paint it4 ,whatever moral or poetical feelings he had or had not1 he was at any rate master of the painter's language1#fh and this language is itself so difficult and so vast1 that the mere possession of it argues the man is great1 and that his works are worth reading4 ,i have never spoken1 says ,ruskin elsewhere1 and ,i never will speak of ,rubens but with the most reverential feeling2 and whatever imperfections in his art may have resulted from his unfortunate want of seriousness and incapability of true passion1 his calibre of mind was originally such that ,i believe the world may see another ,titian and another ,raphael1 before it sees another ,rubens4 ,rubens affords1 in fact1 the ,northern parallel to the power of the ,venetians4 ,like the ,venetians1 too1 he is a great colourist4 ,the pictures by the later ,northern painters which here hang around his are dark and gloomy2 his are all bright and golden4 ,he is like ,paul ,veronese1 too1 in his gay grasp of the outside aspects of the world4#fi ,his pictures in this ,gallery embrace a wide range of subjects--some peaceful1 others tumultuous--some religious1 others profane1 but over them all is the same gay glamour1 ,alike1 to ,rubens1 came subjects of tumult or tranquillity1 of gaiety or terror2 the nether1 earthly1 and upper world were to him animated with the same feeling1 lighted by the same sun2 he dyed in the same lake of fire the warp of the wedding-garment or of the winding-sheet2 swept into the same delirium the recklessness of the sensualist and rapture of the anchorite2 saw in tears only their glittering1 and in torture only its flush4 ,a fourth characteristic1 which also cannot fail to be perceived in a general survey of ,rubens's pictures in the ,gallery1 remains to be noticed4 ,in all his exuberant joyousness is a strain of coarseness1 a want of feeling for grace and mystery4 ,there is an absence everywhere of refinement and delicacy1 a preference everywhere for abundant and excessive types4 ,he would have agreed1 one may think1 with the saying of ,blake 7in the ,marriage of ,heaven and ,hell71 exuberance is beauty1--,madonnas1 goddesses1 ,roman matrons1 have all alike a touch of grossness4 ,rubens1 says ,fromentin1 is very earthy1 more earthy than any among the masters whose equal he is1 but the painter comes to the aid of the draughtsman and the thinker1 and sets them free4 ,to like effect ,heine speaks of the colossal good humour of that ,netherlands ,titan1 the wings of whose spirit were so strong that they bore him up to the sun1 in spite of the hundredweights of ,dutch cheese hanging to his legs4 ,it is instructive to notice how the art of ,rubens was characteristic of the circumstances of his life and time4 ,in the first place1 though he travelled in many lands1 ,rubens remained to the end a ,fleming1 every inch of him4#gj ,a man long trained to love the monk's visions of ,fra ,angelico1 turns in proud and ineffable disgust from the first work of ,rubens which he encounters on his return across the ,alps4 ,but is he right in his indignation8 ,he has forgotten that while ,angelico prayed and wept in his olive shade1 there was different work doing in the dank fields of ,flanders2--wild seas to be banked out2 endless canals to be dug1 and boundless marshes to be drained2 hard ploughing and harrowing of the frosty clay2 careful breeding of stout horses and fat cattle2 close setting of brick walls against cold winds and snow2 much hardening of hands and gross stoutening of bodies in all this2 gross jovialities of harvest homes and ,christmas feasts which were to be the reward of it2 rough affections1 and sluggish imaginations2 fleshy1 substantial1 iron-shod humanities1 but humanities still2 humanities which ,god had his eye upon1 and which won1 perhaps1 here and there1 as much favour in his sight as the wasted aspects of the whispering monks of ,florence4 7,heaven forbid it should not be so1 since the most of us cannot be monks1 but must be ploughmen and reapers still47 ,and are we to suppose there is no nobility in ,rubens's masculine and universal sympathy with all this1 and with his large human rendering of it1 ,gentleman though he was1 by birth1 and feeling1 and education1 and place2 and1 when he chose1 lordly in conception also8 ,he had his faults1 perhaps great and lamentable faults1 though more those of his time and his country than his own2 he has neither cloister breeding nor boudoir breeding1 and is very unfit to paint either in missals or annuals2 but he has an open sky and wide-world breeding in him1 that we may not be offended with1 fit alike for king's court1 knight's camp1 or peasant's cottage4 ,it is thus that ,rubens was a child of ,flanders4 ,but he was also a child of the intellectual time in which he lived4 ,he was born at a time1 says ,ruskin1 when the ,reformation had been arrested--his father1 curiously enough1 had fled from ,antwerp as a ,reformer1 but afterwards returned to ,catholicism4 ,the ,evangelicals despised the arts1 while the ,roman ,catholics were effete or insincere1 and could not retain influence over men of strong reasoning power4 ,the painters could only associate frankly with men of the world1 and themselves became men of the world4 ,men1 ,i mean1 having no belief in spiritual existences1 no interests or affections beyond the grave4 ,not but that they still painted ,scriptural subjects4 ,altarpieces were wanted occasionally1 and pious patrons sometimes commissioned a cabinet ,madonna4 ,but there is just this difference between men of this modern period and the ,florentines or ,venetians--that1 whereas the latter never exert themselves fully except on a sacred subject1 the ,flemish and ,dutch masters are always languid unless they are profane4 ,rubens was thus a man of the world4 ,when a boy he was for some time page in the family of a countess at ,brussels4 ,but his bent towards art was too strong to be gainsaid4 ,when only twenty-two he was already a master-painter in the ,antwerp ,guild4 ,two years later he went to ,italy1 and for eight years he was in the service of the ,duke of ,mantua4 ,an excellent ,latin scholar1 he was also proficient in ,french1 ,italian1 ,english1 ,german1 and ,dutch4 ,these gifts procured him diplomatic employment4 ,in #afjc the ,fleming1 as they called him1 was sent on a mission to ,spain4 ,in #afjh news of his mother's illness reached him1 and he hastened home1 when he was appointed court-painter to the ,archduke ,albert1 then ,governor of the ,netherlands4 ,in #afbj he visited ,paris1 at the invitation of ,mary de' ,medici 7a sister of the ,duchess of ,mantua71 and received the commission for the celebrated series of pictures now in the ,louvre1 commemorating the marriage of that princess with ,henry ,,iv4 of ,france4 ,in #afbh ,rubens was sent on a mission to ,philip ,,iv4 of ,spain1 and made the acquaintance of ,velazquez4 ,the great decorative master and the great realist 7his junior by twenty-two years7 painted together1 travelled together1 and talked together for eight or nine months4 ,rubens1 we are told1 was never so well pleased as when he was in the company of ,velazquez1 and ,velazquez showed no resentment at the commissions given by the court to the foreign painter4 ,in #afbi ,rubens was sent to ,charles ,i4 of ,england 7see under #df71 by whom1 in the following year1 he was knighted4 ,he was also given an honorary degree by the ,university of ,cambridge4 ,on this occasion1 ,rubens was commissioned to paint the pictures which adorn the ceiling of the ,banqueting ,hall of ,whitehall 7now the ,united ,service ,institution74 ,wherever he went ,rubens continued to paint1 and his diplomacy he considered as mere recreation4 ,the painter ,rubens1 he is reported to have said of himself1 amuses himself with being ambassador4 ,so said one with whom1 but for his own words1 we might have thought that effort had been absorbed in power1 and the labour of his art in its felicity4 ,how hard he laboured is known by the enormous number of his works which still survive1 by the large fortune he amassed1 and by the great request in which his talents were held4 ,whatever work of his ,i may require1 wrote a celebrated ,antwerp printer1 ,i have to ask him six months before1 so as that he may think of it at leisure1 and do the work on ,sundays or holidays2 no week-days of his could ,i pretend to get under #ajj florins4 ,but of the several thousands of works ascribed to the master1 many were painted from his sketches by pupils and assistants4 ,to put it plainly1 ,rubens established a picture factory at ,antwerp4 ,he was thus enabled to paint portraits1 landscapes1 hunting scenes1 and pictures of genre1 as well as to undertake several series of gigantic decorations as important as those of ,raphael or ,michael ,angelo4 ,the master made small1 lively sketches of the work to be done1 the pupils laid them in1 each doing what suited his talent1 while ,rubens reserved to himself the duty of bringing the picture together2 in some cases by using the work beneath as a ground for almost complete repainting1 in most cases by mainly correcting here and there1 or enhancing the effect with a few brilliant and dexterous touches 7,r4 ,a4 ,m4 ,stevenson's ,portfolio monograph on ,rubens74 ,brueghel1 ,snyders1 ,teniers1 and ,van ,dyck were among his assistants4 ,some of ,rubens's letters contain curious information on his methods4 ,thus he offers to ,sir ,dudley ,carleton certain pictures in exchange for a collection of antique marbles4 ,among them was to be ',a ,last ,judgment1' begun by one of my pupils after an original which ,i made of much larger size for the ,prince of ,neubourg1 who paid me for it #cejj florins in ready money4 ,as the present piece is not quite finished1 ,i will retouch it altogether by myself1 so that it can pass for an original3 #abjj florins4 ,rubens was unspoilt by success4 ,like many other great artists1 he is conspicuous for a quite curious gentleness and serene courtesy4444 ,his letters are almost ludicrous in their unhurried politeness4 ,he was an honourable and entirely well-intentioned man1 earnestly industrious1 simple and temperate in habits of life1 highbred1 learned1 and discreet4 ,his affection for his mother was great1 his generosity to contemporary artists unfailing4 ,he was twice married4 ,in #afbf his first wife1 ,isabella ,brant1 died4 ,four years later he married ,helena ,fourment1 a beautiful girl of sixteen1 the living incarnation of his feminine type4 ,at the time of his second marriage ,rubens was fifty-three years of age4 ,he led a serious1 happy1 retired life4 ,his leisure time he devoted to his family1 to a few friends1 to his correspondence1 his collections1 and his rides4 ,in the morning1 we read1 he rose very early1 and while he painted someone read aloud ,livy1 ,plutarch1 ,cicero1 ,virgil or other poets4 ,then he would stroll in his gallery to stimulate his taste by the sight of the works of art he had brought from ,italy4 ,on other occasions he would study science1 in which he always retained an active interest4 ,although he lived splendidly1 he ate and drank moderately1 and the gout from which he suffered in later life was certainly undeserved4 ,he painted in the afternoon till towards evening1 when he mounted a horse and rode out of the town4 ,his house at ,antwerp still stands2 as also does his country-house1 near ,mechlin1 of which there is a view in our ,gallery 7,no4 #ff7 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #ae1 sec4 ii4 ch4 ii4 #ab2 vol4 ii4 pt4 iii4 sec4 i4 ch4 i4 #b2 vol4 iv4 pt4 v4 ch4 i4 #ag2 vol4 v4 pt4 viii4 ch4 iv4 #ba1 pt4 ix4 ch4 vi4 #a-i2 ,on the ,old ,road1 i4 #ahe1 #ahf2 ,stones of ,venice1 vol4 i4 ,app4 #ae2 ,wauters1 ,the ,flemish ,school1 p4 #bad74 ,a miracle of agitation4 ,a flush tide of the richest colour1 which positively seems to boil up in swirling eddies of harmonious form4 ,its whole surface is swept by lines which rush each other on like the rapid successive entrances of an excited stretto1 till the violent movement seems to undulate the entire pattern of the picture 7,r4 ,a4 ,m4 ,stevenson3 ,velazquez1 #ahii1 p4 #ea74 ,as for the subject1 see for the story of the ,sabine women under #fdd4 ,but the subject in this case does not greatly matter4 ,rubens in one of his most marvellous pictures1 the ,rape of the ,sabines1 which hangs in the ,national ,gallery1 did not even take the trouble to dress his ,sabines in the costumes of their day4 ,without any more ado he dressed them in the style of the seventeenth century4 ,one might rather think it a kidnapping of beautiful ,antwerp women on a ,flemish fair-day4 ,but what difference does it make8 ,he has made white shoulders that shine1 sumptuous stuffs1 warriors with glittering arms--all which is instinct with life1 and blazes with the deepest colouring of the greatest of ,flemish masters4 ,the colourists have never considered the subject otherwise than as a means of representing life under such and such actions1 or such and such aspects1 joyful or sad1 or simply plastic 7,benjamin ,constant in ,north ,american ,review1 ,nov4 #aijj74 #ci4 ,,the ,,nursing ,,of ,,bacchus4 ,nicolas ,poussin 7,french3 #aeicga-affe74 ,the life of ,nicolas ,poussin may be summed up in the cry of neas1 ,italiam petimus--we make for ,italy4 ,he was born in ,normandy1 of a noble family1 and first learnt painting under ,quintin ,varin at ,les ,andelys4 ,when eighteen he went to ,paris and became acquainted with ,courtois1 the mathematician1 whose collection of ,italian prints fired him with a desire to go to ,rome4 ,this devotion to ,rome became from that day the leading point alike in his life and in his art4 ,among the artist friends of his wandering years was ,philippe de ,champaigne 7see under #gih74 ,after several unsuccessful efforts to get to ,rome1 ,poussin made the acquaintance at ,lyons of the ,italian poet ,marino1 who invited him to ,rome 7#afbd71 and introduced him to ,cardinal ,barberini4 ,the ,cardinal1 however1 was called away1 and for a time ,poussin's life in ,rome was one of severe struggle4 ,he also fell ill1 and was nursed by a compatriot1 ,dughet1 whose daughter he afterwards married4 ,the wife brought her husband a comfortable dowry1 with which a house was bought1 and the painter1 now released from the pinch of poverty1 was able to give free play to his talents4 ,in #afdj he returned to ,paris1 where he was introduced by ,richelieu 7for whom amongst other pictures he painted ,no4 #fb in this ,gallery7 to ,louis ,,xiii4 ,the king appointed him his painter-in-ordinary1 with a salary of #abj and rooms in the ,tuileries1 but two years later1 disgusted with the intrigues and jealousies of ,paris1 and being anxious to rejoin his wife1 he returned to ,rome1 where he remained--full of work--for the rest of his life4 ,his house on the ,pincian1 adjoining the church of the ,trinita1 may still be seen1 and he is buried in the church of ,st4 ,lorenzo4 ,poussin1 says his biographer1 ,bellori1 led a regular life1 rising early and taking a walk for one or two hours1 sometimes in the city1 but more often on ,monte ,pincio1 not far from his house4 ,from these lovely gardens he could enjoy the view of ,rome on its hills2 there he met his friends and discoursed on curious and learned topics4 ,in the evening he went out again and walked on the ,piazza di ,spagna1 at the foot of the hill1 in the midst of the strangers who congregate there4 ,he always had friends with him1 and often they made a kind of retinue4 ,he spoke often of art1 and so clearly1 that artists and all cultivated men of talent came to hear his beautiful and profound thoughts about painting4 ,during my sojourn in ,rome1 says a traveller of that period1 ,i often saw ,poussin4 ,i admired the extreme love this excellent painter had for perfection in his art4 ,i met him among the ruins of ,rome1 in the ,campagna1 and on the banks of the ,tiber1 and ,i saw him carry home stones1 moss1 flowers1 and other things1 in order to paint them from nature4 ,one day ,i asked him how he had attained such an elevation among the greatest artists of ,italy4 ,he answered modestly1 ',i have neglected nothing4' ,it is ,rome which gives the leading idea also to ,poussin's art4 ,he has been called the ,raphael of ,france2 and certain it is that at a time when the local art of ,france was purely decorative in character1 he returned1 and strenuously adhered1 to classical traditions4 ,already at ,paris he had studied casts and prints after ,raphael2 and when he first went to ,rome he lived with ,du ,quesnoy 7,il ,fiammingo71 under whom he learnt the art of modelling bassi-relievi4 ,he also studied anatomy1 and attended the academy of ,domenichino1 whom he considered the first master in ,rome4 ,his profound classical learning has caused him to be called the learned ,poussin4 ,he studied the beautiful1 says his biographer1 in the ,greek statues of the ,vatican4 ,he studied the ancients so much1 says ,sir ,joshua ,reynolds1 that he acquired a habit of thinking in their way1 and seemed to know perfectly the actions and gestures they would use on every occasion4 ,his learning went1 however1 farther than this in its influence on his art4 ,his ideal1 says ,lanzi1 was that of philosophy in painting2 and in one of his letters ,poussin illustrates the idea from the ,greek theory of modes in music4 ,if a subject were serious1 it should be painted in the ,doric mode2 if vehement1 in the ,phrygian2 if plaintive1 in the ,lydian2 if joyous1 in the ,ionic4#gb ,this classical learning of ,poussin was the source at once of his strength and of his weakness as an artist4 ,on the one hand1 it often made his work wonderfully harmonious and impressive4 ,thus in the ,ionic mode1 his ,bacchanalian pictures in this ,gallery and elsewhere are nearly the best representations in art of the ,epicurean ideal of life1 of a world in which enjoyment is the end of existence4 ,his best works1 says ,ruskin1 are his ,bacchanalian revels1 always brightly wanton1 full of frisk and fire2 but they are coarser than ,titian's#gc and infinitely less beautiful4 ,in all minglings of the human and brutal character he leans on the bestial1 yet with a sternly ,greek severity of treatment4 ,again1 in more serious ,doric mode1 he is the great master of the elevated ideal of landscape4 ,he does not put much power into his landscape when it becomes principal2 the best pieces of it occur in fragments behind his figures4 ,beautiful vegetation1 more or less ornamental in character1 occurs in nearly all his mythological subjects1 but his pure landscape is notable only for its dignified reserve2 the great squareness and horizontality of its masses1 with lowness of tone1 giving it a deeply meditative character3 see especially #dj4 ,on the other hand1 he had the defects of his training4 ,it made him too restrained and too cold4 ,his peculiarities are1 without exception1 weaknesses1 induced in a highly intellectual and inventive mind by being fed on medals1 books1 and bassi-relievi instead of nature1 and by the want of any deep sensibility4 ,thus he had noble powers of design1 and might have been a thoroughly great painter had he been trained in ,venice2#gd but his ,roman education kept him tame2 his trenchant severity was contrary to the tendencies of his age1 and had few imitators1 compared to the dashing of ,salvator and the mist of ,claude4 ,these few imitators adopted his manner without possessing either his science or invention2 and the ,italian ,school of landscape soon expired4444 ,this restraint1 peculiarly classical1 is much too manifest in him2 for1 owing to his habit of never letting himself be free1 he does nothing as well as it ought to be done1 rarely even as well as he can himself do it2 and his best beauty is poor1 incomplete and characterless1 though refined4 ,finally1 his want of sensibility permits him to paint frightful subjects without feeling any true horror2 his pictures of the plague are thus ghastly in incident1 sometimes disgusting1 but never impressive3 see #afe 7collected from ,modern ,painters1 vol4 i4 preface1 p4 xxv41 pt4 ii4 sec4 i4 ch4 vii4 #ad2 vol4 ii4 pt4 iii4 sec4 ii4 ch4 ii4 #ai2 vol4 iii4 pt4 iv4 ch4 xviii4 #bh2 vol4 v4 pt4 ix4 ch4 v4 #ag74 ,the wine-god is represented in infancy1 nursed by the nymphs and fauns of ,euboea1 and fed not on milk but on the juice of the grape4 ,the picture makes one thirsty to look at it--the colouring even is dry and adust4 ,the figure of the infant ,bacchus seems as if he would drink up a vintage--he drinks with his mouth1 his hands1 his belly1 and his whole body4 ,gargantua was nothing to him 7,hazlitt3 ,criticisms on ,art1 p4 #cc74 #dj4 ,,landscape3 ,,phocion4 ,nicolas ,poussin 7,french3 #aeic-affe74 ,see #ci4 ,the work of a really great and intellectual mind1 one of the finest landscapes that ancient art has produced#ge 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 ii4 ch4 i4 #h71--;its excellence consisting in the perfect harmony of the landscape with the subject represented1 and thus marking the painter's sense of the dependence of landscape for its greatest impressiveness on human interest4 ,in the foreground to the left is ,phocion the good--the incorruptible ,athenian general and statesman1 contemporary with ,philip and ,alexander the ,great1 of whom it is recorded that he was never elated in prosperity nor dejected in adversity1 and never betrayed pusillanimity by a tear nor joy by a smile4 ,he wears an undyed robe1 and is washing his feet at a public fountain1 the dress and action being thus alike emblematic of the purity and simplicity of his life4 ,in entire keeping with this figure of noble simplicity is the feeling of the landscape in which all the air a solemn stillness holds4 ,in detail1 however1 ,ruskin finds the picture deficient in truth--false1 indeed1 both in tone and colour 7see ibid41 vol4 i4 pt4 ii4 sec4 ii4 ch4 ii4 #e74 #da4 ,,the ,,death ,,of ,,peter ,,martyr4 ,ascribed to ,cariani4 ,see under #abjc4 ,for the legend1 see under #hab--;a more pleasing version of the same subject4 ,the man was afterwards regarded as a martyr and canonised2 and here1 too1 notice that he is made to see the angels as he dies4 #db4 ,a ,,bacchanalian ,,festival4 ,nicolas ,poussin 7,french3 #aeic-affe74 ,see #ci4 ,a realisation of the classic legends of mirth and jollity1 precisely in the spirit of ,keats's ode ,on a ,grecian ,urn-- ,what leaf-fringed legend haunts about thy shape ,of deities or mortals1 or of both1 ,in ,tempe or the dales of ,arcady8 ,what men or gods are these8 ,what maidens loath8 ,what mad pursuit8 ,what struggle to escape8 ,what pipes and timbrels8 ,what wild ecstasy8 ,this masterpiece1 conceived in the manner of ,titian and imbued with the spirit of the antique1 full of life1 and incomparable for its qualities of drawing and painting1 is perhaps the most beautiful work which ,nicolas ,poussin ever painted1 and1 with the ',bacchanalian ,dance' 7,no4 #fb71 is among the most valued possessions of the ,national ,gallery 7,poynter3 ,the ,national ,gallery1 ii4 #ajd74 #dc4 ,,christ ,,taken ,,down ,,from ,,the ,,cross4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,a sketch for a composition which ,rembrandt etched and also drew4 ,the drawing is in the ,british ,museum4 ,this sketch was formerly in the possession of ,sir ,joshua ,reynolds1 at whose sale it was bought by ,sir ,george ,beaumont4 #dd4 ,a ,,bleaching ,,ground4 ,j4 van ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 ,this little picture1 which dates from the earliest days of the ,national ,gallery1 was for many years obscured with dirt and not exhibited to the public4 ,it has recently been cleaned1 and shows one of the painter's favourite subjects--the bleaching grounds in the neighbourhood of ,haarlem4 ,before the discovery of chemical means of bleaching linen1 these were a great source of income to the town4 ,linen was brought here from all parts of the continent to be bleached1 and then went back as ,dutch linen or ,holland4 #de4 ,,the ,,woman ,,taken ,,in ,,adultery4 ,rembrandt 7,dutch3 #afjf-affi74 ,rembrandt ,harmensz--called also ,van ,rhyn1 of the ,rhine1 from having been born on the banks of that river--has a place apart by himself in the history of painting4 ,he is the greatest genius of the ,dutch ,school1 and one of the six supreme masters of the world4 ,he is also one of the most distinctive and individual of them all4 ,in what1 let us ask1 do the genius and the individuality of ,rembrandt consist8 ,in the first place1 his mastery of the resources of painting1 within the sphere and for the ideals he chose for himself1 is surpassed by no other artist4 ,it will be remembered1 said ,millais1 that ,rembrandt in his first period was very careful and minute in detail1 and there is evidence of stippling in his flesh-painting2 but when he grew older1 and in the fulness of his power1 all appearance of such manipulation and minuteness vanished in the breadth and facility of his brush1 though the advantage of his early manner remained4 ,the latter manner is1 of course1 much the finer and really the more finished of the two4#gf ,i have closely examined his pictures at the ,national ,gallery1 and have actually seen1 beneath that grand veil of breadth1 the early work that his art conceals from untrained eyes--the whole science of painting4 ,and herein lies his superiority to ,velazquez1 who1 with all his mighty power and magnificent execution1 never rose to the perfection which1 above all with painters1 consists in ars celare artem 7,magazine of ,art1 #ahhh1 p4 #bia74 ,rembrandt1 says ,sir ,frederic ,burton1 would have been unparalleled had he treated nothing but frivolous subjects2 but1 in the second place1 the artist was a poet and a seer4 ,he was a seer in his penetration into the mind of man2 a poet in his perception of a special kind of beauty4 ,his portraits have an inward life that belongs to no others in a like degree4 ,it is as a painter of character that he shows himself supreme1 bringing out the personality of his sitters in their gestures and attitudes1 and in the peculiarity of bearing and expression stamped upon them by temperament and habits4 ,from his dramatic action and mastery of expression1 ,rembrandt has been called the ,shakespeare of ,holland4 ,in his religious subjects1 the originality of his mind and power of his imagination are also conspicuous4 ,he gives1 says ,ruskin1 pathetic or powerful fancies1 founded on real ,scripture reading1 and on his interest in the picturesque character of the ,jew4 ,in all subjects alike1 he moves us by his profound sympathy with his kind1 by his tragic power1 by his deep pathos1 by his humour1 which is thoroughly human and seldom cynical4 ,what he held up to nature--and herein is ,rembrandt's individuality most marked--was the dark mirror4 ,he was1 says ,leighton1 the supreme painter who revealed to the world the poetry of twilight and all the magic mystery of gloom4 ,he was in the mystery1 says ,burton1 that underlies the surface of things4 ,he accosts with his dark lantern1 says ,fromentin1 the world of the marvellous1 of conscience1 and the ideal2 he has no master in the art of painting1 because he has no equal in the power of showing the invisible4 ,it was his function1 says another critic1 to introduce mystery as an element of effect in the imitative arts4 ,as by a stroke of enchantment ,rembrandt brought down a cloud over the face of nature1 and beneath it1 half-revealed1 half-hidden1 her shapes met the eye in aspects full of new suggestion4#gg ,in the technical method by which ,rembrandt worked out his ideal he is the great master of the school of chiaroscuro--of those1 that is1 who strive at representing not so much the colours of objects1 as the contrasts of light and shade upon them4 ,if it were possible for art to give all the truths of nature it ought to do it4 ,but this is not possible4 ,choice must always be made of some facts which can be represented from among others which must be passed by in silence1 or even1 in some respects1 misrepresented4444 ,rembrandt always chooses to represent the exact force with which the light on the most illumined part of an object is opposed to its obscurer portions4 ,in order to obtain this1 in most cases1 not very important truth1 he sacrifices the light and colour of five-sixths of his picture2 and the expression of every character of objects which depends on tenderness of shape or tint4 ,but he obtains his single truth1 and what picturesque and forcible expression is dependent upon it1 with magnificent skill and subtlety4#gh ,rembrandt sacrifices the light and colour of five-sixths of his picture4 ,this is inevitable4 ,for both the light and the darkness of nature are inimitable by art4 ,the whole question1 therefore1 is simply whether you will be false at one end of the scale or at the other--that is1 whether you will lose yourself in light or in darkness4444 ,what ,veronese does is to make his colours true to nature as far as he can4 ,what ,rembrandt does is to make his contrasts true1 never minding his colours--with the result that in most cases not one colour is absolutely true4#gi ,an exception1 however1 must be made4 ,for he often chose subjects in which the real colours were very nearly imitable1--as single heads with dark backgrounds1 in which nature's highest light was little above his own4 ,he was particularly fond also of dark scenes lighted only by some small spot of light2 as1 for instance1 in this picture and in ,no4 #dg4 ,the technical skill and sense of power which distinguish ,rembrandt's work are reflected in his life--a life of hard labour1 sinking towards its close into deep gloom1 and a life at all times of a certain aloofness and of restricted vision4 ,he was born at ,leyden1 being the fifth child of a miller1 and from a very early age set himself to etch and sketch the common things about the mill4 ,his father's mill was1 doubtless1 ,rembrandt's school2 the strong and solitary light1 with its impenetrable obscurity around1 the characteristic feature of many of ,rembrandt's best works1 is just such an effect as would be produced by the one ray admitted into the lofty chamber of a mill from the small window1 its ventilator 7,wornum74 ,he never went to ,italy or cultivated the grand style4 ,he studied the life and manner of his own time and people4 ,his models were not conspicuous for elegance2 beauty of form was not within the compass of his art4 ,he was indefatigable in making studies both of himself and of his mother4 ,among the things he studied were1 it must be admitted1 the lowest functions of humanity and often obscenities of a rollicking kind2 coarseness of manner and conversation was common at that time4 ,rembrandt studied for a short period under a well-known painter1 ,pieter ,lastman1 at ,amsterdam1 where he had for a fellow-pupil a fellow-townsman1 ,jan ,lievens 7see #ajie71 but returned to ,leyden in #afbd1 determined to study and practise in his own fashion4 ,he soon acquired a considerable reputation2 a ,dutch poet1 in a book published in #afcj1 refers to him as an instance of precocity1 and in disproof of the doctrine of heredity4 ,rembrandt1 beardless1 yet already famous1 was the son of a miller1 made of other flour than his father's4 ,as most of his sitters lived in ,amsterdam1 then a great centre of wealth and learning1 ,rembrandt moved to that city in #afca4 ,the famous ,anatomy ,lesson1 now in the ,museum at the ,hague1 was produced in the following year4 ,he lived very simply1 we are told1 and when at work contented himself with a herring or a piece of cheese and bread2 his only extravagance was a passion for collecting4 ,in #afcd he married ,saskia ,uilenburg1 a lady of a good ,frisian family1 and possessed of some fortune4 ,her features may be recognised in a large number of the painter's pictures2 in none more attractively rendered than in the famous picture of the ,dresden ,gallery1 in which she is sitting on her husband's knee4 ,during this period of ,rembrandt's life all went well with him4 ,commissions poured in2 his studio was crowded with scholars1 and his etchings spread his fame far beyond his native land4 ,he lived for his art and his home1 mixing little in society4 ,when ,i want to give my wits a rest1 he said1 ,i do not look for honour1 but for liberty4 ,when he was painting1 said one of his biographers1 he would not have given audience to the greatest monarch on earth1 but would have compelled even such an one to wait or to come again when he was more at leisure4 ,he never travelled1 even in ,holland1 and he dwelt apart4 ,he had few books1 but his taste in art was catholic4 ,to his passion for collecting we have already referred4 ,his house1 which still stands in the ,breedstraat1 was a museum of curiosities1 containing costly materials1 stuffed animals1 richly ornamented weapons1 casts1 engravings1 and pictures 7including works by ,palma ,vecchio and ,giorgione74 ,the pearls1 precious stones1 rich necklaces1 clasps and bracelets of every kind that ,saskia wears in her portraits were not gems of the painter's imagination1 but actual objects from the jewel-cases which he filled for his wife4 ,when ,rembrandt was present at a sale1 says ,baldinucci1 it was his habit1 especially when pictures drawn by great masters were put up1 to make an enormous advance on the first bid1 which generally silenced all competition4 ,to those who expressed their surprise at such a proceeding1 he replied that by this means he hoped to raise the status of his profession4 ,this lordly buying was the undoing of ,rembrandt's worldly fortunes4 ,in #afdb ,saskia died1 and his financial embarrassments1 which had already begun1 went from worse to worse4 ,in #afef he was declared bankrupt2 his house and collections were sold1 and at the age of fifty-one he found himself homeless and penniless4 ,he was stripped1 we read1 even of his household linen1 though of this1 to be sure1 he seems to have had but a meagre store4 ,in his life1 as in his art1 there were heavy shadows2 but the light shines out in his undaunted perseverance4 ,he had lived for some years with his servant1 ,hendrickje ,stoffels1 an uneducated peasant1 who served him as a model1 and whose homely features appear in many of the pictures of his middle period 7see e4g4 ,no4 #ed74 ,in #afed ,rembrandt had been summoned before the elders of the ,church on account of the irregularity of their relationship4 ,but ,hendrickje was a good mother to ,rembrandt's legitimate children as well as to her own1 and in #affj she and the painter's son1 ,titus1 entered into partnership as art dealers1 and supported ,rembrandt by the sale of his etchings4 ,his vogue as a painter had by this time been eclipsed by the popularity of painters of less sombre genius4 ,fallen from his rich estate and frowned upon by the ,church1 the master found himself in the last period of his life deserted and unhonoured4 ,yet to this period belong many of his noblest works4 ,he had never cared1 says ,m4 ,michel1 for the suffrages of the crowd4 ,he set his face more steadily than ever towards the goal he had marked out for himself4 ,within the walls of his makeshift studios1 seeking solace in work and meditation1 he lived for his art more absolutely than before2 and some of his creations of this period have a poetry and a depth of expression such as he had never hitherto achieved4 ,but fresh sorrows descended upon the master as the end drew near4 ,hendrickje died about #affd1 and this blow was followed in #affh by the death of ,titus4 ,crushed in spirit and broken by poverty1 the old painter did not long survive his son4 ,he died in #affi--unknown1 unrecorded1 and dishonoured4 ,gerard de ,lairesse1 then at the height of his reputation1 said of him only that he was a master who merely achieved an effect of rottenness1 and was capable of nothing but vulgar and prosaic subjects4 ,now1 two centuries and a quarter after his death1 ,rembrandt's fame stands higher than even in the heyday of his success4 ,his work as a painter is represented in the ,national ,gallery by several masterpieces4 ,of his drawings and etchings the ,british ,museum possesses a splendid collection2 an exhibition of these 7illustrated by an admirable ,catalogue7 was arranged in #ahii4 ,a tour de force in the artist's speciality of contrasts of light and shade4 ,notice how a succession of these contrasts gradually renders the subject intelligible4 ,the eye falls at once upon the woman1 who is dressed in white1 passes then to the figure of ,christ1 which next to her is the most strongly lighted--and so on to ,peter1 to the ,pharisees1 to the soldiers1 till at length it perceives in the mysterious gloom of the ,temple the ,high ,altar1 with the worshippers on the steps 7,waagen3 ,treasures of ,art in ,great ,britain1 i4 #cec74 ,beyond the ordinary claims of art1 this picture commands our attention from the grand conception of the painter1 who here1 as in other pictures and etchings1 has invested ,christ with a majestic dignity which recalls ,leonardo and no other 7,j4 ,f4 ,white74 ,this picture1 which was painted in #afdd for ,jan ,six1 the well-known patron of ,rembrandt1 passed eventually into the possession of ,mr4 ,angerstein4 ,the poet ,wordsworth1 describing a visit he paid to the ,angerstein collection1 wrote to ,sir ,george ,beaumont in #ahjh3 ,coleridge and ,i availed ourselves of your letters to ,lawrence1 and saw ,mr4 ,angerstein's pictures4 ,the day was very unfavourable1 not a gleam of sun1 and the clouds were quite in disgrace4 ,the great picture of ,michael ,angelo and ,sebastian 7,no4 #a7 pleased me more than ever4 ,the new ,rembrandt has1 ,i think1 much1 very much1 in it to admire1 but still more to wonder at rather than admire4 ,i have seen many pictures of ,rembrandt which ,i should prefer to it4 ,the light in the depth of the temple is far the finest part of it3 indeed1 it is the only part of the picture which gives me very high pleasure2 but that does highly please me 7,memorials of ,coleorton1 ii4 #di74 #df4 ,,the ,,blessings ,,of ,,peace ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,this picture was presented in #afcj to ,king ,charles ,i4 by ,rubens1 when he came to ,england as accredited ambassador for the purpose of negotiating a peace with ,spain4 ,after the death of ,charles1 the ,parliament sold the picture for #ajj4 ,it passed into the possession of the ,doria family at ,genoa1 where it was known as ,the ,family of ,rubens4 ,it was afterwards bought by the ,marquis of ,stafford for #cjjj1 and by him presented to the ,national ,gallery4#hj ,the circumstances under which the picture was painted gave the clue to its meaning4 ,rubens came to urge ,charles to conclude peace1 and here on canvas he sets forth its blessings4 ,in the centre of the picture is the ,goddess of ,wisdom1 with ,minerva's helmet on her head1 her right hand resting on her spear1 now to be used no more4 ,before her flies ,war1 reluctantly1 as if he dared not resist ,wisdom1 yet employing his shield1 in order still to shelter ,discord1 with her torch now extinguished4 ,last of all in the hateful train is ,malice1 whose very breath is fire1 and who endeth foul in many a snaky fold--in the serpent's folds1 which ever attend the hostilities of nations4 ,beneath ,minerva's protection sits ,peace enthroned1 and gives the milk of human kindness for babes to suck4 ,from above1 ,zephyrus1 the soft warm wind1 descends with the olive wreath--the emblem in all ages of public peace1 whilst at her side stands the all-bounteous ,pan1 with ,amalthea's storied ,horn of ,plenty4 ,a band of happy children1 led by ,love 7whose torch1 now that ,discord's is gone out1 burns aloft71 approach to taste the sweets of ,peace1 and to minister to abundance4 ,in the train of ,plenty comes ,opulence1 bringing goblets1 wreaths of pearl1 and other treasures2 whilst behind is ,music1 playing on her tambourine to celebrate the arts of peace4 ,last of all in the foreground is a leopard1 not hurting or destroying any more1 but playful as a lamb-- ,all crimes shall cease1 and ancient fraud shall fail2 ,returning ,justice lift aloft her scale2 ,peace o'er the world her olive wand extend1 ,and white-rob'd ,innocence from heaven descend4444 ,no more shall nation against nation rise1 ,nor ardent warriors meet with hateful eyes4444 ,the lambs with wolves shall graze the verdant mead1 ,and boys in flowery bands the tiger lead4 ,,pope3 ,messiah4 #dg4 ,,the ,,adoration ,,of ,,the ,,shepherds4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,a characteristic piece of ,bible by candle-light4 ,there is1 however1 something spiritually instructive1 as well as technically skilful1 in the way in which such light there is all proceeds from ,him who came to be the light of the world3 compared with this divine light that in the lantern of the shepherds pales and is ineffectual4 ,the picture is dated #afdf4 ,for the most part1 however1 the picture is a piece of pure realism1 which may be contrasted in an instructive way with the essentially religious art of earlier schools4 ,here there is little1 if any1 symbolism1 and the decorative qualities with which a painter like ,botticelli appealed to the imagination to heighten the impressiveness of the story have vanished also4 ,in their stead we have pure naturalism1--naturalism of a very refined and cultured order1 which appeals to the imagination as powerfully1 but in a totally different way4 ,the charm of the picture is independent of any exegetical qualities4 ,rembrandt treats the ,nativity as a natural event1 in a scientific spirit4 ,the only connection between this picture and religious art is that it represents certain conventional attributes which are common to both4 ,but just so much as we subtract from it as an exponent of strictly religious thought1 just so much must we add to it as appealing to the intellect in general2 its impressiveness1 its sublimity1 and its suggestiveness1 and it has all these1 are evolved out of the phenomena of natural effects by a poetical process 7,j4 ,e4 ,hodgson1 ,r4,a41 in ,magazine of ,art1 #ahij1 p4 #db74 #dh4 ,,landscape1 ,,with ,,tobias ,,and ,,the ,,angel4 ,domenichino 7,eclectic-,bologna1 #aeha-afda74 ,domenico ,zampieri1 called ,domenichino for his small stature1 was born at ,bologna1 the son of a shoemaker4 ,he entered the school of the ,carracci1 and afterwards was invited to ,rome by ,albani1 in whose house he lived4 ,here he soon acquired a great reputation1 and was taken by ,annibale ,carracci as assistant in the execution of the frescoes of the ,farnese ,palace4 ,the ,cardinals ,borghese and ,aldobrandini were also among his patrons4 ,in #afag he revisited ,bologna1 where he married4 ,in #afba he was recalled to ,rome by the ,pope ,gregory ,,xv41 who appointed him principal painter and architect to the pontifical palace4 ,some of the villas at ,frascati were designed by him4 ,in #afcj he was invited to ,naples to decorate the ,cappella del ,tesoro of the ,duomo1 a commission which ,guido ,reni sought in vain4 ,here ,domenichino incurred the hostility of the ,neapolitan painters1 and the machinations of the notorious triumvirate1 the ,cabal of ,naples1 were suspected of causing his death4 ,at ,rome also he had been much persecuted by rival artists4 ,accusations of plagiarism were levelled at him1 and his more pushing competitors decried him to such a degree that he was long destitute of all commissions4 ,it is interesting to contrast the conditions of 7literally7 cut-throat competition1 under which the ,italian painters of the decadence worked1 with the ,guild ,system of the ,flemish and the honourable time and piece-work of the earlier ,italians4 ,the varying fortunes of ,domenichino's fame form a curious chapter in the history of taste4 ,in his own time and down to the end of the eighteenth century he was ranked among the greatest masters4 ,poussin placed him next to ,raphael4 ,bellori attributed to him the same wand which belongs to the poetical enchanters4 ,sir ,joshua ,reynolds speaks of him with high respect1 and ,lanzi describes him as the admiration of all professors1 and records the enormous price which his pictures still fetched 7#ahji74 ,against these panegyrics we may set ,ruskin's invectives4 ,i once supposed1 he says1 that there was some life in the landscape of ,domenichino1 but in this ,i must have been wrong4 ,the man who painted the ',madonna del ,rosario' and ',martyrdom of ,st4 ,agnes' in the gallery of ,bologna is palpably incapable of doing anything good1 great1 or right1 in any field1 way1 or kind whatsoever4444 ,whatever appears good in any of the doings of such a painter must be deceptive1 and we may be assured that our taste is corrupted and false whenever we feel disposed to admire him4444 ,i am prepared to support this position1 however uncharitable it may seem2 a man may be tempted into a gross sin by passion and forgiven1 and yet there are some kinds of sins into which only men of a certain kind can be tempted1 and which cannot be forgiven4 ,it should be added1 however1 that the artistical qualities of these pictures are in every way worthy of the conceptions they realise2 ,i do not recollect any instance of colour or execution so coarse and feelingless4 ,domenichino and the ,carraccis were1 says ,ruskin elsewhere1 mere art-weeds4 ,their landscape1 which may in few words be accurately described as 'scum of ,titian1' possesses no single merit1 nor any ground for the forgiveness of demerit4 ,the flight of ,domenichino's angels is a sprawl paralysed4 ,they are peculiarly offensive1 studies of bare-legged children howling and kicking in volumes of smoke 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #ac2 vol4 ii4 pt4 iii4 sec4 ii4 ch4 v4 #ag2 vol4 iii4 pt4 iv4 ch4 xviii4 #bj2 ,stones of ,venice1 travellers' edition1 vol4 ii4 ch4 vi42 ,on the ,old ,road1 vol4 i4 #ia74 ,ruskin's estimate1 though expressed with such a clangour of emphasis1 yet fairly represents1 as ,mr4 ,symonds says1 the feeling of modern students4 ,perhaps1 however1 the reaction against the once worshipped pictures of ,domenichino has gone too far4 ,his celebrated ,diana and her ,nymphs in the ,borghese ,gallery is a charming picture1 says ,morelli1 worthy of a purer period of art4 ,full of cheerful animation and nave and delightful details1 it cannot fail to please 7,roman ,galleries1 p4 #bbh74 ,of the moral obliquity which ,ruskin seems to impute1 ,domenichino must be acquitted4 ,he appears to have been a simple1 modest1 painstaking1 and virtuous person4 ,he was misled by his dramatic bias1 and also by the prevalent religious temper of his age4 ,that he belonged to a school which was essentially vulgar in its choice of type1 to a city never distinguished for delicacy of taste1 and to a generation which was rapidly losing the sense of artistic reserve1 suffices to explain the crude brutality of the conceptions which he formed of tragic episodes 7,symonds1 ,renaissance1 vii4 #bbj74 ,lanzi says with truth that ,domenichino's style of painting is almost theatrical4 ,he tears the passion of his figures to tatters--exaggerated action destroying1 as ,ruskin says1 all appearance of intense feeling4 ,an interesting tale is told of the way in which the artist worked himself up4 ,he was engaged on a scene of martyrdom1 and in painting one of the executioners he actually threw himself into a passion1 using threatening words and actions4 ,annibale ,carracci1 surprising him at that moment1 embraced him1 exclaiming with joy1 ',to-day1 my ,domenichino1 thou art teaching me4' ,tobias1 directed by the angel1 is drawing out of the water the fish that attacked him4 ,see the ,book of ,tobit1 ch4 vi4 #d1 #e1 and the note on ,no4 #gha4 #di4 ,,the ,,portrait ,,of ,,rubens4 ,van ,dyck 7,flemish3 #aeii-afda74 ,sir ,anthony ,van ,dyck1 the prince of court portrait-painters and the most famous of ,rubens's pupils1 is one of the many great artists whose gifts showed themselves almost from birth4 ,he was born at ,antwerp1 the seventh child of a tradesman in good circumstances4 ,his mother was a woman of taste1 who attained considerable skill in art-needlework1 and from her he doubtless derived many of the qualities for which his works are conspicuous4 ,at the age of ten the boy had already begun to paint4 ,his admission at the age of thirteen to the crowded studio of ,rubens is a proof of his precocious talent4 ,documents recently discovered show that ,van ,dyck when seventeen had already pupils of his own1 and that his independent work was sought after by artists and amateurs4 ,at nineteen he was admitted to the painters' ,guild of ,st4 ,luke4 ,for five years 7#afbj-be7 he was for the most part travelling and painting in ,italy1 with introductions from ,rubens4 ,many of his best works are still to be seen in ,genoa and ,turin4 ,he also visited ,venice1 where the spell of ,titian's genius enchanted him4 ,several sketches in the ,british ,museum testify to his devout study of the great ,venetian4 ,on his return to ,antwerp at the end of #afbe1 ,van ,dyck soon became the great court-painter of his time4 ,queens visited him in his studio1 and the nobility of three nations considered it an honour to be painted by him4 ,religious pictures were also produced by him at this time with amazing rapidity4 ,in #afcb he came to ,england4 ,he had already paid a short visit in #afbj-ba1 when he had painted ,james ,i41 and was in receipt of a grant from the ,exchequer for special service performed for ,his ,majesty4 ,this first visit to ,england seems to have been due to the initiative of the celebrated connoisseur1 the ,earl of ,arundel4 ,at the court of ,charles ,i4 ,van ,dyck came at once into the highest favour4 ,sir ,kenelm ,digby1 a gentleman of the bedchamber1 was his bosom friend1 and on his first presentation to ,charles ,i4 he obtained permission to paint the king and queen4 ,he was appointed painter to the court1 was knighted1 and received a pension of #bjj4 ,a town-house was given him at ,blackfriars1 and a country-house at ,eltham4 ,he always went magnificently dressed1 had a numerous and gallant equipage1 and kept so good a table in his apartment that few princes were more visited or better served4 ,in ,england alone there are said to be twenty-four portraits of the king by ,van ,dyck1 and twenty-five of ,queen ,henrietta ,maria4 ,every one of distinction desired to have his or her features immortalised by the court-painter1 and for seven years he worked at the portraits of the ,english aristocracy with indefatigable industry4 ,some #cjj of these portraits exist in this country4 ,the painter's health gradually began to fail1 from the constant drain upon his strength caused by the incessant labour necessary to procure the means of gratifying his luxurious tastes1 and also by his irregular mode of life4 ,van ,dyck1 says ,mr4 ,law in his ,catalogue of the ,hampton ,court ,gallery1 loved beauty in every form1 and found the seduction of female charms altogether irresistible4 ,in #afci he married ,mary ,ruthven1 grand-daughter of the unfortunate ,lord ,ruthven1 ,earl of ,gowrie--a marriage promoted by the king1 who hoped thereby to effect a change in the painter's habits of life4 ,margaret ,lemon1 the celebrated beauty1 who lived with ,van ,dyck for some time at ,blackfriars1 resented the marriage most bitterly1 and tried to maim the painter's right hand4 ,in #afdj-da he travelled abroad with his wife1 but returned to this country a dying man4 ,the king offered a special reward to any doctor who could save the painter's life2 but he expired in his house at ,blackfriars on ,december #i1 #afda1 at the early age of forty-two4 ,two days afterwards he was buried in the old cathedral of ,st4 ,paul's1 and the king erected a monument to record the death of one who in life had conferred immortality on many4 ,a magnificent collection of his works was shown at the ,royal ,academy in the winter exhibition of #aijj4 ,the characteristics of ,van ,dyck's art may in large measure be gathered from the circumstances of his life4 ,he is essentially the painter of princes4 ,his sacred and other subject pictures are often remarkable for force and vigour of handling4 ,van ,dyck1 says ,ruskin1 often gives a graceful dramatic rendering of received ,scriptural legends4 ,but it is not in these subjects that ,van ,dyck is seen in his most interesting and most characteristic manner4 ,rubens is only to be seen in the ,battle of the ,amazons1 and ,van ,dyck only at court4 ,no more in him than in the other later ,flemish artists is there anything spiritual4 ,the difference between him and ,teniers1 for instance1 is accidental rather than essential4 ,they lived1 says ,ruskin1 the gentle at court1 the simple in the pot-house2 and could indeed paint1 according to their habitation1 a nobleman or a boor1 but were not only incapable of conceiving1 but wholly unwishful to conceive1 anything1 natural or supernatural1 beyond the precincts of the ,presence and the tavern4 ,what distinguishes ,van ,dyck is the indelible mark of courtly grace and refinement which he gives to all his sitters4 ,nowhere clearer than in his portraits does one see the better side of the ,cavalier ideal4 ,in this connection we may note ,van ,dyck's feeling for the nobility of the horse 7see note on ,no4 #aef74 ,one thing that gives nobleness to the ,van ,dyck1 says ,ruskin in describing one of his cavalier portraits1 is its feminineness2 the rich1 light silken scarf1 the flowing hair1 the delicate1 sharp1 though sunburnt features1 and the lace collar1 do not in the least diminish the manliness1 but add feminineness4 ,one sees that the knight is indeed a soldier1 but not a soldier only2 that he is accomplished in all ways1 and tender in all thoughts4 ,the reader who remembers any large collection of ,van ,dycks will feel that the spirit of ,ruskin's description is true to a very large number of them4 ,one may forget the individual sitter2 the impression left by the ,van ,dyck type is indelible4 ,charles ,i4 and his ,queen1 though painted by several other painters1 are known to posterity exclusively through ,van ,dyck--not 7says ,m4 ,hymans7 from a greater closeness of resemblance to the original1 but from a particular power of expression and bearing1 which1 once seen1 it is impossible to forget4 ,the same may be said of ,van ,dyck's portraits generally4 ,he endowed all his sitters alike with the same distinction of feature and elegance in bearing4 ,he excelled in giving delicacy to the hands1 and is said to have kept special models for this part of his work4 ,he is not what is called an intimate portrait painter4 ,he does not startle us with penetration in seizing points of individual character2 he charms us with the refinement of his type4 ,in ,titian1 says ,ruskin1 it is always the ,man whom we see first2 in ,van ,dyck the ,prince or the ,sir4 ,with regard to ,van ,dyck's technique1 his earlier productions 7says ,sir ,f4 ,burton7 are scarcely to be distinguished from those of ,rubens1 and there are cases in which dogmatism as to authorship would be hazardous4#ha ,differentiation is first visible in a greater precision1 a slenderer1 it might be said1 a more wiry touch1 and a cooler colouring1 on the part of the pupil4 ,at its worst1 ,van ,dyck's touch is distinguished by what ,ruskin calls a certain flightiness and flimsiness2 at its best1 by great refinement3 there is not a touch of ,van ,dyck's pencil but he seems to have revelled in--not grossly1 but delicately--tasting the colour in every touch as an epicure would wine4 ,his output was prodigious2 in spite of his early death more than #ajjj works are attributed to him4 ,a considerable portion of many of these was done by assistants1 and his later works are often hasty and careless4 ,the references to ,van ,dyck in ,ruskin's books are numerous4 7,the most interesting are ,modern ,painters1 vol4 v4 pt4 ix4 ch4 vi4 #e1 #aj1 #bb2 ch4 vii4 #bc2 ,elements of ,drawing1 appendix ii42 ,on the ,old ,road1 i4 #aed2 ,art of ,england1 #ahhd1 pp4 #dc1 #hc1 #ach1 #bab47 ,a portrait of special interest as having been much prized by ,sir ,joshua ,reynolds1 to whom it formerly belonged4 ,when ,mr4 ,angerstein bought it1 the great ,burke is said to have congratulated him on possessing ,sir ,joshua's favourite picture4 ,it is commonly called ,the ,portrait of ,rubens1 but the principal figure does not greatly resemble the well-known face of ,rubens2 it is more probably a portrait of ,luke ,vostermann1 a celebrated engraver of the time4 ,he is discoursing1 it would seem1 on some point of art1 suggested by the little statue which a man behind is holding4 #ej4 ,,st4 ,,ambrose ,,and ,,theodosius4 ,van ,dyck 7,flemish3 #aeii-afda74 ,see under last picture4 ,a copy1 with some variations1 of a large picture by ,rubens now at ,vienna4 ,the subject is that described by ,gibbon 7ch4 xxvii474 ,the ,emperor ,theodosius1 for a massacre of the inhabitants of ,thessalonica1 was excommunicated by ,ambrose1 the ,archbishop of ,milan4 ,the emperor was deeply affected by his own reproaches1 and by those of his spiritual father2 and1 after he had bewailed the mischievous and irreparable consequences of his own rash fury1 he proceeded1 in the accustomed manner1 to perform his devotions in the great church of ,milan4 ,he was stayed in the porch by the ,archbishop2 who1 in the tone and language of an ambassador of heaven1 declared to his sovereign that private contrition was not sufficient to atone for a public fault1 or to appease the justice of an offended ,deity4 ,theodosius humbly represented that if he had contracted the guilt of homicide1 ,david1 the man after ,god's own heart1 had been guilty not only of murder1 but of adultery4 ,you have imitated ,david in his crime1 imitate then his repentance1 was the reply of the undaunted ,ambrose4 ,observe as an instance of picturesque ornament properly introduced in subordination to the figure subject1 the robes of ,st4 ,ambrose4 ,tintoret1 ,titian1 ,veronese1 ,rubens1 and ,van ,dyck would be very sorry to part with their figured stuffs and lustrous silks2 and sorry1 observe1 exactly in the degree of their picturesque feeling4 ,should not we also be sorry to have ,bishop ,ambrose without his vest in that picture of the ,national ,gallery8 ,but ,i think ,van ,dyck would not have liked1 on the other hand1 the vest without the bishop4 ,and ,i much doubt if ,titian or ,veronese would have enjoyed going into ,waterloo ,house1 and making studies of dresses upon the counters 7,stones of ,venice1 vol4 i4 ch4 xx4 #ac74 #ea4 ,a ,,jew ,,merchant4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,one of the heads of the people whom ,rembrandt saw around him2 for the street in which he lived at ,amsterdam swarmed with ,dutch and ,portuguese ,jews4 ,in rendering human character1 such as he saw about him1 ,rembrandt is nearly equal to ,correggio1 ,titian1 ,tintoret1 ,veronese1 or ,velazquez2 and the real power of him is in his stern and steady touch on lip and brow1--seen best in his lightest etchings1--or in the lightest parts of the handling of his portraits1 the head of the ,jew in our own ,gallery being about as good and thorough work as it is possible to see of his 7,academy ,notes1 #ahei1 p4 #eb74 #eb4 ,,portrait ,,of ,,gevartius4 ,van ,dyck 7,flemish3 #aeii-afda74 ,see #di4 ,one of the most celebrated pictures in the ,gallery4 ,the title by which it is commonly known is incorrect2 the sitter being not ,gaspar ,gevarts or ,gevartius1 but ,cornelius van der ,geest1 an amateur of the arts and a friend of ,rubens and ,van ,dyck4 ,it is the grave learning of a scholar1 the gentle refinement of an artist--notice especially the liquid1 living lustre of the eye--that ,van ,dyck here puts before us4 ,in point of execution this picture ranks as one of the finest portraits in the world4 ,from it1 says ,mr4 ,watts1 ,r4,a41 the modern student will learn more than from any ,i am acquainted with4 ,the eyes1 he adds1 are miracles of drawing and painting4 ,they are a little tired and overworked1 and do not so much see anything as indicate the thoughtful brain behind4 ,how wonderful the flexible mouth6 with the light shining through the sparse moustache4 ,how tremulously yet firmly painted4 ,the ear3 how set on 444 so throughout there is no part of this wonderful portrait that might not be examined and enlarged upon2 but ,i would ask my fellow-students to do this for themselves4 ,not a touch is put in for what is understood by 'effect4' ,dexterous in a superlative degree1 there is not in the ordinary sense a dexterous dab doing duty for honourable serious work3 nothing done to look well at one distance or another1 but to be right at every distance 7,magazine of ,art1 ,june #ahhi74 ,sir ,edward ,poynter is equally enthusiastic4 ,this wonderful portrait1 he says1 is perhaps the most perfect head ever painted by this consummate painter4 ,not only for the brilliancy and purity of its flesh tints1 the masterly drawing1 and the vitality of the expression1 does it rank as one of the masterpieces of portraiture existing2 but for the brushwork1 of which every touch expresses with supreme dexterity all the varieties of form1 substance1 and texture1 it is unsurpassed1 perhaps unrivalled1 in the history of painting 7,national ,gallery1 i4 #aeb74 ,another ,p4,r4,a41 ,benjamin ,west1 copied the ,gevartius1 and at this day there is no picture in the ,gallery more often copied by students4#hb ,their preference is justified by that of the painter himself1 who used to consider it his masterpiece1 and before he had gained his great reputation carried it about with him from court to court1 and patron to patron1 to show what he could do as a portrait painter4#hc #ec4 ,,an ,,evening ,,landscape4 ,albert ,cuyp 7,dutch3 #afbj-afia74 ,cuyp was born at ,dort--the son of an artist who was one of the founders of the ,painters' ,guild in that town4 ,he was a deacon and elder of his church1 and was a citizen of importance1 holding various municipal and judicial offices4 ,as a painter1 however1 he had little reputation in his own country1 and1 as is the case with so many of the ,dutch masters1 it was in ,england that he was first appreciated4 ,even in #agej one of his pictures sold for thirty florins2 in #ahgf one fetched at ,christie's #ejdj4 ,the high esteem in which his works are thus held is justified alike by their own merits and by his important position in the history of landscape art4 ,he is1 in the first place1 the principal master of pastoral landscape1 representing peasant life and its daily work1 or such scenery as may naturally be suggestive of it1 consisting usually of simple landscape1 in part subjected to agriculture1 with figures1 cattle1 and domestic buildings4 ,in this respect ,cuyp is an interesting case of the detachment of an artist's life4 ,he was born and lived in troublous times2 but in looking at his works one would imagine 7it has been said7 that he passed his whole life in ,arcadia1 untroubled by any more anxious thought than whether the sun would give the effect which he required for his paintings1 or the cows stay long enough for him to depict them in their natural attitudes4 ,dwelling on the banks of the placid ,maas1 he delighted also to reproduce the warm skies of summer or autumn reflected in an expanse of water overspread with marine craft4 ,secondly1 ,cuyp has been called the ,dutch ,claude1 for he was the first amongst the ,dutch to set the sun in the sky4 ,for expression of effects of yellow sunlight1 parts might be chosen out of the good pictures of ,cuyp1 which have never been equalled in art4 ,it is sunshine1 observe1 that ,cuyp paints1 not sun colour4 ,observe this accurately4 ,those easily understood effects of afternoon light1 gracious and sweet so far as they reach1 are produced by the softly warm or yellow rays of the sun falling through mist4 ,they are low in tone1 even in nature1 and disguise the colours of objects4 ,they are imitable even by persons who have little or no gift of colour1 if the tones of the picture are kept low and in true harmony1 and the reflected lights warm4 ,but they never could be painted by great colourists4 ,the fact of blue and crimson being effaced by yellow and grey puts such effect at once out of the notice or thought of a colourist4 ,the task of painting the sun colour was reserved for ,turner2 yet ,cuyp's pictures had a great influence over him4 ,he went steadily through the subdued golden chord1 and painted ,cuyp's favourite effect1 'sun rising through vapour1' for many a weary year4 ,but this was not enough for him4 ,he must paint the sun in his strength1 the sun rising not through vapour4 ,if you turn to the ,apollo in the ',ulysses and ,polyphemus' 7#ejh71 his horses are rising beyond the horizon--you see he is not 'rising through vapour1' but above it2--gaining somewhat of a victory over vapour1 it appears4 ,the old ,dutch brewer1#hd with his yellow mist1 was a great man and a good guide1 but he was not ,apollo4 ,he and his dray-horses led the way through the flats cheerily1 for a little time2 we have other horses now flaming out 'beyond the mighty sea' 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 ii4 ch4 i4 #ai2 vol4 v4 pt4 ix4 ch4 xi4 #c1 #d74 ,admirers of ,cuyp should make a point of visiting the ,dulwich ,gallery1 which is peculiarly rich in works by this master4 ,in the ,british ,museum are several of his drawings and studies4 ,an interesting study in what is called truth of tone may be made with this picture--by which is meant the exact relation and fitness of shadow and light1 and of the hues of all objects under them2 and more especially that precious quality of each colour laid on which makes it appear a quiet colour illuminated1 not a bright colour in shade4 ,now with regard to this ,ruskin says1 ,i much doubt if there be a single bright ,cuyp in the world1 which1 taken as a whole1 does not present many glaring solecisms in tone4 ,i have not seen many fine pictures of his which were not utterly spoiled by the vermilion dress of some principal figure--a vermilion totally unaffected and unwarmed by the golden hue of the rest of the picture2 and1 what is worse1 with little distinction between its own illumined and shaded parts1 so that it appears altogether out of sunshine--the colour of a bright vermilion in dead1 cold daylight4444 ,and these failing parts1 though they often escape the eye when we are near the picture and able to dwell upon what is beautiful in it1 yet so injure its whole effect that ,i question if there be many ,cuyps in which vivid colours occur1 which will not lose their effect and become cold and flat at a distance of ten or twelve paces1 retaining their influence only when the eye is close enough to rest on the right parts without including the whole4 ,take1 for instance1 the large one in our ,national ,gallery4 7,seen at a distance7 the black cow appears a great deal nearer than the dogs1 and the golden tones of the distance look like a sepia drawing rather than like sunshine1 owing chiefly to the utter want of aerial greys indicated through them 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 ii4 ch4 i4 #aa1 #ai74 #ed4 ,a ,,woman ,,bathing4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,those who have been in ,holland1 says ,mrs4 ,jameson1 must often have seen the peasant girls washing their linen and trampling on it1 precisely in the manner here depicted4 ,rembrandt may have seen one of them from his window1 and snatching up his pencil and palette1 he threw the figure on the canvas and fixed it there as by a spell4 ,more probably1 however1 this is one of ,rembrandt's many pictures of his servant and model1 ,hendrickje ,stoffels4 ,the finest of the whole series1 says ,m4 ,michel1 is the study of ,hendrickje in the ,national ,gallery1 the so-called ',woman ,bathing4' ,it bears the date #afed1 and is undoubtedly a masterpiece among ,rembrandt's less important works4 ,the young woman1 whose only garment is a chemise1 stands facing the spectator1 in a deep pool4 ,her attitude suggests a sensation of pleasure and refreshment tempered by the involuntary shrinking of the body at the first contact of the cold water4 ,the light from above glances on her breast and forehead1 and on the luxuriant disorder of her bright hair2 the lower part of her face and her legs are in deep transparent shadow4 ,the brown tones of the soil1 the landscape background and the water1 the purple and gold of the draperies1 make up a marvellous setting alike for the brilliantly illuminated contour and the more subdued carnations of the model4 ,the truth of the impression1 the breadth of the careful but masterly execution1 the variety of the handling1 proclaim the matured power of the artist1 and combine to glorify the hardy grace and youthful radiance of his creation 7,rembrandt3 his ,life1 his ,work1 and his ,time1 ii4 #gj74 #ee4 ,,the ,,death ,,of ,,procris 7see under #fih74 ,claude 7,french3 #afjj-afhb74 ,see #b4 ,a most pathetic picture1 says ,constable 7who made a copy of it when it was in ,sir ,george ,beaumont's possession74 ,the expression of ,cephalus is very touching2 and1 indeed1 nothing can be finer than the way in which ,claude has told that affecting story throughout4 ,procris has come from her concealment to die at the feet of her husband4 ,above her is a withered tree clasped by ivy1 an emblem of love in death1--while a stag seen on the outline of a hill1 over which the rising sun spreads his rays1 explains the cause of a fatal mistake4444 ,it is the fashion to find fault with his figures indiscriminately1 yet in his best time they are so far from being objectionable that we cannot easily imagine anything else according so well with his scenes2 as objects of colour they seem indispensable4 ,wilson said to a friend who was talking of them in the usual manner1 ',do not fall into the common mistake of objecting to ,claude's figures' 7,leslie's ,life of ,constable1 #ahde1 p4 #cci74 #ef4 ,,landscape ,,with ,,figures4 ,annibale ,carracci 7,eclectic-,bologna3 #aefj-afji74 ,see #i4 #eg4 ,,the ,,conversion ,,of ,,st4 ,,bavon4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,bavon1 a noble of ,brabant1 in the seventeenth century having determined to renounce the pomps and vanities of the world 7his retinue is to be seen on the right71 is met on the steps of the convent church by the bishop who is to receive him into his new life4 ,to the left his goods are being given away to the poor1 and above there is a group of ladies returning thanks for the noble penitent's conversion4 #eh4 ,a ,,study ,,of ,,trees4 ,claude 7,french3 #afjj-afhb74 ,see #b4 ,this picture1 when in ,sir ,george ,beaumont's collection at ,coleorton1 was copied by ,constable and called by him ,the ,little ,grove4 ,in #ahbc ,constable wrote to a friend1 ,i have likewise begun ',the ,little ,grove' by ,claude2 a noonday scene 'which warms and cheers1 but which does not inflame or irritate4' ,through the depths of the trees are seen a waterfall and a ruined temple1 and a solitary shepherd is piping to some goats and sheep3-- ',in closing shades and where the current strays1 ,pipes the lone shepherd to his feeding flocks4' 7,leslie's ,life of ,constable1 #ahde1 p4 #aai47 #ei4 ,,the ,,brazen ,,serpent4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,it is interesting to observe the difference in the treatment of this subject by the three great masters1 ,michael ,angelo1 ,rubens1 and ,tintoret4444 ,rubens and ,michael ,angelo made the fiery serpents huge boa-constrictors1 and knotted the sufferers together with them4 ,tintoret makes 444 the serpents little flying and fluttering monsters1 like lampreys with wings2 and the children of ,israel1 instead of being thrown into convulsed and writhing groups1 are scattered1 fainting in the fields1 far away in the distance4 ,as usual1 ,tintoret's conception1 while thoroughly characteristic of himself1 is also truer to the words of ,scripture4 ,we are told that 'the ,lord sent fiery serpents among the people1 and they bit the people'2 we are not told that they crushed the people to death4 ,and1 while thus the truest1 it is also the most terrific conception4444 ,our instinct tells us that boa-constrictors do not come in armies2 and we look upon the picture with as little emotion as upon the handle of a vase1 or any other form worked out of serpents1 when there is no probability of serpents actually occurring 7,stones of ,venice3 ,venetian ,index1 ,rocco1 ,scuola di ,san1 ,no4 #bd74 #fa4 ,,landscape ,,with ,,figures4 ,claude 7,french3 #afjj-afhb74 ,see #b4 ,the history of this picture is curiously interesting4 ,it belonged to ,sir ,george ,beaumont1 who valued it so highly that it was1 we are told1 his travelling companion4 ,he presented it to the ,national ,gallery in #ahbf1 but unable to bear its loss begged it back for the rest of his life4 ,he took it with him into the country1 and on his death1 two years later1 his widow restored it to the nation4 ,sir ,george ,beaumont was not the only artist who thought highly of this little picture4 ,constable1 we are told1 looked back on the first sight of this exquisite work as an important epoch in his life4444 ,it is called ,the ,annunciation2 but the spring by which the female is seated1 and the action of the angel who points to the buildings in the distance1 leave little doubt that ,claude's intention was to represent the first flight of ,hagar from the presence of her mistress 7,leslie's ,life of ,constable1 #ahde1 p4 #f74 #fb4 ,a ,,bacchanalian ,,dance4 ,nicolas ,poussin 7,french3 #aeic-affe74 ,see #ci4 ,this picture1 one of ,poussin's masterpieces1 is probably one of four ,bacchanals painted for ,cardinal ,richelieu3-- ,whence came ye1 jolly ,satyrs6 whence came ye1 ,so many1 and so many1 and such glee8 ,why have ye left your forest haunts1 why left ,your nuts in oak-tree cleft8-- ,for wine1 for wine we left our kernel tree2 ,for wine we left our heath1 and yellow brooms1 ,and cold mushrooms2 ,for wine we follow ,bacchus through the earth2 ,great god of breathless cups and chirping mirth6 ,come hither1 lady fair1 and joined be ,to our mad minstrelsy6 ,,keats3 ,endymion4 #fc4 ,,landscape ,,with ,,figures4 ,annibale ,carracci 7,eclectic-,bologna3 #aefj-afji74 ,see #i4 ,this picture was originally in the ,giustiniani ,palace at ,rome2 hence the figures are supposed to represent 7as stated on the frame7 ,prince ,giustiniani and his attendants returning from the chase4 #fd4 ,,return ,,of ,,the ,,ark ,,from ,,captivity4 ,sebastien ,bourdon 7,french3 #afaf-afga74 ,this picture was a great favourite with ,sir ,joshua ,reynolds1 to whom it once belonged4 ,he cited it1 together with a picture by ,salvator ,rosa1 to the students of the ,academy 7,discourse xiv47 as an instance of the poetical style of landscape1 calling particular attention to the visionary character of the whole and every part of the scene4 ,the subject is the return of the ark by the ,philistines to the valley of ,bath-shemesh1 as described in ,i ,samuel vi4 #aj-ad4 ,the painter was one of the original twelve anciens of the old ,french ,academy of painting1 of which he died rector2 he had formerly been painter to ,queen ,christina of ,sweden1 to whose country he had fled as a ,protestant4 #fe4 ,,cephalus ,,and ,,aurora4 ,nicolas ,poussin 7,french3 #aeic-affi74 ,see under #ci4 ,none of the learned ,poussin's pictures in the ,gallery shows so well as this how steeped he was alike in the knowledge and in the feeling of ,greek mythology4 ,cephalus was a ,thessalian prince whose love of hunting carried him away at early dawn from the arms of his wife ,procris 7see under #fih74 ,hence the allegorical fable of the loves of ,cephalus and ,aurora1 the goddess of the dawn1 and her attempt to rival ,procris in his affections4 ,cephalus here half yields to ,aurora's blandishments1 but a little ,cupid holds up before him the portrait of his wife and recalls her love to his mind4 ,behind is ,aurora's car1 in which she is drawn by the white-winged ,pegasus across the sky4 ,but ,pegasus1 with that intermingling of many ideas which is characteristic of all ,greek myths1 is also the ,angel of the ,wild ,fountains3 that is to say1 the fastest flying or lower rain-cloud1 winged1 but racing as upon the earth4#he ,hence beside him sleeps a river-god1 his head resting on his urn4 ,but the mountain top is tipped with dawn2 and behind1 one sees a ,naiad waking4 ,farther still beyond1 in a brightening horizon1 the form of ,apollo1 the sun-god whose advent follows on the dawn1 is just apparent1 his horses and his car melting into the shapes of morning clouds4#hf #ff4 ,a ,,landscape3 ,,autumn ,,morning4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,rubens perhaps furnishes us with the first instances of complete1 unconventional1 unaffected landscape4 ,his treatment is healthy1 manly1 and rational1 not very affectionate1 yet often condescending to minute and multitudinous detail2 always1 as far as it goes1 pure1 forcible1 and refreshing1 consummate in composition1 and marvellous in colour 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #ae74 ,notice especially the sky4 ,the whole field of ancient landscape art affords1 as far as we remember1 but one instance of any effort whatever to represent the character of the upper cloud region4 ,that one instance is the landscape of ,rubens in our own ,gallery1 in which the mottled or fleecy sky is given with perfect truth and exquisite beauty 7ibid41 vol4 i4 pt4 ii4 sec4 iii4 ch4 ii4 #i74 ,rubens's skill in landscape was partly due to fondness for the scenery he depicted4 ,this picture was painted when he was at ,genoa1 but it is a purely ,flemish scene--a broad stretch of his own lowlands1 with the castle of ,stein1 it is said1 which was afterwards his residence1 near ,mechlin1 in the background1 with ,flemish waggon and horses fording a brook1 and with a sportsman in the immediate foreground1 carrying an old-fashioned firelock1 intent on a covey of partridges4#hg ,the ,dutch painters are perfectly contented with their flat fields and pollards2 ,rubens1 though he had seen the ,alps1 usually composes his landscapes of a hayfield or two1 plenty of pollards and willows1 a distant spire1 a ,dutch house with a moat about it1 a windmill1 and a ditch 7ibid41 vol4 iii4 pt4 iv4 ch4 xiii4 #bj74 ,the ,dutch painters agreed1 in fact1 with the ,lincolnshire farmer in ,kingsley's ,alton ,locke1 whom ,ruskin goes on to quote3 ,none o' this here darned ups and downs o' hills1 to shake a body's victuals out of his inwards1 but all so vlat as a barn's vloor1 for vorty mile on end--there's the country to live in6 ,this picture is one of four seasons4 7,spring is in the ,wallace collection at ,hertford ,house1 ,summer and ,winter are in the ,royal collection at ,windsor47 ,it was presented to the nation by ,sir ,george ,beaumont4 ,the painter ,haydon1 describing a visit to ,sir ,george at ,coleorton1 writes3 ,we dined with the ,claude and ,rembrandt before us1 breakfasted with the ,rubens landscape1 and did nothing morning1 noon1 or night but think of painting1 dream of painting1 and wake to paint again4 ,the picture is referred to also by ,wordsworth in a very interesting passage4 ,i heard the other day1 he writes to ,sir ,george ,beaumont1 of two artists1 who thus expressed themselves upon the subject of a scene among our lakes3 ',plague upon those vile enclosures6' said one2 'they spoil everything4' ',oh1' said the other1 ',i never see them4' ,glover was the name of this last4 ,now1 for my part1 ,i should not wish to be either of these gentlemen1 but to have in my own mind the power of turning to advantage1 wherever it is possible1 every object of ,art and ,nature as they appear before me4 ,what a noble instance1 as you have pointed out to me1 has ,rubens given of this in that picture in your possession1 where he has brought1 as it were1 a whole country into one landscape1 and made the most formal partitions of cultivation1 hedgerows of pollard willows1 conduct the eye into the depths and distances of his picture3 and thus1 more than by any other means1 has given it that appearance of immensity which is so striking 7,memorials of ,coleorton1 ii4 #ace74 #fg4 ,,the ,,holy ,,family ,,and ,,st4 ,,george4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,on the left are the usual incidents of a ,riposo1 or ,repose in ,egypt4 ,st4 ,joseph is asleep1 and the mule browses on the bank of the stream1 while ,john the ,baptist and attendant angels play with the ,lamb4 ,the ,holy ,child is on its mother's knee1 and to them ,st4 ,george is presenting his proselyte1 the heathen princess whom he had saved from the dragon 7see under #af74 ,the dragon1 now bridled with her girdle1 follows her meekly1 and ,st4 ,george1 as he introduces her to the mysteries of ,christianity1 plants the banner of the ,faith4 ,with the holy mother is ,st4 ,mary ,magdalen--a penitent sinner herself1 like the heathen princess1 whom she now ushers into the ,holy ,presence4 ,such appears to be the subject4 ,as for the manner in which it is treated1 it is interesting to know that the figures are portraits of the painter himself and his family4 ,rubens is religious1 too1 after his manner2 hears mass every morning1 and perpetually uses the phrase 'by the grace of ,god1' or some other such1 in writing of any business he takes in hand2 but the tone of his religion may be determined by one fact4 ,we saw how ,veronese painted himself and his family as worshipping the ,madonna4 ,rubens has also painted himself in an equally elaborate piece4#hh ,but they are not worshipping the ,madonna4 ,they are performing the ,madonna1 and her saintly entourage 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 vi4 #i74 #fh4 ,a ,,woody ,,landscape4 ,gaspard ,poussin 7,french3 #afac-afge74 ,see #ca4 ,the scene is the beautiful avenue of oaks1 called the ,galleria di ,sopra1 which skirts the upper margin of the ,lake of ,albano4 ,ruskin refers to this picture in illustration of his thesis that ,turner's truth of vegetation1 in his representation of the exceeding intricacy of nature1 is not to be paralleled among the old painters1 and least of all in ,gaspard ,poussin with his regular tree-patterns4 ,the picture before us is a woody landscape1 which in nature would be a mass of intricate foliage-- a mere confusion of points and lines between you and the sky4444 ,this1 as it comes down into the body of the tree1 gets closer1 but never opaque2 it is always transparent1 with crumbling lights in it letting you through to the sky2 then1 out of this1 come1 heavier and heavier1 the masses of illumined foliage1 all dazzling and inextricable1 save here and there a single leaf on the extremities3 then1 under these1 you get deep passages of broken irregular gloom1 passing into transparent1 green-lighted1 misty hollows 444 all penetrable and transparent1 and1 in proportion1 inextricable and incomprehensible1 except where across the labyrinth and mystery of the dazzling light and dream-like shadow1 falls1 close to us1 some solitary spray1 some wreath of two or three motionless large leaves1 the type and embodying of all that in the rest we feel and imagine1 but can never see4 ,now1 with thus much of nature in your mind1 go to ,gaspard ,poussin's ',view near ,albano4' ,it is the very subject to unite all these effects1 a sloping bank shaded with intertwined forest4 ,and what has ,gaspard given us8 ,a mass of smooth1 opaque1 varnished brown1 without one interstice1 one change of hue1 or any vestige of leafy structure1 in its interior1 or in those parts of it1 ,i should say1 which are intended to represent interior2 but out of it1 over it rather1 at regular intervals1 we have circular groups of greenish touches1 always the same in size1 shape1 and distance from each other1 containing so exactly the same number of touches each1 that you cannot tell one from another4 ,there are eight or nine and thirty of them1 laid over each other like fish-scales2 the shade being most carefully made darker and darker as it recedes from each until it comes to the edge of the next1 against which it cuts in the same sharp circular line1 and then begins to decline again1 until the canvas is covered with about as much intelligence or feeling of art as a house-painter has in marbling a wainscot1 or a weaver in repeating an ornamental pattern4 ,what is there in this1 which the most determined prejudice in favour of the old masters can for a moment suppose to resemble trees8 ,it is exactly what the most ignorant beginner1 trying to make a complete drawing1 would lay down2 exactly the conception of trees which we have in the works of our worst drawing-masters1 where the shade is laid on with the black lead and stump1 and every human power exerted to make it look like a kitchen grate well polished#hi 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 vi4 ch4 i4 #af-ai74 ,a further untruth of vegetation is the perpetration of the bough at the left-hand upper corner4 ,this is-- a representation of an ornamental group of elephants' tusks1 with feathers tied to the end of them4 ,not the wildest imagination could ever conjure up in it the remotest resemblance to the bough of a tree4 ,it might be the claws of a witch1 the talons of an eagle1 the horns of a fiend2 but it is a full assemblage of every conceivable falsehood which can be told respecting foliage1 a piece of work so barbarous in every way1 that one glance at it ought to prove the complete charlatanism and trickery of the whole system of the old landscape painters 7ibid41 #g74 #fi4 ,,st4 ,,john ,,preaching ,,in ,,the ,,wilderness4 ,pietro ,francesco ,mola 7,eclectic-,bologna3 #afab-affh74 ,mola1 a native of ,milan1 and the son of an architect1 studied first at ,rome and ,venice1 but afterwards at ,bologna--returning ultimately to ,rome1 where he held the office of ,president of the ,academy of ,st4 ,luke4 ,there is1 says ,sir ,frederic ,burton1 a certain idyllic character in ,mola's works which renders them extremely attractive and of more artistic value than the majority of works produced in his day4 ,the wild figure of the ,baptist is well contrasted with the turbaned ,pharisee and the rest of his audience3-- ,the last1 and greatest1 herald of ,heav'n's ,king1 ,girt with rough skins1 hies to the desert wild3 ,there burst he forth--,all ye whose hopes rely ,on ,god6 with me amidst these deserts mourn2 ,repent6 repent6 and from old errors turn4 ,who listen'd to his voice1 obey'd his cry8 ,only the echoes1 which he made relent1 ,rung from their flinty caves--,repent6--repent6 ,,drummond ,,of ,,hawthornden3 ,flowers of ,zion4 ,the preacher places his right hand on his heart as if to attest his own sincerity1 while with his left he points to the ,saviour1 who is seen approaching in the distance3 ,this is he of whom ,i said1 ,after me cometh a man which is preferred before me1 for he was before me4 #gj4 ,,cornelia ,,and ,,her ,,jewels4 ,padovanino 7,venetian3 #aeij-afej74 ,alessandro ,varotari was born at ,padua1 from which town he derived the name by which he is generally known4 ,he was the son of a ,veronese painter1 but went early to ,venice1 where he became a student and imitator of the works of ,titian and ,paolo ,veronese4 ,his masterpiece is the ,marriage at ,cana in the ,academy at ,venice4 ,he painted children well1 and often introduced them into his pictures4 ,cornelia1 a noble ,roman lady1 daughter of the elder ,scipio ,africanus1 and mother of the ,gracchi1 was visited by a friend1 who ostentatiously exhibited her jewels4 ,cornelia being asked to show hers in turn1 pointed to her two sons1 just then returning from school1 and said1 ,these are my jewels4 #ga4 ,a ,,party ,,of ,,muleteers4 ,jan ,both 7,dutch3 #afaj-affb74 ,jan ,both1 born at ,utrecht1 was one of the first ,italianisers in landscape4 ,he was the son of a glass painter1 who gave him his first lessons in drawing2 he afterwards became the pupil of ,abraham ,bloemaert4 ,as soon as he was old enough to travel1 he set out with his brother ,andries for ,italy4 ,unlike ,rubens1 who even at ,genoa painted only the ,netherlands1 ,both adopted ,italian scenery as his subject4 ,at ,rome he formed his style on that of ,claude4 ,the two brothers travelled1 studied1 and worked in ,italy together4 ,jan excelled in landscape2 the figures and cattle in his pictures were generally sketched by ,andries4 ,after some years at ,rome1 the brothers worked for a time at ,venice2 here ,andries1 having dined one evening not wisely but too well1 fell from his gondola into the water and was drowned4 ,this was a terrible blow to ,jan1 who returned to ,utrecht in despair1 where he survived his brother for some years1 during which ,poelenburgh took the place of ,andries 7see ,no4 #bji74 ,in the year #afdi ,jan was one of the chiefs of the ,painters' ,guild at ,utrecht1 and the inscription on an engraved portrait of him published in #affb speaks of him as a good and well-respected landscape painter4 ,both loved to paint abruptly-rising rocks1 with mountain paths fringed with trees1 and cascades or lakes in the foreground4 ,his best works are distinguished by the soft golden tones of the declining day4 ,several good examples of this master are to be seen at the ,dulwich ,gallery4 ,a reminiscence1 doubtless1 of one of ,both's journeys in the ,italian lake district4 ,one may recall the reminiscence of ,italy by another northern traveller-- ,know'st thou the mountain bridge that hangs on cloud8 ,the mules in mist grope o'er the torrent loud1 ,in caves lie coil'd the dragon's ancient brood1 ,the crag leaps down and over it the flood3 ,know'st thou it1 then8 ',tis there6 'tis there ,our way runs2 ,o my father1 wilt thou go8 ,,mignon',s song in ,wilhelm ,meister3 ,carlyle's translation4 #gb4 ,,landscape ,,with ,,tobias ,,and ,,the ,,angel4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 #gc4 ,,the ,,conversion ,,of ,,st4 ,,paul4 ,ascribed to ,ercole di ,giulio ,grandi 7,ferrarese3 died #aeca74 ,the confused character of this picture is sufficiently shown by the fact that whilst the official designation is as above1 other critics have called it the ,destruction of ,sennacherib4 ,for a masterpiece by ,ercole1 see #aaai4 ,the ascription to him of this inferior work is decidedly doubtful4 #gd4 ,a ,,spanish ,,peasant ,,boy4 ,murillo 7,spanish3 #afah-afhb74 ,see #ac4 ,look at this and the other little boy near it 7#agf71 and you will see at once the secret of ,murillo's popularity4 ,in a country like ,spain he became easily the favourite of the crowd4 ,he was one of themselves1 and had all the gifts they valued4 ,not like ,velazquez1 reproducing by choice only the noble and dignified side of the national character1 ,murillo could paint to perfection either the precocious sentiment of the ,good ,shepherd with the lamb by his side1 or the rags and happiness of the gipsy beggar boy 7,w4 ,b4 ,scott's ,murillo1 p4 #gf7-- ,poor and content is rich and rich enough4 #ge4 ,,st4 ,,george ,,and ,,the ,,dragon4 ,domenichino 7,eclectic-,bologna3 #aeha-afda74 ,see #dh4 ,compare this conventional representation of the subject with the imaginative one by ,tintoretto 7#af74 ,amongst points of comparison notice the absence of anything terrible in the dragon1 the crowd of spectators 7on the walls in the distance71 ,st4 ,george's helmet2 and where is his spear8 #gf4 ,,christ',s ,,agony ,,in ,,the ,,garden4 ,after ,correggio4 ,see under #aj4 ,this is an old copy1 or perhaps a replica1 of the original picture in the possession of the ,duke of ,wellington at ,apsley ,house4 ,the treatment of the subject is remarkable1 and characteristic of ,correggio4 ,the angel hovers in mid-air with marvellous ease and lightness1 and though he bears the healing message of approaching bliss1 he cannot restrain his sense of pity4 ,his face is at once radiant and sorrowful1 expressing the mingled feelings with which he points on the one hand to heaven1 on the other to the cross and crown of thorns4 ,christ1 effulgent in his long straight robe and shining aureole1 gazes upward with mournful resignation1 the spasm of agony dying out of his face4 ,the twilight landscape is calm and melancholy4 ,the supernatural radiance sheds but a faint light on the grass and bushes1 scarcely touching the figures of the sleeping disciples1 and dying out completely in the dense foliage beyond4 ,but in the distance a band of soldiers1 scarcely visible by the faint glimmer of their torches1 draws near1 led by ,judas1 and over the mountains the sky whitens with the first pale streak of dawn 7,ricci3 ,correggio3 his ,life1 his ,friends1 and his ,time1 p4 #bca74 ,the effect of light1 ,mengs points out1 is peculiar3 the radiance of the ,saviour's face lights up the picture4 ,but this radiance comes from above1 as if from ,heaven1 while the angel is illuminated by the light reflected from the ,saviour4 ,it is interesting to compare ,correggio's version of the agony with the earlier one by ,bellini 7#gbf7 and ,mantegna 7#adag74 ,the earlier pictures impress us1 but the manner of impression is quite different4 ,there is no attempt either in the ,bellini or in the ,mantegna to win our sympathy by the beauty of the human type4 ,this1 on the other hand1 is of the essence of ,correggio's art4 ,the figure of ,christ and the ,angel represent the dignity of perfect humanity2 and ,correggio makes the pathos of the expiatory sacrifice of ,calvary turn upon this consideration4 ,this is the strictly ,renaissance point of view 7,j4 ,e4 ,hodgson1 ,r4,a41 in ,magazine of ,art1 #ahhf1 p4 #bae74 ,the original picture has a legend attached to it4 ,correggio1 says ,lomazzo1 was accustomed always to value his works at a very low price1 and having on one occasion to pay a bill of four or five scudi to an apothecary in his native city1 he painted him ',christ ,praying in the ,garden1' which he executed with all possible care4 ,the picture was sold shortly afterwards for #ejj scudi4 ,it was subsequently in the royal collection at ,madrid1 and after the battle of ,vittoria it was found in ,joseph ,bonaparte's carriage by one of ,wellington's colonels4 ,wellington hastened to restore it to ,ferdinand ,,vii41 who1 not to be outdone in courtesy1 presented it to the duke4 ,the picture in our ,gallery was part of the ,angerstein collection4 #gg4 ,,the ,,stoning ,,of ,,st4 ,,stephen4 ,domenichino 7,eclectic-,bologna3 #aeha-afda74 ,see #dh4 #gh4ij ,,landscape ,,with ,,ruins4 ,nicolas ,berchem 7,dutch3 #afbj-afhc74 ,nicolas ,pietersz1 son of ,pieter ,claesz1 a painter1 called himself ,berchem1 by which name he is entered in the town records of ,haarlem1 and by which he signed his pictures4 ,he married the daughter of his master1 ,jan ,wils 7,no4 #ajjg74 ,in #afdb he became a member of the ,guild of ,st4 ,luke at ,haarlem4 ,no authentic information exists about his visiting ,italy1 but that he had travelled in that country is clear from the views represented in his pictures1 and from the character of his landscapes generally4 ,his style resembles that of another ,dutch ,italianiser1 ,jan ,both 7,no4 #ga71 and there seems to have been some rivalry between the two men4 ,it is related that a burgomaster of ,dordrecht1 ,van der ,hulk by name1 commissioned a picture from each painter1 promising an additional premium to the one whose work should be thought the better4 ,on the completion ,of the pictures1 the patron declared that the admirable works had deprived him of the capability of preference1 and that both were entitled to the premium4 ,the picture painted on this occasion by ,berchem is the ,halt of ,huntsmen1 now in the ,hermitage at ,st4 ,petersburg4 ,berchem's landscapes are taken1 says ,dr4 ,richter1 from the mountainous countries of ,italy1 and the types and costumes of the figures therein represented are also entirely ,italian1 though not copied direct from nature4 ,he probably painted most of his ,italian landscapes in ,holland4 ,what characterises him principally is a brilliant and easy touch1 with which he renders nature with more art than exactitude4 ,he is more ingenious in his conceptions than profound or true4 ,the mannerism and monotony of his works accord with what is told of his life4 ,in #affe1 when at the height of his reputation1 he sold his labour to a dealer1 from early in the morning to four in the afternoon1 for ten florins a day4 ,his wife1 it appears1 kept the purse1 and is said to have doled out very scanty supplies--a precaution which was perhaps necessary1 as ,berchem had a weakness for ,italian drawings1 his collection of which sold at his death for #ab1hjj florins4 #ha4 ,,the ,,vision ,,of ,,st4 ,,augustine4 ,garofalo 7,ferrarese3 #adha-aeei74 ,benvenuto ,tisio1 called ,garofalo#ia from the village of that name on the ,po to which his family belonged1 was 7like ,sodoma7 the son of a shoemaker1 and having shown a strong taste for art1 was apprenticed as a lad to the ,ferrarese painter1 ,domenico ,panetti4 ,seven years later he went to ,cremona and attached himself to ,boccaccino 7#hjf74 ,he left ,cremona suddenly1 as described in a letter1 still extant1 from ,boccaccino to ,garofalo's father3 ,had your son1 he writes1 learnt good manners as thoroughly as he has learnt painting1 he would scarcely have played me such a shabby trick4 ,he has taken himself off1 ,i know not whither1 and without a word4 ,but this may be a clue to his whereabouts1 that he said1 if he is to be believed1 that he would see ,rome4 ,from ,rome he returned to ,ferrara1 where he formed a warm friendship with the brothers ,dossi4 ,in #aeji he was again in ,rome1 where he saw and admired ,michael ,angelo's frescoes in the ,sixtine ,chapel in all the splendour of their freshness4 ,he also greatly admired the work of ,raphael2 and displayed1 says ,vasari1 so much diffidence as well as courtesy that he became the friend of ,raphael1 who1 kind and obliging as he was1 assisted and favoured ,benvenuto much1 teaching him many things4 ,in #aeaa ,benvenuto was at ,mantua1 but in the following year he returned to ,ferrara1 which remained his home for the rest of his life4 ,there1 says ,vasari1 who was entertained by him1 he lived a particularly happy and busy life1 being cheerful of disposition1 mild in his converse1 warmly attached to his friends1 beyond measure affectionate and devoted1 and always supporting the trials of his life with patient resignation4 ,these trials were very heavy1 for soon after he was forty he lost the sight of one eye2 nor was he without fear and much danger of losing the other4 ,he then recommended himself to ,god1 and made a vow to wear grey clothing ever after1 as1 in fact1 he did1 when by the grace of ,god the sight of the left eye was preserved to him so perfectly that the works executed by ,garofalo in his sixty-fifth year are so well done1 so delicately finished1 and evince so much care1 that they are truly wonderful4 ,for the last nine years of his life he was totally blind1 in which affliction he solaced himself by cultivating music4 ,garofalo's works are very numerous2 many of them are in ,france and in ,rome1 and in our own ,gallery he is well represented4 ,he was conscientious and truthful within his scope1 and the ease and delicacy with which he carried out his smaller works could hardly be exceeded4 ,he was an eclectic rather than an original painter1 though he remained ,ferrarese throughout in his system of colouring4 ,his fellow-countrymen have called him the ',ferrarese ,raphael1' in the same way that the ,milanese have called ,luini the ',lombard ,raphael1' and1 if properly understood1 both appellations have their meaning2 for these painters occupy much the same position in their respective schools as did ,raphael in the ,umbrian1 ,andrea del ,sarto in the ,florentine1 etc41 though the individual gifts of each were of course very different4 7,morelli's ,borghese and ,doria-,pamfili ,galleries1 pp4 #bjj-bad1 contains a detailed account of ,garofalo4 ,his theory that the works attributed to ,ortolano are in reality early works of ,garofalo is very doubtful4 ,see on this point under #fii1 and cf4 ,venturi's criticism in the ,catalogue of the ,ferrarese ,exhibition at the ,burlington ,fine ,arts ,club74 ,a well-known incident in the life of ,st4 ,augustine1 ,bishop of ,hippo in ,africa 7,a4,d4 #ced-dcj71 one of the doctors of the ,christian ,church whose writings have had a greater effect than those probably of any one man on the beliefs and lives of succeeding ,christian ages4 ,whilst busied1 he tells us1 in writing his discourse on the ,trinity1 he one day beheld a child1 who1 having dug a hole in the sand1 was bringing water1 as children at the seaside do1 to empty the sea into his hole4 ,augustine told him it was impossible4 ,not more impossible1 replied the child1 than for thee1 ,o ,augustine6 to explain the mystery on which thou art now meditating 7,canst thou by searching find out ,god8 canst thou find out the ,almighty unto perfection8 ,it is as high as heaven2 what canst thou do8 deeper than hell2 what canst thou know8 ,the measure thereof is longer than the earth1 and broader than the sea1 ,job xi4 #g-i74 ,the painter shows the visionary nature of the scene by placing beside ,st ,augustine the figure of ,st4 ,catherine1 the patron saint of theologians and scholars1 and in the background1 on a little jutting cape1 ,st4 ,stephen1 whose life and actions are set forth in ,st4 ,augustine's writings4 ,the saint himself receives the child's lesson with the contemptuous impatience of a scholar's ambition2 but all the time the heavens whose mysteries he would fain explore are open behind him1 and the angel choirs are singing that he who would enter in must first become as a little child1 for of such is the ,kingdom of ,heaven4 #hb4 ,,the ,,holy ,,family4 ,mazzolino 7,ferrarese3 #adhj-aebh74 ,see #afi4 ,for better examples of this painter1 see ,nos4 #afi and #fda4 #hd4 ,,mercury ,,and ,,the ,,woodman4 ,salvator ,rosa 7,neapolitan3 #afae-afgc74 ,what is most to be admired in the works of ,salvator ,rosa1 says ,sir ,joshua ,reynolds1 is the perfect correspondence which he observed between the subjects which he chose and his manner of treating them4 ,everything is of a piece3 his rocks1 trees1 sky1 even to his handling1 have the same wild and rude character which animates his figures4 ,there is perhaps no painter whose life is more accurately reflected in his work than ,salvator4 ,conspicuous in this picture are a withered tree on the right and a withered tree on the left3 they are typical of the painter's blasted life1 and indignant1 desolate1 and degraded art4 ,he was born near ,naples1 the son of an architect and land-surveyor4 ,in early youth he forsook his father's business and began secretly to learn painting4 ,at seventeen his father died1 and ,salvator1 being one of a large and poor family1 was thrown on his own resources4 ,he cast himself carelessly on the current of life4 ,no rectitude of ledger-lines stood in his way2 no tender precision of household customs2 no calm successions of rural labour4 ,but past his half-starved lips rolled profusion of pitiless wealth2 before him glared and swept the troops of shameless pleasure4 ,above him muttered ,vesuvius2 beneath his feet shook the ,solfatara4 ,in heart disdainful1 in temper adventurous2 conscious of power1 impatient of labour1 and yet more of the pride of the patrons of his youth1 he fled to the ,calabrian hills1 seeking1 not knowledge1 but freedom4 ,if he was to be surrounded by cruelty and deceit1 let them at least be those of brave men or savage beasts1 not of the timorous and the contemptible4 ,better the wrath of the robber than enmity of the priest2 and the cunning of the wolf than of the hypocrite4 ,it was in this frame of mind that he sought the solitudes of the hills3 ,how ,i hate the sight of every spot that is inhabited1 he says in one of his letters4 ,it was thus that he formed the taste for the wild nature which distinguishes his landscapes4 ,it is said indeed that he once herded for a time with a band of brigands in the ,abruzzi4 ,yet even among such scenes as these ,salvator might have been calmed and exalted had he been1 indeed1 capable of exaltation4 ,but he was not of high temper enough to perceive beauty4 ,he had not the sacred sense--the sense of colour2 all the loveliest hues of the ,calabrian air were invisible to him2 the sorrowful desolation of the ,calabrian villages unfelt4 ,he saw only what was gross and terrible1--the jagged peak1 the splintered tree1 the flowerless bank of grass1 and wandering weed1 prickly and pale4 ,his temper confirmed itself in evil1 and became more and more fierce and morose2 though not1 ,i believe1 cruel1 ungenerous1 or lascivious4 ,i should not suspect ,salvator of wantonly inflicting pain4 ,his constantly painting it does not prove he delighted in it2 he felt the horror of it1 and in that horror1 fascination4 ,also1 he desired fame1 and saw that here was an untried field rich enough in morbid excitement to catch the humour of his indolent patrons4 ,but the gloom gained upon him1 and grasped him4 ,he could jest1 indeed1 as men jest in prison-yards 7he became afterwards a renowned mimic in ,florence72 his satires are full of good mocking1 but his own doom to sadness is never repealed4 ,it is characteristic of the man that the picture on the reputation of which he went up from ,naples to ,rome was ,tityus torn by the ,vulture4 ,at ,rome1 besides his fame as a painter1 he made his mark as a musician1 poet1 and improvisatore4 ,he cut a brave figure in the ,carnival1 and his satires were bold and biting4 ,partly on this account he afterwards found it well to leave ,rome for ,florence1 where he formed one of the company of ,i ,percossi 7the stricken7--of jovial wits and artists--who enjoyed the hospitalities of ,cardinal ,carlo ,giovanni de' ,medici4 ,but in spite of his merry-making he knew 7as he says in a cantata7 no truce from care1 no pause from woe4 ,he ultimately died of the dropsy1 having shortly before his death married the ,florentine ,lucrezia1 who had borne him two sons4 ,of all men whose work ,i have ever studied1 says ,mr4 ,ruskin1 in summing up his career as typical of the lives which cannot conquer evil but remain at war with1 or in captivity to it1 he gives me most distinctly the idea of a lost spirit4 ,michelet calls him1 ',ce damn ,salvator1' perhaps in a sense merely harsh and violent2 the epithet to me seems true in a more literal1 more merciful sense1--',that condemned ,salvator4' ,i see in him1 notwithstanding all his baseness1 the last traces of spiritual life in the art of ,europe4444 ,all succeeding men 444 were men of the world2 they are never in earnest and they are never appalled4 ,but ,salvator was capable of pensiveness1 of faith1 and of fear4 ,the misery of the earth is a marvel to him2 he cannot leave off gazing at it4 ,the religion of the earth is a horror to him4 ,he gnashes his teeth at it1 rages at it1 mocks and gibes at it4 ,he would have acknowledged religion had he seen any that was true4444 ,helpless ,salvator6 ,a little early sympathy1 a word of true guidance1 perhaps1 had saved him4 ,what says he of himself8 ',despiser of wealth and of death4' ,two grand scorns3 but1 oh1 condemned ,salvator6 the question is not for man what he can scorn1 but what he can love4 ,at the opposite poles of art are ,fra ,angelico and ,salvator ,rosa2 of whom the one was a man who smiled seldom1 wept often1 prayed constantly1 and never harboured an impure thought4 ,his pictures are simply so many pieces of jewellery1 the colour of the draperies being perfectly pure1 as various as those of a painted window1 chastened only by paleness1 and relieved upon a gold ground4 ,salvator was a dissipated jester and satirist1 a man who spent his life in masquing and revelry4 ,but his pictures are full of horror1 and their colour is for the most part gloomy grey4 ,truly it would seem as if art had so much eternity in it that it must take its dye from the close rather than the course of life2 'in such laughter the heart of man is sorrowful1 and the end of that mirth is heaviness' 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 iv4 ,see also vol4 i4 pt4 i4 sec4 ii4 ch4 ii4 #i2 vol4 iii4 pt4 iv4 ch4 xviii4 #ba2 vol4 v4 pt4 ix4 ch4 viii4 #ad4 ,stones of ,venice1 vol4 ii4 ch4 v4 #ca4 ,for a full record of fact and romance about this painter1 see ,lady ,morgan's interesting ,life and ,times of ,salvator ,rosa2 ,london1 #ahee74 ,an illustration of sop's fable of the dishonest woodman who1 hearing of the reward which an honest fellow-labourer had obtained from ,mercury for not claiming either the gold or silver axe which the god first offered1 threw his axe also into the water1 hoping for like good fortune4 ,mercury--here seen standing in the stream--showed him a golden axe4 ,he claimed it1 and the god having rebuked him for his impudence1 left him to lose his axe and repent of his folly4 ,the painting of the picture is conspicuous for that want of sense for colour1 noted above as fatally characteristic of ,salvator3-- ,there is on the left-hand side something without doubt intended for a rocky mountain1 in the middle distance1 near enough for all its fissures and crags to be distinctly visible1 or1 rather1 for a great many awkward scratches of the brush over it to be visible1 which1 though not particularly representative either of one thing or another1 are without doubt intended to be symbolical of rocks4 ,now no mountain in full light1 and near enough for its details of crags to be seen1 is without great variety of delicate colour4 ,salvator has painted it throughout without one instant of variation2 but this1 ,i suppose1 is simplicity and generalisation2--let it pass3 but what is the colour8 ,pure sky blue1 without one grain of grey1 or any modifying hue whatsoever2 the same brush which had just given the bluest parts of the sky has been more loaded at the same part of the pallet1 and the whole mountain thrown in with unmitigated ultramarine4 ,now1 mountains can only become pure blue when there is so much air between them that they become mere flat dark shades1 every detail being totally lost3 they become blue when they become air1 and not till then4 ,consequently this part of ,salvator's painting1 being of hills perfectly clear and near1 with all their details visible1 is1 as far as colour is concerned1 broad1 bold falsehood1 the direct assertion of direct impossibility4 ,in connection with ,salvator's want of sense for colour one should take his insensitiveness to other beauty4 ,for instance1 his choice of withered trees1 which are here on both sides of us1 is precisely the sign of his preferring ugliness to beauty1 decrepitude and disorganisation to life and youth 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 ii4 ch4 ii4 #d2 vol4 v4 pt4 vi4 ch4 viii4 #g74 #he4 ,,st4 ,,jerome ,,and ,,the ,,angel4 ,domenichino 7,eclectic-,bologna3 #aeha-afda74 ,see #dh4 ,for ,st4 ,jerome1 see under #bbg4 ,the apparition of the angel implies the special call of ,st4 ,jerome to the work of translating the ,scriptures4 #hh4 ,,erminia ,,and ,,the ,,shepherds4 ,annibale ,carracci 7,eclectic-,bologna3 #aefj-afji74 ,see #i4 ,a scene from the ,jerusalem ,delivered by ,carracci's contemporary1 ,tasso4 ,erminia from the beleaguered city of ,jerusalem had beheld the ,christian knight1 ,tancred1 whom she loved1 wounded in conflict4 ,disguised in the armour of her friend ,clorinda1 wearing a dark blue cuirass with a white mantle over it1 she stole forth at night to tend him4 ,the sentinels espy her and give her chase4 ,but she outstrips them all1 and after a three days' flight finds herself amongst a shepherd family1 who entertain her kindly4 ,the old shepherd is busily making card-baskets1 and listening to the music of his children4 ,their fear gives place to delight as the strange warrior1 having dismounted from her horse and thrown off her helmet and shield1 unbinds her tresses and discloses herself a woman-- ,an old man1 on a rising ground1 ,in the fresh shade1 his white flocks feeding near1 ,twig baskets wove2 and listen'd to the sound ,trill'd by three blooming boys1 who sat disporting round4 ,these1 at the shining of her silver arms1 ,were seized at once with wonder and despair2 ,but sweet ,erminia sooth'd their vain alarms1 ,discovering her dove's eyes and golden hair4 ,follow1 she said1 dear innocents1 the care ,of heaven1 your fanciful employ2 ,for the so formidable arms ,i bear1 ,no cruel warfare bring1 nor harsh annoy ,to your engaging tasks1 to your sweet songs of joy4 ,from ,landseer's ,catalogue1 p4 #bad4 ,this picture has sometimes been ascribed to ,domenichino2 as the latter was occasionally employed by ,annibale to execute his designs1 both masters may have had a share in the work4 #ia4 ,,venus ,,sleeping4 ,nicolas ,poussin 7,french3 #aeic-affe74 ,see #ci4 #ic4 ,,silenus ,,gathering ,,grapes4 ,annibale ,carracci 7,eclectic-,bologna3 #aefj-afji74 ,see #i4 ,silenus in a leopard skin1 the nurse and preceptor of ,bacchus1 the wine-god1 is being hoisted by two attendant fauns1 so that with his own hands he may pick the grapes4 ,this and the companion picture1 #id1 originally decorated a harpsichord4 #id4 ,,bacchus ,,playing ,,to ,,silenus4#ib ,annibale ,carracci 7,eclectic-,bologna3 #aefj-afji74 ,see #i4 ,a clever picture of contrasts4 ,the old preceptor is leering and pampered1 yet with something of a schoolmaster's gravity1 half inclining to the brute1 half conscious of the god4 ,the young pupil--like the shepherd boy in ,sidney's ,arcadia1 piping as though he should never be old--is full of simple careless grace1 laughing in youth and beauty2 he holds the ,pan's pipe in both hands1 and looks up with timid wonder1 with an expression of mingled delight and surprise at the sounds he produces 7,hazlitt3 ,criticisms upon ,art1 p4 #f74 ,these two pictures--together with the ,lot and ,susannah of ,guido 7#aic and #aif7--used to hang in the ,lancellotti ,palace in ,rome4 ,lanzi describes our picture1 ,no4 #id1 as one of the principal treasures of that collection4 ,it is exquisitely finished1 he says2 the figures are at once designed1 coloured1 and disposed with the hand of a great master 7,bohn's translation1 iii4 #gi74 #ie4 ,,dido ,,and ,,neas4 ,gaspard ,poussin 7,french3 #afac-afge74 ,see #ca4 ,dido1 ,queen of ,carthage1 enamoured of the ,trojan neas1 the destined founder of ,rome1 sought to detain him by strategy within her dominions4 ,the goddess ,juno1 who had espoused ,dido's cause1 contrived that a storm should befall when the ,queen and her guests were on a hunting party 7neid1 iv4 #aai74 ,in front of the cave a ,cupid holds the horse of neas1 and two others are fluttering above4 ,high in the clouds is ,juno1 accompanied by ,venus1 who had contrived all this for ,dido's undoing4 ,as for the execution of the picture1 the stormy wind blows loudly through its leaves1 but the total want of invention in the cloud-forms bears it down beyond redemption4 ,look at the wreaths of cloud 7871 with their unpleasant edges cut as hard and solid and opaque and smooth as thick black paint can make them1 rolled up over one another like a dirty sail badly reefed#ic 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 iii4 ch4 iv4 #bc2 vol4 ii4 pt4 iii4 sec4 ii4 ch4 ii4 #ah74 #ig4 ,,the ,,rape ,,of ,,europa4 ,paolo ,veronese 7,veronese3 #aebh-aehh74 ,see #bf p4 xix4 7,a study for a larger picture now at ,vienna47 ,jupiter1 enamoured of ,europa1 a ,phoenician princess1 transformed himself into a white bull1 and mingled with her father's herds whilst she was gathering flowers with her attendants4 ,europa1 struck by the beauty and gentle nature of the beast1 caressed him1 and even mounted on his back4 ,two of her attendants are here assisting her1 while a third remonstrates with her on her foolhardiness4 ,europa is replying that she has no fears4 ,the amorous bull meanwhile is licking her foot4 ,he is garlanded with a wreath of flowers1 which is held by his master ,cupid1 forming thus the leading-string of ,love4 ,with the other hand ,cupid has taken the bull by the horn2 whilst above1 two little winged loves are gathering fruit and scattering roses4 ,in the middle distance ,europa and the bull appear again1 about to enter the sea2 whilst farther on1 the bull is swimming with her toward the land4 ,for the story goes that as soon as ,europa had seated herself on his back ,jupiter crossed the sea and carried her safely to the island of ,crete1 and from this rape of ,europa comes the name of the continent to which she was carried4 #ih4 ,,view ,,of ,,la ,,riccia4 ,gaspard ,poussin 7,french3 #afac-afge74 ,see #ca4 ,this picture and the scene of it--the ancient town of ,aricia1 about fifteen miles from ,rome1 famous in ,roman legend1 and ,horace's first stopping-place on his journey to ,brindisi--are described by ,ruskin in a celebrated passage of ,modern ,painters3-- ,whether it can be supposed to resemble the ancient ,aricia1 now ,la ,riccia1 close to ,albano1 ,i will not take upon me to determine1 seeing that most of the towns of those old masters are quite as much like one place as another2 but1 at any rate1 it is a town on a hill1 wooded with two-and-thirty bushes1 of very uniform size1 and possessing about the same number of leaves each4 ,these bushes are all painted in with one dull opaque brown1 becoming very slightly greenish towards the lights1 and discover in one place a bit of rock1 which of course would in nature have been cool and grey beside the lustrous hues of foliage1 and which1 therefore1 being moreover completely in shade1 is consistently and scientifically painted of a very clear1 pretty1 and positive brick red1 the only thing like colour in the picture4 ,the foreground is a piece of road which1 in order to make allowance for its greater nearness1 for its being completely in light1 and1 it may be presumed1 for the quantity of vegetation usually present on carriage-roads1 is given in a very cool green grey2 and the truth of the picture is completed by a number of dots in the sky on the right1 with a stalk to them1 of a sober and similar brown4#id ,not long ago1 ,i was slowly descending this very bit of carriage road4444 ,the noonday sun came slanting down the rocky slopes of ,la ,riccia1 and their masses of entangled and tall foliage1 whose autumnal tints were mixed with the wet verdure of a thousand evergreens1 were penetrated with it as with rain4 ,i cannot call it colour3 it was conflagration4 ,purple and crimson and scarlet1 like the curtains of ,god's tabernacle1 the rejoicing trees sank into the valley in showers of light1 every separate leaf quivering with buoyant and burning life2 each1 as it turned to reflect or to transmit the sunbeam1 first a torch and then an emerald4 ,far up into the recesses of the valley1 the green vistas arched like the hollows of mighty waves of some crystalline sea1 with the arbutus flowers dashed along their flanks for foam1 and silver flakes of orange spray tossed into the air around them1 breaking over the grey walls of rock into a thousand separate stars1 fading and kindling alternately as the weak wind lifted and let them fall4 ,every glade of grass burned like the golden floor of heaven1 opening in sudden gleams as the foliage broke and closed above it1 as sheet-lightning opens in a cloud at sunset2 the motionless masses of dark rock--dark though flushed with scarlet lichen1 casting their quiet shadows across its restless radiance1 the fountain underneath them filling its marble hollow with blue mist and fitful sound2 and over all1 the multitudinous bars of amber and rose1 the sacred clouds that have no darkness1 and only exist to illumine1 were seen in fathomless intervals between the solemn and orbed repose of the stone pines1 passing to lose themselves in the last1 white1 blinding lustre of the measureless line where the ,campagna melted into the sea4 ,tell me who is likest this1 ,poussin or ,turner8 7vol4 i4 pt4 ii4 sec4 ii4 ch4 ii4 #a-c74 ,ruskin further instances the picture as an example of untruth of trees4 ,it is an elementary law of tree structure that stems only taper when sending off foliage and sprays3-- ,therefore we see at once that the stem of ,gaspard ,poussin's tall tree1 on the right of the ',la ,riccia1' is the painting of a carrot or a parsnip1 not of the trunk of a tree 7see further1 ibid41 vol4 i4 pt4 ii4 sec4 vi4 ch4 i4 #f2 and cf4 vol4 ii4 pt4 iii4 sec4 ii4 ch4 ii4 #ah74 #aja1 #ajb1 #ajc1 #ajd4 ,,the ,,four ,,ages ,,of ,,man4 ,nicolas ,lancret 7,french3 #afij-agdc74 ,lancret1 a painter of the ftes galantes school1 was an imitator of ,watteau1 but his productions lack the airy grace and touch of poetry which elevate even the most frivolous pictures of that prince of court painters into works of fine art4 ,examples of ,watteau are now included among the ,national treasures in the ,wallace collection at ,hertford ,house4 ,lancret was the son of humble parents1 and received his early training as an engraver4 ,entering subsequently the studio of ,claude ,gillot he came under the influence of ,watteau1 but his friendship with that painter was short-lived4 ,a rivalry appears to have sprung up between them1 and they remained estranged until the closing year of ,watteau's life4 ,lancret was a thorough bourgeois1 and passed his time chiefly in ,paris4 ,he was a regular frequenter of the opera and the ',comique1' and was a friend of the dancers ,la ,camargo and ,la ,sall1 whom he frequently represented in his works 7,bryan's ,dictionary of ,painters74 ,in #agai he was admitted into the ,academy1 and in #agce was elected ,councillor4 ,in #ahdj he married a grand-daughter of the comic poet ,boursault4 ,these pictures1 which are among the principal works of ,lancret1 are interesting historical records as showing the ideal of life at the ,french ,court in the time of the regent ,orleans and ,louis ,,xv4 ,in ,infancy 7#aja7 children1 in the gayest clothes and garlanded with flowers1 are at play under a stately portico--life being not so much a stage as a game1 and all the men and women 7in that sense7 merely players4 ,to what should children1 thus educated1 grow up but to the pomps and vanity of life1 as shown in ,youth 7#ajb78 ,the adornment of the person is the chief occupation1 it would seem1 of the dwellers in the ,armida ,palace1 where the inmates live enchanted lives1 lapped in soft music of adulation1 waited on by the splendours of the world4 ,and ,manhood 7#ajc7 is like unto youth4 ,the business of life is pleasure on the greensward1 with shooting at the popinjay6 ,old ,age 7#ajd7 has no place in such a philosophy of life4 ,one old man is indeed attempting a last amour4 ,the other caresses a dog1 while the old women sleep or spin4 ,but in ,old ,age the painter changes his scene from the court to common life2 the thought of old age is banished1 it seems1 from the high life of princes4 ,in short1 wrote an ,english observer at the time when this picture was painted1 all the symptoms which ,i have ever met with in ,history1 previous to all ,changes and ,revolutions in government1 now exist and daily increase in ,france 7,lord ,chesterfield3 see ,carlyle's ,french ,revolution1 bk4 i4 ch4 ii474 #abe4 ,,izaak ,,walton 7#aeic-afhc74 ,jacob ,huysman 7,dutch3 #afef-afif74 ,huysman was one of the many foreign artists who settled in ,england under the ,stuarts4 ,he obtained considerable employment as a portrait painter1 in spite of ,sir ,peter ,lely's rivalry2 one of the portraits among the ,windsor ,beauties1 now at ,hampton ,court1 was painted by him4 ,a portrait of the retired city hosier who became famous as the author of the ,complete ,angler4 ,it was painted for his family 7with whom it remained till it was presented to the ,national ,gallery in #ahch71 and was engraved in one of the later editions of the book 7#ahcf74 ,izaak ,walton--that quaint1 old1 cruel coxcomb 7as ,byron1 who was no fisherman1 called him7--lived to be ninety3 his fishing did something1 one may expect1 to keep him in the vigorous health which is here stamped on his face4 ,the features of the countenance often enable us1 says ,zouch in the ,memoirs of ,izaak ,walton 7cited in ,m4 ,e4 ,wotton's ,word ,portraits of ,famous ,writers1 p4 #cbc71 to form a judgment1 not very fallible1 of the disposition of the mind4 ,in few portraits can this discovery be more successfully pursued than in that of ,izaak ,walton4 ,lavater1 the acute master of physiognomy1 would1 ,i think1 instantly acknowledge in it the decisive traits of the original1--mild complacency1 forbearance1 mature consideration1 calm activity1 peace1 sound understanding1 power of thought1 discerning attention1 and secretly active friendship4 ,happy in his unblemished integrity1 happy in the approbation and esteem of others1 he enwraps himself in his own virtue4 ,the exaltation of a good conscience eminently shines forth in this venerable person4 #abg4 ,,venice3 ,,the ,,scuola ,,della ,,carit4 ,canaletto 7,venetian3 #afig-agfh74 ,antonio ,canale1 commonly called ,canaletto1#ie was born in ,venice1 lived in ,venice1 and painted ,venice4 ,his pictures 7of which the one before us is among the best7 are in some respects very like the place1 but most of those who love it best soon find much that is wanting in ,canaletto's representations4 ,the effect of a fine ,canaletto1 says ,ruskin1 is1 in its first impression1 dioramic4 ,we fancy we are in our beloved ,venice again1 with one foot1 by mistake1 in the clear1 invisible film of water lapping over the marble steps of the foreground4 ,every house has its proper relief against the sky2 every brick and stone its proper hue of sunlight and shade2 and every degree of distance its proper tone of relieving air4 ,presently1 however1 we begin to feel that it is hard and gloomy1 and that the painter1 compelled by the lowness of the utmost light at his disposal to deepen the shadows1 in order to get the right relation1 has lost the flashing1 dazzling1 exulting light which was one of our chief sources of ,venetian happiness4 ,but we pardon this1 knowing it to be unavoidable1 and begin to look for something of that in which ,venice differs from ,rotterdam1 or any other city built beside canals4 ,we know that house1 certainly2 we never passed it without stopping our gondola1 for its arabesques were as rich as a bank of flowers in spring1 and as beautiful as a dream4 ,what has ,canaletto given us for them8 ,four black dots4 ,well2 take the next house4 ,we remember that too2 it was mouldering inch by inch into the canal1 and the bricks had fallen away from its shattered marble shafts1 and left them white1 skeleton-like2 yet1 with their fretwork of cold flowers wreathed about them still1 untouched by time1 and through the rents of the wall behind them there used to come long sunbeams1 greened by the weeds through which they pierced1 which flitted and fell1 one by one1 round those grey and quiet shafts1 catching here a leaf and there a leaf1 and gliding over the illumined edges and delicate fissures1 until they sank into the deep dark hollow between the marble blocks of the sunk foundation1 lighting every other moment one isolated emerald lamp on the crest of the intermittent waves1 when the wild sea-weeds and crimson lichens drifted and crawled with their thousand colours and free branches over its decay1 and the black1 clogging1 accumulated limpets hung in ropy clusters from the dripping and tinkling stone4 ,what has ,canaletto given us for this8 ,one square red mass1 composed of--let me count--five-and-fifty1 no2 six-and-fifty1 no2 ,i was right at first1 five-and-fifty bricks1 of precisely the same size1 shape1 and colour1 one great black line for the shadow of the roof at the top1 and six similar ripples in a row at the bottom6 ,and this is what people call 'painting nature'6 ,it is1 indeed1 painting nature1 as she appears to the most unfeeling and untaught of mankind4 ,the bargeman and the bricklayer probably see no more in ,venice than ,canaletto gives--heaps of earth and mortar1 with water between--and are just as capable of appreciating the facts of sunlight and shadow1 by which he deceives us1 as the most educated of us all4 ,but what more there is in ,venice than brick and stone--what there is of mystery and death1 and memory and beauty--what there is to be learned or lamented1 to be loved or wept--we look for to ,canaletto in vain 7,modern ,painters1 vol4 i4 sec4 ii4 pt4 i4 ch4 vii4 #g1 first edition74 ,canaletto's pictures of ,venice in this room should be compared with ,turner's4 ,it is impossible to get a more instructive instance of the different impression made on different minds by the same scenes4 ,canaletto drew1 says one of his admirers 7,lanzi1 ii4 #cag71 exactly as he saw4 ,well1 what he did see we have shown us here4 ,what others have seen1 those who have not been to ,venice can discover from ,turner's pictures1 from ,shelley's and ,byron's verse1 or ,ruskin's prose4 ,let the reader restore ,venice in his imagination to some resemblance of what she must have been before her fall4 ,let him1 looking from ,lido or ,fusina1 replace1 in the forest of towers1 those of the hundred and sixty-six churches which the ,french threw down2 let him sheet her walls with purple and scarlet1 overlay her minarets with gold1 444 and fill her canals with gilded barges and bannered ships2 finally1 let him withdraw from this scene1 already so brilliant1 such sadness and stain as had been set upon it by the declining energies of more than half a century1 and he will see ,venice as it was seen by ,canaletto 7as it might have been seen by him1 ,ruskin means72 whose miserable1 virtueless1 heartless mechanism1 accepted as the representation of such various glory1 is1 both in its existence and acceptance1 among the most striking signs of the lost sensation and deadened intellect of the nation at that time4444 ,the mannerism of ,canaletto is the most degraded that ,i know in the whole range of art4 ,professing the most servile and mindless imitation1 it imitates nothing but the blackness of the shadows2 it gives no single architectural ornament1 however near1 so much form1 as might enable us even to guess at its actual one2 444 it gives the buildings neither their architectural beauty nor their ancestral dignity1 for there is no texture of stone nor character of age in ,canaletto's touch2 which is invariably a violent1 black1 sharp1 ruled penmanlike line1 as far removed from the grace of nature as from her faintness and transparency3 and for his truth of colour let the single fact of his having omitted all record whatsoever of the frescoes1 whose wrecks are still to be found at least on one half of the unrestored palaces1 and1 with still less excusableness1 all record of the magnificent coloured marbles 7,modern ,painters1 vol4 i4 pt ii4 sec4 i4 ch4 vii4 #cj74 ,stated in the fewest words1 the difference between ,canaletto and the others is this3 ,to ,canaletto ,venice was a city of murky shadows1 to them it is a city of enchanted colour4 ,but his pictures satisfied the taste of his time1 as the great number of them still extant testifies4 ,moreover his fame extended beyond his own country4 ,there was an ,english resident at ,venice who engaged ,canaletto 7who started in life at his father's profession1 that of scene painter7 to work for him at low prices1 and then used to retail the pictures at an enormous profit to ,english travellers4 ,at last ,canaletto came to ,england himself1 and was given many commissions2 but after two years he returned to ,venice1 as it was still ,venetian pictures that his patrons wanted4 ,how completely the public taste has now changed is shown by the fact that the ,venice of all the most popular painters to-day1 of whatever nation1 is the ,venice of ,ruskin and ,turner4 ,canaletto's pictures1 however1 will always possess one element of interest1 apart from any fluctuations in taste4 ,within his limits they are historical records of the appearance of ,venice in his time2 and as more and more of the old ,venice is destroyed1 ,canaletto's pictures will increase in interest4 ,for though he is mechanical1 yet his mechanism is very good4 ,he was1 by the way1 the first to apply the camera obscura to linear perspective1 and he painted in a workmanlike manner1 so that his pictures endure4#if ,an interesting piece of old ,venice4 ,beyond the canal is what is now the ,national ,gallery of ,venice--the ,academy of ,arts--but was in ,canaletto's time still the ,scuola della ,carit1 the conventual buildings of the ,brotherhood of our ,lady of ,charity4 ,notice the green grass in the little square3 the ,campo1 as it is called 7the field71 is now covered with flagstones 7there is a sketch of this spot among the ,turner drawings given by ,ruskin to the ,university ,galleries at ,oxford3 see ,guide to the ,venetian ,academy1 p4 #cd74 #acd4 ,a ,,landscape4 ,cornelius ,gerritz ,decker 7,dutch3 died #afgh74 ,amongst the artists who followed the footsteps of ,ruysdael and ,hobbema1 the one who most nearly resembled these masters was ,cornelius ,decker1 whose works may be classed among the best ,dutch landscapes 7,havard's ,dutch ,school1 p4 #bji74 ,he painted at ,haarlem1 and studied under ,salomon ,ruysdael 7see #acdd74 #ace4 ,,landscape ,,with ,,ruins4 ,canaletto 7,venetian3 #afig-agfh74 ,see #abg4 ,the artist1 disgusted with his first profession 7of scene painter71 removed1 we are told1 while still young to ,rome1 where he wholly devoted himself to drawing views from nature1 and in particular from ancient ruins 7,lanzi1 ii4 #cag74 #acg4 ,,landscape4 ,jan van ,goyen 7,dutch3 #aeif-afef74 ,jan van ,goyen1 one of the first masters in the native ,dutch art of landscape as opposed to the exotic work of the ,italianisers1 was born at ,leyden in #aeif4 ,he studied with the elder ,swanenburch1 the father of ,rembrandt's first master1 and subsequently went to ,haarlem to work under ,esaias van de ,velde4 ,his position in the world of art was considerable4 ,in #afdj he was ,president of the ,guild of ,st4 ,luke at the ,hague2 his portrait was painted by ,vandyck and ,frans ,hals2 and ,jan ,steen was his son-in-law4 ,his earlier extant pictures date from #afba1 his latest go down to the year of his death4 ,his production during this period of thirty-five years was immense2 a single ,london expert claims to have had at least three or four hundred genuine pictures by the master passing through his hands during the last thirty years4 ,like so many of the ,dutch masters whose works are now prized1 he received in his lifetime very small sums for his pictures--often not more than fifteen or twenty florins apiece4 ,he tried to help his income by speculating in houses1 and even1 after the fashion of the time1 in tulips4 ,but he died insolvent4 ,his work1 however1 and influence remained4 ,his extant pictures are very numerous2 and among the successors whose skill was largely formed by him are ,cuyp1 ,jan van de ,cappelle1 and ,salomon ,ruysdael4 ,the subjects which he preferred were of two kinds3 flat landscapes with a little broken ground in the front1 a cottage1 the figures of a few peasants1 and a clump of trees2 or1 on the other hand1--and these are his best and most characteristic productions--broad views of the river scenery of ,holland1 a wide expanse of water under a wide sky4 ,he was one of the first to discover a poetry in the unbroken horizons of his native land4 ,where he is at his best is in the painting of the infinitely varied sky that overhangs a great ,dutch river or estuary1 the clouds taking at every movement new shapes or new effects of light and shade1 and the water below reflecting them 7see an article on ,the ,landscape ,painters of ,holland in ,the ,quarterly ,review1 ,october #ahia74 ,in order to give his favourite effects1 he generally placed the skyline very low in the picture1 sometimes not more than a quarter of the canvas being given to the landscape4 ,van ,goyen aimed rather at tone than at colour4 ,his silvery river-views1 with all their delicate shades of grey1 are almost studies in monochrome4 ,in his landscapes the foliage and the herbage partake more or less of brown or gray4 ,no heavy1 dark1 no bright colour disturbs1 says ,sir ,f4 ,burton1 the dreamy monotone4 ,this work was formerly ascribed to ,j4 ,ruysdael4 #ach4 ,a ,,view ,,in ,,rome4 ,giovanni ,antonio ,panini 7,roman3 #afie-agfh74 ,panini1 who obtained celebrity as a painter of architectural subjects1 was born at ,piacenza1 and studied in ,rome4 ,his settled place of abode was that city1 but for some time he lived in ,paris1 and in #agcb he was elected a member of the ,french ,academy4 ,roman ruins with the pyramid of ,caius ,cestius4 #adj4 ,,portrait ,,of ,a ,,lady4 ,bartholomeus van der ,helst 7,dutch3 #afaa-afgj74 ,of the life of ,van der ,helst1 one of the most distinguished of the ,dutch portrait painters1 little is known1 except that he resided constantly at ,amsterdam1 and was in good practice there as a portrait painter4 ,he had a part in founding the ,painters' ,guild there1 whilst his likeness of ,paul ,potter at the ,hague 7#afed71 and his partnership with ,bakhuizen1 who laid in the backgrounds of some of his pictures in #affh1 indicate a constant companionship with the best artists of the time4 ,his masterpiece is in the ,museum at ,amsterdam4 ,it contains thirty-five portraits1 whole length1 and represents a banquet given by a company of the civil-guard of ,amsterdam1 in commemoration of the ,peace of ,mnster1 in #afdh4 ,sir ,joshua ,reynolds1 in his ,journey to ,flanders and ,holland1 says of that work that it is1 perhaps1 the first picture of portraits in the world1 comprehending more of those qualities which make a perfect portrait than any other ,i have ever seen4 ,whilst delighted with ,van der ,helst1 ,sir ,joshua was disappointed by ,rembrandt2 and certainly ,van der ,helst attracts by qualities entirely differing from those of ,rembrandt and ,frans ,hals3 nothing can be more striking than the contrast between the strong concentrated light and the deep gloom of ,rembrandt1 and the contempt of chiaroscuro peculiar to his rival1 except the contrast between the rapid sketchy touch of ,hals and the careful finish of ,van der ,helst4 ,this picture is dated #afdg4 #adf4 ,a ,,view ,,on ,,the ,,maes4 ,abraham ,storck 7,dutch3 #afcj-agaj74 ,about the life of this marine painter nothing is known4 ,his pictures usually represent views near ,amsterdam1 with a variety of shipping and boats1 and a number of small figures1 correctly drawn1 and handled with spirit4 ,his ships are well drawn1 his colouring clear and transparent1 and his skies and water light and floating 7,bryan74 ,rotterdam is seen in the distance4 #adg4 ,,cephalus ,,and ,,aurora4 #adh4 ,,the ,,triumph ,,of ,,galatea4 ,agostino ,carracci 7,eclectic-,bologna3 #aeeg-afjb74 ,agostino was the elder brother of ,annibale ,carracci 7see under #i7 and cousin of ,lodovico 7see under #bh74 ,it was he who composed the well-known sonnet in which the aims of the ,eclectic ,school are set forth4 ,he was the most learned of the ,carracci1 being painter1 engraver1 poet1 and musician1 and well versed in the arts and sciences generally4 ,his pictures are rare4 ,the best is the ,communion of ,st4 ,jerome in the ,academy at ,bologna4 ,his prints are numerous2 his engraving of ,tintoretto's ,crucifixion1 executed at ,venice in #aehi1 was highly praised by that artist4 ,in the same year ,agostino returned to ,bologna1 and became the principal teacher in the school of the ,carracci4 ,he afterwards went to ,rome to assist ,annibale in the frescoes for the ,farnese ,palace4 ,he executed the ,cephalus and ,aurora and ,galatea in that series2 his success excited the jealousy of ,annibale1 and caused a feud between the two brothers4 ,agostino thereupon left ,rome for ,parma1 where he died shortly afterwards4 ,these are the cartoons made by ,agostino for the frescoes referred to above4 ,they formed part of ,sir ,thomas ,lawrence's collection of drawings4 ,in #adg1 ,cephalus1 while on a hunting expedition on ,mount ,hymettus1 is forcibly carried off by ,aurora4 ,the aged ,tithonus1 her husband1 is sleeping in the foreground4 ,in #adh1 the sea-nymph ,galatea is borne on the ocean by ,glaucus1 preceded by ,triton blowing his horn1 and surrounded by ,nereids and ,cupids on ,dolphins4 #adi4 ,a ,,calm ,,at ,,sea4 ,willem van de ,velde 7,dutch3 #afcc-agjg74 ,william ,van de ,velde1 the younger1 was the son of an artist of the same name1 and the two together were the most famous sea-painters of their time4 ,the father was specially commissioned by the ,east ,india ,company to paint several of their ships4 ,the son was for a time engaged in painting the chief naval battles of the ,dutch4 ,in #afge they were both established in ,england1 living at ,greenwich1 as painters to ,king ,charles ,,ii41 who granted each of them a pension of #ajj a year2 the father for taking and making draughts of sea-fights2 and the son for putting the said draughts into colours4 ,the ,vandeveldes1 thus employed1 produced1 says ,macaulay1 for the king and his nobles some of the finest sea-pieces in the world4 ,the palm1 says ,walpole1 is not less disputed with ,raphael for history than with ,vandevelde for sea-pieces4 ,but in no branch of art has the ,english ,school of this century made more conspicuous advance than in sea-painting1 and those who are fresh from reminiscences of ,turner or ,lee1 or1 amongst later artists1 of ,hook and ,moore and ,brett1 will hardly be inclined to agree at this day with such high praise of ,vandevelde4 ,it is not easily understood1 says ,ruskin1 considering how many there are who love the sea1 and look at it1 that ,vandevelde and such others should be tolerated4 ,foam appears to me to curdle and cream on the wave sides1 and to fly flashing from their crests1 and not to be set astride upon them like a peruke2 and waves appear to me to fall1 and plunge1 and toss1 and nod1 and crash over1 and not to curl up like shavings2 and water appears to me1 when it is grey1 to have the grey of stormy air mixed with its own deep1 heavy1 thunderous1 threatening blue1 and not the grey of the first coat of cheap paint on a deal floor4 ,it is not easy to understand1 perhaps1 but two helps towards understanding may be mentioned in ,ruskin's own words4 ,first1 previous painters--including even the ,venetians1 sea-folk though they were--had all treated the sea conventionally4 ,vandevelde and his fellows1 at any rate1 endeavoured to study it from nature4 ,bakhuizen1 as we shall see1 like ,turner after him1 used to go to sea in all weathers1 the better to obtain impressions4 ,hence the ,dutch sea-painting did mark an advance1 and how great was its influence on later artists and sea-lovers we know from the case of ,turner1 who painted many pictures in the manner of ,vandevelde1 and always painted the sea too grey1 and too opaque1 in consequence of his early study of him4 ,and this grey and opaque rendering of the sea by the ,dutch was to some extent due to natural causes4 ,although in artistical qualities lower than is easily by language expressible1 the ,italian marine painting usually conveys an idea of three facts about the sea1--that it is green1 that it is deep1 and that the sun shines on it4 ,the dark plain which stands for far-away ,adriatic with the ,venetians1 and the glinting swells of tamed wave which lap about the quays of ,claude1 agree in giving the general impression that the ocean consists of pure water1 and is open to the pure sky4 ,but the ,dutch painters1 while they attained considerably greater dexterity than the ,italian in mere delineation of nautical incident1 were by nature precluded from ever becoming aware of these common facts2 and having1 in reality1 never in all their lives seen the sea1 but only a shallow mixture of sea-water and sand2 and also never in all their lives seen the sky1 but only a lower element between them and it1 composed of marsh exhalation and fog-bank1--they are not to be with too great severity reproached for the dulness of their records of the nautical enterprise of ,holland4 ,we only are to be reproached1 who1 familiar with the ,atlantic1 are yet ready to accept with faith1 as types of sea1 the small waves en papillote and peruke-like puffs of farinaceous foam1 which were the delight of ,bakhuizen and his compeers#ig 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 v4 ch4 i4 #bj2 vol4 iii4 pt4 iv4 ch4 xviii4 #cj2 ,on the ,old ,road1 i4 #bhc2 ,harbours of ,england1 p4 #ah74 ,the storms of ,van der ,velde are certainly unattractive1 but the silvery daylight of his calms at sea gives to many of his works an enduring charm4 ,this painter is well represented both in the ,dulwich ,gallery and in the ,wallace collection4 #aej4 ,a ,,gale ,,at ,,sea4 ,willem van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 #aea4 ,a ,,river ,,scene4 ,jan van ,goyen 7,dutch3 #aeif-afef74 ,see #acg4 ,signed with the artist's name1 and dated #afde4 #aeb4 ,,an ,,evening ,,landscape4 ,aart van der ,neer 7,dutch3 #afjc-afgg74 ,this painter was a native of ,amsterdam1 and lived and worked there4 ,his pictures are now much appreciated2 but he died destitute1 and the pictures he left behind him were valued at only three florins apiece4 ,aart 7,arthur7 van der ,neer is the ,dutch painter of the hues and harmonies of evening4 ,before the door of the country house are a lady and gentleman1 who have come out as if to gaze on one of such effects4 ,this is one of the largest of his pictures--which is the more valuable as the figures are by ,cuyp1 whose name is inscribed on the pail2 but #bci is perhaps more attractive4 #aec4 ,,the ,,cradle4 ,nicolas ,maes 7,dutch3 #afcb-afic74 ,maes 7or1 in more modern form1 ,maas71 was a pupil of ,rembrandt1 and ranks high among ,dutch masters1 being distinguished from many of the genre painters by his richer colouring4 ,he assimilated the principles of his master1 says ,sir4 ,f4 ,burton1 without adopting his subjects4 ,in the class of pictures by which he is best known1 namely1 indoor scenes taken from ordinary life1 he unites subtlety of chiaroscuro1 vigorous colour1 and great mastery in handling1 with that true finish which never becomes trivial4 ,the figures are finely drawn1 and their action is perfect4 ,harmonies of red and black prevail in these works--sometimes pervading the picture in subdued tones2 sometimes brought out in full contrasting force against white4 ,the smaller pictures by ,maes in this ,gallery are among the finest examples of the former mode of treatment4 ,maes entered ,rembrandt's studio in #afej and remained there four years4 ,he then returned to ,dort1 his native town1 where he lived till #afgh4 ,in that year he moved to ,amsterdam1 where he remained to the end of his life1 and was employed by most of the distinguished persons of his time4 ,in these latter years he was mostly engaged in portraits4 ,his earlier portraits 7of which ,no4 #abgg is a good specimen7 are worthy of a pupil of ,rembrandt4 ,the later portraits are so different in style and inferior in quality that some critics ascribe them to the painter's son or some other artist of the same name4 ,maes's favourite colour1 says ,havard1 was red4 ,no artist uses this colour with more boldness or more success than he does in his earlier works note1 e4g4 the crimson curtain which forms the background in #abgg4 ,for this reason doubts have been raised if he ever painted the series of large bewigged portraits which have been attributed to him1 sombre and morose faces1 uniformly set against a dark background4 ,it is difficult to imagine the brilliant painter of ',the ,cradle' forgetting his skill in light and shade and his love of nature1 to give himself up1 as in these commonplace productions1 to mannerism and affectation 7,the ,dutch ,school1 p4 #ajj74 #aed4 ,a ,,music ,,party4 ,david ,teniers1 the younger 7,flemish3 #afaj-afid74 ,teniers1 though a ,fleming by birth1 belongs rather to the ,dutch ,school in style--being one of the principal genre painters1 of whom most of the other leading masters are ,dutch4 ,his art stands1 however1 in direct relation to that of the ,flemish painters preceding him1 through the want of spiritual motive common to him and to them4 ,but ,teniers and the genre painters carry this banishment of spiritual motive a step further4 ,rubens often gives instructive and magnificent allegory4 ,rembrandt1 pathetic or powerful fancies1 founded on real ,scripture-reading1 and on his interest in the picturesque character of the ,jew4 ,and ,van ,dyck1 a graceful rendering of received ,scriptural legends4 ,but 7with ,teniers7 444 we lose1 not only all faith in religion1 but all remembrance of it4 ,absolutely now at last we find ourselves without sight of ,god in all the world4444 ,farthest savages had1 and still have1 their ,great ,spirit1 or1 in extremity1 their feather-idols1 large-eyed2 but here in ,holland we have at last got utterly done with it all4 ,our only idol glitters dimly1 in tangible shape of a pint pot1 and all the incense offered thereto comes out of a small censer or bowl at the end of a pipe4 ,the place of ,teniers in art history is1 therefore1 so far as the ideals of art go1 that he is1 par excellence1 the painter of the pleasures of the ale-house and card-table 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 vi4 #aj1 #aa2 ch4 viii4 #aa74 ,he did1 indeed1 occasionally venture on the ground of religious painting2 but his essays in this sort are absurd4 ,his devotion to genre entirely hit the taste of his time1 and his fame was rapid and enduring4 ,he was taught the rudiments of art by his father1 ,david ,teniers1 the elder1 a mediocre painter of small rustic subjects 7see #idi72 but his real masters were ,rubens and ,brouwer1 though he did not actually study with them4 ,in #afcc1 at the age of twenty-three1 he received the dignity of master4 ,four years later he married the daughter of ,velvet ,breughel1 the former ward of ,rubens1 who acted as witness at the marriage ceremony4 ,his talents were in universal request4 ,the ,archduke ,leopold-,william1 ,governor of the ,spanish ,netherlands1 appointed him his private painter1 and gave him an office in his household4 ,queen ,christina of ,sweden and ,king ,philip ,,iv4 of ,spain were amongst his patrons4 ,he gave ,don ,juan of ,austria lessons in painting1 and this prince painted the portrait of ,teniers's son1 and presented it to the master as a token of his regard4 ,in #afdd he was chosen to preside over the ,antwerp ,guild of ,painters4 ,in #afdg he took up his abode in ,brussels4 ,his country-seat at ,perck 7see #hag7 was a constant resort of the ,spanish and ,flemish nobility4 ,shortly after the death of his first wife in #afef he married ,isabella de ,fren1 daughter of the ,secretary of the ,council of ,brabant1 and he strove his utmost to prove his right to armorial bearings4 ,the king declared his readiness to grant the request1 but only on condition that ,teniers should give up selling his pictures4 ,teniers did not accept the condition1 and transferred his energies to procuring a charter for an ,academy of ,fine ,arts in ,antwerp to which artists should alone be admitted1 whereas the former ,guild of ,st4 ,luke made no distinction between art and handicraft4 ,the aristocratic leanings of ,teniers may be detected in his pictures4 ,he is indeed1 as we have seen1 the painter of the ale-house4 ,he depicted the manners of the ,flemish rustic1 told of the intimacy of his domestic life and his happy1 coarse laughter4 ,his folk go to market1 clean out the stable1 milk the cows1 raise the nets1 sharpen knives1 shoot off arrows1 play at nine-pins or cards1 bind up wounds1 pull out teeth1 cure bacon1 make sausages1 smoke1 sing1 dance1 caress the girls1 and1 above all things1 drink1 like the live ,flemings they are4 ,yet as compared with some other masters of genre1 ,teniers seems to treat his rustics somewhat from the outside4 ,their expressions are often exaggerated1 and their gestures pass into grimace4 ,brouwer knew more of taverns2 ,ostade was more thoroughly at home in cottages4444 ,teniers seems anxious to have it known that1 far from indulging in the coarse amusements of the boors he is fond of painting1 he himself lives in good style and looks like a gentleman4 ,he never seems tired of showing the turrets of his chteau of ,perck1 and in the midst of rustic merry-makings we often see his family and himself received cap in hand by the joyous peasants 7e4g4 in #hag74 ,so too1 though many of his interiors are very good1 ,teniers is on the whole at his best in open-air scenes4 ,in his skies he has given 7says ,ruskin7 some very wonderful passages 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 iii4 ch4 i4 #bj2 ,h4 ,hymans in ,encyclopdia ,britannica2 ,wauters's ,flemish ,school1 p4 #bid74 ,good examples of ,teniers continue to be greatly appreciated4 ,the ,belgian ,government1 for instance1 gave #ejjj in #ahfg for the ,village ,pastoral1 now in ,brussels ,museum4 ,the taste of ,teniers may justly be condemned2 his technique will always be admired4 ,take1 says ,ruskin1 a picture by ,teniers1 of sots quarrelling over their dice2 it is an entirely clever picture--so clever that nothing in its kind has ever been done equal to it2 but it is also an entirely base and evil picture4 ,it is an expression of delight in the prolonged contemplation of a vile thing1 and delight in that is an 'unmannered' or 'immoral' quality 7,crown of ,wild ,olive1 #ef74 ,his bright palette1 his freshness of handling1 his straightforwardness in means and intent1 give to the best works of ,teniers a permanent interest4 ,he touched with a workmanly hand1 such as we cannot see rivalled now2 and he seems never to have painted indolently1 but gave the purchaser his thorough money's worth of mechanism4 ,hence it is that ,sir ,joshua ,reynolds1 though condemning ,teniers's vulgarity of subject1 yet held up his pictures as models to students who wished to excel in execution4 ,it should1 however1 be noted that his works vary very much in this respect4 ,many of his later pictures are painted so thinly that the ground is in places barely covered4 ,they have been called afternoons1 not from their subject1 but from the time the painter took in producing them4 ,this and the companion picture1 #aeh1 are characteristic specimens of the painter4 ,the human specimens are ugly and vulgar2 the pottery is pretty1 and beautifully painted4 #aee4 ,,the ,,money ,,changers4 ,teniers 7,flemish3 #afaj-afid74 ,see under last picture4 ,a man and his wife--usurers1 we may suppose--counting their money4 ,there is all the miser's misery in the withered careworn faces1 all the miser's greed in the thin1 tremulous hands4 ,the man alone seems not quite to like some transaction which they are discussing2 the woman--,portia's prerogative of mercy being reversed--seems to be thinking1 ,come1 man1 don't be a fool3 a bond is a bond4 #aef4 ,a ,,study ,,of ,,horses4 ,van ,dyck 7,flemish3 #aeii-afda74 ,see #di4 ,an interesting sketch as illustrating ,van ,dyck's affection for the horse4 ,in painting1 ,i find that no real interest is taken in the horse until ,van ,dyck's time1 he and ,rubens doing more for it than all previous painters put together4 ,rubens was a good rider1 and rode nearly every day1 as1 ,i doubt not1 ,van ,dyck also4 ,the horse has never1 ,i think1 been painted worthily again1 since he died 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 vi4 #bb74 ,the particular choice of subject in this sketch shows further in its literary connection a lover of the horse4 ,the subject1 as we know from the words equi ,achillis on a scroll in the left corner of the picture1 is the horses of ,achilles1 said for their swiftness to be the sons of the wind ,zephyrus3 in the upper part of the picture is a sketch of a zephyr's head4 ,the gentleness of chivalry1 properly so called1 depends on the recognition of the order and awe of lower and loftier animal-life1 444 taught most perfectly by ,homer in the fable of the horses of ,achilles4 ,there is1 perhaps1 in all the ,iliad nothing more deep in significance--there is nothing in all literature more perfect in human tenderness1 and honour for the mystery of inferior life1 than the verses that describe the sorrow of the divine horses at the death of ,patroclus1 and the comfort given them by the greatest of the gods#ih 7,fors ,clavigera1 #ahga1 ix4 #ac74 #aeg4 ,a ,,landscape3 ,,sunset4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,for ,rubens's landscapes see under #ff4 ,it is to be noted1 however1 that the licenses taken by ,rubens in particular instances are as bold as his general statements are sincere4444 ,in the ,sunset of our own ,gallery many of the shadows fall at right angles to the light 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #ae74 #aeh4 ,,boors ,,regaling4 ,teniers 7,flemish3 #afaj-afid74 ,see #aed4 #aei4 ,,the ,,dutch ,,housewife4 ,nicolas ,maes 7,dutch3 #afcb-afic74 ,see #aec4 ,there are few pictures in the ,national ,gallery1 says ,c4 ,r4 ,leslie 7,handbook for ,young ,painters1 p4 #bdc71 before which ,i find myself more often standing than at this4 ,its great attraction1 he adds1 is the delight of seeing a trait of childhood we have often observed and been amused with in nature1 for the first time so felicitously given by art4 ,the ,dutch housewife sits intently engaged in scraping a parsnip1 whilst the child stands by her side watching the process1 as children will stand and watch the most ordinary operations1 with an intensity of interest1 as if the very existence of the whole world depended on the exact manner in which that parsnip was scraped4 ,note the ,flemish kruik1 or beer-jug1 so often introduced into the pictures of ,maes4 ,signed and dated #afee4 #afj4 ,a ,,riposo4 ,mola 7,eclectic-,bologna3 #afab-affh74 ,see #fi4 ,the ,italians gave this title to the subject of the ,holy ,family resting on the way in their flight to ,egypt1--the angel of the ,lord appeareth to ,joseph in a dream1 saying1 ,arise1 and take the young child and his mother1 and flee into ,egypt4 #afa4 ,,an ,,italian ,,landscape4 ,gaspard ,poussin 7,french3 #afac-afge74 ,see #ca4 ,gaspard travelled largely in ,italy in search of the picturesque1 and this striking landscape may be a recollection of the mountain scenery in the ,north--possibly near ,bergamo4 ,the spray of foliage prominent on the left is characteristic of ,gaspard's method3-- ,one of the most remarkable characters of natural leafage is the constancy with which1 while the leaves are arranged on the spray with exquisite regularity1 that regularity is modified in their actual effect4 ,for as in every group of leaves some are seen sideways1 forming merely long lines1 some foreshortened1 some crossing each other1 every one differently turned and placed from all the others1 the forms of the leaves1 though in themselves similar1 give rise to a thousand strange and differing forms in the group4444 ,now go to ,gaspard ,poussin and take one of his sprays1 where they come against the sky2 you may count it all round3 one1 two1 three1 four1 one bunch2 five1 six1 seven1 eight1 two bunches2 nine1 ten1 eleven1 twelve1 three bunches2 with four leaves each2 and such leaves6 every one precisely the same as its neighbour1 blunt and round at the end 7where every forest leaf is sharp1 except that of the fig-tree71 tied together by the stalks1 and so fastened on to the demoniacal claws above described 7see under #fh71 one bunch to each claw 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 vi4 ch4 i4 #af1 #ag74 #afc4 ,,venice3 ,a ,,view ,,on ,,the ,,grand ,,canal4 ,canaletto 7,venetian3 #afig-agfh74 ,see #abg4 ,the ,church1 that of ,s4 ,simeone ,piccolo1 was built in ,canaletto's time4 ,one of the ugliest churches in ,venice or elsewhere4 ,its black dome1 like an unusual species of gasometer1 is the admiration of modern ,italian architects 7,stones of ,venice1 vol4 iii4 ,venetian ,index1 s4 v4 ,simeone74 #afe4 ,,the ,,plague ,,at ,,ashdod4 ,nicolas ,poussin 7,french3 #aeic-affe74 ,see #ci4 ,the ,philistines having overcome the ,israelites removed the ark of the ,lord to ,ashdod1 and placed it in the temple of their god ,dagon4 ,and when they of ,ashdod arose early on the morrow1 behold1 ,dagon was fallen upon his face to the earth before the ark 444 7seen here in the temple to the right74 ,but the hand of the ,lord was heavy upon them of ,ashdod1 and he smote them with a loathsome plague 7#a ,samuel v4 #d1 #f74 ,the picture--a ghastly subject ghastlily treated--is yet a good instance of ,poussin's learned treatment4 ,everywhere the intention to express alarm is obvious1 and in the foreground are figures fleeing the infection1 with nose and mouth muffled4 ,others are engaged removing the dead and dying1 while in the centre are the dead bodies of a mother and child2 another child approaches the mother's breast1 but the father stoops down to avert it4 ,a similar group to this occurs in a design by ,raphael1 ,il ,morbetto1 and was also in the celebrated picture by ,aristides which ,alexander the ,great1 at the sack of ,thebes1 claimed for himself and sent to his palace at ,pella 7,wornum3 ,epochs of ,painting1 p4 #dg1 ed4 #ahfd74 ,this picture is a replica of one1 now in the ,louvre1 which was painted in ,rome in #afcj--,poussin receiving only #fj scudi 7about #ab guineas7 for it4 #aff4 ,a ,,capuchin ,,friar4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,michel ascribes this portrait to the year of ,rembrandt's tribulations4 ,at this period1 when his emotions were so deeply stirred by the vision of a compassionate ,saviour1 he felt a kindred attraction for those mystic souls who sought in solitude and prayer a closer communion with the ,christ to whom he felt himself drawn by his own sorrows4 ,the ',capuchin' in the ,national ,gallery has suffered from time1 but the devout gravity of the face is finely expressed 7,rembrandt3 his ,life1 his ,work1 and his ,time1 ii4 #abf74 #afg4 ,,the ,,adoration ,,of ,,the ,,magi4 ,peruzzi 7,sienese3 #adha-aecg74 ,see #bah4 ,this drawing--of the same composition as we see in the picture ,no4 #bah--was made at ,bologna in #aeba for ,count ,giovanni ,battista ,bentivogli4 ,the drawing was presented to the ,national ,gallery by ,lord ,vernon1 together with a print from the plate engraved from it by ,agostino ,carracci4 #afh4 ,,st4 ,,catherine ,,of ,,alexandria4 ,raphael 7,urbino3 #adhc-aebj74 ,see #aaga4 ,this is a picture of ,raphael's second period--painted about the year #aejg1 to judge from its close resemblance in style to the celebrated picture of the ,entombment in the ,borghese 7,rome71 which is known to have been executed at that time4 ,there are several studies for the picture in the ,university ,galleries at ,oxford1 and another in the ,chatsworth collection4 ,the finished cartoon in black and white chalk1 pricked for transfer to the panel1 is exhibited in the ,louvre4 ,a perfect picture of saintly resignation4 ,st4 ,catherine 7for whose story see #fic7 leans on the wheel1 the instrument of her martyrdom1 and looks up to heaven in the dawn of the eternal day1 with her lips parted in the resting from her pain4 ,her right hand is pressed on her bosom1 as if she replied to the call from above1 ,i am here1 ,o ,lord6 ready to do ,thy will4 ,from above1 a bright ray is seen streaming down upon her1 emblematic of the divine inspiration which enabled her to confound her heathen adversaries4 ,the studies existing show the pains ,raphael took with the exquisite expression2 but the result defies analysis4 ,it is impossible to explain in language the exact qualities of the lines on which depend the whole truth and beauty of expression about the half-opened lips of ,raphael's ,st4 ,catherine4 ,but these lines should be noticed as exemplifying the principle of vital beauty--of beauty1 that is to say1 as consisting in the appearance in living things of felicitous fulfilment of function4 ,thus eyes and mouths become more beautiful precisely as they become more perfect means of moral expression4 ,the mouth of a negro is ugly because it is only a means of eating2 the mouth of ,st4 ,catherine is beautiful for the feeling it expresses 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #dg2 vol4 ii4 pt4 iii4 sec4 i4 ch4 xii4 #aj1 sec4 ii4 ch4 v4 #ba74 ,it may be noticed1 lastly1 how much the pathetic feeling of the picture is heightened by the herbage in the foreground1 and especially perhaps by the carefully-painted dandelion clock3 so soon passeth it away1 and we are gone4 #afi4 ,,the ,,holy ,,family4 ,ludovico ,mazzolino 7,ferrarese3 #adhj-aebh74 ,ludovico ,mazzolino1 whose brilliant colours play through all shades1 has been called the glowworm of the ,ferrarese ,school2 creamy-toned backgrounds of architectural subjects also enrich his compositions4 ,he was principally a genre painter1 though in his early period he is said to have worked much in fresco4 ,his brilliant colouring made him a favourite with art-loving prelates of succeeding generations2 hence his small pictures abound in ,roman collections 7,italian ,painters1 ,borghese ,gallery1 p4 #bai74 ,morelli elsewhere adds the conjecture that ,mazzolino studied at ,ferrara under ,domenico ,pannetti4 ,in another of his characteristics--the minuteness1 namely1 of his work--he resembles rather the ,flemish ,school4 ,of his life little or nothing is known2 but his interest in decorative craftsmanship is proved by his pictures4 ,the background and accessories here1 as well as in #fda1 are particularly interesting as a record of the decorative art of the time4 ,a few years before the date of these pictures the ,pope ,leo ,x4 had unearthed the buried treasures of the ,baths of ,titus1 and ,giovanni da ,udine rediscovered the mode by which their stucco decorations were produced4 ,this method of modelling in wet plaster on walls and ceilings was extensively used in house decoration from that time down to the middle of the last century1 but has since then been supplanted by the cheaper process of casting4 ,no sooner was ,giovanni da ,udine's invention known than it must have been adopted by ,ferrarese artists1 for here we find ,mazzolino portraying it in the background of his picture4 ,as in ,tura's pilaster 7see #ggb71 the winged sphere plays a principal part in the design1 for it was a favourite badge of the ducal house of ,ferrara4 ,nor is it only in the plaster modelling that ,mazzolino's interest in decorative art shows itself4 ,the back of the bench on which the ,madonna sits is crowned by the most delicate carving1 whilst up aloft1 peeping over the wall on which the plaster work occurs1 there is a choir of angels playing on a portable organ1 which is full of suggestions for decorative design 7,g4 ,t4 ,robinson in ,art ,journal1 ,may #ahhf1 pp4 #aea1 #aeb74 #agj4 ,,the ,,holy ,,family4 ,garofalo 7,ferrarese2 #adha-aeei74 ,see #ha4 ,notice the rich cap in which the little ,st4 ,john is dressed2 it is not unlike those which ,french and ,flemish children are still made to wear as a protection from tumbles4 ,there is a grace in the figures of the ,virgin and ,st4 ,elizabeth which recalls ,raphael4 ,a less happy effect of his influence may be seen in the vision of the heavenly host above1 full of that exaggerated action which marks the decadence of ,italian art4 ,god the ,father is represented gesticulating wildly1 almost like an actor in melodrama4 ,and so with the playing angels4 ,in pictures of the great time they are shown with uninterrupted and effortless gesture 444 singing as calmly as the ,fates weave 7,relation between ,michael ,angelo and ,tintoret1 p4 #ae71 but here they are all scrambling through their songs1 their hair floating in the breeze and their faces full of excited gesture4 #agb4 ,,the ,,supper ,,at ,,emmaus4 ,caravaggio 7,naturalist3 #aefi-afji74 ,michael ,angelo ,amerighi1 the son of a mason1 is usually called ,caravaggio from his birthplace1 a town of that name near ,milan4#ii ,he was the leader of the so-called ,naturalist ,school 7see introduction to ,the ,later ,italian ,schools71 which numbered among its disciples ,spagnoletto 7#bce7 and the ,dutch ,gerard von ,honthorst 7#addd74 ,the characteristics of his art1 as described below1 were not out of keeping with the sombre character of the man4#ajj ,he had established himself as a painter at ,rome1 when he had to fly for homicide4 ,he was playing at tennis and became so violent in a dispute that he killed his companion4 ,after a short stay at ,naples he went to ,malta1 where he gained the favour of the grand-master1 and was made a ,knight of the ,cross of ,malta4 ,his ungovernable temper1 however1 again led him into trouble1 and quarrelling with one of the knights1 he was cast into prison4 ,he escaped to ,sicily and thence returned to ,naples4 ,having procured the ,pope's pardon for his original offence1 he hired a felucca and set sail for ,rome4 ,the coast-guard arrested him in mistake for another person2 the crew of the felucca plundered him of all his belongings2 and after wandering disconsolately along the coast1 he was seized with fever1 and died at the early age of forty4 ,one notices first in this picture the least important things--the supper before the company1 the roast chicken before ,christ4 ,next one sees how coarse and almost ruffianly are the disciples1 represented as supping with their risen ,lord at ,emmaus 7,luke xxiv4 #cj1 #ca74 ,both points are characteristic of the painter1 who was driven by the insipidities of the preceding mannerists into a crude realism1 which made him resolve to describe sacred and historical events just as though they were being enacted in a slum by butchers and fishwives4 ,he was led away1 says ,lanzi 7i4 #deb71 by his sombre genius1 and represented objects with very little light4 ,he ridiculed all artists who attempted a noble expression of countenance or graceful folding of drapery4 ,his first altar-piece was removed by the priests for whom it was painted1 as being too vulgar for such a subject4 ,many interesting studies from the taverns of ,italy remain to prove ,caravaggio's mastery over scenes of common life4 ,for the historian of manners in seventeenth-century ,italy1 those pictures have a truly precious value1 as they are executed with such passion as to raise them above the more careful but more lymphatic transcripts from beer-cellars in ,dutch painting4 ,but when he applied his principles to higher subjects1 then vulgarity became apparent4 ,it seems difficult for realism1 either in literature or art1 not to fasten upon ugliness1 vice1 pain1 and disease1 as though these imperfections of our nature were more real than beauty1 goodness1 pleasure1 and health4 ,therefore ,caravaggio1 the leader of a school which the ,italians christened ,naturalists1 may be compared to ,zola 7,symonds1 vii4 #bba74 #agc4 ,,portrait ,,of ,a ,,gentleman4 ,bassano 7,venetian3 #aeaj-aeib74 ,jacopo da ,ponte is commonly called ,il ,bassano or ,jacopo da ,bassano from his native town1 near ,venice4 ,his father1 ,francesco1 who was a painter in the school of the ,bellini1 was his first master2 he afterwards studied under ,bonifazio at ,venice4 ,after a short stay in that city1 ,jacopo returned to his native town1 where he remained for the rest of a long life4 ,his best works are almost worthy1 says ,sir ,f4 ,burton1 of ,titian4 ,they are conspicuous among other qualities for ,venetian excellence of colouring--especially in his green1 where he exhibits a peculiar brilliancy4 ,most of his pictures seem at first sight as dazzling1 then as cooling and soothing1 as the best kind of stained glass2 while the colouring of details1 particularly of those under high lights1 is jewel-like1 as clear and deep and satisfying as rubies and emeralds4 ,no4 #bbh in this ,collection has passages which illustrate this point4 ,jacopo was nearly contemporary with the great ,tintoretto1 but while the latter was the last of the ,venetian painters in the grand style1 ,bassano after a time devoted himself to simple scenes of country life4 ,his distinguishing place in the history of art is that he was the first ,italian painter of genre--a painter1 that is1 du genre bas1 painter of a low class of subjects1 of familiar objects such as do not belong to any other recognised class of paintings 7as history1 portrait1 etc473 see1 for instance1 ,no4 #bbh1 in which the religious subject merely gives the painter an opportunity for a scene of market life4 ,his pictures were for the inhabitants of the small market-town from which he takes his name1 where1 besides the gates1 you still see men and women in rustic garb crouching over their many-coloured wares2 and where1 just outside the walls1 you may see all the ordinary occupations connected with farming and grazing4 ,inspired1 although unawares1 by the new idea of giving perfectly modern versions of ,biblical stories1 ,bassano introduced into nearly every picture he painted episodes from the life in the streets of ,bassano and in the country just outside the gates4 ,another thing ,bassano could not fail to do1 working as he did in the country and for country people1 was to paint landscape4 ,he loved to paint the real country4 ,he was1 in fact1 the first modern landscape painter 7,berenson3 ,venetian ,painters of the ,renaissance1 xxi74 ,giovanni ,bellini places his figure in the crystal air of an ,italian morning2 ,titian and ,tintoretto give us daylight1 mighty while subdued2 but ,bassano throws a lurid grey over his landscape and carries the eye to the solemn twilight spread along the distant horizon4 ,this peculiarity of feature is partly accounted for by the position of the town of ,bassano1 which is wrapped in an early twilight by the high mountains above it on the west 7,layard's edition of ,kugler1 ii4 #fbd74 ,a fine portrait--somewhat recalling ,rembrandt in style--of a very refined face4 ,in the vase beside him is a sprig of myrtle4 ,this painter is fond of introducing such vases3 see one in #bgg4 ,in the principal street of ,bassano1 where the artist was born and1 after studying at ,venice1 continued to live1 such vessels may still be seen placed out for sale4 #agd4 ,,portrait ,,of ,,cardinal ,,cerri4 ,carlo ,maratti 7,roman3 #afbe-agac74 ,carlo ,maratti 7called also ,carlo delle ,madonne1 from the large number of ,madonna pictures that he painted7 was an imitator of ,raphael1 and for nearly half a century the most eminent painter in ,rome4 ,the portrait of a cardinal should have come kindly to him1 for he was in the service of several popes1 and was appointed superintendent of the ,vatican ,chambers by ,innocent ,,xi4 #agf4 ,,st4 ,,john ,,and ,,the ,,lamb4 ,murillo 7,spanish3 #afah-afhb74 ,see #ac4 ,an interesting illustration of the substitution of the palpable image for the figurative phrase4 ,the mission of ,st4 ,john the ,baptist was to prepare the way for ,christ1 to proclaim to the people ,behold the ,lamb of ,god6 ,murillo makes the standard of the ,lamb1 with those words upon it1 lie upon the ground below2 but he further represents the young ,st4 ,john as embracing an actual lamb4 #agg4 ,,the ,,magdalen4 ,guido 7,eclectic-,bologna3 #aege-afdb74 ,see #aa4 ,just such a picture as might have suggested the lines in ,pope's epistle on ,the ,characters of ,women-- ,let then the fair one beautifully cry1 ,in ,magdalen's loose hair and lifted eye2 ,or dress'd in smiles of sweet ,cecilia shine1 ,with simpering angels1 palms1 and harps divine2 ,whether the charmer sinner it1 or saint it1 ,if folly grow romantic1 ,i must paint it4 ,just such a picture1 too1 as ,guido turned out in numbers4 ,he was specially fond1 says one of his biographers1 of depicting faces with upraised looks1 and he used to say that he had a hundred different modes of thus supplying sentimentality to order4 #agi4 ,,virgin ,,and ,,child ,,enthroned4 #ahj4 ,a ,,piet4 ,francia 7,ferrarese-,bolognese3 #adej-aeag74 ,of ,francesco ,raibolini's life the two most interesting things are these3 first1 that great artist though he came to be1 he never painted a picture1 so far as we know1 till he was forty2 and secondly1 the intimate connection1 exemplified in him1 between the artist and the craftsman4 ,he was the son of a carpenter1 and1 like so many of the greatest old masters1 was brought up to the goldsmith's trade4 ,the name of ,francia was that of his master in goldsmith's work1 and was adopted by him in gratitude4#aja ,he attained great skill in his trade1 especially as a die-engraver and a worker in niello 7inlaying a black composition into steel or silver74 ,he was appointed steward of the ,goldsmiths' ,guild in #adhc1 and afterwards became master of the ,mint--a post which he held till his death4 ,in some of his earlier pictures the hand of a goldsmith is seen--in the clear outline1 the metallic and polished surface1 and the minuteness of detail2 and even on some of his later and more important works1 such as #agi1 he signed himself ,francia aurifex 7goldsmith7 ,bononiensis4 ,it was with ,costa1 the ,ferrarese artist 7see #fbi71 who migrated to ,bologna1 and with whom he entered into partnership1 that ,francia learnt the art of painting1 and thus1 though a ,bolognese1 he is properly included in the ,ferrarese ,school4 ,his work marks the culminating point of that school1 just as ,raphael's#ajb marks that of the ,umbrian1 and in these pictures 7originally one altar-piece1 painted for the ,buonvisi chapel in ,s4 ,frediano at ,lucca1 where1 says ,vasari1 it was held to be of great value7 we have some of his best work4 ,many of his pictures are still at ,bologna1 including the one which some consider his chef d'oeuvre1 the ,bentivoglio altar-piece in ,s4 ,giacomo ,maggiore4 ,francia is the most pathetic of painters4 ,raphael is said to have remarked that ,francia's ,madonnas were the most devoutly beautiful he knew1#ajc and there is considerable affinity between ,francia and ,perugino4 ,but the ,umbrian master was more ideal2 in ,francia there are touches of realism4 ,it will be observed in ,no4 #ahj that the ,virgin is represented as a middle-aged woman1 and that the lids of the angels' eyes are red with weeping4 ,in spirit also they are different4 ,francia makes his angels appeal to the spectator as if to enlist his sympathy in the pathos of the tragedy1 holding up the beautiful tresses of ,christ's hair to aid in the appeal4 ,this ,perugino would never have done2 his angels1 and his saints also1 are always wrapt in a spiritual ecstasy to which ,francia could not attain 7,monkhouse3 ,in the ,national ,gallery1 p4 #agc74 7#agi7 ,on the throne are the ,virgin and her mother1 ,st4 ,anne1 who offers the infant ,christ a peach1 symbolical1 as the fruit thus offered in these pictures originally was1 of the fruits of the spirit--joy1 peace1 and love4 ,at the foot of the throne stands the little ,st4 ,john 7the ,baptist71 one of the purest creations of ,christian art1 holding in his arms the cross of reeds and the scroll inscribed ,ecce ,agnus ,dei 7,behold the ,lamb of ,god74 ,the discovery of ,benedetto ,buonvisi's will has shown why the various saints were selected--,st4 ,anne1 because the ,buonvisi chapel was dedicated to her2 ,st4 ,lawrence as the patron of the founder's father2 ,st4 ,paul as the patron of the founder's brother and heir2 ,st4 ,sebastian as the saint invoked in plagues 7from which calamity ,lucca suffered in #aeaj72 and ,st4 ,benedict as the patron of the founder 7,g4 ,c4 ,williamson's ,francia1 p4 #aaa74 7#ahj7 ,this picture1 which was the lunette1 or arch1 forming the top of the altar-piece1 is a piet1 i4e4 the ,virgin and two angels weeping over the dead body of ,christ4 ,the artist has filled his picture with that solemn reverential pity1 harmonised by love1 which befits his subject4 ,the body of ,christ--utterly dead1 yet not distorted nor defaced by death--is that of a tired man whose great soul would not let him rest while there was still ,his father's work to do on earth4 ,in the face of the angel at ,his head there is a look of quiet joy1 as of one who knows that death is but a covered way that leads into the light2 in the attitude and expression of the angel at the feet there is prayerful sympathy for the sorrowing mother4 ,the face of the mother herself1 which before was pure and calm1 is now tear-stained and sad1 because her son has met so cruel a death-- ,what else in life seems piteous any more ,after such pity8 ,yet it bears a look of content because the world has known him4 ,she rests ,his body tenderly on her knee as she did when he was a little child--thus are the hues of the morning and the solemnity of eve1 the gladness in accomplished promise1 and sorrow of the sword-pierced heart1 gathered into one human ,lamp of ineffable love 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 ii4 ch4 v4 #ba74 #aha4 ,,the ,,virgin ,,and ,,child ,,with ,,st4 ,,john4 ,perugino 7,umbrian3 #addf-aebc74 ,see #bhh4 ,if really by ,perugino1#ajd this must be one of his early works4 ,it is painted in tempera4 ,the ,flemish process of oil-painting found its way to ,venice1 where ,perugino is known to have been in #adid1 and where he probably learnt it4 ,the superiority of the new method may be seen in a moment by comparing the cracked surface and faded colours of this picture with #bhh1 which was painted when ,perugino had obtained complete mastery over the new medium1 and which is still as bright and fresh as when it was painted4 ,the style of this picture is1 however1 thoroughly ,peruginesque4 ,it is interesting to compare the ,umbrian type of the ,madonna--innocent and girl-like1 with an air of far-off reverie--with the types of other schools4 ,the ,umbrian ,madonna is less mature1 more etherealised than the ,venetian4 ,she is a girl1 rather than a mother4 ,therein she resembles the ,florentine type2 but an air of dreamy reverie in the ,umbrian takes the place of the intellectual mysticism of the ,florentine4 ,in ,perugino the ,umbrian type finds its fullest and highest representative4 ,dainty small features1 all too babyish for the figures that bear them2 a mouth like a cupid's bow2 a tiny and delicate chin2 eyes set well apart1 with curiously heavy and drooping lids2 faint pencilled eyebrows2 a broad smooth forehead1--these are the main elements in ,perugino's ,madonnas 7,grant ,allen in the ,pall ,mall ,magazine1 #ahie1 p4 #fbj74 #ahd4 ,,portrait ,,of ,a ,,young ,,lady4 ,nicolas ,lucidel 7,german3 #aebg-aeij74 ,lucidel 7a name which is supposed to be a corruption of ,neufchatel7 studied painting at ,antwerp1 and afterwards settled at ,nuremberg4 ,this picture1 dated #aefa1 was formally ascribed to ,sir ,antonio ,more and supposed to represent ,jeanne d',archel2 but it reveals 7says the latest edition of the ,official ,catalogue7 in its style and its ,upper ,german costume1 the handiwork of ,lucidel4 ,the picture is much obscured1 says ,sir ,edward ,poynter1 by a coarse brown varnish4 ,a beautiful example of this master1 in the collection of ,lord ,spencer1 is remarkable for the purity of its colour1 and doubtless this portrait had originally the same qualities 7,the ,national ,gallery1 i4 #bid74 #ahf4 ,,portraits ,,of ,,jan ,,arnolfini ,,and ,,his ,,wife4 ,jan van ,eyck 7,early ,flemish3 about #acij-addj74 ,the ,van ,eycks--,hubert1 the elder brother1 and ,jan--were natives of ,maesyck 7,eyck-sur-,meuse71 and are famous as being the artists to whose ingenuity the first invention of the art of painting in oils was for a long time ascribed4 ,the probability is that although the practice of mixing oil with colours was employed for decorative purposes in ,germany and elsewhere long before their time1 they were the first to so improve it as to make it fully serviceable for figure-painting4#aje ,the art of oil painting reached higher perfection in many ways after their time2 but there is no picture in the ,gallery which shows better than this1 one great capacity of oil painting--its combination1 namely1 of imperishable firmness with exquisite delicacy 7,on the ,old ,road1 i4 #ada74 ,the place of the ,van ,eycks in the development of early ,flemish art has been described in the introduction to that ,school1 but the suddenness and completeness of their mastery remains among the wonders of painting4 ,the first ,italian ,renaissance1 says ,fromentin1 has nothing comparable to this4 ,and in the particular order of sentiments they expressed and of the subjects they chose1 one must admit that neither any ,lombard ,school1 nor ,tuscan1 nor ,venetian1 produced anything that resembles the first outburst of the ,school of ,bruges4 ,the two brothers were granted the freedom of the profession by the ,corporation of ,painters of ,ghent in #adba4 ,in that year ,jan left ,hubert and took an appointment as painter to ,count ,john of ,bavaria at the ,hague4 ,in #adbd he returned to ,bruges as painter to ,philip1 ,duke of ,burgundy1 in whose service he remained to the end of his life4 ,like ,rubens1 the painter ,jan van ,eyck amused himself with being ambassador4 ,he was frequently employed on missions of trust2 and following the fortunes of a chief who was always in the saddle1 he appears for a time to have been in ceaseless motion1 receiving extra pay for secret services at ,leyden1 drawing his salary at ,bruges1 yet settled in a fixed abode at ,lille4 ,in #adbh he joined the embassy sent by ,philip the ,good to ,lisbon to beg the hand of ,isabella of ,portugal4 ,his portrait of the bride fixed the ,duke's choice4 ,after his return he settled finally at ,bruges1 where he married1 and his wife bore him a daughter1 known in after years as a nun in the convent of ,maesyck4 ,at the christening of this child the ,duke was sponsor2 and this was but one of the many distinctions by which ,philip the ,good rewarded his painter's merits 7,crowe74 ,but never was there an artist less puffed up4 ,jan van ,eyck was here4 ,as ,i can1 not as ,i would4 ,such signatures are the sign-marks of modesty4 ,in #adbf his brother ,hubert died1 leaving the great altar-piece--the ,adoration of the ,lamb--for ,jan to finish4 ,this masterpiece of the ,van ,eycks was in #adcb set up in the ,chapel of ,st4 ,bavon at ,ghent1 where the central portions still remain--the other original panels being now at ,brussels and ,berlin4 ,the portraits by ,jan in our ,gallery belong to the next three years4 ,there are no finer specimens of his marvellous precision and delicacy in this branch of the art4 ,this wonderful picture of a ,flemish interior--dated #adcd--;is as spruce and clean now 7for the small twig broom did its work so well that the goodman and his wife were not afraid to walk on the polished floor without their shoes71 as it was when first painted five hundred years ago4 ,this is the more interesting from the eventful history the picture has had4 ,at one time we hear of a barber-surgeon at ,bruges presenting it to the ,queen-regent of the ,netherlands1 who valued it so highly that she pensioned him in return for the gift4 ,at another it must have passed again into humbler hands1 for ,general ,hay found it in the room to which he was taken in #ahae at ,brussels to recover from wounds at the battle of ,waterloo4 ,he purchased the picture after his recovery1 and sold it to the ,british ,government in #ahdb4 ,it is1 says ,sir ,edward ,poynter1 one of the most precious possessions in the national collection1 and1 in respect of its marvellous finish1 combined with the most astounding truth of imitation and effect1 perhaps the most remarkable picture in the world4 ,for the delicacy of workmanship note especially the mirror1 in which are reflected not only the objects in the room1 but others beyond what appears in the picture1 for a door and two additional figures may be distinguished4 ,in the frame of the mirror1 too1 are ten diminutive pictures of the ten moments in the ,passion of ,christ as material for the lady's meditation while doing her hair4 ,notice also the brass-work of the chandelier4 ,there are many little objects about1 such as an orange on the window-sill1 placed there to catch the light4 ,through the window you can see a cherry-tree1 with sunshine on the ripe fruit4 ,in the treatment of these and similar details ,jan van ,eyck shows a liking for dots and spots of light 7,conway74 ,above the chandelier1 elaborately wrought1 is the painter's signature4 ,this signature 7in ,latin71 ,jan van ,eyck was here1 exactly expresses the modesty and veracity which were the keynote of his art4 ,the artist only professed to come1 to see1 and to record what he saw4 ,arnolfini was the representative at ,bruges of a ,lucca firm of merchants1 and ,van ,eyck gives us a picture of the quiet1 dry1 business folk exactly as he found them4 #ahg4 ,,the ,,apotheosis ,,of ,,william ,,the ,,taciturn ,,of ,,holland4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,a sketch of a picture in the possession of the ,earl of ,jersey4 ,this sketch was formerly in the possession of ,sir ,david ,wilkie1 ,r4,a4 #ahi4 ,,the ,,doge ,,leonardo ,,loredano4 ,giovanni ,bellini 7,venetian3 #adbf-aeaf74 ,giovanni ,bellini 7often shortened into ,giambellini7--the greatest of the fifteenth-century artists--the mighty ,venetian master who alone of all the painters of ,italy united purity of religious aim with perfection of artistical power#ajf--;belonged1 it is interesting to note1 to a thoroughly artistic family4 ,his father1 ,jacopo1 drawings by whom may be seen in the ,british ,museum1 was an artist of repute2 his elder brother ,gentile 7see #abac7 was another4 ,the two brothers studied together in their father's school at ,padua1 and there they formed a friendship with ,mantegna1 who afterwards married their sister4 ,two pictures in our ,gallery 7,bellini's1 #gbf2 and ,mantegna's1 #adag7 recall the days of their early association4 ,by blood every inch an artist1 so was ,giovanni also in character4 ,his life was one long devotion to his art4 ,he lived to be ninety1 and showed to the end increasing knowledge and power4 ,albert ,drer wrote in #aejf1 when the grand old man was eighty1 that though very old he was still the best painter in ,venice4#ajg ,this famous portrait must have been painted about the same time1 for ,leonardo ,loredano only became ,doge in #aeja4 ,about #adfj1 ,bellini had settled in ,venice1 where he soon rivalled and eclipsed the established school of the ,vivarini4 ,in #adgi1 when his elder brother ,gentile departed to ,constantinople1 ,giovanni was appointed in his place to carry on the series of pictures for the ,hall of the ,great ,council in the ,ducal ,palace4 ,these works were destroyed by fire in #aegg4 ,the documents referring to them show the terms on which he worked4 ,he was engaged at a fixed rate of salary to work constantly and daily1 so that said pictures may be completed as expeditiously as possible1 with three assistants1 also paid by the ,state1 to render speedy and diligent assistance4 ,one of these assistants was ,carpaccio 7see #gej74 ,three years later he was appointed ,state painter to the ,republic4 ,his fame is sounded by ,ariosto1 who in ,orlando ,furioso ranks him with ,leonardo4 ,it may be gathered also from the number of great painters who attended his studio1 including ,giorgione and ,titian4 ,he was overwhelmed with work1 and doubtless employed assistants to complete commissions from his design4 ,hence the confusion that exists in the matter of attribution among pictures of this school 7see under #eii74 ,with ,titian he was on terms of warm friendship1 and his last work 7a companion piece to ,titian's ,bacchus and ,ariadne1 now in the ,duke of ,northumberland's ,gallery at ,alnwick7 was left for ,titian to finish4 ,bellini was buried in the ,church of ,,ss4 ,giovanni e ,paolo1 in the same tomb where ,gentile had lain since #aejg4 ,giovanni ,bellini's long life covers the end of one period and the beginning of another in the history of ,italian art4 ,in point of technique this is so3 his earliest works are in tempera1 his later ones in oil--the use of which medium he learnt perhaps from ,antonello da ,messina4 ,it is so also in motive4 ,the iridescence of dying statesmanship in ,italy1 her magnificence of hollow piety1 were represented in the arts of ,venice and ,florence by two mighty men on either side--,titian and ,tintoret1 ,michael ,angelo and ,raphael4 ,of the calm and brave statesmanship1 the modest and faithful religion1 which had been her strength1 ,i am content to name one chief representative artist at ,venice1 ,john ,bellini4 ,the years of change were #adhj-aebj 7roughly speaking those of ,raphael's life74 ,john ,bellini precedes the change1 meets and resists it victoriously till his death4 ,nothing of flaw or failure is ever to be discerned in him 7,relation between ,michael ,angelo and ,tintoret1 pp4 #aa-ac74 ,his position is thus unique3 he was the meeting-point of two ways3 as great in artistic power as the masters who came after1 as pure in religious aim as those who went before4 ,an interesting episode is recorded which marks the transition and ,bellini's meeting of it4 ,isabella ,gonzaga1 the ,duchess of ,mantua1 wrote in #aeja to her agent in ,venice to get ,bellini to do for her a picture of which the subject was to be profane1 to suit ,mantegna's allegories4 ,bellini suggests that he cannot do such a subject in a way to compare with ,mantegna2 with such a subject he cannot do anything to look well4 ,isabella thereupon is content to put up with a religious subject1 but ,bellini on his side agrees to add a distant landscape and other fantasies 7qualche luntani et altra fantaxia74 ,bellini1 however1 was by no means stagnant in his art1 or in his outlook4 ,at the end of his life1 he undertook1 as we have seen1 a ,bacchanal1 and in his middle period he painted the beautiful little allegories now in the ,academy at ,venice4 ,bellini1 says ,morelli1 was ever making progress4 ,he knew how to adapt himself to his subject1 and was1 as occasion required1 grand and serious1 graceful and attractive1 nave and simple4 ,it is in ,venice that ,bellini can be best studied2 but our ,national ,gallery is fortunate in having more of his works than can be seen in any other collection north of the ,alps4 ,and how varied are his powers6 ,the same hand has given us subjects of intense religious conviction1 like ,the ,agony in the ,garden 7#gbf7 and ,the ,blood of the ,redeemer 7#abcc72 sunny pictures of devotional sentiment 7#bhj and #eii72 the noble portrait here before us2 and delicate landscape work1 like the ,peter ,martyr 7#hab74 ,in his earliest pictures he devoted himself to the profoundest sentiments of ,christianity--perhaps1 as has been suggested1 under the influence of ,s4 ,bernardino1 then preaching at ,padua 7,roger ,fry's ,giovanni ,bellini1 p4 #bb74 ,afterwards the note in ,bellini's work is rather genial serenity4 ,the expression of his ,madonnas is often tender and solemn1 but he never lets it pass into the region of the ecstatic4 ,all is bright and peaceful and sunny4 ,he belongs to what ,ruskin calls the age of the masters1 in which the main object is pictorial perfectness and deliciousness4 ,a magnificent portrait of one of the greatest men of the ,venetian ,republic4 ,leonardo1 the #fgth ,doge1 held office from #aeja to #aeba4 ,he belonged to one of the most ancient and noble families in the ,state1 and ,venice1 under his rule1 was one of the ,great ,powers of ,europe--as the league of ,cambrai formed against him sufficiently shows4 ,there is all the quiet dignity of a born ruler in his face--fearless1 faithful1 patient1 impenetrable1 implacable--every word a fate 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 ix4 #a74 ,in his capacity of ,state painter to the ,republic it was ,bellini's duty to execute the official portraits of the ,doges4 ,during his long life he saw no fewer than eleven ,doges1 and was ,state painter during the reigns of four4 ,this1 however1 is the only portrait of a ,doge by ,bellini which has been preserved 7,richter's ,lectures on the ,national ,gallery1 p4 #db74 ,it is remarkable alike for strong characterisation1 simplicity of conception1 and brilliancy of colouring4 #aij4 ,a ,,jewish ,,rabbi4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de1 and also under #ea4 #aia4 ,,the ,,youthful ,,christ ,,and ,,st4 ,,john4 ,guido 7,eclectic-,bologna3 #aege-afdb74 ,see #aa4 ,st4 ,john is charming in the beauty of boyhood4 ,in the youthful ,christ the painter has striven after something more ideal1 and has produced a somewhat namby-pamby face4 #aib4 ,,portrait ,,of ,,himself4 ,gerard ,dou 7,dutch3 #afac-afge74 ,dou1 who stands at the head of the ,leyden ,school1 is remarkable for the patient industry which he devoted to his work1 and which was rewarded by his attainment of wonderful mastery in delicate execution4 ,mr4 ,slap-dash whips out his pocket-book1 scribbles for five minutes on one page1 and from that memorandum paints with the aid of the depths of his consciousness the whole of his picture4 ,not so the true follower of ,gerard ,dou4 ,to him the silent surface with the white ground is a sacred place that is to tell on after ages1 and bring pleasure or power or knowledge to hundreds of thousands as silently4 ,no eyes1 emperor's or clown's1 telling the other that they have been there4 ,it is worth this man's while to spend a whole sketch-book1 if need be1 over one twelve-inch panel 7,letters of ,james ,smetham1 p4 #agc74 ,with ,gerard ,dou a picture was a thing of orderly progression1 even as the flowers of spring gradually unfold their leaves and buds and blossoms to the sun4 ,he hurried his work for no man1 but moved with a princely ease1 as much as to say to the world1 ',other men may hurry as they please1 from necessity or excitement2 but ,gerard ,dou at least chooses to think1 and to perfect his works until he has satisfied himself4' ,at first he worked at portrait-painting1 but his manner was too slow to please his sitters4 ,the wife of a wealthy burgomaster paid the penalty of possessing a fair white hand by having to sit five long days while the painter transferred it to canvas4 ,had his patrons come into the world for no other purpose than to serve ,gerard ,dou1 he could not have dissipated their time with greater indifference4 ,the cheek of his fair model would grow pale with hunger and fatigue while he was rounding a pearl on her neck 7#ifh74 ,afterwards ,dou devoted himself to scenes of indoor genre1 and herein he spent as much time in imitating an indentation on a copper stewpan as he devoted to a dimple in the refulgent cheek of beauty4 ,each object he transcribes is sharp or dull1 transparent or opaque1 rounded or squared1 as it ought to be4 ,the texture is always given with exactness1 even to the minute threads in a costly robe4 ,he paints goblets of wine which would tempt an ascetic4 ,his gentlemen smoke such delicately moulded clay pipes with so much serenity that smoking in his pictures is invested with all the grace of an accomplishment4 ,he carried his neatness and love of order into his studio4 ,other painters were content to sit at an easel of plain deal--,gerard ,dou must have one of ebony1 inlaid with mother-of-pearl4 ,he locked up his colours in a costly cabinet as if they had been rubies1 emeralds1 and brilliants of the first water4 ,on arriving in front of his easel1 he is said to have paused for a few moments to allow the dust to settle before he uncovered the picture 7,merritt's ,art ,criticism and ,romance1 i4 #agj74 ,the ,german painter ,sandrart relates that he once visited ,dou's studio and admired the great care bestowed by the artist on the painting of a broomstick4 ,dou remarked that he would still have to work at it for three days more4 ,the history of his pictures is a remarkable instance of industry rewarded4 ,in his lifetime an amateur of the name of ,spiering used to pay him one thousand florins a year--in itself a good income--for the mere privilege of having the first offer of his pictures2 and since his death their value has steadily increased4 ,of his life1 beyond what has been stated above1 little is known4 ,he was the son of a glazier at ,leyden1 and was apprenticed successively to an engraver and a glass-painter4 ,at the age of fifteen he entered the studio of ,rembrandt1 with whom he remained three years4 ,he lived nearly all his life in his native town4 ,among his pupils were ,schalcken 7#aii71 ,mieris 7#hdj71 and ,metsu 7#hch74 ,this fine portrait is painted 7says ,sir ,edward ,poynter7 in a style unusually large and free for the master4 #aic4 ,,lot ,,and ,,his ,,daughters ,,leaving ,,sodom4 ,guido 7,eclectic-,bologna3 #aege-afdb74 ,see #aa4 ,this and the companion picture 7#aif7 are interesting as being two of the nation's conspicuously bad bargains4 ,the purchase of them at very high prices1 #afhj and #abfj1 was indeed one of the grievances that led to the ,select ,committee of the ,house of ,commons1 #ahec1 and to the subsequent reconstitution of the ,gallery4 ,expert witnesses declared before the ,committee that these two pictures ought not to have been bought at any price or even accepted as a gift4 ,ruskin had some time previously written to the ,times about them as follows3-- ,sir1 if the canvases of ,guido1 lately introduced into the ,gallery1 had been good works of even that bad master1 which they are not1--if they had been genuine and untouched works1 even though feeble1 which they are not1--if1 though false and retouched remnants of a feeble and fallen school1 they had been endurably decent or elementarily instructive1--some conceivable excuse might perhaps have been by ingenuity forged1 and by impudence uttered1 for their introduction into a gallery where we previously possessed two good ,guidos 7#aa and #agg7 444 but now1 sir1 what vestige of an apology remains for the cumbering our walls with pictures that have no single virtue1 no colour1 no drawing1 no character1 no history1 no thought8 7,arrows of the ,chace1 i4 #fd1 #fe74 #aid4 ,,the ,,judgment ,,of ,,paris4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,at the wedding of ,thetis and ,peleus an apple was thrown amongst the guests by the ,goddess of ,discord1 to be given to the most beautiful4 ,paris1 the ,trojan shepherd1 was ordered by ,jupiter to decide the contest4 ,he is here seated with ,mercury1 the messenger of the gods1 at his side1 about to award the apple to ,venus4 ,on the right of ,venus is ,juno with her peacock at her feet2 on the left1 ,minerva1 with her owl perched behind her4 ,paris thus chose ,pleasure1 instead of ,power or ,wisdom2 and from his choice came1 the story adds1 all the troubling of domestic peace involved in the ,trojan ,war4 ,the ,goddess of ,discord1 already assured of her victory and its consequences1 hovers in the clouds above1 spreading fire and pestilence4 ,this picture--one of ,rubens's masterpieces and evidently entirely the work of his own hand--belongs to his latest period2 never did he show his intense appreciation of the beauty of flesh and the delights of colour more conspicuously than in the pictures of his old age4 ,characteristic also is the painter's treatment of the subject4 ,the goddesses are as substantial as any figures of flesh and blood2 the picture is realistic1 not symbolic4 ,an exactly opposite method of treatment was exemplified in ,mr4 ,watt's ,judgment of ,paris1 exhibited at the ,grosvenor ,gallery in #ahhg4 ,paris was left out1 for does not every lover have the same choice to make for himself8 and the goddesses were soft visionary forms of purely ideal beauty 7cf4 ,modern ,painters1 vol4 iii4 pt4 iv4 ch4 viii4 #g74 #aie4 ,a ,,medical ,,professor4 ,unknown 7,german ,school74 ,the interest of this picture lies in the history of its purchase4 ,it was bought by the trustees in #ahde1 on the advice of the then ,keeper1 as a ,holbein4 ,the veriest tyro might well have been ashamed of such a purchase 7,arrows of the ,chace1 i4 #fe72 and very much ashamed the trustees were1 when immediately after the purchase the hoax was discovered4 ,there and then they subscribed #ajj between them1 which they offered to ,m4 ,rochard1 the dealer1 to induce him to annul the bargain1 but he declined1 and there was an end of it4#ajh #aif4 ,,susannah ,,and ,,the ,,elders4 ,guido ,reni 7,eclectic-,bologna3 #aege-afdb74 ,see #aa4 ,a work devoid alike of art and decency 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 i4 ch4 xiv4 #bd74 ,for the circumstances of its acquisition see above under #aic4 #aig4 ,a ,,wild ,,boar ,,hunt4 ,velazquez 7,spanish3 #aeii-affj74 ,don ,diego ,rodriguez de ,silva y ,velazquez was born at ,seville of well-to-do parents--his father's name being ,silva1 his mother's ,velazquez4 ,his talent for drawing quickly showed itself1 and when only twenty he married ,juana1 the daughter of his second master1 ,pacheco 7his first being another painter of ,seville1 ,herrera74 ,pacheco's house1 says one of the ,spanish historians1 was the golden prison of painting1 and it was here that ,velazquez met ,cervantes1 and obtained his first introduction to the brilliant circle in which he was himself to shine4 ,in ,pacheco's company he went in #afbb to ,madrid1 where he had influential friends1 and next year he was invited to return by ,olivares1 the king's great minister4 ,olivares persuaded the king to sit to ,velazquez for his portrait4 ,the portrait was a complete success1 and the painter stepped at once into fame and favour4 ,this immediate success is characteristic of his extraordinary facility4 ,just think1 says ,ruskin1 what is implied when a man of the enormous power and facility that ,reynolds had1 says he was 'trying to do with great labour' what ,velazquez 'did at once4' ,velazquez shows indeed the highest reach of technical perfection yet attained in art2 all effort and labour seeming to cease in the radiant peace and simplicity of consummate human power#aji 7,two ,paths1 #fh2 ,fors ,clavigera1 #ahgf1 p4 #ahh74 ,from the time of this first portrait of ,philip ,,iv4 onwards1 the life of ,velazquez was one long triumph4 ,he was not only the favourite but the friend of the king4 ,he was made in succession painter to the king1 keeper of the wardrobe1 usher of the royal chamber1 and chamberlain1 and offices were also found for his friends and relations4 ,he lived in the king's palace on terms of close intimacy1 painting the king and his family in innumerable attitudes1 and accompanying him on his royal progresses4 ,when our ,charles ,i41 then ,prince of ,wales1 visited ,madrid in #afbc1 ,velazquez painted his portrait1 and figured in all the royal ftes held in the ,english prince's honour4 ,the ,duke of ,buckingham1 it would seem1 was also his friend1 and ,velazquez saw much too of ,rubens1 when the latter came on his diplomatic mission to ,madrid4 ,rubens advised ,velazquez to visit ,italy1 and in #afcj the king gave his consent4 ,he travelled with recommendations from the king1 and wherever he went--,venice1 ,ferrara1 ,rome1 ,naples--he was received with all the honours accorded to princes4 ,his second visit to ,italy was in #afdh1 when the king sent him to buy pictures with the view of forming a ,spanish ,academy4 ,at ,rome he painted the portrait of the ,pope 7,innocent ,x471 which made so great a mark that it was carried in triumphal procession1 like ,cimabue's picture of old4 ,his royal master1 however1 became impatient for his return1 and he hurried back to ,madrid1 after giving commissions to all the leading artists then at ,rome4 ,on his return he was given fresh honours and offices--especially that of ,marshal of the ,court1 whose duty it was to superintend the personal lodgment of the king during excursions4 ,it was the duties of this office which were the immediate cause of his death4 ,he accompanied the king to the conference at ,irun--on the ,island of the ,pheasants--which led to the marriage of ,louis ,,xiv4 with the ,infanta ,maria ,teresa4 ,there is a picture of him at ,versailles by the ,french artist ,lebrun1 which was painted on this occasion4 ,the portrait1 sombre and cadaverous-looking1 was no doubt true to life2 and when ,velazquez returned to ,madrid1 it was found that his exertions in arranging the royal journey had sown the seeds of a fever1 from which after a week's illness he died4 ,seven days later his wife died of grief1 and was buried at his side4 ,though ,velazquez spent all his life1 as we have seen1 amongst the great ones of the earth1 no trace of vanity or meanness is discernible in his character4 ,ruskin 7,the ,two ,paths1 #fb1 #fe7 connects his sweetness of disposition with the truthfulness which was characteristic of his art4 ,the art which is especially dedicated to natural fact always indicates a peculiar gentleness and tenderness of mind1 and all great and successful work of that kind will assuredly be the production of thoughtful1 sensitive1 earnest1 kind men1 large in their views of life1 and full of various intellectual power 444 7,one instance is ,reynolds74 ,the other painter whom ,i would give you as an instance of this gentleness is a man of another nation1 on the whole ,i suppose one of the most cruel civilised nations in the world1--the ,spaniards4 ,they produced but one great painter1 only one2 but he among the very greatest of painters1 ,velazquez4 ,you would not suppose1 from looking at ,velazquez's portraits generally1 that he was an especially kind or good man2 you perceive a peculiar sternness about them2 for they were as true as steel1 and the persons whom he had to paint being not generally kind or good people1 they were stern in expression1 and ,velazquez gave the sternness2 but he had precisely the same intense perception of truth1 the same marvellous instinct for the rendering of all natural soul and all natural form that our ,reynolds had4 ,let me1 then1 read you his character as it is given by ,mr4 ,stirling 7afterwards ,sir ,w4 ,stirling-,maxwell73 ',certain charges1 of what nature we are not informed1 brought against him after his death1 made it necessary for his executor to refute them at a private audience granted to him by the king for that purpose4 ,after listening to the defence of his friend1 ,philip immediately made answer1 ,i can believe all you say of the excellent disposition of ,diego ,velazquez4 ,having lived for half his life in courts1 he was yet capable both of gratitude and generosity4444 ,no mean jealousy ever influenced his conduct to his brother artists2 he could afford not only to acknowledge the merits1 but to forgive the malice of his rivals4 ,his character was of that rare and happy kind1 in which high intellectual power is combined with indomitable strength of will1 and a winning sweetness of temper4' ,nothing shows his character better than his treatment of ,murillo1 who came to ,madrid1 an unfriended youth1 in #afdj4 ,velazquez received him to his house1 gave directions for his admission to all the galleries and for permission to copy1 presented him to the king1 procured him commissions1 and offered him facilities for making the journey to ,rome4 ,the chief characteristics of ,velazquez's art have been already incidentally alluded to4 ,rejecting all influences1 says ,sir ,frederick ,burton1 alike native and foreign1 and following nature alone1 he succeeded in imitating the true appearances of things as seen through the atmosphere that surrounds them1 with a fidelity that has never been matched4 ,whatever he undertook to paint1 whether the human face and figure1 other animals1 or landscape scenery1 the result in his hands was a presentment intensely individualised1 and yet1 at the same time1 suggestive of the type4 ,some modern writers claim the work of ,velazquez as impressionism--a much abused and a very ill-defined term4 ,certainly ,velazquez1 like every other great artist1 painted his impressions4 ,but his sheet-anchor was fidelity to fact2 and as for his technique1 it was only by constant observation and practice that he attained that lightness of hand1 that felicity of touch1 by which his later work is characterised4 ,for a painting of the master's earliest period1 see #acge4 ,the truthfulness of ,velazquez had its reward1 says ,ruskin1 in making him distinguished also amongst all ,spanish painters by the sparkling purity of his colour4 ,colour is1 more than all elements of art1 the reward of veracity of purpose4444 ,in giving an account of anything for its own sake1 the most important points are those of form4 ,nevertheless1 the form of the object is its own attribute2 special1 not shared with other things4 ,an error in giving an account of it does not necessarily involve wider error4 ,but its colour is partly its own1 partly shared with other things round it4 ,the hue and power of all broad sunlight is involved in the colour it has cast upon this single thing2 to falsify that colour1 is to misrepresent and break the harmony of the day3 also1 by what colour it bears1 this single object is altering hues all round it2 reflecting its own into them1 displaying them by opposition1 softening them by repetition2 one falsehood in colour in one place1 implies a thousand in the neighbourhood4444 ,hence the apparent anomaly that the only schools of colour are the schools of ,realism4444 ,velazquez1 the greatest colourist1 is the most accurate portrait painter of ,spain 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 xi4 #h n474#aaj ,it is curious that the influence of ,velazquez was in his own time and country comparatively circumscribed4 ,he exercised no such overpowering attraction as that of ,leonardo1 or ,raphael1 or ,michael ,angelo4 ,the real followers of ,velazquez are painters of our own day1 and more especially the ,french painters of the last quarter of the nineteenth century1 and their imitators in the other schools of ,europe and ,america4 ,a very interesting picture1 both for the sparkling brilliancy of its execution and for the truth with which it reproduces the court life of the time4 ,philip ,,iv4 was as fond of the chase as he was of the arts2 and here we see some state hunting-party in a royal enclosure 7such as was arranged1 no doubt1 for the pleasure of our ,charles ,i4 when he visited ,madrid71 with an array of huntsmen and guards1 and magnificent carriages for the ladies of the court4 ,the king has just thrown his horquilla a kind of pitchfork into the flank of a boar tearing furiously by4444 ,here the heroes of the day are very slightly sketched1 but we at once recognise ,philip ,,iv4 from the few touches suggesting his face2 he keeps to the right1 owing to the proximity of the ladies1 and by him stands ,olivares as equerry-in-chief4444 ,in the second carriage is ,queen ,isabella4 ,occasionally the boars made tremendous leaps2 hence the ladies are also provided with pitchforks to turn them aside4 ,moreover1 two huntsmen with spears keep watch by the ,queen's coach4 ,the groups of spectators deserve minute study4 ,they contain studies of costume and character enough for a scrap-book of ,castilian ,types of the ,seventeenth ,century4 ,thus1 notice under the tree on the right a peasant resting with elbows and chest on the patient back of his beloved ass--verily1 another ,sancho ,panza6 ,and those two rogues on the grass1 one holding the water-jug to his mouth1 look like a sketch by ,murillo4 ,the mendicant1 again1 in the brown cloak1 both hands resting on his stick1 is surely a privileged speculator1 who solemnly invites the rich folk to increase their stock in the next world by entrusting their investments to him4 ,elsewhere is a rider slashing at the hard flanks of his obstinate mule1 while his escudero shoves from behind2 two cavaliers paying each other formal compliments2 a group of experts in dog-flesh near the master of the hounds1 thronging round the fine boar-hound1 who has been ripped up by the quarry4 ,notice1 too1 the isolated group of cavaliers in grey and scarlet cloaks1 with the clergyman1 perhaps the chaplain to the hunt4 ,they stand apart from the scene1 having more weighty matters on hand4 ,the figures do not seem very numerous1 as they are scattered about without a trace of conventional grouping4 ,yet1 even without the heads that are merely suggested1 there are over a hundred figures1 some sixty outside and fifty inside the central enclosure4 ,sir ,edwin ,landseer declared that he had never seen so much large art on so small a scale 7,justi's ,velazquez and his ,times1 pp4 #bab-ad74 ,notice especially the two splendid dogs near the left-hand corner4 ,velazquez is very great in painting dogs2 he has made some of them nearly as grand as his surly kings 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 vi4 #ac74 ,with regard to the execution of the picture 7which was bought in #ahdf and was alleged to have been damaged in cleaning71 ,ruskin wrote3 ,i have seldom met with an example of the master which gave me more delight1 or which ,i believed to be in more genuine or perfect condition4444 7,the critic's7 complaint of loss of substance in the figures of the foreground is1 ,i have no doubt1 altogether groundless4 ,he has seen little southern scenery if he supposes that the brilliancy and apparent nearness of the silver clouds is in the slightest degree overcharged2 and shows little appreciation of ,velazquez in supposing him to have sacrificed the solemnity and might of such a distance to the inferior interest of the figures in the foreground4444 ,the position of the horizon suggests1 and the lateral extent of the foreground proves1 such a distance between the spectator and even its nearest figures as may well justify the slightness of their execution4 ,even granting that some of the upper glazings of the figures had been removed1 the tone of the whole picture is so light1 grey1 and glittering1 and the dependence on the power of its whites so absolute1 that ,i think the process hardly to be regretted which has left these in lustre so precious1 and restored to a brilliancy which a comparison with any modern work of similar aim would render apparently supernatural1 the sparkling motion of its figures and the serene snow of its sky#aaa 7,arrows of the ,chace1 i4 #eh-fj74 #aih4 ,,the ,,temptation ,,of ,,st4 ,,anthony4 ,annibale ,carracci 7,eclectic-,bologna3 #aefj-afji74 ,see #i4 ,the legend of the temptation of ,st4 ,anthony1 here realistically set forth1 is the story of the temptations that beset the ascetic4 ,in the wilderness1 brooding over sin1 he is tempted2 it is only when he returns to the world and goes about doing good that the temptations cease to trouble him4 ,st4 ,anthony lived1 like ,faust1 the life of a recluse and a visionary1 and like him was tempted of the devil4 ,seeing that wicked suggestions availed not1 ,satan raised up in his sight 7again like ,mephistopheles in ,faust7 the sensible images of forbidden things4 ,he clothed his demons in human forms2 they hovered round him in the shape of beautiful women1 who1 with the softest blandishments1 allured him to sin4 ,the saint in his distress resolved to flee yet farther from the world2 but it is not so that evil can be conquered1 and still spirits in hideous forms pressed round him in crowds1 scourged him and tore him with their talons--all shapes of horror1 'worse than fancy ever feigned or fear conceived1' came roaring1 howling1 hissing1 shrieking in his ears4 ,in the midst of all this terror a vision of help from on high shone upon him2 the evil phantoms vanished1 and he arose unhurt and strong to endure4 ,but it is characteristic of the love of horror in the ,bolognese ,school that in ,carracci's picture the celestial vision does not dissolve the terrors4 #aii4 ,,lesbia ,,and ,,her ,,sparrow4 ,godfried ,schalcken 7,dutch3 #afdc-agjf74 ,schalcken was probably a pupil of ,gerard ,dou 7see #aib71 whose delicate finish he sought to rival4 ,but the smooth1 polished surface of his works is unpleasant1 and the labour bestowed upon them is too obvious 7,burton74 ,he spent the greater part of his life at ,dort1 but he was employed for some time in ,england by ,king ,william ,,iii4 ,in addition to his genre pieces1 ,schalcken painted numerous portraits1 and also attempted sacred subjects4 ,he especially excelled in pictures of candle-light4 ,a picture in illustration of a ,latin poem1 as befits a painter whose father was headmaster of a ,latin school 7at ,dort74 ,lesbia is weighing jewels against her sparrow1 which she loved better even than her own eyes-- ,mourn1 every ,venus1 every ,love6 ,gallants gay1 mourn every one6 ,my darling had a favourite dove1 ,that she did prize ,as her own eyes-- ,her dove is dead and gone4 ,g4 ,r41 from ,catullus1 iii4 #bjj4 ,,the ,,madonna ,,in ,,prayer4 ,sassoferrato 7,eclectic3 #afje-afhe74 ,giovanni ,battista ,salvi1 called ,sassoferrato from his birthplace1 not far from ,urbino1 is generally described as a follower of the ,carracci1 but he seems to have been chiefly a copyist of ,raphael1 ,perugino1 and other early masters4 ,compare ,sassoferrato's ,madonnas with the earlier models1 and the distinction between sentimentality and sentiment becomes plain4 ,his works are1 however1 marked by real feeling1 and he maintained a certain elevation of style4 #bjb4 ,,domestic ,,poultry ,melchior de ,hondecoeter 7,dutch3 #afcf-afie74 ,this painter1 a member of a noble family of ,brabant1 devoted himself to the poultry-yard1 and became famous for his pictures of fowl and other birds4 ,his compositions show a constant study of the subjects he treats4 ,he studied first under his father1 ,gysbert de ,hondecoeter1 and afterwards under his uncle1 ,jan ,baptist ,weenix 7#ajif74 ,a beautiful brood of young chickens in the foreground4 ,the cock was ,hondecoeter's favourite bird1 which he is said to have taught to stand to him in a fixed position as a model4 7,official ,catalogue74 #bjc4 ,,conventual ,,charity4 ,william van ,herp 7,flemish3 #afad-afgg74 ,works by ,w4 ,van ,herp1 a member of the ,painters' ,guild at ,antwerp1 are not numerous4 ,they show the influence of ,rubens and also of ,jordaens1 the two leaders of the ,flemish ,school at his time4 ,franciscan friars are distributing food to the poor at the gate of a convent4 #bjd4 ,,dutch ,,shipping4 ,bakhuizen 7,dutch3 #afca-agjh74 ,ludolf ,bakhuizen comes second in the succession of ,dutch sea painters to ,w4 van de ,velde1 and the reader is referred to the remarks on that painter 7see under #adi7 for the general characteristics of them both4 ,whereas1 however1 ,van de ,velde preferred calms1 ,bakhuizen preferred storms1 and even voluntarily exposed his life several times1 says a compatriot1 for the sake of seizing1 in all its horrible reality1 the effects of rough weather 7,havard3 ,the ,dutch ,school1 p4 #bee74 ,it cannot be said1 however1 that the result was very successful4 ,there is1 adds the same critic1 a hardness about his forms and a want of transparency in his colours which cannot be counterbalanced by the fury of upheaved waves or the furious driving of the heavy clouds across the sky4 ,bakhuizen1 before he took to painting1 was successively a book-keeper 7his father was town-clerk of ,emden7 and a writing-master4 ,perhaps it is to his experience in the latter capacity that the hardness and peruke-like regularity of his waves are due4 ,in his own day1 however1 his sea-pieces were very greatly esteemed4 ,the ,king of ,prussia was among his patrons1 and the ,tzar1 ,peter the ,great1 frequently visited his studios1 and even himself took lessons of him4 ,he made many constructive drawings of ships for that monarch4 ,he was also an etcher1 and the ,british ,museum possesses a fragment of a sketch-book of his4 #bje4 ,,itinerant ,,musicians4 ,j4 ,w4 ,e4 ,dietrich 7,german3 #agab-aggd74 ,johann ,wilhelm ,ernst ,dietrich was born at ,weimar1 where his father was court-painter4 ,so precocious was his talent that when only in his eighteenth year he was himself appointed court-painter to ,augustus ,,ii41 ,king of ,poland and ,elector of ,saxony4 ,in #agdc he went to ,italy1 and after this visit he turned his name into ,italian by signing it ,dietrici 7as in the picture dated #agde74 ,he was afterwards appointed keeper of the celebrated ,gallery at ,dresden1 a ,professor of the ,academy there1 and ,director of the school of painting attached to the porcelain manufactory4 ,his pictures and etchings are numerous4 ,in his original work his style remained ,german4 ,but he had also a remarkable facility in imitating the works of other painters4 ,he did more1 says ,merritt1 the picture-restorer1 to confound collectors than all other imitators put together4 ,hundreds of his imitations of the various masters have been sold to second-rate amateurs for original productions 7,art ,criticism and ,romance1 i4 #afd74 #bjf4 ,,the ,,head ,,of ,a ,,girl4 ,jean ,baptiste ,greuze 7,french3 #agbe-ahje74 ,to understand the great reputation which ,greuze enjoyed in his day one should remember1 besides the prettiness of his pictures in themselves1 the contrast which they afforded in their subject-matter to the art around them4 ,look1 for instance1 at #ajij and #aja-ajd4 ,those pictures are nearly contemporary with ,greuze's1 and are typical1 the first of the mythology1 the latter of the courtliness1 and all of the sensuality1 of the current art of the time4 ,the return to nature1 the return to simpler life and sounder morals1 which inspired ,rousseau1 found expression in ,greuze's domestic scenes and sweet girl faces4 ,courage1 my good ,greuze1 said ,diderot of one of ,greuze's pictures of domestic drama2 introduce morality into painting4 ,what1 has not the pencil been long enough and too long consecrated to debauchery and vice8 ,ought we not to be delighted at seeing it at last unite with dramatic poetry in instructing us1 correcting us1 inviting us to virtue8#aab ,greuze's art1 in comparison with what was around it1 was thus simple1 natural1 moral4 ,yet one sees now that something of the artificiality1 against which his pictures were a protest1 nevertheless affected them4 ,for instance there is an obvious posing in this picture1 just as there is a touch of affectation in #aaed4 ,decidedly1 too1 ,greuze invests his lessons of bourgeois morality with sensuous attractions4 ,there is neither the innocence nor the unconsciousness in the girls of ,greuze that there is in those of ,reynolds or ,millais4 ,the life of ,greuze is interesting for the curious instance it affords of the inability1 which so many eminent men have shown1 to know in what direction their best powers lay4 ,greuze's reputation rested on his genre painting--on his rendering of domestic scenes or faces2 but his ambition was to figure as an historical painter4 ,his one picture in this style--,severus and ,caracalla 7in the ,louvre7--was painted in #agfi as his diploma work for the ,french ,academy4 ,they praised him for his former productions1 which were excellent1 and not for this one1 which was unworthy alike of them and of him1 and admitted him as a painter in the class of genre only4 ,greuze1 who was vain and overbearing in the days of his vogue1 was greatly incensed and ceased to exhibit at the ,academy until after the ,revolution4 ,but his power had then begun to fail2 the classic school reigned supreme2 and ,greuze1 who had been unhappily married1 and whose large earnings were squandered by extravagance and bad management1 died in great poverty4 ,he was born in ,burgundy1 of humble middle-class parents1 in the little town of ,tournus1 where his modest birthplace may still be seen4 ,his happiest productions were taken from the daily life of the middle-classes1 and his sweet girl faces are unique in ,french art 7,lady ,dilke's article in the ,encyclopdia ,britannica1 and ,morley's ,diderot1 vol4 ii4 chap4 iii474 ,campbell's ,lines on a picture of a girl by ,greuze may be quoted of this picture3-- ,what wert thou1 maid8--thy life--thy name ,oblivion hides in mystery2 ,though from thy face my heart could frame ,a long romantic history4 ,transported to thy time ,i seem1 ,though dust thy coffin covers-- ,and hear the songs1 in fancy's dream1 ,of thy devoted lovers4 ,how witching must have been thy breath-- ,how sweet the living charmer-- ,whose every semblance after death ,can make the heart grow warmer6 #bjg4 ,,the ,,idle ,,servant4 ,nicolas ,maes 7,dutch3 #afcb-afic74 ,see #aec4 ,in the background is the family at dinner4 ,the waiting-maid comes to the kitchen to serve the next course--the duckling1 perhaps1 which a cat is stealing--and finds the cook of ,sancho ,panza's philosophy3 ,blessings on him who invented sleep1 444 the food that appeases hunger1 the drink that quenches thirst1 444 the balance that equals the simple with the wise4 ,signed and dated #afee4 #bjh4 ,,the ,,finding ,,of ,,moses4 ,bartholomew ,breenbergh 7,dutch3 #aeii-afei74 ,breenbergh1 after visiting ,italy1 established himself in ,france1 where1 after the example of ,poussin and ,claude1 he painted classical landscapes1 into which he introduced small figures1 supposed to represent scenes from ,holy ,writ1 etc4 ,his work was in great request in ,france1 and several of his pictures are now in the ,louvre4 #bji4 ,,the ,,judgment ,,of ,,paris4 ,both and ,poelenburgh 7,dutch74 ,see under #ga and #iee4 ,the landscape by ,both1 the figures by ,poelenburgh4 ,for the subject of the judgment of ,paris1 see under #aid4 #baj4 ,,venice3 ,,the ,,piazza ,,di ,,san ,,marco4 ,francesco ,guardi 7,venetian3 #agab-agic74 ,francesco ,guardi was a scholar and imitator of ,canaletto4 ,less prized during the heyday of his master's fame1 he has been steadily acquiring reputation on account of certain qualities peculiar to himself4 ,his draughtsmanship displays an agreeable stateliness2 his colouring a graceful gemmy brightness and a glow of sunny gold4 ,but what has mainly served to win for ,guardi popularity1 is the attention he paid to contemporary costume and manners4 ,canaletto filled large canvases with mathematical perspectives of city and water4 ,at the same time he omitted life and incident4 ,there is little to remind us that the ,venice he so laboriously depicted was the ,venice of perukes and bagwigs1 of masks and hoops and carnival disguises4 ,guardi had an eye for local colour and for fashionable humours 7,j4 ,a4 ,symonds1 ,pietro ,longhi1 in the ,century ,guild ,hobby ,horse1 ,april #ahhi74 ,notice the effect of light on the ,church of ,st4 ,mark at the end of the square3 ,beyond those troops of ordered arches there rises a vision out of the earth1 and all the great square seems to have opened from it in a kind of awe1 that we may see it far away2--a multitude of pillars and white domes1 clustered into a long low pyramid of coloured light 7,stones of ,venice1 vol4 ii4 ch4 iv4 #ad74 #baa4 ,a ,,battle-,,piece4 ,johan van ,huchtenburgh 7,dutch3 #afdf-agcc74 ,huchtenburgh was in great request as a battle-painter1 and in #agjh was commissioned by ,prince ,eugene to paint the victories won by that prince and the ,duke of ,marlborough over the ,french4 #bab4 ,a ,,merchant ,,and ,,his ,,clerk4 ,thomas de ,keyser 7,dutch3 #aeif-affg74 ,this painter--the son of an eminent sculptor and architect--was born at ,amsterdam1 and was one of the chief forerunners of ,rembrandt in the art of portrait painting4 ,if1 says ,burton1 in some of his work remains of the formality and stiffness of the sixteenth century may be traced1 the greater number show a freedom and a sense of life unusual among those of his predecessors4 ,this picture--which is signed 7on the mantelpiece7 and dated #afbg--;is interesting as showing us1 in a particular instance1 the condition of social and political life out of which the ,dutch art of the seventeenth century arose4 ,the merchant has his globes before him3 he was one of those who had built up the riches of his country by foreign trade4 ,but he is a man of taste as well as of business1 and the two things are closely united4#aac ,his office is itself hung with rich tapestry1 and amongst the implements of his trade1 his plans and books and maps1 is a guitar4 ,the ,united ,provinces1 grouped together by the ,convention of ,utrecht 7#aegi71 444 concentrated the public functions in the hands of an aristocratic middle class 7such as we see them in ,terburg's historical picture1 #hif71 educated and powerful1 eager for science and riches1 bold enough to undertake everything1 and persevering enough to carry their enterprises to a successful conclusion4 ,the brilliant heroism1 implacable will1 and indefatigable perseverance which had aided the people to recover their liberty and autonomy were now directed to other objects4444 ,their shipbuilders covered the seas with vessels1 a legion of adventurous sailors went forth in all directions to discover distant shores or to conquer unknown continents4444 ,gold was now to be found in plenty in the country which hitherto had been poor1 and with the influx of riches1 taste1 luxury1 appreciation of the beautiful and love of ,art were developed 7,havard3 ,the ,dutch ,school1 p4 #fb74 #bac4 ,,the ,,vision ,,of ,a ,,knight4 ,raphael 7,urbino3 #adhc-aebj74 ,see #aaga4 ,this picture--with the original pen-and-ink drawing from which it was traced#aad--;is the earliest known work of ,raphael1 painted when he was not more than seventeen and was pluming his wings and meditating a flight4 ,his first 7or as it is commonly called1 ,perugian7 period may be divided into two3 7#a7 ,down to about #aejj1 before he went to ,perugia1 and whilst he was still studying at ,urbino under ,timoteo ,viti2 7#b7 ,from #aejj-aejd1 at ,perugia4 ,this picture probably belongs to the former of these periods4 ,it is unlike ,perugino in several respects--in the landscape1 for instance1 and in the broad hand of the sleeping knight1 whereas ,perugino's hands are narrower and longer4 ,in connection1 too1 with ,raphael's early pupilage under a ,ferrarese master1 note that the figure of ,duty is like ,francia's saint in ,no4 #fch 7see further on this subject ,morelli's ,italian ,pictures in ,german ,galleries1 pp4 #bhe-cdj74 ,the picture1 which was at one time in the possession of ,sir ,thomas ,lawrence1 came to ,england from the ,borghese ,gallery at ,rome4 ,it was originally in the ,ducal ,palace at ,urbino4 ,the subject breathes the very essence of that courtly and romantic atmosphere which haunted the palace of ,urbino and may well have been inspired by the ,duchess ,elizabeth herself4 ,this accomplished lady was the first to honour the son of her old friend ,giovanni ,santi with her patronage1 and ,raphael may have painted this little allegory for the decoration of her chamber1 just as ,costa and ,mantegna painted their picture of ,parnassus and the ,muses for ,isabella d',este's grotto at ,mantua 7,julia ,cartwright3 ,early ,work of ,raphael1 p4 #ab74 ,a young knight sleeps under a laurel--the tree whose leaves were in all ages the reward of honour2 and in a dream of his future career he sees two figures approach him1 between whom he has to make his choice4 ,the one on the left speaks with the voice of ,duty2 she is purple-robed and offers him a book and a sword--emblematic of the active life of study and conflict4 ,the other is of fair countenance and is gaily decked with ribbons and strings of coral4 ,hers is the voice of ,pleasure1 and the flower she offers is a sprig of myrtle in bloom--myrtle dear to ,venus4 ,raphael was thinking1 perhaps1 of the ,greek story which told of the choice of ,hercules4 ,for ,hercules1 when he came to man's estate1 laid him down to rest and pondered which road in life to take2 and lo6 there stood by him two women4 ,and one of them took up her parable and said3 ,o ,hercules1 if thou wouldst choose the smoothest and the pleasantest path1 then shouldst thou follow me4 ,and ,hercules said3 ,o lady1 ,i pray thee tell me thy name4 ,and she answered3 ,those who love me call me ,pleasure1 and those who hate me call me ,evil4 ,then the other woman came forward and said3 ,o ,hercules1 there is no road to happiness except through toil and trouble2 such is the gods' decree1 and if thou wouldst be happy in thy life and honoured in thy death1 then up and follow me4 ,and her name was ,duty4 ,and ,hercules chose the better part1 and went about the world redressing human wrong1 and was reverenced by men and honoured by the gods-- ,choose well2 your choice is ,brief1 and yet endless4 ,here eyes do regard you ,in ,eternity's stillness2 ,here is all fulness1 ,ye brave1 to reward you4 ,work1 and despair not6 ,,goethe1 tr4 by ,carlyle 7,past and ,present74 #bad4 ,,coronation ,,of ,,the ,,virgin4 ,guido 7,eclectic-,bologna3 #aege-afdb74 ,see #aa4 ,in pictures of this subject two distinct conceptions may be noticed4 ,in some the coronation of the ,virgin is1 as it were1 dramatic2 the subject is represented1 that is to say1 as the closing act in the life of the ,virgin1 and saints and disciples appear in the foreground as witnesses on earth of her coronation in heaven4 ,no4 #aaee is a good instance of that treatment4 ,this picture1 on the other hand1 shows the mystical treatment of the subject--the coronation of the ,virgin being the accepted type of the ,church triumphant4 ,the scene is laid entirely in heaven1 and the only actors are the angels of the heavenly host4 ,notice the carefully symmetrical arrangement of the whole composition1 as well as the charming faces of many of the angel chorus4 #bae1 #baf4 ,,various ,,saints4#aae ,school of ,taddeo ,gaddi 7,florentine3 #acjj-acff74 ,see also 7p4 xix7 ,taddeo ,gaddi was the godson and pupil of ,giotto1 with whom he lived twenty-four years1 and whose tradition he faithfully carried on3 art had gone back1 he used to say1 since his master's death4 ,his most extensive works were the frescoes in the ,spanish ,chapel in ,santa ,maria ,novella 7described in ch4 iv4 of ,ruskin's ,mornings in ,florence74 ,taddeo was also distinguished as an architect4 ,he built the ,ponte ,vecchio1 and the old stones of it were so laid by him that they are unshaken to this day4 ,there is an air of settled peace1 of abstract quietude1 about this company of saints which is very impressive--something fixed in the attitude and features recalling the conventual life as described by ,st4 ,bernard and paraphrased by ,wordsworth in his ,ecclesiastical ,sonnets-- ,here ,man more purely lives1 less oft doth fall1 ,more promptly rises1 walks with stricter heed1 ,more safely rests1 dies happier1 is freed ,earlier from cleansing fires1 and gains withal ,a brighter crown4 #bah4 ,,the ,,adoration ,,of ,,the ,,magi4 ,ascribed to ,peruzzi 7,sienese3 #adha-aecf74 ,baldassare ,peruzzi1 an excellent draughtsman and fair painter1 was most distinguished as an architect4 ,his life1 says ,sir ,edward ,poynter1 was one which any artist might envy4 ,brought up at his own wish as a painter at ,siena1 he soon gave evidence of such talent that he was entrusted with important commissions at ,rome1 making acquaintance by this means with one of the great ,roman patrons of art1 ,agostino ,chigi1 the same for whom ,raphael painted a chapel in ,santa ,maria del ,popolo4 ,baldassare found leisure to devote himself to the study of architecture2 from this time he seems to have had almost the happiest lot that one can imagine falling to an artist1 that of building palaces and decorating them with his own hand 7,lectures on ,art1 ch4 viii474 ,among these were the ,farnesina ,palace for ,agostino ,chigi1 and the ,palazzo ,massimi1 which is justly considered one of the most beautiful and ingeniously constructed in ,rome4 ,it is characteristic of the taste of the time that what ,vasari most admired in ,peruzzi's buildings was the decoration of the ,loggia at the ,villa ,farnesina1 painted in perspective to imitate stucco work4 ,this is done so perfectly1 he says1 with the colours1 that even experienced artists have taken them to be works in relief4 ,i remember that ,titian1 a most excellent and renowned painter1 whom ,i conducted to see these works1 could by no means be persuaded that they were painted1 and remained in astonishment when1 on changing his point of view1 he perceived that they were so4 ,baldassare also designed the fortifications of ,siena1 and on the death of ,raphael was appointed architect of ,st4 ,peter's at ,rome4 ,his life was not free from adventures4 ,at the sack of ,rome in #aebg he was plundered of all he possessed by the ,imperial soldiers1 and was forced to paint a picture of their general1 the ,constable ,bourbon1 who had been killed in the assault of the city4 ,he died at ,rome1 not without suspicion of having been poisoned1 and was buried in the ,pantheon1 near the tomb of ,raphael4 ,there is a drawing by ,peruzzi of this subject in possession of the ,national ,gallery1 ,no4 #afg4 ,girolamo da ,treviso 7#fbc7 made a copy of it1 which is perhaps this work4 ,the figures of the three magi are interesting as having been portraits of ,titian1 ,raphael1 and ,michael ,angelo4 #bai4 ,,the ,,dead ,,christ4 ,unknown 7,lombard ,school1 #afth century74 ,perhaps to be ascribed to ,bazzi 7see under #aadd74 #bba4 ,,his ,,own ,,portrait4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,compare ,no4 #fgb4 ,that was painted when he was about thirty2 this1 some thirty years later4 ,we see here the same features1 though worn by age2 the same self-reliant expression1 though broken down by care4 ,in manner1 says ,sir ,walter ,armstrong1 it is amazingly free1 irresponsible1 and what in any one but a stupendous master we should call careless4 ,it looks as though he had taken up the first dirty palette on which he could lay his hands1 and set himself to the making of a picture with no further thought4 ,to those who put signs of mastery above all other qualities1 it is one of the most attractive pictures in the whole ,gallery 7,portfolio1 ,september #ahia74 #bbb4 ,a ,,man',s ,,portrait 7dated #adcc74 ,jan van ,eyck 7,early ,flemish3 about #acij-addj74 ,see #ahf4 ,see also 7p4 xxi7 ,one of ,van ,eyck's obviously truthful portraits1 so highly finished that the single hairs on the shaven chin are given4 ,on the upper part of the frame is the inscription1 ,als ich kan--as ,i can1 the first words of an old ,flemish proverb1 ,as ,i can1 but not as ,i will1--an inscription beautifully illustrative of a great man's modesty2 accurately true also as a piece of criticism4 ,no pictures are more finished than ,van ,eyck's1 yet they are only as he can1 not as he would4 ,let all the ingenuity and all the art of the human race he brought to bear upon the attainment of the utmost possible finish1 and they could not do what is done in the foot of a fly1 or the film of a bubble4 ,god alone can finish2 and the more intelligent the human mind becomes1 the more the infiniteness of interval is felt between human and divine work in this respect 7,modern ,painters1 vol4 iii4 pt iv4 ch4 ix4 #e74 #bbc4 ,,dutch ,,shipping4 ,bakhuizen 7,dutch3 #afca-agjh74 ,see #bjd4 #bbd4 ,,the ,,tribute ,,money4 ,school of ,titian4 ,see under #d4 ,the ,pharisee1 hoping to entrap ,jesus into sedition1 asks him whether it is lawful to give tribute unto ,csar4 ,show me the tribute money is the answer4 ,whose is this image and superscription8444 ,render unto ,csar the things that are ,csar's1 and unto ,god the things that are ,god's4 ,titian's great picture of this subject 7painted about #aead7 is at ,dresden4 #bbe4 ,,beatific ,,vision ,,of ,,the ,,magdalen4 ,giulio ,romano 7,roman3 #adih-aedf74 ,see #fbd4 ,a semicircular fresco 7formerly in the church of the ,trinita de' ,monti1 ,rome71 showing the ,magdalen borne upwards by angels to witness the joys of the blessed4 #bbf4 ,,virgin ,,and ,,child1 ,,with ,,st4 ,,john ,,and ,,angels4 ,school of ,botticelli 7#addg-aeaj74 ,see #ajcd4 ,this is a copy of a picture by ,botticelli in the ,rospigliosi ,palace at ,rome4 ,in the background is a hedge of roses1 ,botticelli's favourite flower4 ,no man has ever yet drawn1 and none is likely to draw for many a day1 roses as well as ,sandro has drawn them 7,fors ,clavigera1 #ahgb1 xii4 #b74 ,and he painted them1 just as he painted his ,madonnas1 from life1 and from everyday life--for even as late as forty years ago1 ,florence was yet encircled by a wilderness of wild rose4 ,it should be noticed1 further1 that there was a constant ,biblical reference in the flowers which the painters consecrated to their ,madonnas--especially the rose1 the emblem of love and beauty4 ,the background in ,madonna pictures is frequently1 as here1 a piece of garden trellis3 a garden enclosed is my sister1 my spouse 7,song of ,solomon1 iv4 #ab74 #bbg4 ,,st4 ,,jerome ,,in ,,the ,,desert4 ,florentine ,school 7#aeth century74 ,see also 7p4 xix7 ,kneeling below are ,girolamo ,rucellai and his son4 ,the arms of the ,rucellai family are at each end of the predella4 ,the picture was originally an altar-piece in the ,rucellai ,chapel in the church of the ,eremiti di ,san ,girolamo at ,fiesole4 ,formerly ascribed to ,cosimo ,rosselli1 the picture is now conjecturally attributed to ,botticini 7for whom see under #aabf74 ,st4 ,jerome 7,a4,d4 #cdb-dbj7 who first made the great ,eastern book1 the ,bible1 legible in the ,west1 by translating the ,hebrew into ,latin1 was one of the chief saints of the ,latin or ,western ,church1 and was a favourite subject in ,christian art2 there are a dozen pictures of him in the ,national ,gallery alone4 ,one of the chief events in his life is told in the left-hand compartment at the bottom of this picture4 ,jerome is tending a sick lion1 and in all the pictures of him a lion appears as his constant companion4 ,the story is that one evening a lion entered the monastery1 limping as in pain1 and all the brethren fled in terror1 as we see one of them doing here1 whilst the others are looking on safely behind a door2 but ,jerome went forward to meet the lion1 as though he had been a guest4 ,and the lion lifted up his paw1 and ,jerome1 finding it was wounded by a thorn1 tended the wild creature1 which henceforward became his constant companion and friend4 ,what did the ,christian painters mean by their fond insistence on the constancy of the lion-friend8 ,they meant to foretell a day when the ,fear of ,man shall be laid in benediction1 not enmity1 on inferior beings1--when they shall not hurt or destroy in all the holy ,mountain1 and the ,peace of the ,earth shall be as far removed from its present sorrow1 as the present gloriously animate universe from the nascent desert1 whose deeps were the place of dragons1 and its mountains1 domes of fire4 ,of that day knoweth no man2 but the ,kingdom of ,god is already come to those who have tamed in their own hearts what was rampant of the lower nature1 and have learned to cherish what is lovely and human1 in the wandering children of the clouds and fields 7,bible of ,amiens1 ch4 iii4 #ed74 ,the other compartments depict incidents in the lives of ,st4 ,damasus1 ,st4 ,eusebius1 ,st4 ,paula1 and ,st4 ,eustache--saints associated with ,st4 ,jerome4 ,the picture itself shows an earlier period of his life1 when1 before he settled in a monastery1 but after a life of pleasure in ,rome1 he left 7as he himself tells us7 not only parents and kindred1 but the accustomed luxuries of delicate life1 and lived for ten years in the desert in the effort to obtain some closer knowledge of the ,being and ,will of ,god4 ,the saints who are made by the painter to keep ,st4 ,jerome company below are in sorrow2 the angels above1 in joy4 ,the other kneeling figures are portraits of the patron for whom the picture was painted4 #bbh4 ,,christ ,,and ,,the ,,money-,,changers4 ,bassano 7,venetian3 #aeaj-aeib74 ,see #agc4 ,christ is driving out from the ,house of ,prayer all those who had made it a den of thieves--money-changers1 dealers in cattle1 sheep1 goats1 birds1 etc4 ,a subject which lent itself conveniently to ,bassano's characteristic genre style4 #bcj4 ,a ,,franciscan ,,monk4 ,francisco ,zurbaran 7,spanish3 #aeih-affb74 ,zurbaran--the contemporary of ,velazquez--unites in a typical manner the two main characteristics of the ,spanish ,school--asceticism in subject1 realism in presentment4 ,he is1 says ,stirling-,maxwell1 the peculiar painter of monks1 as ,raphael is of ,madonnas1 and ,ribera of martyrdoms2 he studied the ,spanish friar1 and painted him with as high a relish as ,titian painted the ,venetian noble1 and ,vandyck the gentleman of ,england4 ,in the ,museum of ,seville are several pictures which he painted for the ,carthusians of that city4 ,the venerable friars seem portraits2 each differs in feature from the other1 yet all bear the impress of long years of solitary and silent penance2 their white draperies chill the eye1 as their cold hopeless faces chill the heart2 and the whole scene is brought before us with a vivid fidelity1 which shows that ,zurbaran studied the ,carthusian in his native cloisters with the like close and faithful attention that ,velazquez bestowed on the courtier1 strutting it in the corridors of the ,alcazar or the alleys of ,aranjuez 7,annals of the ,artists of ,spain1 ch4 xi474 ,zurbaran was the son of a peasant1 but having shown an early talent for drawing was released from the plough and sent to the studio of the painter-priest ,juan de ,roelas1 at ,seville4 ,his abilities and his close study of nature soon gained him a high reputation2 his forcible naturalistic style acquired for him the name of the ,caravaggio of ,spain4 ,he was employed in the cathedral of ,seville1 which remained his abode for the greater part of his life4 ,in his picture of ,st4 ,thomas ,aquinas in the museum there1 the dark wild face1 immediately behind the ,imperial adorer1 is traditionally held to be the portrait of ,zurbaran himself4 ,his habits were those of the recluse1 but in #afej he was1 through the influence of ,velazquez1 called to ,madrid4 ,there he was set to a task little suited to his tastes--the production of a series of pictures 7now in the ,prado7 to illustrate the labours of ,hercules4 ,philip ,,iv4 used1 we are told1 to visit the artist whilst engaged on these pictures1 and on one occasion expressed his admiration of his powers by laying his hand on his shoulder1 and calling him painter of the ,king1 and king of the painters4 ,his best characteristic1 says ,burton1 is his power of imparting the sense of life to the heads of his figures4 ,he was in fact a great1 though not a professed1 portrait painter4 ,it is a transcript from the religious life around him that ,zurbaran here sets before us4 ,seville was the most orthodox city in the most ,catholic country--at every corner of the streets there were ,franciscan monks1 with prayers or charms to sell in exchange for food or money4 ,for centuries in ,spain country people bought up the monks' old garbs1 to use them in dressing the dead1 so that ,st4 ,peter might pass them into heaven thinking they were ,franciscans4 ,it was in the streets and convents of ,seville therefore that ,zurbaran found his models4 ,this picture was bought for the ,national ,gallery from the ,louis ,philippe sale in #ahec4 ,when the gallery of ,spanish pictures to which it formerly belonged was inaugurated in the ,louvre1 what remained most strongly in the ,parisian mind1 so impressionable and so blas1 was not the suavity of ,murillo1 nor the astonishing pencil of ,velazquez1 making the canvas speak and palpitate with life2 it was a certain ',monk in prayer' of ,zurbaran1 which it was impossible to forget1 even if one had seen it only once 7,c4 ,blanc1 cited in ,w4 ,b4 ,scott's ,murillo1 p4 #ee74 ,of his gloomy monastic studies1 says ,stirling-,maxwell1 the kneeling ,franciscan holding a skull is one of the ablest2 the face1 dimly seen beneath the brown hood1 is turned to heaven2 no trace of earthly expression is left on its pale features1 but the wild eyes seem fixed on some dismal vision2 and a single glance at the canvas imprints the figure on the memory for ever4 #bcb4 ,,the ,,adoration ,,of ,,the ,,shepherds4 ,francisco ,zurbaran 7,spanish3 #aeih-affb74 ,see #bcj4 ,a characteristic and fine example of the naturalistic treatment of such subjects by the ,spanish ,school2 formerly supposed to be an early work of ,velazquez1 now attributed by the authorities of the ,gallery1 following ,m4 de ,beruete1 to ,zurbaran4#aaf ,the affinity of the ,spanish ,school in this respect to the ,italian naturalists may be seen by a glance at ,no4 #agb in the late ,italian ,room4 ,in the distance is the guiding angel as the star of the ,epiphany4 ,it is a pretty piece of observation of child nature that makes the painter show the boy offering his animals to the infant ,christ4 ,one remembers ,george ,eliot's young ,daniel 7in ,scenes of ,clerical ,life71 who says to ,mr4 ,gilfil1 by way of making friends1 ,we've got two pups1 shall ,i show 'em yer8 ,one's got white spots4 ,zurbaran was noted for his successful delineation of animals4 ,palomino mentions with approbation his picture of an enraged dog from which chance observers used to run away1 and of a yearling lamb1 deemed by the possessor of more value than a hecatomb of full-grown sheep4 #bcd4 ,a ,,warrior ,,adoring ,,the ,,infant ,,christ4 ,catena 7,venetian3 died #aeca74 ,of ,vincenzo di ,biagio1 commonly called ,catena 7possibly from a partiality for jewellery71 little is known1 and until recently little was heard4 ,modern critics have1 however1 decided that he was one of the ablest of the ,school of ,bellini1 and have attributed to him many beautiful works1 which have hitherto borne famous names4#aag ,he was born at ,treviso2 his first master was probably the elder ,girolamo da ,treviso1 but he must have finished his artistic education in the ,school of ,bellini4 ,signed pictures from his hand are to be found in several of the ,venetian churches and elsewhere4 ,he was fond of introducing a partridge 7as here and in #fid7 and a white poodle dog 7as here7 into his pictures1 by which they may often be recognised4 ,an altar-piece1 representing ,s4 ,cristina in the church of ,s4 ,maria ,mater ,domini1 and another of ,s4 ,giustina in ,s4 ,simpliciana are referred to as offering marked analogies with the work now before us4 ,a letter is extant1 dated ,april #aa1 #aebj1 when ,raphael was just deceased and ,michelangelo infirm1 in which ,catena is recommended to be on his guard1 since danger seems to be impending over all very excellent painters4 ,he was famous for his portraits2 the portrait of ,count ,raimund ,fugger1 specially praised by ,vasari1 is now at ,berlin4 ,he died in #aeca1 in which year he made a will leaving legacies to a number of poor painters1 and the greater part of his substance to the ,guild of his art4 ,in his later works the influence of ,giorgione is strongly marked--as here in the rich full colour of the ,kneeling ,knight1 and in other respects4 ,giorgione1 says ,mr4 ,berenson1 created a demand which other painters were forced to supply4 ,one of them1 turning toward the new in a way that is full of singular charm1 gave his later works all the beauty and softness of the first spring days in ,italy4 ,upon hearing the title of one of ,catena's works in the ,national ,gallery1 ,a ,warrior ,adoring the ,infant ,christ1 who could imagine what a treat the picture itself had in store for him8 ,it is a fragrant summer landscape enjoyed by a few quiet people1 one of whom1 in armour1 with the glamour of the ,orient about him1 kneels at the ,virgin's feet1 while a romantic young page holds his horse's bridle4 ,a good instance of the ,giorgionesque way of treating a subject2 not for the story1 nor for the display of skill1 nor for the obvious feeling1 but for the lovely landscape1 for the effects of light and colour1 and for the sweetness of human relations 7,the ,venetian ,painters of the ,renaissance1 p4 #ca74 ,observe1 for the technical merits of this picture1 the horse-bridle3 ,an example of true painter's work in minor detail2 unsurpassable1 but not1 by patience and modesty1 inimitable 7,academy ,notes1 #ahge1 p4 #dh74 ,as for the subject1 the warrior portrayed is nameless4 ,this is suggestive2 it is not a peculiar picture1 it is a type of what was the common method of ,venetian portraiture4 ,an ,english gentleman1 desiring his portrait1 gives probably to the painter a choice of several actions1 in any of which he is willing to be represented4 ,as for instance1 riding his best horse1 shooting with his favourite pointer1 manifesting himself in his robes of state on some great public occasion1 meditating in his study1 playing with his children1 or visiting his tenants2 in any of these or other such circumstances1 he will give the artist free leave to paint him4 ,but in one important action he would shrink even from the suggestion of being drawn4 ,he will assuredly not let himself be painted praying4 ,strangely1 this is the action which1 of all others1 a ,venetian desires to be painted in4 ,if they want a noble and complete portrait1 they nearly all choose to be painted on their knees 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 iii4 #ae74 ,notice also the little dog in the corner--one of the little curly1 short-nosed1 fringy-pawed things which all ,venetian ladies petted4 ,the dog is thus constantly introduced by the ,venetians 7in ,madonna pictures7 in order to give the fullest contrast to the highest tones of human thought and feeling4444 ,but they saw the noble qualities of the dog too--all his patience1 love1 and faithfulness 4441 and introduced him into their sacred pictures partly therefore in order to show that all the lower creatures1 who can love1 have passed1 through their love1 into the guardianship and guidance of angels 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 iii4 #ba1 ch4 vi4 #ad2 ,fors ,clavigera1 #ahgg1 p4 #ca74aah #bce4 ,,the ,,dead ,,christ4 ,giuseppe ,ribera1 called ,spagnoletto 7,spanish3 #aeih-afdh74 ,ribera is a leading artist amongst what are called the ,naturalisti or ,tenebrosi 7an alternative title1 curiously significant of the warped and degraded principle of the school1 as if nature were indeed only another name for darkness74#aai ,his works show remarkable force and facility2 his subjects were painful4 ,as ,byron says-- ,spagnoletto tainted ,his brush with all the blood of all the sainted4 ,it is a curious example of the perversity of the human mind1 says ,stirling-,maxwell1 that subjects like these should have been the chosen recreations of an eye that opened in infancy on the palms and the fair women of ,valencia1 and rested for half a lifetime on the splendour of the ,bay of ,naples4 ,his life was like his art1 being one long contrast between splendour and misery1 black shadow and shining light 7,scott74 ,he made his way when quite a youth to ,rome1 where one day1 as he was sketching in the streets1 dressed in rags and eating crusts1 he was picked up by a cardinal and taken into his household4 ,they called him in ,italy1 owing to his small stature1 by the name ,lo ,spagnoletto1 the little ,spaniard4 ,but ,ribera could not brook the cardinal's livery1 and stole away into poverty and independence again4 ,he especially studied the works of ,caravaggio1 and went afterwards to ,parma to study ,correggio4 ,then he moved to ,naples1 where a picture-dealer discovered his talent and gave him his daughter in marriage4 ,a large picture of the martyrdom of ,st4 ,bartholomew1 which he painted about this time1 was exhibited by the dealer on the balcony of his house1 and created such a furore that the ,spanish ,viceroy1 delighted at finding the painter to be a ,spaniard1 loaded him with appointments and commissions4 ,this was the making of ,ribera's fortune4 ,he soon became very wealthy--never going out but in his carriage1 and with an equerry to accompany him1 and so hard had he to work to keep pace with his orders that his servants were instructed at last to interrupt him when working hours were fairly over4 ,he kept open house--entertaining ,velazquez1 for instance1 when the latter visited ,naples in #afcj2 but though lavish he was yet mean4 ,ribera1 ,corenzio 7a ,greek71 and ,caracciolo 7a ,neapolitan71 formed a memorable cabal1 with the object of establishing a local monopoly in the artistic profession for themselves4 ,in this object1 by means of force and fraud1 they succeeded for many years4 ,domenichino1 ,annibale ,carracci1 and ,guido ,reni were all more or less victims of the cabal4 ,the story of the conspiracy of ,ribera and his allies to get the commission for painting the chapel of ,st4 ,januarius1 forms one of the most curious and disgraceful chapters in the history of art1 and may be read in ,lanzi's ,history of ,painting 7vol4 ii4 in ,bohn's translation74 ,ribera's life ended like his pictures1 in darkness4 ,his daughter was carried off by one of his great friends1 ,don ,juan of ,austria1 and ,ribera was so overwhelmed with grief that he left ,naples and was never more heard of4#abj ,the ,virgin1 accompanied here by ,st4 ,john and ,mary ,magdalen1 is weeping over the dead ,christ--the subject termed by the ,italians a ,piet4 ,it is instructive to compare this ,spanish treatment of it with an ,italian ,piet1 such as ,francia's ,no4 #ahj4 ,how much more ghastly is the dead ,christ here6 ,how much less tender are the ministering mourners6 #bcf4 ,,castle ,,of ,,sant' ,,angelo1 ,,rome4 ,claude ,joseph ,vernet 7,french3 #agad-aghi74 ,vernet1 one of the most celebrated of ,french landscape and marine painters1 received his inspiration and lived a large part of his life in ,italy4 ,he was born at ,avignon1 and in #agcb went to ,italy with a view of improving himself in historical painting1 but the beautiful scenery of ,genoa and ,naples induced him to devote himself to marine landscape4 ,one of his ,mediterranean pictures is ,no4 #acic in this ,gallery4 ,it is said that on his first voyage he was so impressed with the effect of a stormy sea as to have himself tied to the mast in order to be able more accurately to observe it4 ,for some time ,vernet lived in poverty4 ,he had to paint carriages1 and a picture1 afterwards sold for #ejjj francs1 procured him only a single suit of clothes4 ,his subjects were now the rivers1 landscapes1 and costumes of ,rome 7as in this picture74 ,in #ageb he was invited to ,paris by ,louis ,,xv4 ,in the following year he was elected a member of the ,french ,academy of ,arts1 and was commissioned by the ,government to paint his celebrated pictures1 now in the ,louvre1 of the seaports of ,france4 ,this task occupied him the greater part of the year4 ,he died in the ,louvre1 where he had been given apartments by the king4 ,his last years were embittered by the madness of his wife1 a daughter of the ,pope's naval commandant1 whom he had married in #agde4 ,he was the grandfather of the celebrated historical painter1 ,horace ,vernet 7see #abhe74 ,past and present in the eternal city1 as it was in ,vernet's day4 ,behind is the castle which the ,emperor ,hadrian had built for his family tomb1 in which were buried several of the ,emperors after him1 and the history of which in the ,middle ,ages was almost the history of ,rome itself4 ,in front is a fte on the ,tiber1 with a fashionable crowd in crinolines watching the boats tilting on the river4 #bcg4 ,a ,,woman',s ,,portrait4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,of interest as being one of his last works3 dated #afff4 #bch4 ,,dead ,,game4 ,jan ,weenix 7,dutch3 #afdj-agai74 ,jan ,weenix1 the younger1 was born at ,amsterdam--the son of ,jan ,baptista ,weenix 7see #ajif7--;and is usually considered the best of all ,dutch artists in this style4 ,for some years he was employed at the ,court of ,john ,william1 ,elector of the ,palatinate4 ,a stag1 a couple of hares 7a speciality with this artist71 a heron1 and a fowling-piece4 #bci4 ,a ,,moonlight ,,scene4 ,aart van der ,neer 7,dutch3 #afjc-afgg74 ,see #aeb4 ,a good example of the penetrating melancholy of moonlight--an effect in which this painter excelled4 #bdj4 ,,crossing ,,the ,,ford4 ,nicolas ,berchem 7,dutch3 #afbj-afhc74 ,see #gh4 #bdb4 ,,the ,,game ,,of ,,backgammon4 ,teniers 7,flemish3 #afaj-afid74 ,see #aed4 ,an example1 says ,mr4 ,j4 ,t4 ,nettleship in a comparison between ,morland and some of the ,dutch masters1 not only of the works that ,morland loved1 but of the life 7alas67 he best loved too4 ,in one respect it at once takes rank above the ,english painter1 for every man must be a portrait2 the two playing might indeed be ,english as well as ,dutch1 the man looking on is a degraded boor4 ,in the chimney-place are several men farther off--one with his back to you is seated on a bench with his head against the chimney-jamb1 a 'poor drinker1' he seems4 ,the standing man1 standing with his back to the fire1 smoking a long clay1 looks half-pitying1 half-scornful at the feebler sinner 7,george ,morland1 p4 #bc74 #bdc4 ,,an ,,old ,,man4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,a noble picture of the dignity of old age 7dated #afei74 #bdd4 ,a ,,shepherd ,,with ,a ,,lamb4 ,spagnoletto 7,spanish3 #aeih-afdh74 ,see #bce4 #bde4 ,,portrait ,,of ,a ,,senator4 ,hans ,baldung 7,german-,swabian3 #adgf-aede74 ,this portrait is dated #aead1 and signed with the monogram of ,albert ,drer1 to whom it was formerly ascribed4 ,but the monogram is now said to be a forgery1 and the picture is identified as the work of ,drer's friend ,baldung4 ,on the death of ,drer 7in #aebh7 ,baldung received a lock of his hair 7now preserved in the ,library of the ,academy of ,arts at ,vienna71 and ,drer1 in his ,journal in the ,low ,countries1 records having sold several of ,baldung's engravings4 ,baldung1 painter1 engraver1 and designer1 was a native of ,gmnd in ,swabia1 and his earliest works show the influence of ,martin ,schongauer 7see #feh74 ,he lived at ,freiburg-in-the-,breisgau 7in the monastery at which place is his greatest work1 a ,coronation of the ,virgin71 and also at ,strassburg1 of which latter city he became a senator shortly before his death4 ,baldung's portraits1 says the ,official ,catalogue1 are highly individual and full of character4 ,when unsigned they have sometimes passed for the work of ,drer1 but they want his searching modelling4 ,baldung acquired and adopted the name of ,green or ,grn1 either from his habit of dressing in that colour or from his fondness for a peculiarly brilliant tint of green often found in his pictures4 ,the influence of ,drer was strong on ,hans ,baldung1 and a similar spirit is discernible in the works of both painters4 ,this old man1 strong and yet melancholy1 is precisely true to ,drer's favourite type of human strength founded on labour and sorrow4 ,and the choice of this type is characteristic of his mind4 ,with the ,reformation came1 says ,mr4 ,ruskin1 the ,resurrection of ,death4 ,never1 since man first saw him face to face1 had his terror been so great4 ,nothing shows the character of men of that time so clearly as the way in which they severally meet the ,king of ,terror4 ,it haunted ,drer long2 and the answer he gave to the question of the grave was that of patient hope2 and twofold1 consisting of one design in praise of ,fortitude1 and another in praise of ,labour4444 ,the plate of ',melancholia' is the history of the sorrowful toil of the earth1 as the ',knight and ,death' is of its sorrowful patience under temptation 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 iv474 #bdf4 ,,madonna ,,and ,,child4 ,girolamo del ,pacchia 7,sienese3 #adgg-aece74 ,pacchia1 who is often confused with his fellow-countryman ,pacchiarotto1 was born at ,siena1 being the son of a cannon-founder from ,croatia who had settled in that city4 ,he first studied in his native town1 but afterwards went to ,florence4 ,his works recall the style of the ,florentine masters of the time4 ,in #aejj he went to ,rome1 returning to ,siena with an established reputation in #aejh4 ,many of his works are to be seen in the churches and picture-gallery in that city1 famous alike for its religious revivals1 its artistic activity1 and its civic turbulence4 ,pacchia1 in company with ,pacchiarotti1 joined the revolutionary club of the ,bardotti1 and on its suppression in #aece the two artists fled the city4 ,after that date no record of ,pacchia has been found4 ,this graceful picture resembles the style of ,andrea del ,sarto4 #bdg4 ,,ecco ,,homo6 ,matteo di ,giovanni 7,sienese3 #adce-adie74 ,see #aaee4 ,then came ,jesus forth1 wearing the crown of thorns1 and the purple robe4 ,and ,pilate saith unto them1 ,behold the man6 7,ecco ,homo7 7,st4 ,john xix4 #e74 ,in the glory around the head are the ,latin letters signifying ,jesus ,christ of ,nazareth2 on the outer edge of the background1 at the name of ,jesus every knee should bow1 of things in heaven1 and things on earth1 and things under the earth 7,philippians ii4 #aj74 #bdh4 ,,the ,,vision ,,of ,,st4 ,,bernard4 ,fra ,filippo ,lippi 7,florentine3 about #adjf-adfi74 ,see #fff4 ,st4 ,bernard was remarkable for his devotion to the blessed ,virgin2 one of his most celebrated works1 the ,missus est1 was composed in her honour as mother of the ,redeemer2 and in eighty sermons from the ,song of ,solomon he set forth her divine perfection4 ,his health was extremely feeble2 and once1 when he was employed in writing his homilies1 and was so ill that he could scarcely hold the pen1 she graciously appeared to him1 and comforted and restored him by her divine presence 7,mrs4 ,jameson3 ,legends of the ,monastic ,orders1 p4 #aeb74 ,notice the peculiar shape of the picture1 the upper corners of the square being cut away4 ,the picture was painted in #addg 7the artist receiving #dj lire1 equal now perhaps to #fj1 for it and another work7 to fit a space over the door of the ,palazzo della ,signoria at ,florence4 ,have you ever considered1 in the early history of painting1 how important is the history of the frame-maker8 ,it is a matter1 ,i assure you1 needing your very best consideration1 for the frame was made before the picture4 ,the painted window is much1 but the aperture it fills was thought of before it4 ,the fresco by ,giotto is much1 but the vault it adorns was planned first 444 and in pointing out to you this fact1 ,i may once for all prove to1 you the essential unity of the arts 7,ariadne ,florentina1 #ei1 #fj74 #bdi4 ,,the ,,marriage ,,of ,,st4 ,,catherine ,,of ,,siena4 ,lorenzo di ,san ,severino 7,umbrian3 painted #adhc-adif74 ,this picture is signed by the artist ,laurentius the second of ,severino--to distinguish himself from the earlier ,lorenzo1 who was born in #acgd1 and who painted some frescoes at ,urbino in #adaf4 ,the date of this picture is approximately fixed by the fact that ,catherine is described on her nimbus as saint1 and she was not canonised till #adfa2 and perhaps also by the influence on ,lorenzo of ,crivelli 7painted #adfh-adic71 which has been traced in the execution of the details3 see for instance the cucumber and apple on the step of the throne 7cf4 #gbd1 etc74 ,st4 ,catherine of ,siena 7#acdg-achj7 is one of the most remarkable figures of the ,middle ,ages4 ,she was the daughter of a dyer1 brought up in the humblest of surroundings1 and wholly uneducated4 ,when only thirteen she entered the monastic life as a nun of the ,dominican order 7,st4 ,dominic is here present on the right71 and at once became famous in the city for her good works4 ,she tended the sick and plague-stricken1 and was a minister of mercy to the worst and meanest of her fellow-creatures4 ,on one occasion a hardened murderer1 whom priests had visited in vain1 was so subdued by her tenderness that he confessed his sins1 begged her to wait for him by the scaffold1 and died with the names of ,jesus and ,catherine on his lips4 ,in addition to her piety and zeal she succeeded as a mediator between ,florence and her native city1 and between ,florence and the ,pope2 she travelled to ,avignon1 and there induced ,gregory ,,xi4 to return to ,rome2 she narrowly escaped political martyrdom during one of her embassies from ,gregory to the ,florentine republic2 she preached a crusade against the ,turks1 and she aided1 by her dying words1 to keep ,pope ,urban on the throne4 ,but when she died she left behind her a memory of love more than of power1 the fragrance of an unselfish and gentle life4 ,her place is in the heart of the humble4 ,her prayer is still whispered by poor children on their mother's knee1 and her relics are kissed daily by the simple and devout4 ,the mystical marriage which forms the subject of this picture1 where the infant ,christ is placing the ring on her finger1 suggests the secret of her power4 ,once when she was fasting and praying1 ,christ himself appeared to her1 she said1 and gave her his heart4 ,for love was the keynote of her religion1 and the mainspring of her life4 ,in no merely figurative sense did she regard herself as the spouse of ,christ2 she dwelt upon the bliss1 beyond all mortal happiness1 which she enjoyed in supersensual communion with her ,lord4 ,the world has not lost its ladies of the race of ,st4 ,catherine1 beautiful and pure and holy1 who live lives of saintly mercy in the power of human and heavenly love4 7,see further1 for ,st4 ,catherine of ,siena1 ,j4 ,a4 ,symonds1 ,sketches in ,italy 7,siena71 from which the above account is principally taken47 #bej4 ,,four ,,saints4 ,the ,meister von ,werden 7,german3 #aeth ,century74 ,the ,meister von ,werden1 or the painter of this picture and of ,nos4 #bea and #bec1 which were found in the old ,abbey of ,werden1 near ,dsseldorf1 is otherwise unknown4 ,these three pictures probably formed folding wings of an altar-piece4 ,a fourth panel1 belonging to the same series1 is in the ,national ,gallery of ,scotland4 ,the saints in this picture are ,jerome 7with his lion71 ,benedict 7in the habit of his order71 ,giles 7with his doe71 and ,romuald 7founder of the eremite order of the ,camaldoli74 #bea4 ,,four ,,saints4 ,the ,meister von ,werden4 ,see under #bej4 ,the saints in this picture are ,augustine 7with the heart transfixed with an arrow71 ,ludger 7,bishop of ,mnster1 ,apostle of ,saxony71 ,hubert 7patron saint of the chase1 see ,no4 #ghc7 and ,maurice4 #beb4 ,,the ,,conversion ,,of ,,st4 ,,hubert4 ,the ,meister von ,werden4 ,see under #bej4 #bec4 ,,the ,,mass ,,of ,,st4 ,,hubert4 ,the ,meister von ,werden4 ,see under #bej4 ,for ,st4 ,hubert1 see under #ghc4 ,here the saint1 in his canonicals1 is represented bending before the altar2 while an angel from heaven is1 according to the legend1 descending with the stole4 #bed-bfa4 ,,fragments ,,of ,,an ,,altar-,,piece4 ,the ,meister von ,liesborn 7,german3 about #adfe74 ,the principal work of this master1 whose name has not come down to us1 was a high altar-piece for a convent church of the ,benedictines at ,liesborn1 near ,mnster in ,westphalia4 ,this work was cut in pieces and sold in #ahjg1 when the convent was suspended1 and ,napoleon established the modern kingdom of ,westphalia4 ,some of the pieces were afterwards lost1 some were obtained by different collectors1 while others1 which were acquired by ,herr ,krger of ,minden1 were purchased in #ahed by the ,british ,government4 ,the sweet but feeble faces1 with the gold background1 recall the earliest ,lower ,rhine ,school1 of which the ,westphalian was an offshoot4 ,in #bei--;a ,head of ,christ on the ,cross--we have a fragment of the centre compartment of the altar-piece4 ,in #bfj and #bfa we have the saints who stood by the side of the ,cross 7hence their melancholy expression74 ,in #bfj the saints are ,st4 ,john1 ,st4 ,benedict1 and ,st4 ,scholastica 7the first ,benedictine nun and the sister of ,st4 ,benedict himself74 ,in #bfa the saints are ,sts4 ,cosmas and ,damian 7see under #eid71 and the ,virgin4 ,in #bed and #bee we have other saints3 in #bed1 ,st4 ,ambrose 7see under #ej71 ,st4 ,exuperius 7a ,bishop of ,toulouse71 and ,st4 ,jerome 7saying1 as it were1 ,down1 down to his lion72 in #bee1 ,st4 ,gregory1 ,st4 ,hilary1 and ,st4 ,augustine4 ,on either side of the central groups in the altar-piece were represented various sacred subjects4 ,no4 #bef1 represents the ,annunciation2 ,no4 #beg1 the ,purification of the ,virgin and the ,presentation of ,christ in the ,temple2 ,no4 #beh1 ,the ,adoration of the ,magi4 #bfb4 ,,the ,,crucifixion4 ,school of the ,meister von ,liesborn4 ,see under last pictures4 ,in the form of a predella or decoration of the base of the altar-piece4 ,in the centre is ,christ on the ,cross2 on either side are four ,saints2 on the left ,st4 ,scholastica1 ,mary ,magdalen1 ,st4 ,anne with the ,virgin in her arms1 who holds the ,infant ,christ2 and the ,virgin4 ,on the right ,st4 ,john the ,evangelist1 ,st4 ,andrew1 ,st4 ,benedict1 and ,st4 ,agnes with the ,lamb4 ,in the background is a representation of ,jerusalem2 here depicted as a little ,westphalian town4 #bfd4 ,a ,,count ,,of ,,hainault ,,and ,,his ,,patron ,,saint4 ,unknown 7,early ,flemish74 ,the count and the confessor4 ,the count1 attired as a monk1 is praying4 ,behind him is his patron saint 7,st4 ,ambrose71 holding a cross in one hand1 a scourge in the other4 ,more important1 however1 than the penitence of the count is the splendour of the robes4 ,the picture is a good illustration of the love of jewellery characteristic of the time4 ,that this love of jewels was shared by the painters is sufficiently shown by the amount and beauty of the jewelled ornaments introduced by them into their pictures4 ,not only are brooches and clasps1 sceptres and crowns1 studded with precious stones1 but the hems of garments are continually sewn with them1 whilst gloves and shoes of state are likewise so adorned 7,conway1 p4 #aba74 ,this picture is by some ascribed to ,gerard van der ,meire 7see under #ajgh74 #bfe4 ,,the ,,virgin ,,and ,,child4 ,unknown 7,flemish ,school3 ,early #afth ,century74 #bff4 ,,the ,,deposition ,,from ,,the ,,cross4 ,lambert ,lombard 7,flemish3 #aeje-aeff74 ,lambert ,lombard of ,lige was1 says ,vasari1 a distinguished man of letters1 a most judicious painter1 and an admirable architect4 ,his pictures1 which are scarce1 are generally remarkable for correctness of drawing1 but his colouring was thin and cold4 ,lombard1 who was a pupil of ,mabuse 7see #fef71 travelled as a young man in ,germany and ,france1 and visited ,italy in the suite of ,cardinal ,pole1 when he became acquainted with ,vasari4 ,on his return he opened a school at ,lige4 #bfh4 ,,the ,,adoration ,,of ,,the ,,magi4 ,paolo ,veronese 7,veronese3 #aebh-aehh74 ,see under #bf4 ,a striking example of the old symbolical conception1 according to which the adoration of the ,magi--the tribute of the wise men from the ,east to the dawning star of ,christianity--was represented as taking place in the ruins of an antique temple1 signifying that ,christianity was founded upon the ruins of ,paganism4 ,this picture was painted in #aegc for the church of ,san ,silvestro in ,venice1 where it remained until #ahce4 ,it is mentioned in most of the guidebooks and descriptions of ,venice4 ,one of these published in #agib says1 in describing the church of ,san ,silvestro3 ,many are the pictures by ,tintoretto1 by scholars of ,titian1 by ,palma ,vecchio1 etc42 but among them all the famous ,adoration of the ,magi by ,paolo ,veronese deserves especial attention4 ,the picture has recently been covered with glass1 an operation which is noteworthy on account of the great size of the pane required1 #aa ft4 #g in4 by #aj ft4 #g in4 ,the pane had to be obtained in ,france4 #bfi4 ,a ,,knight ,,in ,,armour4 ,giorgione 7,venetian3 #adgg-aeaj74 ,giorgio#aba of ,castelfranco1 called ,giorgione1 ,george the ,great1--a name given him1 according to ,vasari1 because of the gifts of his person and the greatness of his mind1--is one of the most renowned of the old masters1 and exercised a deeper influence upon the artists of his time than any other painter4 ,he was the fellow-pupil with ,titian of ,bellini at ,venice1 and after executing works at his native place was employed in ,venice4 ,here by way of exhibiting a specimen of his ability1 he decorated the front of his house with frescoes4 ,he was afterwards employed in conjunction with ,titian there to decorate the faade of the ,fondaco de' ,tedeschi4 ,these paintings have been destroyed by the sea-winds4#abb ,but what was more original in ,giorgione's work was his small subject pictures4 ,he was1 says ,pater1 the inventor of genre1 of those easily movable pictures which serve for uses neither of devotion1 nor of allegorical or historical teaching--little groups of real men and women1 amid congruous furniture or landscape--morsels of actual life1 conversation or music or play1 refined upon or idealised1 till they come to seem like glimpses of life from afar4 ,some of ,bellini's late works are already of this kind2 but they were a little too austere and sober in colour for the taste of the time4 ,carpaccio was full of brilliancy1 fancy1 and gaiety1 but he painted few easel pictures4 ,giorgione brought to the new style all the resources of a poetical imagination1 of a happy temper1 and of supreme gifts as a colourist4 ,he was1 says ,ruskin1 one of the seven supreme colourists4#abc ,the chief colour on his palette1 it has been said1 was sunlight4 ,in the glowing colour with which he invested the human form the sense of nudity is utterly lost1 and there is no need nor desire of concealment any more1 but his naked figures move among the trees like fiery pillars1 and lie on the grass like flakes of sunshine 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 i4 ch4 xiv4 #bj74 ,giorgione1 says ,mr4 ,colvin1 came to enrich ,venetian painting further1 with a stronger sense of life and of the glory of the real world as distinguished from the solemn dreamland of the religious imagination4 ,he had a power hitherto unknown of interpreting both the charm of merely human grace and distinction1 and the natural joy of life in the golden sunlight among woods and meadows4 ,giorgione1 by his originality and his exact correspondence with the spirit of the time1 created a demand which other painters were forced to supply4 ,his influence1 says ,morelli1 is not only to be traced in the early work of ,titian2 it stands out broadly in the paintings of nearly all his ,venetian contemporaries--,lotto1 ,palma1 ,pordenone1 ,bonifacio1 ,cariani1 and many others1 not to speak of his scholar1 ,sebastiano del ,piombo4 ,the surviving pictures which are undoubtedly by ,giorgione's own hand are very few4 ,this category hardly includes more than four1--the altar-piece at ,castelfranco 7see below71 the so-called ,famiglia di ,giorgione 7now identified as ,adrastus and ,hypsipyle1 in the ,palazzo ,giovanelli at ,venice71 the ,three ,philosophers 7in the ,belvedere at ,vienna71 and the lovely ,sleeping ,venus1 identified by ,morelli1 in the ,dresden ,gallery4 ,among pictures in a second and less certain category1 may be mentioned the ,concert in the ,louvre 7the ,venetian ,pastoral of ,rossetti's sonnet71 another ,concert in the ,pitti1 the ,head of a ,shepherd at ,hampton ,court1 and 7more doubtfully7 ,no4 #aafj in this ,gallery4 ,the number of reputed ,giorgiones is very large4 ,his fame has been constant from his own day to ours1 and as every gallery desired to have a ,giorgione1 the wish was freely gratified by dealers and cataloguers4 ,modern criticism has played havoc among most of these so-called ,giorgiones2#abd but the ,giorgionesque spirit remains--unmistakable and distinct--in many works4 ,such in this ,gallery are ,nos4 #icj1 #aabc1 and #aagc1 ascribed by the director to the ,school of ,giorgione4 ,it is a school1 as we have seen1 of genre4 ,it employs itself mainly with painted idylls1 but1 in the production of this pictorial poetry1 exercises a wonderful tact in the selecting of such matter as lends itself most readily and entirely to pictorial form1 to complete expression by drawing and colour4 ,for although its productions are painted poems1 they belong to a sort of poetry which tells itself without an articulated story4 ,vasari remarked that it was difficult to give ,giorgione's representations an explanatory name4 ,as ,morelli has well pointed out1 the genius of ,titian was wholly dramatic2 ,giorgione was a lyric poet1 who gives us at most dramatic lyrics4 ,a picture by ,giorgione or in his style presents us with a kind of profoundly significant and animated instant1 a mere gesture1 a look1 a smile perhaps--some brief and wholly concrete moment--into which1 however1 all the motives1 all the interests and effects of a long history1 have condensed themselves1 and which seem to absorb past and future in an intense consciousness of the present4 ,such ideal instants the school of ,giorgione selects1 with its admirable tact1 from that feverish1 tumultuously coloured life of the old citizens of ,venice--exquisite pauses in ,time1 in which1 arrested thus1 we seem to be spectators of all the fulness of existence1 and which are like some consummate extract or quintessence of life4 ,pictures in the ,giorgionesque spirit are1 as it were1 musical intervals in human existence--filled with people with intent faces listening to music1 to the sound of water1 to time as it flies 7,pater3 ,the ,school of ,giorgione1 ,fortnightly ,review1 ,october #ahgg1 reprinted in the third edition of ,the ,renaissance74 ,the landscapes of ,giorgione have the same quality of quickened life4 ,most painted landscapes leave little power to call up the actual physical sensations of the scenes themselves1 but ,giorgione's never fail to produce this effect2 they speak directly to the sensations1 making the beholder feel refreshed and soothed1 as if actually reclining on the grass in the shade of the trees1 with his mind free to muse on what delights it most4 ,in so far as poetry may be compared to painting1 ,giorgione's feeling for landscape suggests ,keats 7,mary ,logan3 ,guide to the ,italian ,pictures at ,hampton ,court1 p4 #ac74 ,giorgione's pictures may be described as showing us golden moments of a golden age4 ,his life1 as told by ,vasari and ,ridolfi1 corresponds with this ideal1 which also was in exact accordance with the spirit of the times4 ,many readers will remember that it is with a mention of ,giorgione that ,ruskin prefaces his noble description of ,venice in the days of the early ,renaissance3 ,born half-way between the mountains and the sea--that young ,george of ,castelfranco--of the ,brave ,castle2 stout ,george they called him1 ,george of ,georges1 so goodly a boy he was--,giorgione4 ,have you ever thought what a world his eyes opened on--fair1 searching eyes of youth8 ,what a world of mighty life1 from those mountain roots to the shore2 of loveliest life1 when he went down1 yet so young1 to the marble city1 and became himself as a fiery heart to it8 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 ix4 #a74 ,he spent his childhood at ,castelfranco1 where the last crags of the ,venetian ,alps break down romantically with something of a park-like grace to the plain4 ,giorgione's ideal of luxuriant pastoral scenery1 the country of pleasant copses1 glades and brooks1 amid which his personages love to wander or recline with lute and pipe1 was derived1 no doubt1 from these natural surroundings of his childhood4 ,close by his birthplace is ,asolo1 whence the word asolare1 to disport in the open air2 to amuse oneself at random 7see ,browning's ,asolando74 ,giorgione found his way early into a circle of notable persons--people of courtesy1 and became initiated into those differences of personal type1 manner1 and even of dress1 which are best understood there4 ,not far from his home lived ,catherine of ,cornaro1 formerly ,queen of ,cyprus1 and up in the towers which still remain1 ,tuzio ,costanzo1 the famous condottire--a picturesque remnant of medival manners1 in a civilisation rapidly changing 7,pater74 ,in ,venice ,giorgione's gracious bearing and varied accomplishments introduced him into congenial company4 ,he took no small delight1 says ,vasari1 in love-passages and in the sound of the lute1 to which he was so cordially devoted1 and which he practised so constantly1 that he played and sang with the most exquisite perfection1 insomuch that he was for this cause frequently invited to musical assemblies and festivals by the most distinguished personages4 ,it happened1 about his thirty-fourth year1 that in one of those parties at which he entertained his friends with music1 he met a certain lady of whom he became greatly enamoured1 and 'they rejoiced greatly1' says ,vasari1 'the one and the other in their love4' ,and two quite different legends concerning it agree in this1 that it was through this lady he came by his death2 ,ridolfi relating that1 being robbed of her by one of his pupils1 he died of grief at the double treason2 ,vasari1 that she being secretly stricken of the plague1 and he making his visits to her as usual1 he took the sickness from her mortally1 along with her kisses1 and so briefly departed 7,pater74#abe ,this little panel is a study for the figure of ,san ,liberale1 the warrior-saint1 in the altar-piece by ,giorgione at ,castelfranco--one of his acknowledged masterpieces1 and according to ,ruskin one of the two best pictures in the world4#abf ,notice the bronzed1 burning flesh of the knight--the right ,giorgione colour on his brow characteristic of a race of seamen 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 v4 ch4 i4 #ai74 ,this original little study in oil1 with the delicately gleaming silver-grey armour is1 says ,mr4 ,pater1 one of the greatest treasures of the ,national ,gallery1 and in it1 as in some other knightly personages attributed to ,giorgione1 people have supposed the likeness of his own presumably gracious presence4 ,from a ,,ms4 memorandum on the back of the ,castelfranco picture1 it appears1 however1 that the warrior was said to represent ,gaston de ,foix4 ,the only difference between this study and the picture is that in the altar-piece the warrior wears his helmet1 while in the picture he is bareheaded4 ,on this ground1 and owing to the high finish of our picture1 some have argued that it is not an original study for the picture1 but a later copy from it 7see e4g4 ,richter's ,italian ,art in the ,national ,gallery1 p4 #hf74 ,the argument does not seem conclusive4 ,do artists never make elaborate studies8 and is not an artist as likely to vary his design as a copyist his model8 ,our picture1 which was formerly in the collection of ,benjamin ,west1 ,p4,r4,a41 was bequeathed to the ,national ,gallery by ,samuel ,rogers4 #bgj4 ,,noli ,,me ,,tangere6 ,titian 7,venetian3 #adgg-aegf74 ,see #d4 ,a picture of the evensong of nature and of the evening of a life's tragedy4 ,the hues and harmonies of evening are upon the distant hills and plain2 and whilst the shadows fall upon the middle slopes1 there falls too the awful shadow of some unseen ,power upon the repentant woman who has been keeping her vigil in the peaceful solitude2 at the sound of her name she has turned from her weeping and fallen forward on her knees towards him whom she now knows to be her master4 ,the impetuosity with which she has thrown herself on her knees in shown by the fluttering drapery of her sleeve1#abg which is still buoyed up by the air2 thus with a true painter's art telling the action of the previous moment 7,quarterly ,review1 ,october #ahhh74 ,she stretches out her hand to touch him1 but is checked by his words2 as ,christ1 who is represented with a hoe in his hand because she had first supposed him to be the gardener1 bids her forbear3 ,touch me not1 noli me tangere1 for ,i am not yet ascended to my ,father3 it is not on this side of the hills that the troubled soul can enter into the peace of forgiveness4 ,this beautiful picture was bequeathed to the ,national ,gallery by ,samuel ,rogers4 ,it is usually ascribed to ,titian's earlier or ,giorgionesque period4 ,the ,magdalen is1 appropriately enough1 of the same type as the exquisite golden-blond courtesans--or1 if you will1 models--who constantly appear and re-appear in this period of ,venetian art 7,c4 ,phillips3 ,the ,earlier ,work of ,titian1 p4 #eb74 #bga4 ,,ecce ,,homo6 ,guido 7,eclectic-,bologna3 #aege-afdb74 ,see #aa4 ,for the subject1 see under #ae1 by ,correggio4 ,it was from ,correggio that the ,eclectics borrowed the type of face for this subject--which was a favourite one with them2 but notice how much more they dwell on the physical pain and horror1 how much less on the spiritual beauty1 than ,correggio did4 #bgb4 ,,an ,,apostle4 ,unknown 7,italian3 #afth century74 ,from a church near ,venice4 ,formerly ascribed to ,pordenone4 #bgd4 ,,virgin ,,and ,,child4 ,andrea ,mantegna 7,paduan3 #adca-aejf74 ,andrea ,mantegna1 the greatest master of the ,paduan ,school1 has a commanding name in art history1 so much so that many writers describe the epoch of painting 7from #adej to #aejj and a little onwards71 of which he was one of the chief representatives1 as the ,mantegnesque period4 ,no painter more remarkable for originality than ,mantegna ever lived4 ,whoever has learned to relish this great master will never overlook a scrap by him2 for while his works sometimes show a certain austerity and harshness1 they have always a force and will which belong to no one else 7,layard74 ,intensity may be said to be the characteristic of ,mantegna as an artist4 ,deeply in earnest1 he swerved from his purpose neither to the right nor to the left4 ,in expressing tragic emotion1 he sometimes touched a realism beyond the limits prescribed by poetic art4 ,so1 too1 he never arrived at an ideal of female beauty4 ,but he could be as tender as he was stern2 and we forget the homely plainness of his ,madonnas in the devoted and boding mother or the benign protectress4 ,his children are always childlike and without self-consciousness4 ,his drawing was remarkably correct4 ,an occasional lengthiness in his figures adds to their dignity1 and never oversteps possible nature4 ,drapery he treated as a means of displaying the figure4 ,this peculiarity he derived from an almost too exclusive study of ancient sculpture4 ,yet so thoroughly does it accord with his whole style1 that none would willingly miss a single fold which the master thought worthy of almost infinite care 7,burton74 ,he was a tempera painter1 and excelled in harmoniously broken tones1 but with little attempt at those rich and deep effects which by the practice of art his later ,venetian contemporaries initiated4 ,he loved allegory and symbolism2 but with him they clothed a living spirit4 ,the beauty of classical bas-relief entered deep into his soul and ruled his imagination4 ,his classical pictures are statuesque and stately1 but glow with the spirit of revived antiquity 7,symonds74 ,he was equally distinguished as an engraver and a painter1 and his plates spread his fame and influence widely abroad4 ,mantegna was born at ,padua1#abh and according to ,vasari1 was originally1 like ,giotto1 a shepherd boy4 ,like ,giotto1 too1 he early displayed great aptitude for drawing1 so much that when only ten years old he was adopted by ,squarcione as son and pupil4 ,squarcione was an indifferent painter1 but must have been an able teacher1 and it was from him that ,mantegna imbibed his love of the antique4 ,it was ,squarcione's intention to make him his heir1 but ,mantegna married a daughter of ,jacopo ,bellini1 ,squarcione's rival2 and when this was told to ,squarcione he was so much displeased with ,andrea that they were ever afterwards enemies4 ,of ,mantegna's association with his brother-in-law1 ,giovanni ,bellini1 the pictures numbered #gbf and #adag in this gallery are an interesting record4 ,mantegna soon obtained recognition4 ,among the most important of his early works are the frescoes of the chapel of ,st4 ,james and ,st4 ,christopher in the church of the ,eremitani at ,padua4 ,copies of some of these may be seen in the ,arundel ,society's collection4 ,of about the same date is ,the ,agony in the ,garden1 ,no4 #adag4 ,to his early period belong also the ,st4 ,george in the ,venice ,academy1 and the triptych in the ,uffizi4 ,the picture now before us1 the beautiful ,madonna della ,vittoria1 and the ,parnassus of the ,louvre belong to a maturer time4 ,in #adff ,mantegna went1 at the invitation of the ,marquis ,ludovico ,gonzaga1 to the court of ,mantua1 and there he remained till his death1 as painter-in-ordinary at a salary of #cj a year--with the exception of two years spent in painting for ,pope ,innocent ,,viii4 at ,rome4 ,many of ,mantegna's frescoes at ,mantua are now obliterated2 but some are preserved in the ,camera degli ,sposi in the ,ducal ,palace1 and in spite of restorations1 exhibit some of the master's characteristics in perfection4 ,for the palace of ,st4 ,sebastiano at ,mantua1 he painted in tempera on canvas the ,triumph of ,csar1 now at ,hampton ,court4 ,although much defaced1 this large composition still proclaims the genius of the master who loved to resuscitate the ancient world1 and render it to the living eye in all its detail1 and with all its human interest4 ,the sketch by ,rubens in our ,gallery1 ,no4 #bgh1 was made from a portion of ,mantegna's cartoons4 ,in a similar style is the master's ,triumph of ,scipio1 ,no4 #ijb1 completed shortly before his death4 ,at ,rome 7#adhh-adij7 he decorated the chapel of the ,belvedere1 now demolished4 ,though in the service of princes1 ,mantegna knew his worth1 and was wont to say that ,ludovico might be proud of having in him something that no other prince in ,italy could boast of4 ,he liked1 too1 to live in the grand style of his age4 ,it appears that he spent habitually more money than he could afford1 and after his death his sons had to sell the pictures in his studio for the payment of his creditors4 ,still more was he a child of his age--the age of the revival of classical learning--in his love for the antique4 ,he spent much of his money in forming a collection of ,greek and ,roman antiquities1 and the forced sale of its chief ornament1 a bust of ,faustina1 is said to have broken his heart4 ,he was the friend of students1 eagerly absorbing the knowledge brought to light by antiquarian research2 and thus independently of his high value as a painter1 he embodies for us in art that sincere passion for the ancient world which was the dominating intellectual impulse of his age4 ,with ,mantegna1 classical antiques were not merely the foibles of a collector1 but the models of his art4 ,he was always of opinion1 says ,vasari1 that good antique statues were more perfect1 and displayed more beauty in the different parts1 than is exhibited by nature4 ,of some of his works what ,vasari adds is no doubt true--that they recall the idea of stone rather than of living flesh4 ,but ,mantegna studied nature closely too2 for1 as ,goethe said of his pictures1 the study of the antique gives form1 and nature adds appropriate movement and the health of life4 ,mantegna died at ,mantua and was buried in a chapel of the ,church of ,sant' ,andrea4 ,the expenses incurred by him in founding and decorating this family chapel had added seriously to his embarrassments4 ,over his grave was placed a bronze bust1 most noble in modelling and perfect in execution4 ,the broad forehead1 with its deeply cloven furrows1 the stern and piercing eyes1 the large lips compressed with nervous energy1 the massive nose1 the strength of jaw and chin1 and the superb clusters of the hair escaping from a laurel-wreath upon the royal head1 are such as realise for us our notion of a ,roman in the days of the republic4 ,mantegna's own genius has inspired this masterpiece1 which tradition assigns to the medallist ,sperando ,maglioli4 ,whoever wrought it must have felt the incubation of the mighty painter's spirit1 and have striven to express in bronze the character of his uncompromising art 7,symonds3 ,the ,renaissance in ,italy1 iii4 #bjc74 ,a plaster cast from this bust hangs on one of the staircases in our ,gallery4 ,mantegna's second son1 ,francesco1 who in his father's later years had assisted in his studio1 afterwards practised independently4 ,see ,nos4 #fci1 #aajf1 #acha4 ,one of the choicest pictures in the ,national ,gallery1 exquisite alike in sentiment1 in drawing1 and in purity of colour4 ,being in an admirable state of preservation1 it enables us to become acquainted with all the characteristics of ,mantegna's style1 and above all to enjoy the refinement in his rendering of the human forms1 the accuracy in his drawing1 the conscientiousness in the rendering of the smallest details 7,richter74 ,for the latter point notice especially the herbage in the foreground4 ,mantegna1 says ,mr4 ,ruskin1 is the greatest leaf-painter of ,lombardy1 and the exquisite outlines here show the symmetry and precision of his design 7,catalogue of ,educational ,series1 p4 #eb74 ,the draperies also are of extraordinary beauty in design and colour4 ,the rose-coloured dress of the ,virgin is most delicately heightened with gold1 and the draperies of the two saints are of materials shot with changing colours of exquisite harmonies 7,poynter74 ,very sweet is the expression of mingled humility and tenderness in the mother of the ,divine ,child4 ,on her right stands ,st4 ,john the ,baptist1 the great preacher of repentance2 on her left ,mary ,magdalen1 the woman who repented4 ,the ,baptist bears a cross and on the scroll attached to it are written the words 7in ,latin71 ,behold the ,lamb of ,god1 which taketh away the sins of the world4 ,the ,magdalen carries the vase of ointment--the symbol at once of her conversion and her love 7,she brought an alabaster box of ointment1 and began to wash his feet with tears4444 ,and he said unto her1 ,thy sins are forgiven74 ,mantegna combines with the most inexhaustible imagination and invention and power1 which include the whole range of art1 from the most playful fantasy to the profoundest and most passionate tragedy1 a skill of workmanship so minutely and marvellously delicate as to defy imitation4 ,look at the refinement with which the drapery is drawn1 the wonderful delicacy of handling with which the gold-lights are laid on1 the beautiful and loving spirit which has presided over the execution of the foliage in the background1 and indeed of every detail in the picture1 and you will begin to have an understanding of what ,i mean by workmanship as such1 and how an artist proceeds whose hand has been thoroughly trained1 and who is truly in love with his art 7,poynter's ,lectures on ,art1 p4 #abg74 #bge4 ,,virgin ,,and ,,child1 ,,st4 ,,john ,,and ,,an ,,angel4 ,sandro ,botticelli 7,florentine3 #addg-aeaj74 ,see #ajcd4 ,a beautiful and characteristic work4#abi ,at first glance you may think the picture a mere piece of affectation4 ,well--yes1 ,botticelli is affected in the way that all men of his century necessarily were4 ,much euphuism1 much studied grace of manner1 much formal assertion of scholarship1 mingling with his force of imagination4 ,and he likes twisting the fingers of hands about--just as he likes also dancing motion and waved drapery 7see #ajcd7 7,mornings in ,florence1 iii4 #ei74 ,the picture is characteristic also of two faculties which ,botticelli acquired from his early training as a goldsmith3 first1 his use of gold as a means of enriching the light 7as here in the ,madonna's hair72 and1 secondly1 the incomparable invention and delicacy with which he treated all accessory details and ornaments 7as here in the scarves and dresses74 ,but chiefly is the picture characteristic of his sentiment of ineffable melancholy1 of which it is hard to penetrate the sense1 and impossible to escape the spell4 ,it may help one in understanding the spirit of such pictures to remember that in ,botticelli there met in perfect poise the tenderness of ,christian feeling with the grace of the classical ,renaissance4 ,he was a ,greek reanimate4 ,the first ,greeks were distinguished from the barbarians by their simple humanity2 the second ,greeks--these ,florentine ,greeks reanimate--are human more strongly1 more deeply1 leaping from the ,byzantine death at the call of ,christ1 ',loose him1 and let him go4' ,and there is upon them at once the joy of resurrection and the solemnity of the grave#acj 7,ariadne ,florentina1 #afa2 and ,fors ,clavigera1 #ahgb1 xxii474 #bgf4 ,,two ,,apostles4 ,school of ,giotto4 ,see under #efh4 ,see also 7p4 xix7 ,here's ,giotto with his ,saints a-praising ,god1 ,that set us praising4 ,,browning4 ,these solemn heads seem to breathe the very spirit of the master2 but the history of the painting forbids the supposition that we have here the handiwork1 or even the direct influence of ,giotto4 ,it is a fragment from one of the wall-paintings in the chapel of ,st4 ,john the ,baptist in the church of ,s4 ,maria del ,carmine at ,florence4 ,the frescoes were not executed till #acej1 some years after the death of ,giotto4 ,the subject of the composition to which our fragment belongs was the burial of the ,baptist4 ,the history of these frescoes is typical of that of many a vicissitude1 and recalls the idea suggested in one of ,browning's ,dramatic ,lyrics1 in which the soul of the painter watches the gradual decay and dispersal of his life's work3-- ,wherever a fresco peals and drops1 ,wherever an outline weakens and wanes ,till the latest life in the painting stops1 ,stands ,one whom each fainter pulse-tick pains3 ,one1 wishful each scrap should clutch the brick1 ,each tinge1 not wholly escape the plaster1 --,a lion who dies of an ass's kick1 ,the wronged great soul of an ancient ,master4 ,this and two portions from other paintings of the series1 now in the institution at ,liverpool1 were saved from the fire which destroyed this chapel in #agga1 and became the property of ,mr4 ,thomas ,patch1 the engraver4 ,they were brought to ,england by ,mr4 ,townley4 ,this fragment was subsequently in the collection of the ,right ,hon4 ,c4 ,greville1 from whom it passed into the possession of ,mr4 ,rogers1 and at the sale of his pictures in #ahef was purchased for the ,national ,gallery4 ,some other fragments are preserved in the ,cappella dell' ,ammannati1 in the ,campo ,santo at ,pisa1 and one is in the town gallery at ,pavia4 #bgg4 ,,the ,,good ,,samaritan4 ,bassano 7,venetian3 #aeaj-aeib74 ,see #agc4 ,the wounded ,jew1 who had fallen among thieves1 is beneath the shadow of a great rock4 ,the ,levite is behind1 engaged in sanctimonious prayer4 ,the good ,samaritan is busy in good works4 ,he has brought out his flask and is raising the ,jew to place him on his mule4 ,the picture is of additional interest as having been a favourite with ,sir ,joshua ,reynolds1 to whom it once belonged1 and who is said to have kept it always in his studio4 ,it was afterwards in the collection of ,samuel ,rogers4 #bgh4 ,,the ,,triumph ,,of ,,julius ,c,,sar4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,one of the fruits of ,rubens's visit to ,italy4 ,this picture was in ,rubens's possession at his death1 and is described in the inventory as ,three cloathes pasted upon bord1 beinge the ,triumph of ,julius ,csar1 after ,andrew ,mantegna1 not full made4 ,mantegna's procession 7somewhat similar to the ,triumph of ,scipio1 ,no4 #ijb7 was painted for the ,duke of ,mantua1 and is now at ,hampton ,court4 ,any one who cares to see by a single illustration what classic purity of style means1 should compare ,mantegna's original with this transcript by ,rubens4 ,the ,flemish painter strives to add richness to the scene by ,bacchanalian riot and the sensuality of imperial ,rome4 ,his elephants twist their trunks1 and trumpet to the din of cymbals2 negroes feed the flaming candelabra with scattered frankincense2 the white oxen of ,clitumnus are loaded with gaudy flowers1 and the dancing maidens are dishevelled ,mnads4 ,but the rhythmic procession of ,mantegna1 modulated to the sound of flutes and soft recorders1 carries our imagination back to the best days and strength of ,rome4 ,his priests and generals1 captives and choric women1 are as little ,greek as they are modern4 ,in them awakes to a new life the spirit-quelling energy of the ,republic4 ,the painter's severe taste keeps out of sight the insolence and orgies of the ,empire2 he conceives ,rome as ,shakespeare did in ,coriolanus#aca 7,symonds's ,renaissance1 iii4 #bjj74 #bgi4 ,,the ,,horrors ,,of ,,war4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,mars1 leaving the temple of ,janus#acb open1 is held back by ,venus1 while ,europe bewails the inevitable miseries of war2 but he is drawn on by the ,fury ,alecto1 who is preceded by ,plague and ,famine2 the figure on the ground with the broken lute represents ,concord overthrown4 ,mars and the two female figures behind him are said to be the portraits of ,rubens and his two wives 7,official ,catalogue74 ,this is a sketch of the large picture painted by ,rubens in #afcg for his friend ,sustermans1 and now in the ,pitti palace at ,genoa4 ,this sketch1 with the preceding one1 was in the collection of ,mr4 ,rogers1 where ,ruskin saw it1 as recorded in the following extract from his autobiography1 in which he describes a lesson given to me by ,george ,richmond at one of ,mr4 ,rogers's breakfasts 7the old man used to ask me1 finding me always reverent to him1 joyful in his pictures1 and sometimes amusing1 as an object of curiosity to his guests71 date uncertain1 but probably in #ahdb3-- ,until that year1 ,rubens had remained the type of colour power to me1 and ,titian's flesh tints of little worth6 ,but that morning1 as ,i was getting talkative over the wild ,rubens's sketch 7,war or ,discord1 or ,victory or the ,furies1 ,i forget what71 ,richmond said1 pointing to the ,veronese beneath it1 ,why are you not looking at this--so much greater in manner8 ,greater--how8 ,i asked1 in surprise2 it seems to me quite tame beside the ,rubens4 ,that may be1 said ,richmond1 but the ,veronese is true1 the other wildly conventional4 ,in what way true8 ,i asked1 still not understanding4 ,well1 said ,richmond1 compare the pure shadows on the flesh in ,veronese1 and its clear edge1 with ,rubens's ochre and vermilion1 and outline of asphalt 7,praeterita1 ii4 #aha74 #bhj4 ,,the ,,madonna ,,of ,,the ,,pomegranate4 ,giovanni ,bellini 7,venetian3 #adbf-aeaf74 ,see #ahi4 ,a prophetic sense of the ,saviour's sufferings is signified by the symbol of the pomegranate-- ,pomegranate1 which1 if cut deep down the middle1 ,shows a heart within blood-tinctured1 of a veined humanity4 ,,mrs4 ,,browning3 ,lady ,geraldine's ,courtship4 ,years pass and change2 mother and child remain4 ,mother so proudly sad1 so sadly wise1 ,with perfect face and wonderful calm eyes1 ,full of a mute expectancy of pain3 ,child of whose love the mother seems so fain1 ,looking far off1 as if in other skies ,he saw the hill of crucifixion rise1 ,and knew the horror1 and would not refrain4 ,love in ,idleness 7#ahhc74 ,this picture1 which is signed by the painter1 probably dates from #adhe-hh4 #bha4 ,,st4 ,,jerome ,,reading4 ,marco ,basaiti 7,venetian3 painted #aejj-aeba74 ,basaiti--born in ,friuli2 according to some writers1 of ,greek parents--was assistant to ,alvise ,vivarini4 ,he was one of the early ,venetian painters in oils4 ,his works when well preserved are 7says ,sir ,f4 ,burton7 brilliant in colour1 and display great ability in the general management of the accessories1 especially in the landscape backgrounds1 which1 according to ,zanetti1 he contrived to unite with his figures more skilfully than his contemporaries4 ,the scenery1 says ,gilbert 7,cadore1 p4 #db71 is that of ,serravalle in ,titian's country--,serravalle1 the true gate of the hills1 with walls and towers rising steeply on the hill-side4 ,the way in which the old masters thus consigned their saints and anchorites to the hill-country is very typical of the medival view of landscape4 ,the idea of retirement from the world for the sake of self-mortification 444 gave to all mountain solitude at once a sanctity and a terror1 in the medival mind1 which were altogether different from anything that it had possessed in the un-,christian periods4444 ,just in so much as it appeared necessary for the noblest men to retire to the hill-recesses before their missions could be accomplished1 or their spirit perfected1 in so far did the daily world seem by comparison to be pronounced profane and dangerous2 and to those who loved that world and its work1 the mountains were thus voiceful with perpetual rebuke4444 ,and thousands of hearts1 which might otherwise have felt that there was loveliness in the wild landscape1 shrank from it in dread1 because they knew that the monk retired to it for penance1 and the hermit for contemplation 7,modern ,painters1 vol4 iii4 pt4 iv4 ch4 xiv4 #aj74 #bhb4 ,,the ,,glorification ,,of ,,the ,,virgin4 ,bertucci 7,umbrian3 #afth ,century74 ,formerly ascribed in the ,official ,catalogue to ,lo ,spagna 7for whom see under #ajcb72 by other critics attributed to ,giovanni ,battista of ,faenza1 called ,bertucci 7the monkey71 an artist who borrowed both from the ,umbrian ,school and from ,lorenzo ,costa4 ,the similarity between this picture and ,no4 #fbi1 by the latter artist1 especially in the playing angels at the foot of the throne1 is remarkable 7see ,richter's ,italian ,art in the ,national ,gallery1 p4 #eb74 ,works by ,bertucci are to be seen in the picture gallery of ,faenza4 ,the little angels are very pretty4 ,notice the three peering out from under the ,virgin's robe4 ,on the marble platform below one angel plays a white-headed pipe2 the other1 a six-stringed rebec1 which is very accurately represented4 #bhc4 ,,virgin ,,and ,,child ,,enthroned4 ,benozzo ,gozzoli 7,florentine3 #adbj-adih74 ,benozzo ,gozzoli was the favourite pupil of the angelical painter1 ,fra ,angelico4 ,from him ,benozzo borrowed the devotion in his pictures1 the bent of his own mind being altogether different4 ,it must be remembered that in nearly all the great periods of art the choice of subject has not been left to the painter2 444 and his own personal feelings are ascertainable only by watching1 in the themes assigned to him1 what are the points in which he seems to take most pleasure4 ,thus in the prolonged ranges of varied subjects with which ,benozzo ,gozzoli decorated the cloisters of ,pisa1 it is easy to see that love of simple domestic incident1 sweet landscape1 and glittering ornament1 prevails slightly over the solemn elements of religious feeling1 which1 nevertheless1 the spirit of the age instilled into him in such measure as to form a very lovely and noble mind1 though still one of the second order 7,modern ,painters1 vol4 iii4 pt4 iv4 ch4 iii4 #h74 ,the earlier works of ,benozzo are entirely in ,fra ,angelico's manner4 ,his later style 7of which an example may be seen in ,no4 #eia7 presents the greatest contrast to that master2 for ,benozzo is the first of all the ,florentine painters who seem to have been smitten with the beauty of the natural world and its various appearances4 ,his later pictures overflow with the delighted sense of this beauty4 ,he was the first to create rich landscape backgrounds1 with cities1 villas1 and trees1 rivers1 and richly-cultivated valleys1 bold rocks and hills4 ,he displays the richest fancy for architectural forms1--open porticoes1 elegant arcades1 and balconies4 ,in the representation of the human figure1 we find gaiety and whim1 feeling and dignity1 in the happiest combination 7,layard74 ,like other painters of the time ,benozzo began his career as a worker in metal1 and his name is found amongst the artificers who assisted ,ghiberti in making the celebrated gates for the ,baptistery at ,florence4 ,he next entered the school of ,fra ,angelico1 accompanying his master to ,rome and ,orvieto4 ,in #adei he was employed to decorate the walls of the small chapel in the ,medici1 now ,riccardi ,palace1 and here he first gave rein to his own fancies4 ,copies from these frescoes are included in the ,arundel ,society's collection1 as well as from those in the church of ,s4 ,agostino at ,s4 ,gimignano1 where ,benozzo was next employed4 ,the chief work of his life was1 however1 the painting of the ,campo ,santo at ,pisa4 ,this occupied him from #adfi-adhe4 ,twenty-one of the frescoes were by his own hand4 ,they are much injured2 for when any dignitary of ,pisa was to be buried1 they peeled off some ,benozzo ,gozzoli and put up a nice new tablet to the new defunct 7,praeterita1 vol4 ii4 ch4 vi41 where ,ruskin gives a charming account of happy days spent in copying ,benozzo's work74 ,these frescoes are remarkable for their wealth of fancy and picturesque detail4 ,the ,pisans themselves were so well pleased that they presented the painter in #adgh with a tomb1 that his body might repose amidst the great works of his life4 ,he died at ,pisa twenty years later4 ,this was a picture painted very much to order4 ,the figure of the ,virgin was specially directed--so it appears from the original contract1 dated #adfa1 still in existence--to be made similar in mode1 form1 and ornaments to one by ,fra ,angelico1 now in the ,florentine ,academy1 and it was also stipulated that the said ,benozzo shall at his own cost diligently gild the said panel throughout1 both as regards figures and ornaments4 ,the prices paid for such commissions in those days may be judged from the fact that in the case of his great frescoes at ,pisa1 ,benozzo contracted to paint three a year for #aj ducats each 7 say #ajj74 ,as for ,benozzo's own personal feelings1 it is easy to see with what pleasure he put in the pretty flowers in the foreground for ,st4 ,francis1 and the sweet-faced angels behind the throne1 and with what gusto he shot the gold in their draperies4 ,the figure on our extreme left is ,st4 ,zenobius4 ,his embroidered cope is very rich4 ,the details of needlework in the picture will well repay careful study4 ,compared with all this1 the kneeling ,st4 ,jerome and ,st4 ,francis and the other saints appear somewhat perfunctory4 ,notice1 too1 the bright goldfinches on the alabaster steps1 introduced1 we may suppose1 in honour of ,sweet ,st4 ,francis of ,assisi1 would that he were here again6 ,he that in his ,catholic wholeness used to call the very flowers ,sisters1 brothers--and the beasts--whose pains are hardly less than ours6 #bhd4 ,,madonna ,,and ,,child4 ,bartolommeo ,vivarini 7,venetian3 painted #adej-adii74 ,bartolommeo ,vivarini of ,murano was the younger brother of ,antonio 7see #gfh71 with whom he began to work in partnership in #adej--;as is shown by the inscription on the great altar-piece by the two brothers1 now in the ,pinacoteca of ,bologna4 ,bartolommeo appears to have studied at ,padua1 and the influence of ,squarcione is manifest in the painter's striving after correctness of form4 ,the ornate character of his altar-pieces1 with gold heightening1 garlands of fruit and flowers and fluttering fillets1 is also borrowed from the ,paduans1 and lends festal pomp and solemnity to the whole4 ,of ,bartolommeo ,vivarini it is recorded that he painted 7in #adgc7 the first oil picture that was exhibited in ,venice4 ,this one1 however1 is in tempera4 ,the figures in ,bartolommeo's pictures are still hard in outline1--thin 7except the ,madonna's throat1 which always in ,venice1 is strong as a pillar71 and much marked in sinew and bone 7studied from life1 mind you1 not by dissection72 exquisitely delicate and careful in pure colour2--in character portraits of holy men and women1 such as then were4 ,there is no idealism here whatever4 ,monks and nuns had indeed faces and mien like these saints1 when they desired to have the saints painted for them 7,guide to the ,venetian ,academy1 p4 #f74 #bhe4 ,,madonna ,,and ,,child4 ,francesco ,morone 7,veronese3 #adgc-aebi74 ,francesco is one of the best masters in the earlier style of the ,veronese ,school4 ,he was the son of ,domenico ,morone 7#abaa71 the friend and fellow-worker of ,girolamo dai ,libri 7#gdh7 and the master of ,morando 7#gce74 ,his works are rarely to be seen out of ,verona1 but the present picture is characteristic4 ,at ,verona1 his best work in fresco is to be seen in the decoration of the sacristry of ,s4 ,maria in ,organo1 described by ,vasari4 ,among his altar-pieces1 one in the same church and another in ,s4 ,bernardino are specially noteworthy4 ,there is1 says ,sir ,f4 ,burton1 something peculiarly winning in the type chosen for the ,madonna by this painter4 ,the small1 round1 delicately-featured head1 slightly thrown back1 so that the eyes are cast down towards the worshipper1 conveys a mingled impression of sweetness and dignity4 ,the finish of his easel pictures is remarkable2 the eye is delighted by the intricate variegation of costly stuffs1 where numerous tints broken together resemble what nature has wrought on the wings of some moths and butterflies4 ,such broken surfaces give additional value to the masses of whole colour where these more sparingly appear4 ,that the artist himself was of a harmless1 lovable nature is evident from his will which we still possess1 and ,vasari's judgment is to the same effect when he calls him 'so good a man1 so religious and so orderly that no word which was not a praiseworthy one was ever known to proceed from his mouth' 7,richter74 ,vasari adds that he was buried in the church of ,san ,domenico beside his father1 and was borne to his grave clothed as he had desired to be1 in the vestments of a monk of ,san ,francesco4 ,a youthful production1 in which glowing colour1 delicately balanced1 is combined with fine drawing and powerful modelling4 ,characteristic are the regular oval of the ,madonna's head and the look of simplicity and charm which breathes in the features 7,dr4 ,richter in ,art ,journal1 ,feb4 #ahie74 #bhf4 ,,virgin ,,and ,,child4 ,francesco ,tacconi 7,cremonese3 painted #adfd-adij74 ,the only signed picture by this painter still in existence4 ,he was a native of ,cremona and worked there3 he and his brother pleased the ,cremonese so much by painting in the ,town ,hall that the artists were given an exemption from taxes4 ,but he may be classed as a ,venetian1 for he was an imitator of ,giovanni ,bellini4 ,this picture at once recalls ,bellini's ,no4 #bhj1 and is in fact a copy of a ,madonna by that painter in the ,chiesa degli ,scalzi at ,venice4 #bhg4 ,,ludovico ,,martinengo4 ,bartolommeo ,veneziano 7painted #aeje-aecj74 ,the ,martinengo family seems to have patronised this painter1 as the ,senator ,count ,martinengo1 of ,venice1 possesses as an heirloom a small picture by the master which is signed ,bartolommeo mezzo ,veneziano e mezzo ,cremonese4 ,the present picture 7dated #aecj7 is signed ,bartolom4 ,venetus1 so that he was perhaps a ,cremonese by birth and a ,venetian by artistic training1 being probably a pupil of ,giovanni ,bellini 7see ,morelli's ,italian ,works in ,german ,galleries1 p4 #ach74 ,a portrait of a young man1 at the age of twenty-six 7as the inscription tells us71 in the costume of the ,campagnia della ,calza 7the guild of the stocking74 #bhh4 ,,the ,,virgin ,,and ,,child1 ,,michael ,,and ,,raphael4 ,pietro ,perugino#acc 7,umbrian3 #addf-aebc74 ,pietro ,vannucci1 a native of ,castello della ,pieve1 was called ,perugino1 from the town of which he afterwards became a citizen4 ,his earliest master was probably ,fiorenzo di ,lorenzo1 and he is known to have also worked under ,piero della ,francesca4 ,afterwards he went to ,florence1 where1 it is said1 he studied with ,leonardo da ,vinci under the sculptor ,verrocchio4 ,there is1 however1 no trace of any such discipleship in his works1 which1 on the contrary1 show an untouched development of native ,umbrian art1 so that ,perugino becomes the typical representative of what ,ruskin calls the purist ideal4 ,it is probable that his first visit to ,florence was not paid till he was already established in independent practice4 ,he there remained1 says ,vasari1 for many months without even a bed to lie on1 and miserably took his sleep upon a chest2 but1 turning night into day1 and labouring without intermission1 he devoted himself most fervently to the study of his profession4 ,and in time he became himself a famous master1 with ,raphael for his pupil1 and he attained to such a height of reputation that his works were dispersed1 not only through ,florence and all over ,italy1 but in ,france1 ,spain1 and other countries4 ,he was himself too of a roving disposition1 and he multiplied his engagements beyond his power of fulfilling them4 ,in #adge he received his first public commission at ,perugia1 but the frescoes then painted for the ,palazzo ,communale have perished4 ,in #adhj he was employed by the ,pope ,sixtus ,,iv41 together with ,signorelli and ,botticelli1 to cover the walls of the ,sixtine ,chapel with frescoes4 ,of the four allotted to ,perugino 7which occupied him in part for six years7 three were afterwards destroyed to make room for ,michael ,angelo's ,last ,judgment2 the fourth1 the ,delivery of the ,keys to ,st4 ,peter1 remains4 ,perugino's subsequent movements are not easy to follow1#acd and we can only here allude to some of his most famous works4 ,in #adid he was at ,venice1 and in the same year painted his very beautiful altar-piece in ,s4 ,agostino at ,cremona4 ,in #adie he contracted to paint for the monks of ,cassino the noble ,assumption now at ,lyons4 ,in #adif he painted for the ,cathedral of ,perugia1 the famous ,sposalizio1 now at ,caen4 ,to the same period in his career belongs the picture now before us1 painted for the ,certosa of ,pavia4 ,down to about #adic1 ,perugino's easel pictures were executed in tempera 7see #aha72 he then adopted the new oil medium1 which he used to such splendid effect in richness of colour4 ,in #adii he was at ,perugia1 engaged upon the beautiful frescoes in the ,hall of the ,bankers 7,collegio del ,cambio74 ,he was afterwards in ,florence1 but in #aeje returned to ,perugia1 where in #aejg he painted the altar-piece1 ,no4 #ajge in our gallery4 ,in his later years he erected a large studio in which several scholars were employed to execute commissions from his designs1 and the works of this period show considerable inequality of execution1 as well as repetition of design1 and some falling off in richness of colouring4 ,according to ,vasari's gossip ,perugino was very careful of his money--as one who had seen such hard times might well be2 would only paint for cash down1 and on all his wanderings carried his money box with him4 ,when it is fair weather1 he used to say1 a man must build his house1 that he may be under shelter when he most needs it4 ,it was not1 however1 till middle life that he did literally build himself a house4 ,at the same time he married a very beautiful girl1 and is said to have had so much pleasure in seeing her wear becoming head-dresses that he would spend hours together in arranging that part of her toilet with his own hands4 ,there is a tradition that she was the model for the angel who accompanies ,tobias in our picture4 ,the master was still painting in his #ggth year1 and was engaged on a fresco at ,frontignano 7now in this gallery1 ,no4 #adda71 when he was carried off by the plague4 ,the most famous of his pupils was ,raphael2 among the rest1 the most accomplished were ,giovanni lo ,spagna 7#ajcb71 and ,giannicola ,manni 7#aaid74 ,perugino's work is well represented in the ,national ,gallery1 and its several characteristics are pointed out under the pictures themselves 7cf4 especially #aha and #ajge74 ,he was1 as we have said1 the typical representative of the purist ideal4 ,his technical supremacy set the seal of perfection upon pietistic art1 and the masterpiece before us is unique for its combination of warmth of colour1 with the expression of religious fervour4 ,what this artist seems to have aimed at1 was to create for the soul1 amid the pomps and passions of this world1 a resting-place of contemplation tenanted by saintly and seraphic beings4 ,of his life as reflected in his work1 ,ruskin gives this summary3 ,a sound craftsman and workman to the very heart's core4 ,a noble1 gracious1 and quiet labourer from youth to death1--never weary1 never impatient1 never untender1 never untrue4 ,not ,tintoret in power1 not ,raphael in flexibility1 not ,holbein in veracity1 not ,luini in love1--their gathered gifts he has1 in balanced and fruitful measure1 fit to be the guide1 and impulse1 and father of all 7,ariadne ,florentina1 #gb74 ,but ,perugino1 like the times in which he lived1 presents a study in contradictions4 ,this idealist painted his portrait in the ,sala del ,cambio2 it is an unsurpassed piece of realism1 and the hard1 unsympathetic features do not belie1 but rather win credence for ,vasari's tales about his sordid soul4 ,he never deviated in his art from the pietistic path he had chosen2 but according to ,vasari#ace 7whose statements on this point are supported by some other evidence71 he was himself an unbeliever1 and on his death-bed rejected the last sacraments4 ,in his art he is essentially a quietist4 ,he is not successful when he represents action or movement4 ,his ideal is of quiet rapture1 and sacred peace4 ,but the criminal records of ,florence prove that he was not over-scrupulous to keep his hands from violence1 and in the civil courts he pursued ,michael ,angelo with equal indiscretion and ill-success for defamation of character4 ,his pictures reflect the landscape1 but not the fortunes1 of his native country3 that the quietism of ,perugino should have been fashionable in ,perugia1 while the ,baglioni were tearing each other to pieces1 and the troops of the ,vitelli and the ,borgia were trampling upon ,umbria1 is one of the most striking paradoxes of an age rich in dramatic contradictions 7,symonds's ,renaissance1 iii4 #bah74 ,one of the most valuable pictures in the ,gallery alike for its own beauty and for its interest in the history of art4 ,for ,perugino is the final representative of the old superstitious art1 just as ,michael ,angelo and ,raphael 7in his later manners7 were the first representatives of the modern scientific and anatomical art2 the epithet bestowed on ,perugino by ,michael ,angelo1 goffo nell' arte 7dunce1 or blockhead1 in art71 shows how trenchant the separation is between these two forms of artists4 ,one may notice1 then1 in this picture as a perfect example of the earlier art3 ,first1 that everything in it is dainty and delightful1 and all that it attempts is accomplished4 ,michael ,angelo1 dashing off his impetuous thoughts1 left much of his work half done 7see #gij72 ,perugino worked steadily in the old ways and indeed repeated ideas with so little reflection that1 according to ,vasari1 he was blamed for doing the same thing over and over again4 ,but everything is finished1 even to the gilding of single hairs4 ,notice also the beautiful painting of the fish4#acf ,secondly1 it is a work in the school of colour1 as distinguished from the school of light and shade4 ,clear1 calm1 placid1 perpetual vision1 far and near2 endless perspicuity of space1 unfatigued veracity of eternal light1 perfectly accurate delineation of every leaf on the trees and every flower in the fields 7notice especially in the foreground the blue flower fit for paradise of the central compartment74 ,there is no darkness1 no wrong4 ,every colour is lovely1 and every space is light4 ,the world1 the universe1 is divine2 all sadness is a part of harmony2 and all gloom a part of peace4 ,in connection with the lovely blue in the picture 7which was painted in #adid-ih for the ,certosa of ,pavia71 one may remember the story told of an earlier picture1 how the prior of the convent for which ,perugino was painting doled out to him the costly colour of ultramarine1 and how ,perugino1 by constantly washing his brushes1 obtained a surreptitious hoard of the colour1 which he ultimately restored to shame the prior for his suspicions4 ,thirdly1 in its rendering of landscape1 the picture is characteristic of the purism of older art as compared with the later naturalism4 ,the religious painters impress on their landscape perfect symmetry and order1 such as may seem1 consistent with the spiritual nature they would represent4 ,the trees grow straight1 equally branched on each side1 and of slight and feathery frame4 ,the mountains stand up unscathed2 the waters are always waveless1 the skies always calm4#acg ,notice also that the sentiment of the whole picture is like its landscape2 there is no striving1 nor crying1 no convulsive action2 it is all one pure passage of intense feeling and heavenly light1 holy and undefiled1 glorious with the changeless passion of eternity--sanctified with shadeless peace4 ,notice lastly1 how in this1 as in many sacred compositions1 a living symmetry1 the balance of harmonious opposites1 is one of the profoundest sources of their power4 ,the ,madonna of ,perugino in the ,national ,gallery1 with the angel ,michael on one side and ,raphael on the other1 is as beautiful an example as you can have 7,elements of ,drawing1 p4 #beh74 ,the subject of the right-hand compartment is ,raphael and ,tobias 7for which see #gha72 that of the left-hand one is the orderer of ,christian warfare1 ,michael the ,archangel2 not ,milton's 'with hostile brow and visage all inflamed'2 not even ,milton's in kingly treading of the hills of ,paradise2 not ,raphael's with expanded wings and brandished spear2 but ,perugino's with his triple crest of traceless plume unshaken in heaven1 his hand fallen on his crossleted sword1 the truth-girdle binding his undinted armour2 ,god has put his power upon him1 resistless radiance is on his limbs2 no lines are there of earthly strength1 no trace on the divine features of earthly anger2 trustful and thoughtful1 fearless1 but full of love1 incapable except of the repose of eternal conquest1 vessel and instrument of ,omnipotence1 filled like a cloud with the victor light1 the dust of principalities and powers beneath his feet1 the murmur of hell against him heard by his spiritual ear like the winding of a shell on the far-off sea-shore4 ,he is thus armed as the orderer of ,christian warfare against evil2 in his other character1 as lord of souls1 he has the scales which hang on a tree by his side 7,ariadne ,florentina1 pp4 #dj1 #bfe1 #bff2 ,on the ,old ,road1 i4 #ebi2 ,modern ,painters1 vol4 ii4 pt4 iii4 sec4 i4 ch4 x4 #d2 sec4 ii4 ch4 v4 #bj47 #bhi4 ,,the ,,night ,,watch4 ,gerrit ,lundens 7,dutch3 #afbb-afgg74 ,this is a copy1 on a greatly reduced scale1 of the famous picture by ,rembrandt 7painted in #afdb71 now in the ,state-,museum at ,amsterdam4 ,it is of interest as showing the pristine condition of its great original1 which in the earlier part of the eighteenth century was maltreated on all four sides1 and thereby shorn of some of its figures in order to suit the dimensions of a room to which it was at that time removed4 ,the picture had so darkened by time or neglect1 that it came to be called ,the ,night ,watch4 ,the real subject is the march out of a company of the ,amsterdam ,musketeers from their ,headquarters' ,hall1 under the command of their captain1 ,frans ,banning ,cocq1 who is seen advancing in the centre and giving orders to his lieutenant4 ,the principal figures are all portraits1 and the names were written on the back of the picture4 ,our copy was painted for ,cocq himself1 and after many vicissitudes reached ,england at the beginning of the nineteenth century4 #bij4 ,a ,,man',s ,,portrait 7dated #adcb74 ,jan van ,eyck 7,early ,flemish3 about #acij-addj74 ,see #ahf4 ,a portrait of a friend of the artist1 for it is inscribed ,leal ,souvenir--and a true recollection it obviously is1 and was the more acceptable1 one likes to think1 for being so4 ,it is not the untrue imaginary ,picture of a man and his work that ,i want1 444 but the actual natural ,likeness1 true as the face itself1 nay1 truer in a sense1 ,which the ,artist1 if there is one1 might help to give1 and the ,botcher never can 7,carlyle1 ,friedrich74 #bia4 ,,portrait ,,of ,a ,,girl4 ,lucas ,cranach 7,german3 #adgb-aeec74 ,lucas ,sunder 7or possibly ,mller71 called ,cranach from his native place1 was one of the chief of the ,german painters1--after ,drer1 the most famous artist of his day4 ,he was the close friend of ,martin ,luther1 whose features he several times represented4 ,he may indeed be called the painter of the ,german ,reformation1 and in his later works the reformed doctrines receive symbolical illustration4 ,the influences of the ,renaissance were also at work in his art1 as may be seen in his classical subjects4 ,he was fond also of drawing birds and animals1 and he often depicted hunting scenes4 ,these he rendered with a realism of effect which won the admiration of his princely employers4 ,it was1 however1 as a portrait-painter that he was chiefly employed4 ,his engravings were also very numerous4 ,in the lower left-hand corner of the picture before us1 a crowned serpent will be noticed4 ,this was the arms granted to him in #aejh by the ,elector of ,saxony1 and it superseded his initials on all his pictures after that date4 ,of ,cranach's earlier years1 little is known4 ,in #aejd he was established at ,wittenburg as court-painter to ,frederick the ,wise1 a post which he occupied under the next two ,electors as well4 ,he was a man of importance at ,wittenburg1 for he was twice mayor of the town1 and carried on there1 besides large art workshops1 a book-printing business and an apothecary's shop4 ,he was also employed in diplomatic missions1 and when the ,elector ,frederick the ,magnanimous was in captivity at ,augsburg1 ,cranach was instrumental in procuring his release from the ,emperor ,charles ,v41 whose portrait had in earlier years been taken by our painter4 ,his female portraits have a sort of nave grace that renders them very pleasing4 ,there is one in the ,national ,gallery1 of a young girl in elaborate costume1 which is entirely characteristic 7,bryan's ,dictionary of ,painters74 #bib4 ,,martyrdom ,,of ,,st4 ,,sebastian4 ,antonio ,pollajuolo 7,florentine3 #adbi-adih74 ,this picture is expressly ascribed by ,vasari to ,antonio alone4 ,on the other hand1 ,albertini1 an earlier authority 7#aeaj71 ascribes it to ,piero1 the younger brother of ,antonio4 ,it is known that many pictures were the joint production of both brothers--,antonio furnishing the design1 and ,piero putting it into colour4 ,in the ',st4 ,sebastian1' says ,sir ,f4 ,burton1 we probably have a work so produced2 the severe and strenuous drawing of the elder brother1 the sculptor and toreuta by profession1 is visible throughout2 whether he shared in the painting1 and if he did1 to what extent1 may remain an open question4 ,antonio ,pollajuolo 7the poulterer1--so called from his grandfather's trade7 is an interesting man from two points of view3 first1 as an instance of the union of the arts in old times2 for he was a working goldsmith and engraver as well as a sculptor and painter4 ,he took to painting comparatively late in life1 desiring1 says ,vasari1 for his labour a more enduring memory than belongs to works of the goldsmith's art2 and his brother ,piero being a painter1 he joined himself to him for the purpose of learning the modes of proceeding in painting4 ,he acquired a knowledge in the course of a few months and became an excellent master4 ,he became1 indeed1 an excellent draughtsman1 but neither harmony of colours nor grace was the strong point of this master 7,morelli's ,italian ,masters in ,german ,galleries1 p4 #cea74 ,in #adhd ,antonio was invited to ,rome by ,pope ,innocent ,,viii41 and executed some important monumental works in ,st4 ,peter's4 ,his brother died in #adif2 ,antonio1 two years later4 ,the two brothers were buried in ,s4 ,pietro in ,vincoli1 where busts of them may be seen4 ,antonio is interesting1 in the second place1 for the developments he introduced into ,italian painting4 ,he was one of the first of the ,florentines to adopt an oil medium1 and the first 7says ,vasari7 who had recourse to the dissection of the dead subject4 ,to him1 therefore1 ,ruskin attributes a baleful influence4 ,the virtual beginner of artistic anatomy in ,italy was a man called 'the poulterer'--,pollajuolo1 a man of immense power1 but on whom the curse of the ,italian mind in this age was set at its deepest4 ,see the horrible picture of ,st4 ,sebastian by him in our ,national ,gallery4 ,he was the beginner of those anatomical studies1 continues ,ruskin1 which1 pursued and established by later masters1 polluted their work with the science of the sepulchre1 and degraded it with presumptuous and paltry technical skill4 ,foreshorten your ,christ1 and paint ,him1 if you can1 half-putrefied--that is the scientific art of the ,renaissance 7,ariadne ,florentina1 ,appendix ,,iv474 ,how popular this scientific art was in its day may be seen from the following enthusiastic account which ,vasari gives of this picture3-- ,a remarkable and admirably executed work1 with numerous horses1 many undraped figures1 and singularly beautiful foreshortenings4 ,this picture likewise contains the portrait of ,st4 ,sebastian himself1 taken from the life--from the face of ,gino di ,ludovico ,capponi1 that is4 ,the painting has been more extolled than any other ever executed by ,antonio4 ,he has evidently copied nature in this work to the utmost of his power1 as we perceive more particularly in one of the archers1 who1 bending towards the earth1 and resting his weapon against his breast1 is employing all the force of a strong arm to prepare it for action2 the veins are swelling1 the muscles strained1 and the man holds his breath as he applies all his strength to the effort4 ,nor is this the only figure executed with care2 all the others are likewise well done1 and in the diversity of their attitudes give clear proof of the artist's ability and of the labour bestowed by him on his work2 all which was fully acknowledged by ,antonio ,pucci1 who gave him three hundred scudi for the picture1 declaring at the same time that he was barely paying him for the colours4 ,this work was completed in the year #adge4 ,the dominant motive in the picture is1 it will be seen1 interest in the mechanism of the human body2 notice especially the muscles of the executioners' legs and their efforts in stretching their bows4 ,there are1 however1 other points worthy of notice4 ,the work is not less remarkable for the extent and variety of the landscape1 and for the sense of aerial1 as distinct from mere linear1 perspective4 ,instead of standing up like a wall behind the figures it appears to recede to the horizon1 as in nature4 ,the study of the remains of classical art also is betrayed by the introduction of one of the ,roman monumental arches in the background4 ,the groups of soldiers and horses introduced at different distances further attest the variety of the designers' interests 7,monkhouse3 ,in the ,national ,gallery1 #ahid1 p4 #gg74 #bic4 ,,virgin ,,and ,,child3 ,,sts4 ,,jerome ,,and ,,dominic4 ,filippino ,lippi 7,florentine3 #adeg-aejd74 ,filippo ,lippi1 the younger 7called ,filippino to distinguish him from his father71 was the son of ,fra ,filippo ,lippi 7see #fff71 and the nun1 ,lucrezia ,buti4 ,in his will1 ,filippino left an annual provision of corn1 wine1 oil1 and other necessaries to his beloved mother ,lucrezia1 daughter of ,francesco ,buti4 ,there is perhaps no other case in art-history of father and son attaining such nearly equal excellence as did the two ,lippis4 ,owing to his father's death when ,filippino was still a boy1 the latter became the pupil of ,botticelli1 and so good a pupil was he that the critics are often in doubt1 as explained in the footnote1 to which master to ascribe pictures4#ach ,the genius of ,filippino seems to have been the more gentle1 that of ,botticelli the more impetuous4 ,the grace and charm of ,filippino are nowhere better shown than in the ,vision of ,st4 ,bernard1 in the church of the ,badia at ,florence--a work executed when he was about #bc4 ,a copy of it is in the ,arundel ,society's collection4 ,the pictures in our ,gallery which are indubitably by ,filippino 7namely1 this picture and #ibg71 show the same quiet beauty4 ,filippino was also employed upon important frescoes--in the ,branacci ,chapel1 in ,sta ,maria ,novella1 and 7at ,rome7 in ,sta ,maria ,sopra ,minerva2 in these works he shows great skill in composition1 appropriate action1 and refined feeling4 ,filippino lived a busy and a blameless life2 and the peace and beauty of his pictures were a reflection of his character4 ,having been ever courteous1 obliging1 and friendly1 ,filippino was lamented1 says ,vasari1 by all who had known him1 but more particularly by the youth of ,florence1 his native city2 and when his funeral procession was passing through the streets1 the shops were closed1 as is done for the most part at the funerals of princes only4 ,this picture is identified by the arms of the ,rucellai family below1 as the one described by ,vasari as executed in the church of ,san ,pancrazio for the chapel of the ,rucellai family4 ,after the suppression of the church1 it was removed to the ,palazzo ,rucellai until it was purchased for the ,national ,gallery4 #bid4 ,,the ,,family ,,of ,,darius4 ,paolo ,veronese 7,veronese3 #aebh-aehh74 ,see #bfj4 ,this picture--the most precious ,paul ,veronese1 says ,ruskin1 in the world--is1 according to another critic1 in itself a school of art1 where every quality of the master is seen in perfection--his stately male figures1 his beautiful women1 his noble dog1 and even his favourite monkey1 his splendid architecture1 gem-like colour1 tones of gold and silver1 sparkling and crisp touch1 marvellous facility of hand and unrivalled power of composition4#aci ,the glowing colour is what strikes one first2 and next the dignity1 life1 and ease of the principal persons represented4 ,it is a splendid example too of what the historical pictures of the old masters were4 ,the scene represented is that of the ,macedonian conqueror1 ,alexander the ,great1 surrounded by his generals1 receiving the submission of the family of the defeated ,persian ,king ,darius2 but in his treatment of the scene1 ,veronese makes it a piece of contemporary ,venetian life4 ,it is a constant law that the greatest men1 whether poets or historians1 live entirely in their own age4444 ,dante paints ,italy in the thirteenth century2 ,chaucer1 ,england in the fourteenth2 ,masaccio1 ,florence in the fifteenth2 ,tintoret1 ,venice in the sixteenth2--all of them utterly regardless of anachronism and minor error of every kind1 but getting always vital truth out of the vital present4444 ,tintoret and ,shakespeare paint1 both of them1 simply ,venetian and ,english nature as they saw it in their time1 down to the root2 and it does for all time2 but as for any care to cast themselves into the particular ways and tones of thought or custom of past time in their historical work1 you will find it in neither of them1 nor in any other perfectly great man that ,i know of 7,modern ,painters1 vol4 iii4 pt4 iv4 ch4 vii4 #ai1 #bj74 ,thus here ,veronese simply paints a group of living ,venetians of his time1#adj dog1#ada monkey and all4 ,alexander1 in red armour1 is pointing to his friend ,hephaestion1 who stands a little behind on his left1 and whom the captives had at first mistaken for the king4 ,the queen-mother implores his pardon1 but ,alexander tells her that she has not erred1 for that ,hephaestion is another ,alexander4 ,the principal figures representing these different characters are1 however1 all contemporary portraits of the ,pisani family1#adb it is said1 for whom the picture was painted1 and in choosing this scene of ,alexander in one of his best moments ,veronese was expressing his ideal of ,venetian nobility and refinement4 ,the greatest portrait painters1 says ,ruskin1--,titian1 ,veronese1 ,velazquez1 and ,raphael1--introduce the most trenchant1 clear1 and complete backgrounds4 ,indeed1 the first three so rejoiced in quantity of accessories1 that1 when engaged on important portraits1 they would paint large historical pictures merely by way of illustration or introduction4 ,the priceless ,veronese1 ',the ,triumph of ,alexander1' was painted only to introduce portraits of the ,pisani2 and chiefly to set off to the best advantage the face of one fair girl 7,academy ,notes1 #aheg1 p4 #cg74 ,so too the dresses to which the picture owes so much of its splendour1 are the ,venetian dresses of the period4 ,it may be interesting to remark that something of the magnificence in the picture itself attaches also to the circumstances of its painting4 ,veronese having been detained by some accident at the ,pisani ,villa at ,este1 painted this work there1 and left it behind him1 sending word that he had left wherewithal to defray the expense of his entertainment4 ,as the ,pisani family ultimately sold it to the ,national ,gallery in #aheg for #ac1fej1 ,veronese's words were decidedly made good4 ,it may be interesting to add that the negotiations for its purchase extended over nearly four years4 ,vast sums had been offered for the picture in former centuries1 and within the previous thirty years sovereigns1 public bodies1 and individuals had all been competing for it4 ,some of the fame of the picture is due to its splendid preservation4 ,rumohr speaks of it as perhaps the only existing criterion by which to estimate the original colouring of ,paul ,veronese4 ,the lakes1 for instance1 in the crimson cuirass and dress of ,alexander1 which form such a magnificent feature in the composition1 are1 says ,sir ,edward ,poynter1 as fresh as when first painted1 as1 indeed1 is the whole picture4 ,james ,smetham1 in one of his eloquent letters1 refers to this work in #aheh1 in illustration of the enduring qualities of a painter's flying touches--touches destined to live in hours and moments when you have fled beyond all moments into the unembarrassed calm of eternity3-- ,paul ,veronese1 three hundred years ago1 painted that bright ,alexander1 with his handsome1 flushed ,venetian face1 and that glowing uniform of the ,venetian general which he wears2 and before him1 on their knees1 he set those golden ladies1 who are pleading in pink and violet2 and there he is1 and there are they1 in our ,national ,gallery2 he1 flushed and handsome--they1 golden and suppliant as ever4 ,it takes an oldish man to remember the comet of #ahaa4 ,who remembers ,paul ,veronese1 nine generations since8 ,but not a tint of his thoughts is unfixed1 they beam along the walls as fresh as ever4 ,saint ,nicholas stoops to the ,angelic ,coronation 7#bf71 and the solemn fiddling of the ,marriage at ,cana is heard along the silent galleries of the ,louvre4 7,heard melodies are sweet1 but those unheard are sweeter7--yes1 and will be so when you and ,i have cleaned our last palette1 and in the darkness over us1 the four-handed mole shall scrape4 #bje4 ,,our ,,saviour ,,and ,,the ,,virgin4 ,quentin ,metsys 7,flemish3 #adfj-aecj74 ,metsys--whose name appears also in the forms ,matsys1 ,massys1 and ,messys--was the first of the great ,antwerp painters and the last who remained faithful to the traditions of the early ,flemish school4 ,the gold background here recalls the earliest ,flemish pictures in the ,gallery4 ,he retained1 says ,sir ,f4 ,burton1 the technical method introduced by the ,van ,eycks1 but with a softer and broader handling1 and with a wonderfully subtle modelling which gave perfect relief and rounding without dark shadows4 ,among the most important monuments of his skill are the large altar-pieces in the public galleries of ,brussels and ,antwerp respectively4 ,there are in other galleries pictures similar to the two figures here before us4 ,metsys was also fond of depicting merchants or money-changers counting their gains--a subject imitated by ,marinus van ,romerswael 7see #idd74 ,metsys was a native of ,antwerp1 and a person of consequence in his native town4 ,a romantic legend was formerly associated with his name4 ,he was1 it is said1 a locksmith1 but became a painter to obtain the consent of his wife's father to his marriage4 ,hence the inscription--connubalis amor de mulcibre fecit ,apellem4 ,but this story1 it now appears1 belongs to another ,metsys1 of ,louvain4 ,our painter was twice married4 ,portraits of himself and his second wife are in the ,uffizi at ,florence4 ,these figures are remarkable for their serenity and dignity4 ,characteristic also is the care lavished on the jewellery and edgings4 ,the figure of our ,saviour somewhat resembles the ,salvator ,mundi of ,antonella da ,messina 7#fgc7--the ,italian painter who introduced the ,flemish influence to his country4 #bif4 ,,the ,,virgin ,,adoring ,,the ,,infant ,,christ4 ,florentine ,school 7#aeth ,century74 ,see also 7p4 xix7 ,the authorship of this picture and of ,no4 #gha1 which must be by the same hand1 is one of the unsolved problems of art criticism4 ,it has at different times been ascribed to ,domenico ,ghirlandajo1 to ,antonio ,pollajuolo1 to the school of ,piero ,pollajuolo1 to ,verrocchio1 and to an unknown master in the school of the last-mentioned painter4 ,sir ,f4 ,burton said1 ,if not by ,verrocchio1 it must be the work of one of his most distinguished pupils4 ,sir ,edward ,poynter says1 ,this picture has all the characteristics of ,andrea del ,verrocchio's best work1 and is probably by that painter2 but the small number of works that can with certainty be ascribed to him renders the attribution uncertain4 ,andrea del ,verrocchio 7#adce-adhh7 was the sculptor of the celebrated equestrian statue of ,bartolommeo ,colleoni at ,venice1 than which1 says ,ruskin1 ,i do not believe that there is a more glorious work of sculpture existing in the world 7,stones of ,venice1 vol4 iii4 ch4 ,i1 #bb74 ,as a painter ,verrocchio was for a time the master of ,leonardo da ,vinci1 who painted the figure of an angel in ,verrocchio's ,baptism of ,christ 7in the ,florentine ,academy74 ,this figure1 says ,vasari 7ii4 #bee71 was so much superior to the other parts of the picture that1 perceiving this1 ,verrocchio resolved never again to take pencil in hand4 ,whether this be so or not1 ,verrocchio left an enduring mark on the art of his time4 ,he delighted to paint the putto--the infant boy who is just beginning to rejoice in the use of his limbs--and with such a charm did he invest his creations of this kind1 whether in sculpture or in painting1 that1 says ,dr4 ,meyer1 it is not too much to say that he was the creator of that child-type which is so universal in the ,italian art of the ,cinque-cento4 ,verrocchio1 says ,e4 ,mntz1 is the plastic artist1 deeply enamoured of form1 delighting in hollowing it out1 in fining it down2 he has none of the literary temperament of a ,donatello1 a ,mantegna1 masters who in order to give expression to the passions that stir them1 to realise their ideal1 need a vast theatre1 numerous actors1 dramatic subjects4 ,there is no mise-en-scne1 no searching after recondite ideas1 with ,verrocchio4 ,most suggestive in spirit1 he sowed more than he reaped1 and produced more pupils than masterpieces4 ,all there is of feminine1 one might almost say effeminate1 in ,leonardo's art1 the delicacy1 the morbidezza1 the suavity1 appear1 though often merely in embryo1 in the work of ,verrocchio 7,leonardo da ,vinci1 i4 #bc1 #be74 ,the one undoubted picture by ,verrocchio is ,the ,baptism above referred to4 ,in the ,st4 ,george's ,museum at ,sheffield there is a ,madonna ,adoring which has a marked affinity 7especially in the ,virgin's expression and attitude1 and in her peculiar head-dress7 to our picture4 ,ruskin1 who purchased it in ,venice from the ,manfrini collection1 ascribed it unhesitatingly to ,verrocchio1 and called it a picture of extreme value1 which teaches all ,i want my pupils to learn of art4 ,for an excellent reproduction of it1 and for a full discussion both of it and of our picture1 the reader should consult ,mr4 ,w4 ,white's ,principles of ,art as illustrated in the ,ruskin ,museum 7pp4 #fb-hc74 ,the angel on the left of this picture resembles the angel in the ,baptism1 and the drawing of a head in the ,uffizi at ,florence by ,verrocchio is a study for an angel4 ,dr4 ,richter1 however1 thinks the picture must be ascribed to a pupil of ,verrocchio only1 for the artist of the ,colleoni monument could not have been guilty of the abnormal extension given to the lower part of the ,virgin's body4 ,what should we have to say of the proportions of this figure if she were to rise from her seat8 7,italian ,art in the ,national ,gallery1 p4 #cc74 ,morelli1 on the other hand1 on the strength of various technical details1 ascribes the picture to ,pollajuolo 7,italian ,masters in ,german ,galleries1 pp4 #cec-cee74 ,this picture1 whatever may be its authorship1 is certainly one of the most beautiful examples of ,florentine art in the second half of the fifteenth century4 ,of a very individual and fascinating type are the faces of the two angels2 their sweet and childlike loveliness will haunt the memory of any visitor who has once studied them4 ,mr4 ,monkhouse suggests that they may represent some member of the ,medici family3 ,it is at all events evident that the originals of these beautiful children1 however elevated by the refinement of the artist1 belonged to no common stock4 ,nor can there be any doubt that this extremely elegant type1 dainty to a degree unknown before1 has a close affinity to the ideal of ,leonardo da ,vinci4 ,the angels' hands in our picture are also very beautiful1 though there is a touch of awkward affectation in the disjointed bend of the little finger in the angel on the left4 ,the spectator will notice further the beautiful embroidery1 and the jewelled brooches worn both by this angel and by the ,madonna4 ,the child holds a raspberry in one hand1 some seeds of which he puts to his lips4 ,the expression of the mother is very beautiful in its serene happiness of worship4 ,her head-dress is peculiar4 ,the light golden hair is entirely off the forehead1 with but little showing1 and is formed into a kind of pad1 enclosed in an ornamental veil of thin material1 which being tied round upon the top of the head1 lightly forms a triangular curved peak upon the forehead1 and hangs down gracefully on either shoulder4 ,the entire picture is1 as ,kugler says1 a work of the most attractive character1 from its careful finish1 its rich and transparent colour1 and its great beauty of expression4 #big4 ,,the ,,nativity4 ,il ,romanino 7,brescian3 about #adhe-aeff74 ,girolamo ,romani was a native of ,brescia and the son of a painter2 his family belonged originally to the small town of ,romano1 in the province of ,bergamo3 hence his name1 ,romanino4 ,like ,moretto 7whose rival he was71 he was little known outside the district of ,brescia2 but he studied at ,venice1 where he took ,giorgione for his pattern4 ,his best works are remarkable for a brilliant golden colouring1 which is unfortunately not conspicuous in this picture4 ,it pervades the fine altar-piece of the ,madonna ,enthroned in ,s4 ,francesco at ,brescia4 ,another splendid altar-piece is to be seen in the museum at ,padua4 ,among ,romanino's frescoes may be mentioned the lively scenes he executed for the ,castle of ,malpaga4 ,copies of these are in the ,arundel ,society's collection4 ,of this altar-piece--painted in #aebe for the church of ,st4 ,alessandro at ,brescia--,mr4 ,pater gives the following description3 ,alessandro1 patron of the church1 one of the many youthful patrician converts ,italy reveres from the ranks of the ,roman army1 stands on one side1 with ample crimson banner superbly furled about his lustrous black armour2 and on the other--,st4 ,jerome1 ,romanino's own namesake--neither more nor less than the familiar1 self-tormenting anchorite4444 ,but the loveliest subjects are in the corners above--,gaudioso1 ,bishop of ,brescia1 above ,st4 ,jerome2 above ,alessandro1 ,st4 ,filippo ,benizzi1 meek founder of the order of ,servites to which that church at ,brescia belonged1 with his lily1 and in the right hand a book1 and what a book6444 ,if you wish to see what can be made of the leaves1 the vellum covers of a book1 observe that in ,st4 ,philip's hands4 ,the metre8 the contents8 you ask3 ,what may they be8 and whence did it come8--,out of embalmed sacristy1 or antique coffin of some early ,brescian martyr1 or1 through that bright space of blue ,italian sky1 from the hands of an angel1 like his ,annunciation lily1 or the book received in the ,apocalypse by ,john the ,divine8 ,it is one of those old saints1 ,gaudioso 7at home in every church of ,brescia71 who looks out with full face from the opposite corner of the altar-piece1 from a background which1 though it might be the new heaven over a new earth1 is in truth only the proper1 breathable air of ,italy4 ,as we see him here1 ,saint ,gaudioso is one of the more exquisite treasures of our ,national ,gallery4 ,it was thus that1 at the magic touch of ,romanino's art1 the dim1 early1 hunted-down ,brescian church of the primitive centuries1 crushed into the dust1 it might seem1 was 'brought to her king1' out of those old dark crypts1 'in raiment of needlework'--the delicate1 richly-folded1 pontifical white vestments1 the mitre and staff and gloves1 and rich jewelled cope1 blue or green4#adc ,the face1 of remarkable beauty1 after a type which all feel1 though it is actually rare in art1 is probably a portrait of some distinguished churchman of ,romanino's own day3 a second ,gaudioso1 perhaps1 setting that later ,brescian church to rights after the terrible ,french occupation in the painter's own time1 as his saintly predecessor1 the ,gaudioso of the earlier century here commemorated1 had done after the invasion of the ,goths4 ,the eloquent eyes are open upon some glorious vision4 ',he hath made us kings and priests6' they seem to say for him1 as the clean1 sensitive lips might do so eloquently4 ,beauty and holiness had 'kissed each other1' as in ,borgognone's imperial deacons at the ,certosa4 ,at the ,renaissance the world might seem to have parted them again4 ,but here certainly1 once more1 ,catholicism and the ,renaissance1 religion and culture1 holiness and beauty1 might seem reconciled1 by one who had conceived neither after any feeble way1 in a gifted person4 ,here at least1 by the skill of ,romanino's hand1 the obscure martyr of the crypts shines as a saint of the later ,renaissance1 with a sanctity of which the elegant world itself would hardly escape the fascination1 and which reminds one how the great ,apostle ,st4 ,paul has made courtesy part of the content of the ,divine charity itself4 ,a ,rubens in ,italy6--so ,romanino has been called4 ,in this gracious presence we might think that1 like ,rubens also1 he had been a courtier 7,art ,notes in ,north ,italy in ,new ,review1 ,november #ahij74 #bih4 ,,the ,,two ,,st4 ,,catherines4 ,ambrogio ,borgognone 7,lombard3 about #adee-aebc74 ,ambrogio ,borgognone1 called also ,ambrogio da ,fossano1 the latter being the name of a town in ,piedmont1 was born at ,milan4 ,it may have been ,ambrogio's grandfather or great-grandfather who left the little ,piedmontese town to settle at ,milan2 one of his ancestors had probably lived some time in ,flanders 7then called ,borgogna by the ,italians7 and had thus received the surname of ,borgognone4 ,ambrogio1 who holds the same central place in the ,milanese ,school of painting as ,perugino in that of ,perugia1 and ,francia in that of ,bologna1 was1 according to my view1 a pupil of ,vincenzo ,foppa the elder1 and the real master of ,bernardino ,luini1 the ,raphael of the ,milanese school4 ,he remains in all his works a thorough ,lombard 7,morelli's ,german ,galleries1 p4 #dai74 ,the tenderness of feeling in this ,perugino of the ,lombard ,school is very marked4 ,the presentment of divine or holy personages1 in calm serenity or in resigned suffering1 accorded best1 says ,burton1 with his temperament4 ,even his colouring partakes of the pervading sentiment2 the grey pallor of his heads is only modified1 now and then1 by the reddened eyelids of sorrow4 ,in the ,accademia at ,pavia is a small picture1 representing ,christ bearing his cross1 and followed by some ,carthusian ,brothers1 which in simple pathos and deep religious meaning is perhaps without its equal in art4 ,ambrogio was distinguished as an architect no less than as a painter1 and was employed on the faade of the ,certosa of ,pavia--a view of which building figures in the background of a picture by ,ambrogio in our gallery 7#adaj74 ,for ,st4 ,catherine of ,alexandria1 see under #fic2 for ,st4 ,catherine of ,siena1 under #bdi4 ,each of them was proclaimed the spouse of ,christ for the love they bore him4 ,and ,borgognone here places them on either side of the ,madonna's throne4 ,their names are inscribed on the haloes which surround their heads4 ,the ,madonna--an exquisite example of the earlier and purer ,lombard type--sits enthroned on a raised seat1 which may be compared with that of the ,blenheim ,madonna and of many other ,virgins in our collection4 ,the ,child1 erect on her knees and short-coated after the earlier wont1 is in the very act of placing the ring of ,his mystic wedding on the timorous hand of ,st4 ,catherine of ,alexandria4 ,the ,saint herself1 as the earlier and more famous of the two1 stands at the right hand of ,our ,lady4 ,in her left she grasps the palm of martyrdom4 ,as ,princess of ,egypt the meek and beautiful lady wears a regal crown4 ,her long wavy hair1 of the type which we usually regard as ,leonardesque1 but which ,leonardo really acquired in ,lombardy1 is characteristic of this saint1 even in pictures of other schools 7cf4 the ,umbrian1 ,no4 #fdf74 ,at her feet lies the wheel1 with its conventional hooked spikes1 which was the instrument of her torture4 ,on the ,madonna's left stands ,st4 ,catherine of ,siena in her ,dominican robes4 ,her face is pure saintliness--a marvel of beauty2 her left hand holds the ascetic white lily of the ,dominican order2 her right the ,madonna takes with a gentle1 and one might almost say consolatory gesture4 ,our ,lady seems to comfort her for her less favoured position2 and if you look close you will see that the infant ,saviour holds in ,his left hand a second ring1 which ,he extends with childish grace towards the ,nun of ,siena 7,grant ,allen in ,pall ,mall ,magazine1 ,june-,december #ahie1 p4 #ff74 #bii4 ,,portrait ,,of ,,an ,,italian ,,nobleman4 ,moretto 7,brescian3 #adih-aeee74 ,in examples of the ,brescian1 as of the ,veronese ,school1 the ,national ,gallery is very rich4 ,the dialect of the ,brescians is very like that of their neighbours of ,bergamo1 but not so harsh and rugged 7see #abjc73 the character of the people1 too1 is more lively and frank1 more given to show and swagger 7,bresciani spacca-cantoni74 ,the ,brescians1 wedged in between the ,veronese and ,bergamese1 unite1 to some extent1 the manly energy of the latter with the greater vivacity and pliancy of the former 7,morelli74 ,the foundation of the ,brescian ,school was laid by ,vincenzo ,foppa 7see #gbi71 whose pupil ,il ,moretto was4 ,it is characteristic of the wide dispersion of the art gift in ,italy that this ,alessandro ,bonvicino1 nicknamed ,il ,moretto1--one of the greatest of portrait painters1--should have belonged entirely to a provincial city4 ,he was born and educated at ,brescia1 where his father was a merchant2 and with the exception of a very few pictures1 he painted only for his native town and the province of ,brescia1 and it is there that nearly the whole work of his life is still to be found4 ,indeed he was little known beyond the frontiers of the ,brescian district1 and it is only during the last half century or so that his reputation has arisen4 ,moretto never studied in ,venice2 his development and genius are native1 and he rivalled ,titian himself in the stateliness and dignity of his figures4 ,his altar-pieces are distinguished further by much gravity of feeling and sincerity of unostentatious religious feeling4 ,the picture in our own gallery 7#fbe7 is a good example4 ,others are to be found in the churches of his native town and in some foreign galleries4 ,among the best are the ,coronation of the ,virgin in ,,ss4 ,nazzaro e ,celso1 ,brescia2 ,st4 ,margaret in ,s4 ,francesco1 ,brescia2 ,the ,feast of the ,pharisee1 ,s4 ,maria della ,piet1 ,venice2 ,madonna and ,child1 ,stdel ,institute1 ,frankfort2 and ,s4 ,giustina1 ,belvedere1 ,vienna4 ,his nickname of the ,blackamoor is particularly inappropriate to his style1 which is distinguished for its silvery tones1 a cool1 tender1 and harmonious scale of colour which has a peculiar charm1 and is entirely his own 7,layard1 ii4 #egg74 ,this harmony of colour1 which became characteristic of the ,brescian ,school1 may be observed also in his rival1 ,romanino4 ,moretto is distinguished not more for his religious subjects than for his portraits1 of which we possess two very beautiful specimens in the picture now before us1 and in ,no4 #ajbe4 ,he was the master of another great portrait-painter1 ,moroni of ,bergamo 7see #fig71 and works of the two are often confused4 ,in addition to the charm of his harmonious colouring1 ,moretto's portraits are remarkable for the dignity he imparts to his subjects4 ,moretto1 says ,morelli1 shows himself the higher artist of the two2 his conception of a subject and his drawing are nobler and more elegant than those of his matter-of-fact scholar2 but these intellectual qualities1 which are not perceptible to every eye1 do not always suffice to distinguish his weaker works from ,moroni's best4 ,in such cases the only means we have of determining the authorship is an exact and minute examination4 ,the shape and expression of the hand1 for instance1 are very different in ,moroni from what they are in ,moretto4 ,the hands of the latter1 with pointed fingers1 suggestive of the academy1 are never so true to nature as those which ,moroni can make when he chooses in drawing from life4 ,moretto's flesh-colours1 too1 have a delicate silver tone1 while ,moroni's1 with their earth-like tints1 are more realistic 7,german ,galleries1 pp4 #dg-ej1 #afi-aga1 #cif-djc74add ,this painter is conspicuous1 says ,lanzi 7,history of ,painting in ,italy1 ,bohn's edition #ahdg1 ii4 #aha71 for his skill in imitating every kind of velvet1 satin1 or other cloth1 either of gold or silver4 ,his portraits are remarkable1 as is noticed under #ajbe1 for their poetic insight4 ,he is not content with producing an obvious likeness in the flesh2 he strives at portraying or suggesting some spiritual idea in all his sitters4 ,these characteristics are conspicuous in the present picture4 ,thus notice1 first1 the splendid brocades4 ,then secondly1 how the painter tells you not only that this was what the sitter looked like1 but what was his character4 ,it is clearly the portrait of some one who combined with an important position the tastes of a dilettante1 and who had an aspiring soul4 ,on his cap is a label inscribed 1 which being literally interpreted means ,alas1 ,i desire too much6--an inscription which accords with the yearning upward gaze and the pose selected by the painter4 ,but the motto has also a punning reference4 ,reading the two first words as one1 it becomes 1 ,i desire ,julia1 or with a further pun on the last word1 ,julia ,potho4 ,we thus obtain a clue to the identity of the sitter4 ,the ,potho or ,pozzo family was well known at the time in ,brescia4 ,francesco dal ,pozzo1 #crd ,marquis of ,ponderano 7born #adid71 had as his first-born a daughter ,julia4 ,she became the wife of ,giacomo ,gromo1 ,signor di ,ternengo1 who was a man of official status in ,biella in #aeci1 having to do with the fiscal arrangements of the district4 ,this may be indicated in our picture by the two coins of bronze and gold1 and the die or seal4 ,the sandalled foot on the table 7an antique lamp87 may indicate his love of antiquities4 ,it is to be hoped1 if our picture be a portrait of ,monsignor ,giacomo ,gromo di ,ternengo1 that he had not long to wait before he became the devoted husband of ,julia ,potho1 for whom he so yearned1 and whose favour he wore in his hat4 7,w4 ,fred ,dickes in ,athenum1 ,june #c and ,aug4 #bf1 #ahic74ade #cjj4 ,,the ,,virgin ,,and ,,child4 ,cima da ,conegliano 7,venetian3 #adfj-aeah74 ,some miles north of ,venice1 in the ,friuli1 rises the town of ,conegliano1 which1 from its isolated and castled hill1 overlooks the plain of ,treviso4 ,cima1 whose real name was ,giovanni ,battista1 takes his title in art-history from the cima1 or castled height1 of his native place--a picturesque feature which he introduced1 wherever it was at all possible1 into his pictures4 ,we see these towers of ,conegliano in the present picture2 and a window is opened in the large composition1 ,no4 #haf1 in order to give us a glimpse of a similar height4 ,in his love of his native landscape is one of the principal charms of ,cima's work4 ,morning is his favourite time--morning among the hills2 and then and there the painter enjoyed more happiness than any twilight gondola could give him4 ,in our ,national ,gallery are two examples of the ,conegliano scenery1 but the brilliant daylight that so distinguishes ,cima is strangely absent 7,gilbert's ,landscape in ,art1 p4 #cbi74 ,one of his best works is the ,st4 ,john the ,baptist in the church of ,s4 ,maria dell' ,orto1 ,venice4 ,he is here painting1 says ,ruskin1 his name-saint2 the whole picture full of peace and intense faith and hope1 and deep joy in light of sky and fruit and flower and weed of earth4 ,the picture was painted for the church of ,our ,lady of the ,garden1 and it is full of simple flowers1 and has the wild strawberry of ,cima's native mountains gleaming through the grass4444 ,he has given us the oak1 the fig1 the beautiful ',erba della ,madonna' on the wall1 precisely such a bunch of it as may be seen growing at this day on the marble steps of that very church2 ivy1 and other creepers1 and a strawberry plant in the foreground1 with a blossom1 and a berry just set1 and one half-ripe1 and one ripe1 all patiently and innocently painted from the real thing1 and therefore most divine4444 ,his own ,alps are in the distance1 and he shall teach us how to paint wild flowers1 and how to think of them 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #i2 vol4 iii4 pt4 iv4 ch4 x4 #e2 ,oxford ,lectures on ,art1 #aej2 ,catalogue of the ,educational ,series1 p4 #bg74 ,the charming landscape and fine colour of ,cima are accompanied by earnestness of religious feeling1 and a sense of peace and quiet1 unmixed with any ascetism4 ,the painter1 says ,ruskin1 of another of his pictures1 does not desire the excitement of rapid movement1 nor even the passion of beautiful light4 ,but he hates darkness as he does death4 ,he paints noble human creatures simply in clear daylight2 not in rapture1 nor yet in agony4 ,the unexciting colour will not at first delight you2 but its charm will never fail1 and you will find that you never return to it but with a sense of relief and of peace4444 ,cima is not supreme in any artistic quality1 but good and praiseworthy in all 7,lectures on ,landscape1 #fj2 ,guide to the ,academy at ,venice1 p4 #ad74 ,cima is usually reckoned among the disciples of ,giovanni ,bellini1 and is believed at one time to have superintended the workshop of that master4 ,in the background1 on the right1 are the towers of ,conegliano2 on the left1 the neighbouring castle of ,colalto4 ,there is something very pretty in the way in which the earlier ,venetian masters placed their ,holy ,families in their own fields and amongst their own mountains 7compare e4g4 the ,madonna in the ,meadow1 ,no4 #eii71 thus imagining the ,madonna and her child not as a far-away sanctity in the sky1 but as an actual presence nigh unto them1 at their very doors4#adf ,there has probably not been an innocent cottage-home throughout the length and breadth of ,europe during the whole period of vital ,christianity1 in which the imagined presence of the ,madonna has not given sanctity to the humblest duties1 and comfort to the sorest trials of the lives of women2 and every brightest and loftiest achievement of the arts and strength of manhood has been the fulfilment of the assured prophecy of the poor ,israelite maiden1 ',he that is mighty hath magnified me1 and holy is his name' 7,fors ,clavigera1 #ahgd1 p4 #aje74 #dgi4 ,,the ,,sun ,,rising ,,in ,a ,,mist4 ,j4 ,m4 ,w4 ,turner1 ,r4,a4 7,british3 #agge-ahea74 ,for the circumstances under which this picture by ,turner and the ,dido ,building ,carthage 7#dih7 hang not in the ,turner ,gallery but beside the ,claudes1 see under #ab4 ,this picture was exhibited at the ,royal ,academy in #ahjg1 and belongs therefore to ,turner's first period1 which was distinguished by subdued colour and perpetual reference to precedent in composition4 ,this effect of sunrise in a mist was a favourite one with ,dutch painters1 and ,turner1 when he went to the sea-shore1 painted it in the ,dutch manner4 ,a time was to come when he would paint the sun rising no longer in a mist4 ,yet from the first1 the bent of his own mind was visible in his work4 ,he paints no such ideal futilities as are pointed out above in ,claude's picture1 but fishermen engaged in their daily toil4 ,one of his father's best friends was a fishmonger1 whom he often visited3 which gives us a friendly turn of mind towards herring-fishing1 whaling1 ,calais poissardes1 and many other of our choicest subjects in afterlife4 ,he was the painter not of pastoral indolence or classic pride1 but of the labour of men1 by sea and land 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 ix474 #dih4 ,,dido ,,building ,,carthage4 ,j4 ,m4 ,w4 ,turner1 ,r4,a4 7,british3 #agge-ahea74 ,from the technical point of view this is not one of ,turner's best pictures4 ,it was exhibited in #ahae1 and belongs therefore to his first period1 when he had still not completely exorcised the brown demon4 ,the picture1 says ,ruskin1 is quite unworthy of ,turner as a colourist1 his eye for colour unaccountably fails him1#adg and the foreground is heavy and evidently paint1 if we compare it with genuine passages of ,claude's sunshine 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #de1 sec4 ii4 ch4 i4 #ac1 ch4 ii4 #ah74 ,but there is a noble idea in the picture4 ,dido1 ,queen of ,carthage1 surrounded by her people1 and with plans and papers about her1 is superintending the building of the city which was to become the great maritime power of the ancient world4 ,the principal object in the foreground 7on the left7 is a group of children sailing toy boats4 ,the exquisite choice of this incident1 as expressive of the ruling passion which was to be the source of future greatness1 in preference to the tumult of busy stone-masons or arming soldiers1 is quite as appreciable when it is told as when it is seen1--it has nothing to do with the technicalities of painting2 a scratch of the pen would have conveyed the idea and spoken to the intellect as much as the elaborate realisations of colour4 ,such a thought as this is something far above all art2 it is epic poetry of the highest order 7,modern ,painters1 vol4 i4 pt4 i4 sec4 i4 ch4 vii4 #b74 #efd4 ,,the ,,virgin ,,and ,,child1 ,,with ,,scenes ,,from ,,the ,,lives ,,of ,,the ,,saints4 ,margaritone 7,tuscan3 #abaf-abic74 ,margaritone1 famous in his time 7like so many of his successors7 for painting1 sculpture1 and architecture alike1 was a native of ,arezzo1 and was the last of the ,italian artists who painted entirely after the ,greek 7or ,byzantine7 manner1 from which ,cimabue and ,giotto were the first to depart4#adh ,he died at the age of seventy-seven1 afflicted and disgusted 7says ,vasari7 that he had lived to see the changes by which all honours were transferred to new artists4 ,this picture being1 according to the critics1 the most important and characteristic picture of the artist still remaining1 should1 therefore1 be carefully studied by those who are interested in tracing the history of art4 ,of the ,greek manner1 in which art was for so many centuries encased1 one may notice1 first1 that there was no attempt to depict things like life4 ,art1 as the phrase goes1 was symbolic1 not representative4 ,certain definite symbols1 certain definite attitudes1 were understood to mean certain things4 ,just as in earlier ,greek painting white flesh1 for instance1 was taken to denote a woman1 black or red flesh a man1 so here such and such attitudes were accepted as meaning that the figure in question was the ,virgin1 and such and such other attitudes that it was the ,christ4 ,secondly1 these symbols were all expressive of various dogmas of the ,church--of creeds and formulas peculiar to one sect rather than of spiritual truths common to all ,christianity4 ,both characteristics may be traced in almost every line of this picture4 ,for instance1 the humanity of ,christ is not yet even hinted at1 his divinity alone being insisted upon4 ,thus the young ,god is here represented in the form of a man-child2 erect1 with the assumed dignity of an adult1 as he raises his hand to bless the faithful4 ,with his left hand he holds the roll in which are written the names of the faithful saved3 it is as a judge that he comes into the world4 ,the ,virgin again is here shown as elect of ,god to be the mother of ,god3 not as the mother of ,jesus1 the mother of man's highest humanity4 ,she wears on her head the fleur-de-lys coronet1 symbol of purity2 and the glory1 or aureole1 around her represents the acrostic symbol of the fish1 the ,greek word for fish containing the initials of the several ,greek words meaning ,jesus ,christ1 ,son of ,god1 ,saviour4 ,outside this ,vesica 7or fish glory71 in the four corners1 are four ,jewish symbols 7,ezekiel i4 #aj71 adopted as emblems of the four ,evangelists--the ,angel 7,st4 ,matthew71 the ,ox 7,st4 ,luke71 the ,lion 7,st4 ,mark71 and the ,eagle 7,st4 ,john74 ,so again1 in the scenes on either side of the central piece we see the same gloomy theology1 in which the world is thought of solely as a place made hideous with evils1 where saints are boiled by pagans1 women slain by seducers1 children devoured by dragons4 ,by help of such pictured deeds of hell1 men were taught by the early ,church to loathe this base world and think of heaven's bliss4 ,the first subject 7on the spectator's left7 represents the birth of ,christ in a cattle-shed2 the second ,st4 ,john the ,evangelist1 calm midst the cauldron of seething oil1 the martyr's uplifted hand expressing the precept1 ,pray for them which despitefully use you and persecute you4 ,the third subject depicts in a rude symbolic way incidents in the life of ,st4 ,catherine--her beheading1 her soul's reception by angels1 and the burial of her body by two angels on ,mount ,sinai4 ,the fourth subject shows ,st4 ,nicolas appearing suddenly to some sailors1 whom he exhorts to throw overboard a vase given by the devil4 ,in the fifth is ,st4 ,john resuscitating the body of ,drusiana1 a matron who had lived in his house previous to his departure1 and whose bier he had chanced to meet on his return to ,ephesus4 ,in the next subject ,st4 ,benedict1 founder of the ,benedictine ,order1 is shown in the act of throwing himself into a thicket of briars and nettles1 as he rushes from his cave to rid himself of the recollection of a beautiful woman he had once met in ,rome1 and whose image now tempts him to leave his chosen solitude4 ,in the seventh1 ,st4 ,nicolas liberates three innocent men2 and in the eighth is represented ,st4 ,margaret1 patron saint of women in childbirth1 whom the devil in the form of a dragon confronts to terrify into abnegation of her ,christian faith4 ,unable to persuade her1 he devours her1 but bursts in the midst1 and by power of the ,cross she emerges unhurt4 ,it is interesting to observe that the two consecutive acts are here shown as co-existent3 a thing frequently done1 as we have seen1 in early art4 ,finally1 another characteristic feature is the introduction of the grotesque in the animals that support the throne as a relief from the strained seriousness of the rest of the picture 7,a4 ,h4 ,macmurdo in ,century ,guild ,hobby ,horse1 i4 #ba-bh74 ,the picture1 signed by the painter1 was an altar-front in the church of ,santa ,margherita at ,arezzo4 ,it is painted in tempera on linen cloth attached to wood1 and even in ,vasari's day its preservation was deemed remarkable4 ,it comprises1 he says1 many small figures1 of better manner than those of larger size1 designed with more grace and finished with greater delicacy2 and this work deserves consideration1 not only because the little figures are so carefully done that they look like miniatures1 but also for the extraordinary fact that a picture on canvas should have continued in such good preservation during #cjj years 7i4 #hi74 #efe4 ,,the ,,madonna ,,and ,,child4 ,cimabue 7,florentine3 #abdj-acjb74 ,giovanni ,cenni1 called ,cimabue1 has been called the ,father of ,modern ,painting4 ,he imitated the ,byzantine style1 says ,vasari1 but improved the art and relieved it greatly from its uncouth manner4 ,he did not entirely free himself from the dismal formalism of his predecessors1 but he infused new life into the old traditional types4 ,a contemporary of his was ,niccola ,pisano1 whose work in the allied art of sculpture shows a more marked advance1 and who perhaps really gave the new impulse which art received at this period--an impulse carried on in the field of painting by ,cimabue's pupil1 ,giotto4 ,niccola ,pisano1 says ,ruskin1 is the ,master of ,naturalism in ,italy1--therefore elsewhere3 of ,naturalism and all that follows 7,val d',arno1 #af74 ,well-authenticated pictures by ,cimabue are the ,madonna panel with angels in the ,academy at ,florence 7formerly in the church of ,,ss4 ,trinita71 and the colossal ,madonna still in the ,rucellai chapel in ,s4 ,maria ,novella4 ,the latter is the picture of which the well-known story1 referred to below1 is told4 ,our picture1 which is also mentioned by ,vasari1 was originally attached to a pilaster in the choir of ,s4 ,croce4#adi ,cimabue also executed some of the frescoes in the ,upper ,church at ,assisi3 and at the time of his death was occupied on the mosaics in the tribune of the ,duomo at ,pisa4 ,copies of ,cimabue's frescoes may be seen in the ,arundel ,society's ,collection4 ,the changes which ,cimabue introduced into the art of painting were twofold4 ,in the first place1 his pictures show an increase of pictorial skill4 ,this picture has suffered much from time4 ,thus in the ,madonna's face1 which was originally laid in green and painted over thinly1 time and restorations have removed this over-painting1 and left the green exposed 7see also ,duccio's #eff74 ,the green and purple of her dress also have changed into a dusky tone2 but even so1 the advance in pictorial skill may be seen in the shading of the colours1 and the attempt to represent the light and dark masses of the drapery1 whereas in earlier pictures the painters had been content with flat tints4 ,but the advance made by ,cimabue was even more in spirit than in technical skill4 ,he combined the contemplation of the ,south with the action of the ,north4 ,he gave the populace of his day something to look at--and something to love4 ,is she not beautiful1 asks a critic before this picture1 in simplicity and solemn majesty8 ,is she not a real mother with a half sad and foreboding wistful look that goes straight to the heart8 ,cimabue's ,madonna is still a ,mater ,dolorosa--our ,lady of ,pain1 but there is an attempt alike in her and in the child1 and in the attendant angels1 to substitute for the conventional image of an ideal personage the representation of real humanity4 ,it was this change that explains the story told of one of ,cimabue's works1 that it was carried in glad procession1 with the sound of trumpets1 from his house to the church1 and that the place was ever afterwards called ,borgo ,allegro 7the joyful quarter7--a name which it bears to this day4 ,this delight was not merely in the revelation of an art they had not known how to practise2 it was delight in the revelation of a ,madonna whom they had not known how to love 7,mornings in ,florence1 ii4 #dh74 ,in telling this story1 ,vasari adds that they had not seen anything better2 the rudeness and quaintness which are all that at first sight are now discernible would then1 it must be remembered1 have been unseen4 ,we may recall the poet's protest against those who1 ,because of some stiff draperies and loose joints1 ,gaze scorn down from the heights of ,raffaelhood ,on ,cimabue's picture4 ,,mrs4 ,,browning3 ,casa ,guidi ,windows4 #eff4 ,,madonna ,,and ,,child4 ,duccio 7,sienese3 about #abfj-acdj74 ,duccio1 the son of ,buoninsegna1 did much the same for the ,sienese ,school as ,cimabue and ,giotto did for the ,florentine4 ,he was the first1 that is to say1 who1 forsaking partly the conventional manner of the ,byzantine ,school1 endeavoured to give some resemblance to nature1 and in religious subjects to bring down heaven to earth4 ,he retained the ancient formulas1 destroying1 however1 their formalism by the inspiration of new life4 ,the development of ,sienese art under his influence was parallel to1 yet distinct from1 that in ,florence4 ,his feeling is quite distinct2 his pure1 sweet1 transparent colouring is his own2 his type of beauty more graceful and more classical1 and he loved more gentle curves1 more oval faces and longer limbs4 ,in these things he followed his own temperament1 and by so doing determined the characteristics of the ,sienese ,school 7,monkhouse3 ,in the ,national ,gallery1 p4 #ag74 ,in #abhe ,duccio was commissioned to paint a large ,madonna for the church of ,s4 ,maria ,novella at ,florence4 ,in #acjh he began the execution of his ,maest for the cathedral of ,siena1 of which some portions are now in the transept and others in the ,opera del ,duomo4 ,the revelation that ,duccio made of the new power of art was received1 as was ,cimabue's1 with rapturous applause1 and a portion of the famous picture just referred to was in #acaj carried in procession on a beautiful day in ,june to the ,cathedral amidst the ringing of bells and the sounding of trumpets2 the magistrates1 clergy1 and religious orders escorting it1 followed by a multitude of citizens with their wives and families1 praying as they went3 the shops were closed and alms distributed to the poor4 ,for that masterpiece ,duccio received #af soldi 7#h;d47 the working day1 paid to him in monthly instalments4 ,the city1 however1 found him his materials1 which1 owing to the quantity of gold used 7see #aaci71 raised the whole cost to #cjjj gold florins4 ,works by ,duccio are a speciality of the ,national ,gallery1 which has four of them to show1 #eff1 #aaci1 #aadj1 and #accj4 ,the present picture is the most important1 and best illustrates the new departure made by ,duccio4 ,the young ,christ1 for instance1 instead of being depicted in the act of priestly benediction 7as in #efd71 is shown as a true babe1 drawing aside the veil that hides his ,mother's face4 ,in this little incident one may thus see the tendency which was to lead to the representation of the ,mother and ,child as a ,holy ,family 7the spectator must have charity of imagination to ignore the green hue of the ,madonna's face1 for reasons stated under #efe74 ,a conception like this of the ,infant ,saviour is not met with1 so far as ,i know1 in the whole range of ,byzantine art from the fifth century onwards4 ,the relation of the ,child to his mother1 as here represented1 the gesture of childlike love1 contrasting with the expression of melancholy in her face1 which1 perhaps1 constitutes the principal charm of the picture--is an innovation4 ,this motive does not occur in the work of ,niccola ,pisano1 the great sculptor who had executed a famous work in the cathedral of ,siena some twenty years previously4 ,we find it1 however1 in contemporary ,gothic sculpture of ,france2 a very characteristic example is in the ,south ,kensington ,museum1 a charming little ivory of the ,madonna standing with the ,child in her arms 7,richter's ,lectures on the ,national ,gallery1 p4 #ah74 ,above are seen the prophets1 headed by ,david their king1 while on either side ,st4 ,catherine#aej and ,st ,dominic adore the vision of the mother of ,god4 ,the ,byzantine influence1 on the other hand1 may be seen in the ,greek type of feature and long1 slender fingers4 #efg4 ,,christ ,,on ,,the ,,cross4 ,segna di ,buonaventura 7,sienese3 painted #acje-acbf74 ,a ghastly and conventional work by one of the early ,sienese painters--a pupil of ,duccio4 #efh4 ,,the ,,coronation ,,of ,,the ,,virgin4 ,school of ,giotto 7,giotto3 #abff-accf74 ,see also 7p4 xix7 ,giotto di ,bondone--great alike as a painter1 a sculptor1 and an architect--was the son of a shepherd in the country near ,florence4 ,one day when he was drawing a ram of his father's flock with a stone upon a smooth piece of rock1 ,cimabue 7see #efe7 happened to be passing by1 and1 seeing the lad's natural bent1 carried him off to be a painter4 ,cimabue taught him all he knew1 and in time the pupil eclipsed his master4 ,dante mentions this as an instance of the vanity of ,fame3 ,cimabue thought to hold the field in painting1 but now ,giotto has the cry4 ,but another poet holds ,that ,cimabue smiled upon the lad ,at the first stroke which passed what he could do1 ,or else his ,virgin's smile had never had ,such sweetness in't4 ,all great men who foreknew ,their heirs in art1 for art's sake have been glad4 ,,mrs4 ,,browning3 ,casa ,guidi ,windows4 ,the earliest examples of his work extant are the frescoes forming the lower range in the ,upper ,church at ,assisi4 ,his frescoes of the virtues in the ,lower ,church are believed to belong to a later period4 ,so great was his fame that in #abih he was sent for to do some work for the ,pope4 ,it was for him that ,giotto sent as his testimonial the famous circle drawn with a brush1 without compasses4 ,you may judge my masterhood of craft1 ,giotto tells us1 by seeing that ,i can draw a circle unerringly4 7,hence the saying1 rounder than the ,o of ,giotto47 ,after a short time in ,rome1 ,giotto returned to ,florence and painted the chapel of the ,podest1 or ,bargello1 of ,florence1 which was rescued from destruction in #ahda4 ,some of ,giotto's work in it was restored4 ,here is his famous portrait of ,dante 7traced previous to restoration and published by the ,arundel ,society74 ,to a later period belong his frescoes in the church of ,santa ,croce4 ,in #acjc ,giotto was called to decorate the walls of the chapel of the ,annunziata dell' ,arena at ,padua4 ,this he did with a series of compositions which are the greatest monument of his genius4 ,it was during the execution of this work that ,dante visited ,padua1 being entertained by his friend the painter4 ,thus went ,giotto1 a serene labourer1 throughout the length and breadth of ,italy4 ,he engaged himself in other tasks at ,ferrara1 ,verona1 and ,ravenna1 and at last at ,avignon1 where he became acquainted with ,petrarch4 ,then passed rapidly through ,florence and ,orvieto on his way to ,naples1 where he received the kindest welcome from the good ,king ,robert4 ,the ,king1 ever partial to men of mind and genius1 took especial delight in ,giotto's society2 and ,giotto 7says ,vasari71 who had ever his repartee ready1 held him fascinated at once with the magic of his pencil and pleasantry of his tongue4 ,returning to ,florence1 ,giotto was appointed chief master of the works of the ,duomo then in progress4 ,he designed the ,campanile1 modelled the bas-relief for the base of the building1 and sculptured two of them with his own hand4 ,he died full of honour and at the zenith of his strength4 ,he was buried in the cathedral1 at the angle nearest his campanile2 and thus the tower1 which is the chief grace of his native city1 may be regarded as his own sepulchral monument4 ,only those who have seen ,giotto's wall paintings at ,assisi1 ,padua1 and ,florence can form any true conception of his greatness4 ,it is pointed out below in what respects his work was remarkable and important for his time4 ,it has also an abiding value in itself4 ,in nine cases out of ten1 says ,ruskin1 the first expression of an idea is the most valuable3 the idea may afterwards be polished and softened1 and made more attractive to the general eye2 but the first expression of it has a freshness and brightness1 like the flash of a native crystal compared to the lustre of glass that has been melted and cut4 ,giotto was not1 indeed1 one of the most accomplished painters1 but he was one of the greatest men who ever lived4 ,he was the first master of his time1 in architecture as well as in painting2 he was the friend of ,dante1 and the undisputed interpreter of religious truth1 by means of painting1 over the whole of ,italy4 ,the works of such a man may not be the best to set before children in order to teach them drawing2 but they assuredly should be studied with the greatest care by all who are interested in the history of the human mind 7,giotto and his ,works in ,padua74 ,copies of many of his works are in the ,arundel ,society's ,collection4 ,it was ,cimabue who first attempted to represent action as well as contemplation4 ,giotto went farther1 and represented the action of daily life4 ,cimabue magnified the ,maid2 and ,florence rejoiced in her ,queen4 ,but it was left for ,giotto to make the queenship better beloved1 in its sweet humiliation4 ,this picture is not by the master himself1 but it is characteristic--in its greater naturalness and resemblance to human life--of ,giotto's work4 ,cimabue's picture 7#efe7 is felt in a moment to be archaic beside it4 ,giotto is thus the first painter of domestic life--the reconciler of the domestic with the monastic ideal1 of household wisdom1 labour of love1 toil upon earth according to the law of ,heaven1 with revelation in cave or island1 with the endurance of desolate and loveless days1 with the repose of folded hands that wait ,heaven's time4 ,the corresponding development in the direction of greater naturalness which ,giotto--himself a country lad brought up amongst the hills and fields--introduced in the art of landscape painting cannot1 unfortunately1 be illustrated from the ,national ,gallery 7see on this point ,edinburgh ,lectures on ,architecture and ,painting1 ch4 iii474 ,but a third development--the introduction1 namely1 of portraiture--is well seen in the ,heads of ,st4 ,john and ,st4 ,paul 7#bgf71 a work in which ,giotto's influence is very marked4 ,there is no longer a mere adoption of conventional types3 these apostles are individual portraits4 ,before ,cimabue1 no beautiful rendering of human form was possible2 and the rude or formal types of the ,lombard and ,byzantine1 though they would serve in the tumult of the chase1 or as the recognised symbols of creed1 could not represent personal and domestic character4 ,faces with goggling eyes and rigid lips might be endured1 with ready help of imagination1 for gods1 angels1 saints1 or hunters--or for anybody else in scenes of recognised legend2 but would not serve for pleasant portraiture of one's own self1 or of the incidents of gentle1 actual life4 ,and even ,cimabue did not venture to leave the sphere of conventionally reverenced dignity4 ,he still painted--though beautifully--only the ,madonna1 and the ,st4 ,joseph1 and the ,christ4 ,these he made living--,florence asked no more3 and ',credette ,cimabue nella pintura tener lo campo4' ,but ,giotto came from the field2 and saw with his simple eyes a lowlier worth4 ,and he painted the ,madonna1 and ,st4 ,joseph1 and the ,christ1--yes1 by all means1 if you choose to call them so1 but essentially1--,mamma1 ,papa1 and the ,baby4 ,and all ,italy threw up its cap--'ora ha ,giotto il grido' 7now ,giotto has the cry74 ,a fourth development which the art of painting owes to ,giotto may be well seen in this picture4 ,notice the pretty passages of colour1 as1 for instance1 in the dresses of the angels4 ,the ,greeks had painted anything anyhow1--gods black1 horses red1 lips and cheeks white2 and when the ,etruscan vase expanded into a ,cimabue picture1 or a ,tafi mosaic1 still--except that the ,madonna was to have a blue dress1 and everything else as much gold on it as could be managed--there was very little advance in notions of colour4 ,suddenly ,giotto threw aside all the glitter1 and all the conventionalism2 and declared that he saw the sky blue1 the tablecloth white1 and angels1 when he dreamed of them1 rosy4 ,and he simply founded the schools of colour in ,italy 7,mornings in ,florence1 pt4 ii474 #efi4 ,,an ,,altar-,,piece4 ,orcagna 7,florentine3 about #acjh-achf74 ,from the time of ,giotto to the end of the #adth century ,orcagna stands quite pre-eminent even among the many excellent artists of that time4 ,in sculpture he was a pupil of ,andrea ,pisano2 in painting1 though indirectly1 a disciple of ,giotto4 ,few artists have practised with such success so many branches of the arts4 ,orcagna was not only a painter and a sculptor1 but also a worker in mosaic1 an architect and a poet4 ,his importance in the history of ,italian art rests not merely on his numerous and beautiful productions1 but also on his widespread influence1 transmitted to his successors through a large and carefully trained school of pupils4 ,in style as a painter ,orcagna comes midway between ,giotto and ,fra ,angelico2 he combined the dramatic force and realistic vigour of the earlier painting with the pure brilliant colour and refined unearthly beauty of ,fra ,angelico4 ,his large fresco paintings are works of extreme decorative beauty and splendour1 composed with careful reference to their architectural surroundings 7,middleton74 ,his real name was ,andrea di ,cione1 but he was called by his contemporaries ,orcagna1 a corruption of ,arcagnuolo1 the ,archangel4 ,an intense solemnity and energy in the sublimest groups of his figures1 fading away as he touches inferior subjects1 indicates that his home was among the archangels1 and his rank among the first of the sons of men 7,modern ,painters1 vol4 iii4 pt4 iv4 ch4 iii4 #h74 ,orcagna's father was a goldsmith1 and the result of his early training in the use of the precious metals may be traced in the extreme delicacy and refined detail of his principal works in sculpture4 ,he used to note his union of the arts by signing his pictures the work of 444 sculptor1 and his sculptures the work of 444 painter4 ,as a sculptor and architect1 the principal work of ,orcagna is the church of ,or ,san ,michele at ,florence4 ,the great marble tabernacle is one of the most important and beautiful works of art which even ,italy possesses4 ,vasari also attributes to his design the ,loggia dei ,lanzi in the ,piazza della ,signoria1 but this attribution cannot be upheld4 ,as a painter1 the chief works of ,orcagna are the frescoes in the ,strozzi chapel in ,s4 ,maria ,novella4 ,the ,paradise is the finest of these compositions--a work full both of grace and of majesty4 ,these frescoes were executed in #acej4 ,in #aceg ,orcagna painted the altar-piece in the same chapel1 and of about the same date is the altar-piece now before us4 ,the grand frescoes in the ,campo ,santo at ,pisa ascribed by ,vasari to ,orcagna are now attributed to other hands4 ,in ,san ,piero ,maggiore1 says ,vasari in his life of ,orcagna1 he executed a rather large picture1 the ',coronation of the ,virgin4' ,this is the picture now before us4 ,the principal portion is numbered #efi4 ,the other nine pictures 7#egj-egh7 were originally portions of the same magnificent piece of decoration4 ,a model of the church for which it was painted is held by ,st4 ,peter 7among the saints adoring on the spectator's left74 ,this altar-piece1 though a handsome piece of church furniture1 is not so favourable a specimen of the master's power as are the works referred to above4 ,nevertheless these panels are full of varied interest4 ,a certain quaint uncouthness should not blind us to ,orcagna's wealth of expressive detail4 ,thus1 in the sensitive cast of the ,mother's countenance1 and in the refined pose of her figure1 there is a rare degree of eloquence1 such as silently bespeaks a modesty which would shun1 a humility which would disallow1 any sort of self-adornment4 ,her ,lord1 to whose will she submits herself1 is no less monumental in dignity of combined power and tenderness4 ,and in the celestial band below1 in the maidens that play and sing at the ,mother's feet1 despite their quaint little almond eyes1 there is a navet of expression1 a simplicity and animation unequalled at so early a date4 ,in particular she who1 singing behind the harpist1 generously spends her soul in impassioned songs1 while others1 agreeable to nature's truth1 are singing regardless of their song1 interested only in what is around4 ,again1 in that dual company of holy men and women sitting about the throne1 reverence stills every feature1 and a saintly singleness of purpose keeps each eye as they look in loving adoration on ,him whose dying bought their soul's salvation1 or as they lean towards ,her whose human heart petitioned them to ,paradise 7,a4 ,h4 ,macmurdo in ,century ,guild ,hobby ,horse1 ii4 #cd74 ,in the ,hobby ,horse 7a different publication1 ,no4 #a1 #ahic71 a musical expert calls attention to the instruments shown by ,orcagna4 ,thus in the central compartment note the portative organ1 at that time in familiar use1 with its gimlet-shaped keys all of one light colour1 and apparently1 even in that early date1 chromatic in disposition4 ,five large drone pipes may be recognised1 from their being out of scale with the melody pipes4 ,the second instrument in the angelic band is the medival harp1 the comb holding the wrest1 or tuning1 pins being held here in an animal's mouth4 ,a third angel is furnished with a cither1 also a favourite medival instrument4 ,it is ornamented in ebony and ivory1 and has a plectrum guard inserted in the belly1 as in a modern mandoline4 ,the fourth angel has a viol of a clumsy form2 it took another #bjj years to arrive at the graceful outline of the violin4 ,the fifth has a psaltery4 ,one angel has a bagpipe2 the chaunter or melody pipe has eight holes1 the same number the highland bagpipe has now4 ,variations of these instruments may be noted in the subordinate pictures 7,a4 ,j4 ,hipkins74 ,an expert in another art calls attention to the beauty of the patterns on the dresses of the central figures1 on the ground upon which the angels kneel and stand1 and also on the stuff hung at the back of the throne 7,sydney ,vacher3 ,italian ,ornaments from brocades and stuffs found in pictures in the ,national ,gallery74 #egj-b4 ,,the ,,trinity1 ,,with ,,angels ,,adoring4 ,orcagna 7part of the altar-piece1 #efi74 ,one may notice here one of ,orcagna's limitations4 ,he was unable to draw the nude4 ,on this inability followed a coldness to the value of flowing lines1 and to the power of unity in composition2 neither could he indicate motion or buoyancy in flying or floating figures 7,on the ,old ,road1 i4 #gh74 ,compare especially the flying angels in the two little pictures #ega and #egb1 with such figures as those by ,botticelli 7#ajcd71 and it will be seen at once how inferior ,orcagna's knowledge was4 #egc-e4 ,,the ,,nativity1 ,,adoration1 ,,and ,,resurrection4 ,orcagna 7part of the altar-piece1 #efi74 ,these panels are very rude and conventional3 nothing can be more absurd1 for instance1 than the sleeping sheep and shepherds at the top of the ,nativity2 but they are interesting1 if only by comparison with later pictures of the same subjects4 ,such a comparison shows how constant the traditional ways of representing these events were1 and how individual choice was shown in beautifying the traditions4 ,from this point of view the ,nativity is specially interesting4 ,this beautiful little picture1 says ,mr4 ,hodgson1 ,r4,a41 is a good example of the simplest and most perfectly symbolical treatment of the subject4 ,in design and composition the painter has thought only how to convey the story with the utmost clearness and simplicity4 ,it is what it was intended to be1 a ,scripture story made visible to those who could not read4 ,naturalism1 i4e4 the actual representation of the aspect of nature1 is not thought of1 no more at least than was necessary to make the meaning of the painted symbol equivalent to that of the word3 rock for rock1 ox for ox1 and ass for ass4 ,the degree of naturalism aimed at in such scenes can be tested pretty accurately by the treatment of the nimbus4 ,a flat circular expanse of gold inserted into a picture must necessarily be destructive of all illusion--it is treated as a symbol1 a thing non-existent1 but as a necessary traditional observance4 ,when naturalism was aimed at1 the nimbus was looked upon as an actual existing corona of golden light which the saint carried about with him1 and it was drawn in perspective1 according to the turn of his head 7,magazine of ,art1 #ahij1 p4 #ci74 ,turn next to the ,nativity by ,piero della ,francesca 7#ijh7--;a picture painted #ajj years later4 ,the symbolism is already mixed up with some conscious striving after objects beautiful in themselves4 ,to a generation later still belongs ,botticelli's ,nativity 7#ajcd74 ,it is full1 as we shall see1 of doctrinal symbolism1 but it strikes the imagination also by the pomp and pageantry of the angelic host1 and appeals to the senses by its flowing lines and gorgeous colourings4 ,yet in all these pictures of the ,nativity there are certain fixed elements4 ,one feature never absent is the introduction of the ox and the ass1 suggested by a text from ,habakkuk1 iii4 #d1 ,he shall lie down between the ox and the ass4 ,a second point is that ,joseph sits apart1 apparently weary or in meditation4 ,great care seems to have been taken to suggest that he in a certain sense held aloof1 and was no participator in the interest of the scene2 it was feared1 perhaps1 that were he to exhibit joy and surprise1 it might convey the idea of paternity2 he is always a mere impassive spectator4 ,the scene of the ,nativity is in the earliest pictures always represented as a cavern2 a grotto at ,bethlehem is to this day revered as the actual spot4 ,in ,margaritone's picture 7#efd7 we have a bare cave in the rock4 ,in ,orcagna's the cave remains1 but a wooden portico or shed is added to shelter the ,virgin and her ,child4 ,next the cave disappears altogether1 but the shed remains 7e4g4 #ijh1 #ajcd74 ,the ,adoration of the ,magi 7#egd7 was a favourite subject with the ,italian painters1 for the three kings and their attendants gave them an excuse for the most elaborate and picturesque detail4 ,in the picture before us ,orcagna was restricted by the size and shape of the panel2 but even making the necessary allowances on this score1 we see that we have here a relatively simple treatment of the theme4 ,orcagna finds room1 however1 for a perfect menagerie4 ,there are the sheep1 with a howling dog above2 and below1 an evil1 badger-like dog1 evidently much ashamed of himself and his deeds1 is sneaking along into a hole in the rock4 ,as for the amiable ox sitting upon his haunches1 with his tail turned round like a cat's1 and the shy ass1 showing the whites of his eye3 are they not delightful beauties8 7,the ,beasts of the ,national ,gallery1 by ,sophia ,beale1 in ,good ,words1 ,july #ahie74 ,for the rest1 ,orcagna's ,adoration is limited to the necessary characters4 ,by way of contrast1 look at ,filippino ,lippi's 7#ajcc71 in which some seventy figures are introduced1 and the whole picture is alive with gay colours and picturesque incident4 ,other representations of the same subject in our ,gallery are by ,fra ,angelico 7#ehb71 ,foppa 7#gbi71 ,dossi 7#fdj71 ,peruzzi 7#afg71 and ,veronese 7#bfh74 ,a study of similarities and differences in these various examples will disclose an immense number of coincidences4 ,the type survives1 but each feature is the subject of elaborate variations4 #egf4 ,,the ,,three ,,maries ,,at ,,the ,,sepulchre4 ,orcagna 7part of the altar-piece1 #efi74 ,mary ,magdalen1 ,mary the mother of ,james1 and ,salome stand beside the vacant tomb 7,mark xvi4 #a72 on the opposite side are two angels3 he is risen1 he is not here1 behold the place where they laid him4 ,this subject1 common with the earliest painters1 is afterwards seldom met with4 #egg4 ,,the ,,ascension4 ,orcagna 7part of the altar-piece1 #efi74 ,this was a subject in which ,giotto made a new departure4 ,none of the ,byzantine or earliest ,italian painters ventured to introduce the entire figure of ,christ in this scene4 ,they showed the feet only1 concealing the body2 according to the text1 a cloud received ,him out of their sight4 ,this form of representation may be seen in some manuscripts in the ,british ,museum4 ,in the ,arena at ,padua1 ,giotto broke away from this tradition and introduced the entire figure of ,christ2 succeeding also in conveying the idea of ascending motion very skilfully4 ,orcagna's picture is modelled on the new type fixed by ,giotto4 #egh4 ,,the ,,descent ,,of ,,the ,,holy ,,spirit4 ,orcagna 7part of the altar-piece1 #efi74 ,the descent of the ,holy ,spirit is represented above2 and below1 the multitude confounded1 every man hearing his own language4 #egi4 ,,the ,,baptism ,,of ,,christ4 ,school of ,taddeo ,gaddi 7,florentine3 #acjj-acff74 ,see #bae4 ,see also 7p4 xix7 ,in the centre is ,john the ,baptist1 baptizing ,christ2 on the left ,st4 ,peter1 on the right ,st4 ,paul4 ,in the pictures for the predella 7the step on the top of the altar1 thus forming the base of the altar-piece7 is a saint at either end2 and then1 on the left1 7#a7 the angel announcing the ,baptist's birth1 7#b7 his birth1 7#c7 his death1 7#d7 ,herod's feast1 and 7#e7 ,herodias with ,john the ,baptist's head in a charger4 ,the picture must have been the work of an inferior scholar2 but it is interesting to notice that this attempt to tell a consecutive story in his picture1 as in an epic poem1 instead of a fastening on some one turning-point in it1 as in a drama1 is characteristic of early art 7see under #aahh74 ,notice further in the central picture how designedly the fish in the water are arranged3 not in groups1 as chance might rule in the actual stream1 but in ordered procession4 ,all great artists 444 have shown this especial delight in ordering the relations of self-set details 7,a4 ,h4 ,macmurdo in ,century ,guild ,hobby ,horse1 i4 #ga74 #egi;a4 ,,parts ,,of ,,an ,,altar-,,piece4 ,school of ,taddeo ,gaddi 7,florentine3 #acjj-acff74 ,see #bae4 ,see also 7p4 xix7 ,these three panels formed the cuspidi of the ,baptism of ,christ 7#egi74 ,in the centre is the ,almighty1 on the left the ,virgin1 on the right ,isaiah1 holding a scroll with the words 7in ,latin71 ,behold a virgin shall conceive4 #ehj1 #ehj;a and b4 ,,the ,,ascension ,,of ,,st4 ,,john ,,the ,,evangelist4 ,jacopo ,landini 7,florentine3 about #acaj-acij74 ,jacopo ,landini was born at ,prato ,vecchio1 in the ,casentino2 whence his common designation1 ,jacopo da ,casentino4 ,this picture was formerly in the ,church of ,st4 ,john at the painter's native place4 ,he was a pupil of ,taddeo ,gaddi1 and the master of ,spinello ,aretino4 ,another of the altar-pieces 7cf4 #egi1 above71 which aimed at giving the whole story of some subject1 and thus recall the time when sacred pictures were 7as it has been put7 a kind of ,scripture ,graphic4 ,in the predella pictures 7#ehj;b7 are1 on the left1 7#a7 ,st4 ,john distributing alms and baptizing1 7#b7 his vision of ,revelation in the island of ,patmos1 7#c7 his escape from the cauldron of boiling oil2 and then1 as the subject of the principal picture1 his ascension to heaven1 for1 according to the ,greek legend1 ,st4 ,john died without pain or change1 and immediately rose again in bodily form and ascended into heaven to rejoin ,christ and the ,virgin4 ,in the central picture1 ,mr4 ,gilbert finds a glimpse of true landscape feeling in the brown platform of rock1 carefully gradated in aerial perspective1 in the colouring1 coarse though it be1 and especially in the long dark sea-line beyond 7,landscape in ,art1 p4 #ahd74 ,in the other small pictures and in the pilasters are various saints1 and immediately over the central picture are 7#a7 the gates of hell cast down1 7#b7 ,christ risen from the dead1 7#c7 the donor of the picture and his family1 being presented by the two ,st4 ,johns4 ,of the cuspidi1 or upper pictures 7#ehj;a71 the centre piece is a symbolic representation of the ,trinity 7seen best on a large scale in #gbg72 at the sides are the ,virgin and the ,angel of the ,annunciation1 divided as explained under #aaci4 #eha4 ,a ,,group ,,of ,,saints4 ,spinello ,aretino 7,tuscan3 about #accc-adaj74 ,see also 7p4 xix7 ,spinello di ,luca ,spinelli is commonly called ,spinello ,aretino1 from ,arezzo1 his native town4 ,as is the case with most of the early ,tuscan painters1 he is seen to greater advantage in his frescoes than in his panel pictures4 ,some fragments of frescoes by him are in our ,gallery 7#abaf74 ,important frescoes may be seen in the sacristy of ,s4 ,miniato above ,florence 7the life of ,st4 ,benedict72 in the ,campo ,santo at ,pisa 7the histories of ,,ss4 ,efeso and ,potito72 and in the ,palazzo ,pubblico at ,siena 7scenes in the life of ,pope ,alexander ,,iii474 ,spinello represents the spirit of ,giotto at the close of the fourteenth century better than any other painter of the time4 ,he belonged to a family of goldsmiths4 ,it is interesting to note on an altar-piece executed by him for ,monte ,oliveto 7now in the ,gallery of ,siena71 that the names of the carver and gilder of the frame are inscribed as conspicuously as that of ,spinello the painter of the picture4 ,he was the pupil of ,jacopo di ,casentino4 ,certainly not an adequate1 and perhaps not an authentic1 specimen of the master4 ,the saints are ,st4 ,john the ,baptist1 ,st4 ,john the ,evangelist1 and ,st4 ,james the ,greater4 #ehb4 ,,the ,,adoration ,,of ,,the ,,magi4 ,fra ,angelico 7,florentine3 #achg-adee74 ,see #ffc4 ,for the subject see notes on ,no4 #egd4 ,angelico's picture is remarkable for the picturesque and sparkling costumes4 ,the art of ,angelico1 says ,ruskin1 both as a colourist and a draughtsman1 is consummate2 so perfect and beautiful1 that his work may be recognised at any distance by the rainbow play and brilliancy of it4 ,however closely it may be surrounded by other works of the same school1 glowing with enamel and gold1 ,angelico's may be told from them at a glance1 like so many pieces of opal lying among common marbles 7,stones of ,venice1 vol4 i4 app4 #ae74 #fhc4 ,,the ,,rout ,,of ,,san ,,romano4 ,paolo ,uccello 7,florentine3 #acig-adge74 ,this painter was originally brought up as a goldsmith1 and was one of the assistants of ,lorenzo ,ghiberti in preparing the first pair of the celebrated gates of the ,baptistery4 ,it is doubtful with whom he learnt to paint4 ,he introduced new enthusiasms and interests into the art1 as explained below in the notes on this picture4 ,the majority of his works have perished4 ,he was employed principally in ,florence1 where frescoes by him may be seen in one of the cloisters of ,s4 ,maria ,novella4 ,at ,padua he also executed some works which are said by ,vasari to have been greatly admired by ,andrea ,mantegna4 ,other works by him are referred to below4 ,the present picture is1 however1 the most attractive of his extant productions4 ,he seems to have been a man of original character1 and ,vasari's life of him is very good reading4 ,the biographer's statement about his poverty seems to be exaggerated1 for documents exist showing that he lived in a house which he had purchased4 ,a picture of great interest in itself1 both from a technical and from a moral point of view1 and also deserving of note in the history of painting4 7#a7 ,it shows the beginning of scientific perspective 7i4e4 the science of representing the form and dimensions of things as they really look1 instead of as we conceive them by touch or measurement to be72 the painter is pleased with the new discovery1 and sets himself1 as it were1 the hardest problem in perspective he can find4 ,note the foreshortening of the figure on the ground 7objects are said to be foreshortened when viewed so that we see their breadth1 and not their length--for example1 the leg of ,titian's ,ganymede in ,no4 #cb74 ,so devoted was ,paolo to his science that he became 7says ,vasari7 more needy than famous4 ,his wife used to complain to her friends that he sat up all night studying1 and that the only answer she ever got to her remonstrances was1 ,what a delightful thing is this perspective6 ,the sculptor ,donatello is also said to have remonstrated with our painter3 ,ah1 ,paolo1 with this perspective of thine1 thou art leaving the substance for the shadow4 ,paolo was fond1 too1 of geometry1 which he read with ,manetti4 ,he had another and a softer passion3 he was so fond of birds that he was called ,paul of the ,birds 7,uccelli--his family name being ,paolo di ,dono71 and he had numbers of painted birds1 cats1 and dogs in his house1 being too poor to keep the living creatures4 7#b7 ,this picture is remarkable1 secondly1 as the earliest ,italian work in the ,gallery containing portraits1 and the first which endeavours to represent a contemporary event4 ,our picture has hitherto been supposed to represent the battle of ,sant' ,egidio 7#adag7 in which ,carlo ,malatesta and his nephew ,galeazzo were taken prisoners by ,braccio di ,montone1 lord of ,perugia4 ,other battle-pieces belonging to the same series are in the ,uffizi and the ,louvre respectively2 and it has been shown by ,mr4 ,herbert ,p4 ,horne 7,monthly ,review1 ,october1 #aija7 that these are the three pictures of the ,rout of ,san ,romano1 painted by ,uccello for the palace of ,cosimo de' ,medici1 as described in an inventory of #adib4 ,the principal figure is ,niccolo ,maurucci da ,tolentino1 the leader of the ,florentine forces1 directing the attack against the ,sienese at ,san ,romano in #adcb4 ,he is represented on horseback fully armed1 except for his helmet1 with the baton of command in his right hand4 ,he wears on his head a rich cappuccio1 or head-dress1 of gold and purple damask2 while his bascinet1 covered with purple velvet1 is carried by his helmet-bearer1 who rides by his side the 'young ,malatesta' of previous descriptions4 ,above the figure of ,tolentino waves his standard powdered with his impress1 the 'groppo di ,salomone1' a knot of curious and intricate form1 in a white field4 ,the impress may be seen again1 as ,mr4 ,horne points out1 in the memorial portrait of ,tolentino by ,andrea del ,castagno in the ,cathedral of ,florence4 ,from the moral point of view1 we may see in this picture1 says ,ruskin1 what a gentleman's view of war is1 as distinguished from a boor's1 with mean passion and low fury on every face4 ,look at the young ,malatesta1#aea riding into the battle of ,sant' ,egidio4 ,his uncle ,carlo1 the leader of the army1 a grave man of about sixty1 has just given orders for the knights to close3 two have pushed forward with lowered lances1 and the mle has begun only a few yards in front2 but the young knight1 riding at his uncle's side1 has not put his helmet on1 nor intends doing so yet4 ,erect he sits1 and quiet1 waiting for his captain's order to charge2 calm as if he were at a hawking party1 only more grave2 his golden hair wreathed about his proud white brow1 as about a statue's 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 viii4 #i74 ,another point to notice is the type this picture affords of the neglect of the perfectness of the earth's beauty1 by reason of the passions of men4 ,the armies meet on a country road beside a hedge of wild roses2 the tender red flowers tossing above their helmets1 and glowing between the lowered lances4 ,in like manner1 adds ,ruskin1 in the ,middle ,ages1 when men lived for safety in walled cities1 the whole of ,nature only shone for man between the tossing of helmet-crests2 and sometimes ,i cannot but think of the trees of the earth as capable of a kind of sorrow1 in that imperfect life of theirs1 as they opened their innocent leaves in the warm spring-time1 in vain for men2 and all along the dells of ,england her beeches cast their dappled shade only where the outlaw drew his bow1 and the king rode his careless chase 7,modern ,painters1 vol4 v4 pt4 vi4 ch4 i4 #f74 #ehe4 ,,portrait ,,of ,a ,,lady4 ,umbrian ,school 7#aeth century74 ,see also 7p4 xix7 ,this picture has been dethroned by ,sir ,edward ,poynter from the high estate which it occupied in the catalogues of former directors1 wherein it figured as a portrait by ,piero della ,francesca 7see #ffe7 of ,isotta di ,rimini1 the wife of ,sigismondo ,malatesta4 ,our portrait bears little resemblance1 says the official catalogue1 to the well-known medallion portraits of that lady by ,matteo de' ,pasti4 ,it is1 says ,dr4 ,richter1 an indifferent production1 inferior to the master in outline1 as well as in the execution of the ornamental parts4 ,it may have been done by any forgotten painter of the time 7,italian ,art in the ,national ,gallery1 p4 #ag74 ,the curious stippled execution has little or nothing in common with the subtle technique of ,piero 7,claude ,phillips in the ,academy1 ,september #bh1 #ahhi74 ,it is1 however1 interesting for its study of fashions of the time4 ,notice the high forehead and the sleeves and ornaments of the lady's gown4 #ehf4 ,,madonna ,,and ,,child ,,enthroned4 ,zenobio ,macchiavelli 7,florentine3 #adah-adgi74 ,this picture was formerly ascribed to ,fra ,filippo ,lippi4 ,it is now given to ,macchiavelli1 who was a pupil of ,benozzo ,gozzoli1 and perhaps also of ,lippi4 ,a signed altar-piece by this painter is in the ,museo ,civico at ,pisa2 another is in the ,louvre2 and a third is in the ,national ,gallery of ,ireland4 ,the latter is a picture of singular interest1 says the catalogue1 proving this master to have been one of the first of his time2 full of delicacy and refinement of feeling1 and the heads beautifully drawn4 ,madonna and her babe1 ,ringed by a bowery1 flowery angel-brood ,lilies and vestments and white faces4 ,,browning3 ,fra ,lippo ,lippi4 ,a characteristic production of a school which1 orderly and obedient itself1 understood the law of order in all things1 which is the chief distinction between art and rudeness4 ,and the first aim of every great painter is to express clearly his obedience to the law of ,kosmos1 ,order1 or ,symmetry 7,fors ,clavigera1 #ahgf1 p4 #bib74 ,the four angel-faces on one side of the ,madonna are matched by four on the other2 the bishop and black monk on one side-compartment1 by the saint and black nun on the other4 ,similarly at the foot of the throne the two angels are arranged symmetrically1 one facing one way1 the other the other4 ,you will at first be pained by the decision of line1 and1 in the children at least1 uncomeliness of feature1 which are characteristic1 the first1 of purely descended ,etruscan work2 the second1 of the ,florentine ,school headed afterwards by ,donatello4 ,but it is absolutely necessary1 for right progress in knowledge1 that you begin by observing and tracing decisive lines2 and that you consider dignity and simplicity of expression more than beauty of feature 7,fors ,clavigera1 #ahge1 p4 #cjh74 #ehi4 ,,the ,,virgin ,,and ,,child4 ,fra ,filippo ,lippi 7,florentine3 about #adjf-adfi74 ,see #fff4 ,combined with ,lippi's realism of representation1 there is also an unusually mystic spiritualism of conception4 ,nearly all the ,madonnas1 even of the most strictly devotional schools1 themselves support the child1 either on their knees or in their arms4 ,but here the ,christ is miraculously borne by an angel 7,fors ,clavigera1 #ahge1 p4 #cjh74 #eij4 ,a ,,piet4 ,marco ,zoppo 7,bolognese2 painted #adga-adih74 ,this unattractive painter was born in ,bologna1 and became a pupil in the school of ,squarcione at ,padua4 ,his work shows also the influence of ,cosimo ,tura at ,florence4 ,it is interesting to compare the various representations of the ,dead ,christ1 or ,piet1 which may be seen in the ,national ,gallery4 ,the subject1 it may first be noted1 was treated in very different ways4 ,convention did not early harden down into fixity of composition or crystallise into rigid forms4 ,a certain plasticity of imagination was permitted from the beginning2 a certain indefiniteness of nomenclature and scope remained habitual to the end 7,grant ,allen3 see also ,mrs4 ,jameson's ,history of our ,lord1 ii4 #bbf74 ,sometimes the subject of the ,piet is the ,mater ,dolorosa1 weeping over the body of the dead ,saviour1 and attended by saints 7#bff1 #adbg7 or angels 7#ahj74 ,at other times the dead ,saviour is supported by angels only 7#bb1 #bai1 #fjb71 or1 as in this picture1 by saints4 ,sometimes the dead figure is represented lying at full length 7#bb1 #ahj72 at other times it is a half-figure showing above a tomb or ledge 7#bai1 #bff1 #fjb1 #eij1 #adbg74 ,still more interesting is a comparison between these pictures for the illustration it gives of the different sentiment of different painters or schools4 ,the picture before us is hard and dry2 that of ,crivelli 7#fjb7 is full of tenderness4 ,with some painters it is the physical horror1 the bodily distortion that appeals to them in this subject4 ,with others it is the pity and the sorrow 7as1 pre-eminently1 in ,francia's1 #ahj74 #eia4 ,,the ,,rape ,,of ,,helen4 ,benozzo ,gozzoli 7,florentine3 #adbj-adih74 ,see #bhc4 ,see also 7p4 xix7 ,the earliest picture in the ,gallery which was painted for domestic pleasure1 not religious service4 ,one of the earliest also in which a classical subject is attempted4 ,it probably formed the end of a coffer or cassone1#aeb such as were often given for wedding presents1 and was no doubt a commission to the artist for that purpose4 ,hence the choice of subject 7which has been variously given as the ,rape of ,helen and the ,rape of the ,venetian ,brides71 and the 7surely intentional7 comic extravagance of the drawing3 the bridegroom takes giant's strides in lover's eagerness1 and the ships scud along with love to speed them4 ,the ludicrous unreality of the rocks and trees1 contrasted with the beautifully painted flowers of the foreground1 is very characteristic of the art of the time 7cf4 #bhc and #ehb74 ,rocks1 trees1 and water are all purely conventional still2 and the most satisfactory work of the period is that which most resembles missal painting1 that is to say1 which is fullest of beautiful flowers and animals scattered among the landscape1 in the old independent way1 like the birds upon a screen4 ,the landscape of ,benozzo ,gozzoli is exquisitely rich in incident of this kind 7,edinburgh ,lectures on ,architecture and ,painting1 ch4 iii474 #eib4 ,,the ,,adoration ,,of ,,the ,,magi4 ,filippino ,lippi#aec 7,florentine3 #adeg-aejd74 ,see #bic4 ,see also 7p4 xix7 ,this picture1 with its immense retinue of followers1 is full of life and swarms with incident and expression1 from the dignified gravity of ,st4 ,joseph to the fantastic humour of the dwarf4 ,no two figures are alike1 except perhaps the two shepherds who are approaching from the right1 and they are different from all the rest 7,monkhouse74 #eic4 ,,virgin ,,and ,,child4 ,lorenzo di ,credi 7,florentine3 #adei-aecg74 ,lorenzo di ,andrea ,credi has been called by ,morelli the ,carlo ,dolci of the fifteenth century4 ,his pictures are sweet and gentle1 but lack force or inspiration4 ,his colouring tends towards crudeness2 his careful execution and finish are remarkable4 ,he was a very careful and laborious workman1 distilling his own oils and grinding his own colours2 and when he was working he would suffer no movement to be made1 says ,vasari1 that would cause dust to settle on his pictures4 ,what ,vasari adds about him may be partly seen in this and the companion picture 7#fdh71 with their bright colouring and pretty distances3 ,his works were finished with so much delicacy that every other painting looks but just sketched and left incomplete as compared with those from his hand4 ,lorenzo was the son and grandson of goldsmiths1 and was placed when quite a child under the tuition of ,verocchio 7#bif71 and was still working under him at the age of twenty-one1 content with the modest salary of one florin 7about #b7 a month4 ,like his master1 he was a sculptor as well as a painter1 and ,verocchio in his will requested that ,lorenzo might finish his famous statue 7at ,venice7 of ,bartolommeo ,colleoni4 7,the ,venetians1 however1 gave it to ,alessandro ,leopardo to finish47 ,lorenzo was one of the few men who lived through the ,renaissance without swerving from the religious traditions of earlier art1 and even without being much influenced by his fellow-pupils--though in his grave and sweet ,madonnas there is yet a suspicion of the sidelong look1 half sweet1 half sinister1 and of the long1 oval face1 which distinguish ,leonardo4 ,he was a disciple of ,savonarola1 and burnt his share of pictures in the famous bonfire4 ,his will bears witness to his contrition4 ,after having assured the future of his old woman-servant1 to whom he left his bedding and an annuity in kind2 after having made certain donations to his niece and to the daughter of a friend1 a goldsmith2 he directed that the rest of his fortune should go to the brotherhood of the indigent poor1 and that his obsequies should be as simple as possible 7,mntz3 ,leonardo da ,vinci1 i4 #bi74 ,lorenzo is not represented so well in the ,national ,gallery as in the ,louvre and at ,florence4 ,his ,nativity in the ,florentine ,academy is perhaps his best work4 ,lorenzo's range was limited1 and ,holy ,conversations or ,madonnas were his most frequent subjects4 ,a peculiarity of them is the large head and somewhat puffy and clumsy forms he gives to the ,infant ,christ4 #eid4 ,,the ,,holy ,,money-,,despisers4 ,emmanuel 7,byzantine3 about #affj74 ,this picture is the earliest in the ,gallery 7with the exception of the ,greek portraits1 see #abfj7--not in order of time1 but in order of artistic development4 ,it is a genuine ,byzantine picture1 an example1 therefore1 of the art which prevailed in ,italy from the sixth century down to about #abej1 and the influence of which survived even when the ,italian painters had developed an art of their own4 ,the ,byzantine style of painting is distinguished by its conventionality and its constancy4 ,it was the recognised thing that such and such a subject should be treated in such and such a way and no other4 ,there is a ,byzantine ,manual of ,painting in a manuscript of the eleventh century in which instructions are given not only as to the subjects to be represented1 but as to the costume1 age1 and lineaments of the characters4 ,an art of this kind was naturally unchanging4 ,this picture is probably only #bjj years old1 but if it had been painted #hjj years ago1 or if it had been ordered only the other day from the monks of ,mount ,athos1 little difference of style would be perceptible4 ,it is signed in ,greek ,the hand of ,emmanouel1 the priest1 son of ,john1 a painter living in ,venice about the year #affj4 ,the picture is conventional in its choice of subject--the saints ,cosmas and ,damian being one of the subjects recognised in ,byzantine art4 ,they were martyrs of the fourth century--patron saints of medicine1 which they practised without fees--hence their title1 the holy money-despisers4 ,they are here receiving the ,divine blessing4 ,the picture is conventional also in its treatment4 ,thus the attitude of the hand is the recognised symbol whereby to express that a figure is speaking4 ,so1 too1 the background is formed by a golden plain1 which is meant to represent the air or the sky4 ,the dark blue semicircle surrounding the bust of our ,saviour1 above the two heads of the saints1 has more or less the form of the horizon1 and is meant to represent the heaven in which ,christ dwells 7,richter's ,italian ,art1 etc41 pp4 #e-g74 #eie4 ,,portrait ,,of ,a ,,lady4 ,unknown 7,venetian ,school3 #aeth-#afth century74 ,one of the many pictures in the ,gallery from which the so-called sthetic or high art gowns of the present day have been copied4 ,formerly ascribed to ,battista ,zelotti1 a disciple of ,paul ,veronese4 #eif4 ,,the ,,entombment ,,of ,,christ4 ,marco ,palmezzano 7,umbrian3 #adef-aecg74 ,this painter was a fellow-countryman and pupil of ,melozzo of ,forli1 who studied under ,piero della ,francesca1 and to that extent ,marco is a member of the ,umbrian ,school4 ,like his master1 ,marco studied geometry and perspective4 ,he was skilful in perspective1 but he scarcely ever ridded himself of a certain dryness and hardness1 and his draperies are in general angular in the folds1 cutting up instead of indicating the forms beneath 7,burton74 ,his pictures abound in ,forli4 ,this picture1 originally of a semicircular shape1 was the lunette of an altar-piece1 painted in #aejf for the ,cathedral of ,forli1 and now in the ,gallery of that town4 ,to the spectator's right is ,san ,mercuriale1 first bishop of ,forli1 holding the ,guelphic banner of the church2 on the left1 ,san ,valeriano with the standard of ,forli4 #eig4 ,,st4 ,,vincentius ,,ferrer4 ,francesco del ,cossa 7,ferrarese3 about #adce-adhe74 ,cossa was a contemporary of ,cosimo ,tura 7#ggb71 with whom he exhibits close affinities of style4 ,but while ,tura was fantastic1 and inclined to the lavish use of decoration1 ,cossa1 with severer views of his art1 sought to give dignity and grandeur to his figures1 and kept ornamentation within its proper bounds 7,official ,catalogue74 ,it may be added that ,cossa1 though 'severer' in one sense1 viz4 that he saw more clearly and kept more strictly within the true limits of fine art1 had more amenity than ,tura2 his decorative instinct was more refined1 his sense of grace less crude4 ,he was also a sweeter1 finer1 colourist 7,monkhouse74 ,cossa worked at ,ferrara with other artists for ,duke ,borso1 and among other works he executed some of the frescoes for the ,schifanoia ,palace4 ,these have been copied by the ,arundel ,society4 ,in #adgj ,cossa removed to ,bologna1 where his best works are to be seen4 ,the finest of them is the ,virgin and ,child with ,st4 ,petronius in the ,pinacoteca--a work of singular grandeur4 ,our beautiful panel is1 for its size1 as characteristic and fine a specimen of the master as exists4 ,the painting throughout is of fine quality1 the modelling and expression of the head admirable1 the colour strong and fine1 but soft withal1 and the abundant detail executed with great skill and patience1 but kept in due subordination4 ,the strange background1 with its fantastic erections1 half architecture half rock1 is of less beauty1 but equally characteristic of the artist 7,monkhouse3 ,in the ,national ,gallery1 p4 #afg74 ,the picture1 once ascribed to ,marco ,zoppo1 has been now recognised as the central panel of an altar-piece by ,cossa1 of which the wings are in the ,brera at ,milan1 and the predella is in the ,picture ,gallery of the ,vatican4 ,the ,dominican represented has at various times been supposed to be ,st4 ,dominic himself1 ,st4 ,vincentius ,ferrer1 and ,st4 ,hyacinth4 ,the predella pictures are of scenes in the life of ,st4 ,hyacinth1 who therefore is probably the subject of our panel also4 ,he was a member of the ,dominican ,order 7whose habit he wears71 a ,pole by birth1 and a missionary in ,russia4 ,st4 ,vincentius ,ferrer was a ,spaniard of ,valencia1 who in #acgd1 at the age of #ag1 entered the ,dominican ,order1 died in #adai1 and was canonised in #adee4 #eih4 ,,st4 ,,francis ,,with ,,the ,,stigmata4 ,filippino ,lippi 7,florentine3 #adeg-aejd74 ,see #bic4 ,st4 ,francis1 the founder of the ,franciscan ,order of monks 7the ,black ,friars71 was the great apostle of ,works1 whilst ,st4 ,dominic1 the founder of the ,dominican ,order 7,white ,friars71 was the great apostle of ,faith4 ,it was the teaching of these two orders that gave the impetus to the church building1 from which grew the art revival at ,florence in the thirteenth century4 ,the gospel of works1 according to ,st4 ,francis1 lay in three things4 ,you must work without money1 and be poor4 ,you must work without pleasure1 and be chaste4 ,you must work according to orders1 and be obedient4 ,and so truly did he in his own works exemplify the life of ,christ1 that1 according to the legend of the time1 he received also in his own person the wounds 7or stigmata7 of the ,crucified ,one--here visible on his hands4 7,take my yoke upon you2 or ,take up the cross and follow me47 ,his reception of the 'stigmata' is1 perhaps1 a marvellous instance of the power of imagination over physical conditions2 perhaps an equally marvellous instance of the swift change of metaphor into tradition2 but assuredly1 and beyond dispute1 one of the most influential1 significant1 and instructive traditions possessed by the ,church of ,christ4 ,the saint is here represented in glory2 choirs of singing angels encompass him2 for now the wounds of his ,master are his inheritance1 the cross--sign not of triumph1 but of trial1 is his reward 7,mornings in ,florence1 i4 #h1 #ac2 iii4 #fd74 ,inscribed on the picture below are some lines from a ,latin hymn to ,st4 ,francis1 exhorting others to follow him1 and to advance as he did the standards of their king 7,let those who depart out of ,egypt follow him1 and be united to him1 in whom the standards of the ,king come forth for us in clear light74 ,the floating angels recall those by ,botticelli1 but the pupil's work is not here so good3 these angels seem after all to be standing1 ,botticelli's to be indeed floating in thin air4 ,lippi1 too1 learnt no doubt from him the goldsmith's work1 seen here in the indented background to the picture4 #eii4 ,,the ,,madonna ,,of ,,the ,,meadow4 ,giovanni ,bellini 7,venetian3 #adbf-aeaf74 ,see #ahi4 ,see also 7p4 xix7 ,a very charming little picture1 marred only by a certain insipidity in the expression of the ,madonna--which contrasts markedly alike with the pathetic type of ,bellini's early ,madonnas 7e4g4 ,no4 #bhh71 and with the more stately type which he afterwards adopted 7as in the altar-piece in the ,academy at ,venice74 ,the landscape is altogether interesting1 and will well repay a long examination4 ,the incident of the bird and the serpent should not be missed1 and the ,eastern sheep with the long ears and its stately attendant in the white burnous should be noted as an attempt to give some ,oriental character to the scene 7,monkhouse3 ,in the ,national ,gallery1 p4 #bbj74 ,the exquisite opaline purity of its daylight1 the delicacy and finish of every detail1 the walls and towers of the little town serene in the rays of morning1 and the mountain ranges1 pure and lovely in definition--all these graces make the picture one of the joys of art 7,gilbert's ,landscape in ,art1 p4 #ccj74 ,this picture has at different times been given several different attributions1 of which the most cautious was ,school of ,bellini4 ,in earlier editions of the ,official ,catalogue it was ascribed to ,basaiti 7see #bha72 but now 7#ahih7 to ,bellini4 ,sir ,edward ,poynter refers in support of this alteration to the close resemblance of the present picture to a signed work by ,bellini in the ,giovanelli ,palace at ,venice1 and1 as regards the background1 to ,no4 #hab in our gallery4 ,sir ,walter ,armstrong 7,notes on the ,national ,gallery1 p4 #bd7 draws attention to the similarity in the baby's hands here and in #bbd1 and would ascribe both pictures to ,catena4 ,the correct settlement of disputed points of attribution like this is highly important for the history of painting1 but meanwhile the very fact of such disputes has a useful significance1 as showing what is meant by the old schools of painting4 ,individual peculiarities are only discovered by minutest examinations2 but beneath such differences there are in each school similarities of treatment and conception which come from common traditions and common teaching1 and which cause critics of equal intelligence to attribute the same pictures to different masters of the school4 #fjj4 ,,the ,,blind ,,beggar4 ,j4 ,l4 ,dyckmans 7,flemish3 #ahaa-ahhh74 ,josef ,laurens ,dyckmans1 a pupil of ,wappers1 was for some time ,professor of the ,academy of ,painting at ,antwerp4 ,a blind old man is standing in the sunshine by a church door3 before him is a young girl1 who is holding out her hand for alms to the passers-by2 an old lady coming from the church is feeling in her pocket for a sou2 some other figures are seen in the porch at their devotions before a crucifix4 ,painted at ,antwerp1 signed ,j4 ,dyckmans1 #ahec 7,official ,catalogue74 ,the picture is painted in a tone of colour exceedingly low1 but the whole is worked to an extreme finish2 the heads in fact are elaborated with a care such as ,denner's pictures show4 ,in these days of light and glowing harmonies the eye is at once struck with the abstinence from colour which the artist has made a cardinal principle in the execution of his work 7,art ,journal1 ,july #ahfd74 ,this picture was presented by ,miss ,jane ,clark1 who paid #ijj guineas for it4 #fjb4 ,a ,,piet4 ,carlo ,crivelli 7,venetian3 painted #adfh-adic74 ,crivelli is one of the most individual of painters1 and no collection is so rich in his works as the ,national ,gallery4 ,he was a native of ,venice1 and his work shows marked affinities with the school of ,padua4 ,of his life1 little is known except that in1 or shortly before1 the year #adfh he settled at ,ascoli in the ,marches of ,ancona4 ,in that neighbourhood he seems to have spent the rest of his life1 in the employment mainly of various religious fraternities4 ,he thus lived somewhat outside the artistic world of his time1 a fact which serves to explain the rather conservative character of his art4 ,thus he adhered to the tempera medium4 ,he adhered also to the ,byzantine traditions of the old ,venetian ,school with its fondness for the ancona1 or altar-piece consisting of many single figures each in its separate compartment1 and for gilt and silvered ornaments in high relief4 ,there is1 too1 a vein of affectation in his pictures which contrasts strongly with the naturalistic tendency in contemporary ,venetian art4 ,owing to a little touch of vanity in the painter we are able to date many of his pictures4 ,for it is known that he was knighted in #adij1 and so proud was ,sir ,charles of his new honour that he signed all subsequent pictures ,carlo ,crivelli1 ,knight4 ,no4 #gbd is probably the first he finished after the reception of the coveted honour4 ,his love of accessories1 and especially of fruit1 will strike every visitor2 and so also will the brilliance of his colouring and the unerring1 if somewhat harsh1 exactness of his outlines4 ,for tender pathos the present picture is remarkable4 ,his range was1 as we shall see1 somewhat limited4 ,he seldom attempted compositions on any large scale1 and his subject pictures are few3 ,no4 #gci is one of the best of them4 ,he excelled rather in single figures1 and in these we find expressed1 in quaint combination1 morose asceticism1 passionate and demonstrative grief1 verging on caricature1 occasional grandeur of conception and presentment1 knightly dignity1 feminine sweetness and tenderness mingled with demure and far-fetched grace 7,sir ,f4 ,burton74 ,up to the end of the eighteenth century ,crivelli's works were still to be found in their original places1 in the churches and convents of ,eastern ,italy1 where they attracted little attention4 ,the suppression of the convents after the age of the ,revolution brought them into notice1 and ,english collectors purchased them in large numbers4 ,in recent years this appreciation has steadily increased4 ,the large altar-piece1 #ghh1 was bought in #ahfh for #ccfj4 ,at the ,dudley sale in #ahib1 the altar-piece1 now in the ,berlin ,museum1 fetched #gcej4 ,this little picture is part of an altar-piece formerly in a church at ,monte ,fiore1 near ,fermo3 other portions are at ,brussels4 ,the picture is signed1 but not dated2 the piece of red watered silk which hangs over the edge of the tomb is characteristic of ,crivelli's earlier period4 ,its prettily pathetic sentiment and brilliant tone make it one of the painter's most attractive works4 ,for some remarks on the subject1 see under #eij4 #fba4 ,,the ,,horse ,,fair4 ,rosa ,bonheur 7,french3 #ahbb-ahii74 ,mdlle4 ,rosalie ,bonheur1 usually called ,rosa ,bonheur1 the most vigorous and spirited of ,french animal painters1 was born at ,bordeaux4 ,her parents had a sharp struggle for existence4 ,her mother taught music2 her father--,raymond ,bonheur--drawing4 ,he was a painter of some ability1 and all the children inherited an artistic bent4 ,when the family removed to ,paris1 ,rosa's precocious talents rapidly developed4 ,they lived next door to a tavern which was a house of call for diligences and market-waggons1 and there she found inexhaustible material for animal studies4 ,her brother1 ,auguste1 became an animal and landscape painter of repute2 another brother1 ,isidore1 an animal sculptor2 her sister1 ,juliette1 who married ,m4 ,peyrol1 was also a well-known painter4 ,in the ,salon of #ahdh the whole family exhibited4 ,from the common purse1 when they were children1 a goat was bought for a model1 which they used to carry up to their humble studio4 ,another place of study with ,rosa ,bonheur was the ,abattoir du ,roule1 where1 with characteristic fortitude1 she not only controlled her natural repugnance to scenes of slaughter1 but overcame all the disgust which attended the 'brutalit grossire' of the people employed there4 ,even at this early period she studied not only the outward aspects and anatomical construction of the creatures she painted1 but their passions and tempers4 ,among the friends to whom she always referred with grateful pleasure as helpful in these days was ,paul ,delaroche1 who called at the humble family quarters on a sixth floor1 and was not sparing in his admiration4 ,rosa had first been apprenticed to a dressmaker1 but her love of art impelled her to give up this occupation1 and she succeeded in contributing to the family exchequer by the sale of copies made in the ,louvre4 ,in #ahda1 when only #ai1 she exhibited two pictures in the ,salon4 ,her mother died in #ahcc1 and in #ahde her father married again2 from that time forward she lived an independent life4 ,her famous ,labourage ,nivernais1 now in the ,luxembourg1 was painted in #ahdh4 ,this greatly increased her reputation1 and she was able to secure for her father the post of director of the ,women's ,painting ,school1 established by the ,government in ,paris4 ,his death in the following year affected her greatly1 and she did not exhibit again until #ahec1 when ,the ,horse ,fair1 ,le ,march aux ,chevaux1 appeared4 ,through engravings and photographs this work made the name of ,rosa ,bonheur famous throughout the world4 ,she visited ,spain and ,scotland1 and painted pictures of both those countries4 ,her permanent residence was an estate at ,by in the forest of ,fontainebleau1 which she purchased in #ahee4 ,there ten years later she was personally invested by the ,emperor of the ,french with the ,cross of the ,legion of ,honour1 an honour confirmed in later years by ,president ,carnot4 ,a still higher compliment was paid her in #ahgj-ahga1 when her studio and residence were spared from any intrusion1 by the special order of ,prince ,frederick ,charles4 ,for many years she regularly attended horse fairs both in ,france--such as she has here depicted--and abroad1 adopting as a rule men's costume in order to carry out her studies and purchases without attracting attention4 ,mr4 ,frith relates how when he and ,sir ,john ,millais went to lunch with her in #aheh1 they were met at the station by a carriage1 the coachman appearing to be a ,french ,abb4 ,the driver wore a black broad-brimmed hat and black cloak1 long white hair with a cheery rosy face4 ,it was ,rosa ,bonheur1 who lives at her chteau with a lady companion1 and others in the form of boars1 lions1 and deer1 who serve as models4 ,gambart1 who was of the party1 repeated to her some words of praise given by ,landseer to a picture of hers1 then exhibiting in ,london4 ,her eyes filled with tears as she listened4 ,when one sees this young artist1 wrote a journalist in #aheb1 small of stature and of delicate appearance1 standing by a huge canvas1 he would be tempted to think that her powers had not attained the full height of their ambition2 but when he comes to make note of the straight1 resolute lines of the artist's features1 her full square forehead1 her thick hair1 cut as short as that of a man1 and her dark1 quick flashing eyes1 he ceases to fear4 ,he then realises that it is not reckless audacity which impels her forward in her work1 but a greatness of soul and a consciousness of her strength4 ,few artistic careers1 says her brother-in-law1 have been more active1 more brilliant1 or more characterised by simple and quiet dignity1 or perhaps1 on the whole1 more happy4 ,having known during her youngest days the terrible inconvenience of poverty1 ,rosa ,bonheur raised herself1 by her talent alone1 to a position of independence and fortune4 ,she was privileged to enjoy at the same time the charms of fame and the sweets of obscurity4 ,she never abandoned the retired habits of life she loved1 and she was able to continue her studies to the end4 ,the magnificent stallions with their powerful forms pass before us at a trot1 kicking up the dust under their feet4 ,full of life and movement1 and thoroughly imbued with realism1 but of a beautiful and noble realism4 ,the composition is admirable1 and brings out finely the energy and spirit of the horse4 ,the scene represents the horses as having just reached the market1 and as being in the act of falling back to re-form for their proper places4 ,the fine trees in the background of the picture1 under which1 upon a rising ground1 the dealers and buyers take up their position1 are obscured on the left by the haze1 and by the clouds of dust raised by the trotting horses2 in the background1 too1 at the extreme left1 is seen the small dome of the ,salptrire4 ,the ,march aux ,chevaux of ,paris was at that time situate in the ,boulevard l',hpital1 not far from the ,orleans railway2 but in consequence of changes1 the market has lost the picturesque aspect it wore in #ahec4 ,one looks in vain now for the large trees which then shadowed it1 and the bold earth1 covered in places by short dusty grass and broken up by the trampling of the horses4444 ,a mingling of art and truth is very obvious in ',the ,horse ,fair4' ,the irregular order of the horses1 their different movements bringing into play all their muscles2 the different spots of their coats1 so disposed as to set off one another1 and furnishing at the same time a charming variety to the eye2 the powerful dappled ,perche horses1 which pass in the foreground and constitute the centre of the picture1 with the groups of black#aed and white horses which rear themselves up on their hind feet--all this shows a profoundly skilful arrangement1 and results in a grand and harmonious ensemble4 ,yet the first impression which this picture gives is that of a scene taken from the life1 and of intense realism4 ,the freedom and breadth of the execution are equal to the beauty of the composition4 ,the vigorous touch1 and the powerful drawing also help to give this picture a spirited character and masculine vigour in perfect harmony with the subject it represents 7,ren ,peyrol in the ,art ,annual on ,rosa ,bonheur74 ,ruskin1 while bearing his testimony to the artist's power1 calls attention to one stern fact concerning art which here detracts from her full success4 ,no painter of animals ever yet was entirely great1 who shrank from painting the human face2 and ,mdlle4 ,bonheur does shrink from it4444 ,in the ',horse ,fair1' the human faces are nearly all dexterously1 but disagreeably1 hidden1 and the one clearly shown has not the slightest character4 ,mdlle4 ,bonheur may rely upon this1 that if she cannot paint a man's face1 she can neither paint a horse's1 a dog's1 nor a bull's4 ,there is in every animal's eye a dim image and gleam of humanity1 a flash of strange light through which their life looks out and up to our great mystery of command over them1 and claims the fellowship of the creature1 if not of the soul4#aee ,i assure ,mdlle4 ,bonheur1 strange as the words may sound to her1 after what she has been told by huntsmen and racers1 she has never painted a horse yet4 ,she has only painted trotting bodies of horses 7,academy ,notes1 etc4 #aheh1 p4 #cb74 ,the original of this famous composition--probably the best-known and most popular animal picture of our epoch--was exhibited in the ,salon in #ahec4 ,the painter had been engaged on it for a long time1 and had made innumerable studies for it4 ,she used to call it her ,parthenon ,frieze4 ,it was sold to ,mr4 ,gambart1 the picture-dealer1 who brought it to ,england4 ,it made a great sensation in ,london1 and afterwards went on a provincial tour4 ,it then travelled to ,america where it was sold1 and is now in the ,new ,york ,museum4 ,rosa ,bonheur painted for ,gambart two repetitions of it on a smaller scale4 ,one of these1 the picture before us1 was bought by ,mr4 ,jacob ,bell1 who bequeathed it to the nation in #ahei4 ,it was the first work by a living foreign painter to be admitted to the ,gallery4 #fbc4 ,,madonna ,,and ,,child ,,enthroned4 ,girolamo da ,treviso 7,venetian3 #adig-aedd74 ,girolamo1 the son and pupil of ,piermaria ,pennachi1 was born at ,treviso4 ,he painted at ,venice1 ,genoa1 ,trent1 ,faenza1 and ,bologna1 at which latter place several of his frescoes and paintings remain4 ,between the years #aece and #aech he returned to ,venice and became intimate with ,titian1 ,sansovino1 and ,aretino4 ,in #aedb1 says ,vasari1 he repaired to ,england1 where he was so favoured by certain of his friends1 who recommended him to the king 7,henry ,,viii471 that he was at once appointed to the service of that monarch4 ,presenting himself to the ,english sovereign accordingly1 ,girolamo was employed1 not as painter1 but as engineer1 and having given proofs of his ability in various edifices1 copied from such as he had seen in ,tuscany and other parts of ,italy1 the king admired them greatly4 ,nay1 furthermore1 his majesty rewarded the master with large gifts1 and ordained him a stipend of four hundred crowns a year1 giving him at the same time opportunity and permission to erect an honourable abode for himself1 the cost of which was borne by the king4 ,girolamo had1 however1 to erect also some bastions at ,boulogne1 and there he was struck by a cannon-ball1 which came with such violence that it cut him in two as he sat on his horse4 ,and so were his life and all the honours of this world extinguished together1 all his greatness departing in a moment4 ,his works are now scarce4 ,no4 #bah in this gallery may be the copy made by ,girolamo from ,peruzzi's drawing1 ,no4 #afg4 ,this picture1 formerly the altar-piece of the ,boccaferri chapel in ,s4 ,domenico at ,bologna1 is signed by the painter and is mentioned by ,vasari 7iii4 #bhg7 as the best of his works3 it represents the ,madonna with numerous saints 7,joseph1 ,james1 and ,paul71 and contains the portrait of the person by whom the painter was commissioned to execute the work4 ,girolamo1 who1 as we have seen1 was a man of travel1 did not remain faithful to the tradition of art as professed at ,venice and ,treviso1 and might be called rather a forerunner of the eclectic schools4444 ,the head of ,st4 ,paul is apparently copied from ,raphael's picture of ,st4 ,cecilia in ,bologna4 ,in the types of other figures1 in the colouring and in the landscape1 we perceive the influence of ,dosso ,dossi and of ,garofalo 7,richter's ,italian ,art1 etc4 p4 #hg74 #fbd4 ,,the ,,infancy ,,of ,,jupiter4 ,giulio ,romano 7,roman3 #adib-aedf74 ,giulio ,pippi1 called the ,roman1 was born at ,rome1 and was ,raphael's favourite pupil2 to him ,raphael bequeathed his implements and works of art4 ,but the master could not also bequeath his spirit1 and in ,giulio's works 7such as #fdc and #fdd1 which1 however1 are now attributed to a pupil71 though the archology is admirable1 the movements of the actors are affected and forced1 and the whole result is a grievous example of the mannerism already beginning to prevail 7,woltmann and ,woermann3 ,history of ,painting1 ii4 #efb74 ,raphael worked out the mine of his own thought so thoroughly1 so completely exhausted the motives of his invention1 and carried his style to such perfection1 that he left nothing unused for his followers4444 ,in the ,roman manner the dramatic element was conspicuous2 and to carry dramatic painting beyond the limits of good style in art is unfortunately easy4444 ,for all the higher purposes of genuine art1 inspiration passed from his pupils as colour fades from ,eastern clouds at sunset1 suddenly 7,symonds's ,renaissance1 iii4 #cei74444 ,giulio ,romano alone1 by dint of robust energy and lurid fire of fancy flickering amid the smoke of his coarser nature1 achieved a triumph4 ,his ,palazzo del ,te at ,mantua may be cited as the most perfect production of the epoch1 combining1 as it does1 all forms of antique decoration and construction with the vivid individuality of genius 7,symonds1 ii4 #cai2 iii4 #cfj74 ,it was in #aebc that ,giulio entered the service of ,federigo ,gonzaga1 ,duke of ,mantua1 and besides executing a very large number of works in oil and fresco1 he was distinguished as an architect and rebuilt nearly the whole town4#aef ,vasari made his acquaintance there1 and admired his works so much that ,giulio deserved1 he said1 to see a statue of himself erected at every corner of the city4 ,during his earlier period at ,rome1 ,giulio was entrusted with the completion of the frescoes of the ,sala di ,costantino in the ,vatican4 ,among his best oil-pictures are the ,martyrdom of ,st4 ,stephen in the church of that saint at ,genoa1 and a ,holy ,family in the ,dresden ,gallery4 ,an illustration of the classic myth of the infancy of ,jupiter1 who was born in ,crete and hidden by his mother1 ,rhea1 in order to save him from his father ,saturn 7all-devouring ,time71 who used to devour his sons as soon as they were born1 from fear of the prophecy that one of them would dethrone him4 ,in the background are the ,curetes who1 as the story is1 erst drowned in ,crete that infant cry of ,jove1 when the young band about the babe in rapid dance1 arms in hand to measured tread1 beat brass on brass1 that ,saturn might not get him to consign to his devouring jaws 7,lucretius1 ,munro's translation1 ii4 #fbi74 ,this picture has been much admired by artists4 ,samuel ,palmer1 the friend of ,william ,blake1 wrote of it3 ,by the bye1 if you want to see a picture bound by a splendid imagination upon the fine1 firm1 old philosophy1 do go and look at the ,julio ,romano 7,nursing of ,jupiter7 in the ,national ,gallery4 ,that is precisely the picture ,blake would have revelled in4 ,i think ,i hear him say1 ',as fine as possible1 ,sir6 ,it is not permitted to man to do better6' 7,memoir of ,anne ,gilchrist1 p4 #ei74 ,elsewhere ,palmer proposed to a friend as a compact test of taste the question3 ,do ,i love the ,julio ,romano in the ,national ,gallery8 7,life and ,letters of ,samuel ,palmer1 p4 #bej74 ,another distinguished artist1 ,john ,linnell1 was also a great admirer of the picture4 ,he strongly urged its purchase for the ,national ,gallery1 declaring it to be full of beauty and without any alloy 7,story's ,life of ,linnell1 ii4 #abc74 #fbe4 ,,an ,,altar-,,piece4 ,il ,moretto 7,brescian3 #adih-aeee74 ,see #bii4 ,the principal figure is ,st4 ,bernardino of ,siena 7#achj-addd74 ,he was one of the most celebrated preachers of his time3 hence the words on the open book which he is represented as holding in his left hand1 ,father1 ,i have manifested thy name to men4 ,the ,gospel which he preached was ,salvation through ,jesus ,christ3 hence the circle in his right hand with the ,latin monogram ,i4,h4,s4 7,jesus the ,saviour of mankind74 ,he came of a noble family1 but the secret of his power was his determination to live amongst the poor ones of the earth3 hence at his feet are mitres inscribed with the names of the three cities of which he refused the bishoprics4 ,the attendant saints are ,sts4 ,jerome1 ,joseph1 ,francis 7to whose order ,bernardino belonged71 and ,nicholas of ,bari4 ,above is a vision of the only crown to which ,st4 ,bernardino aspired--the company of the saints1 the ,virgin and ,child1 ,st4 ,catherine1 and ,st4 ,clara4 ,into the pervading expression of simple and humble piety the artist has put1 perhaps1 something of his own character2 for he was a man of great personal piety1 and he is said to have always prepared himself 7like ,fra ,angelico before him7 by prayer and fasting for any important work of sacred art4 ,something1 too1 of this ascetic ideal may be seen in the attenuated figures of his saints4 ,in those who already know ,moretto1 this altar-piece will1 says ,mr4 ,pater1 awake many a reminiscence of his art at its best4 ,the three white mitres1 for instance1 grandly painted towards the centre of the picture1 at the feet of ,st4 ,bernardino1 may remind one of the great white mitre which1 in the genial picture of ,st4 ,nicholas1 in the ,miracoli at ,brescia1 one of the children1 who as delightfully unconventional acolytes accompany their beloved patron into the presence of the ,madonna1 carries along so willingly1 laughing almost1 with pleasure and pride1 at his part in so great a function4 ,in the altar-piece at the ,national ,gallery those white mitres form the keynote from which the pale1 cloistral splendours of the whole picture radiate4 ,you see what a wealth of enjoyable colour ,moretto1 for one1 can bring out of monkish habits in themselves sad enough1 and receive a new lesson in the artistic value of reserve 7,art ,notes in ,north ,italy1 in ,new ,review1 ,november #ahij74 #fbf4 ,,portrait ,,of ,a ,,young ,,man4 ,botticelli 7,florentine3 #addg-aeaj74 ,see #ajcd4 ,this portrait was formerly ascribed in the ,official ,catalogue to ,masaccio4 ,the wish was perhaps father to the thought1 for ,masaccio is a very important person in the development of art 7being the leader of the scientific movement in ,florentine painting1 and also the first man1 says ,ruskin1 who entirely broke through the conventionality of his time and painted pure landscape71 and is not otherwise represented in the ,national ,gallery4 ,mr4 ,wornum 7the late ,keeper7 ascribed the portrait to ,filippino ,lippi2 it is now ascribed to ,botticelli1 who was also distinguished in portrait-painting1 which in his time was becoming increasingly fashionable4 ,the waving lines in the falling hair1 and the drawing of the mouth1 seem to leave no doubt that ,botticelli alone is the author of this impressive1 yet simple and unpretentious1 likeness of an unknown ,florentine 7,richter3 ,italian ,art in the ,national ,gallery1 p4 #bd74 #fbg1 #fbh4 ,,waterfalls4 ,ruysdael 7,dutch3 #afbh-afhb74 ,jacob van ,ruysdael is usually accounted the greatest of the ,dutch landscape painters4 ,he often painted wild scenery1 but it is perhaps in the quiet1 and as it were uneventful pictures from the neighbourhood of ,haarlem1 that he charms us most4 ,at each moment in the country around ,haarlem1 says ,m4 ,michel1 the name of ,ruysdael occurs to one with a recollection of some picture of his4 ,one can follow his course and even find the very place where he must have sat4 ,of all the ,dutch painters1 says ,fromentin1 ,ruysdael is the one who has the noblest resemblance to his country4 ,he has its spaciousness1 its sadness1 its somewhat gloomy placidity1 its monotonous and tranquil charm4 ,but though in this way a product of the soil1 ,ruysdael's genius is essentially human and individual4 ,his means of expression were the simplest4 ,his touch is crisp and spirited1 his workmanship thorough and conscientious2 but he had no adventitious aids to attraction4 ,there is1 however1 continues ,fromentin1 something in his works which compels respect4 ,it is the conviction created by them that they are the outcome of a great man who has something to say4 ,the cause of his superiority to others is to be found in this1 that there is behind the painter a man who thinks1 behind each of his pictures an idea4 ,in studying a picture by ,ruysdael we become interested also in the personality of the painter4 ,we find ourselves asking questions4 ,had he joys1 as he certainly had bitterness8 ,did destiny give him occasion to love other things than clouds1 and from what did he suffer most1 if he did suffer1 from the torment of painting well or of living8 ,all these questions remain without answer1 and yet posterity is interested in them4 ,would it occur to you to ask as much about ,berchem1 ,karel ,dujardin1 ,wouwerman1 ,goyen1 ,terburg1 ,metsu1 ,peter de ,hoogh himself8 ,all these brilliant or charming painters painted1 and that seems to suffice4 ,ruysdael painted1 but he also lived1 and that is why it matters so much to know how he lived4 ,i know only three or four men in the ,dutch school whose personality is thus interesting--,rembrandt1 ,ruysdael1 ,paul ,potter1 and possibly ,cuyp1 which is already more than is enough to classify them 7,les ,maitres d',autrefois1 ,hollande1 ch4 vii4 ,see also ,m4 ,emile ,michel's article in the ,revue des deux ,mondes for #ahhh74 ,what we find pre-eminently in ,ruysdael is a mind in harmony with nature in her simplest and most sombre moods4 ,the grey vapour that overspreads his skies seldom admits a fleeting gleam of sunshine to pass through 7,burton74 ,ruysdael is remarkable also for a certain solemn love of solitude1 and this love of nature in itself1 undisturbed by the incidents of daily life1 distinguishes him from most of his contemporaries1 and accounts1 perhaps1 for his popularity in more modern times4 ,goethe1 who admired ,ruysdael greatly1 calls special attention to the painter's success in representing the ,past in the ,present1 and in suggesting to the spectator that the works of nature live and last longer than the works of men7,ruysdael als ,dichter74 ,the sense of isolation perceptible in his pictures is in keeping also with what we know of his life4 ,he was born at ,haarlem1 the son of a picture-dealer and frame-maker1 but became a citizen of ,amsterdam4 ,his father intended him for the medical profession1 but he probably received instruction in painting from his uncle1 ,salomon van ,ruysdael 7#adci74 ,he remained unmarried in order1 it is said1 to promote the comfort of his aged father4 ,he belonged to the sect of the ,mennonites1 who enjoined on their disciples strict separation from the world4 ,in ,ruysdael's case the world also separated itself from him4 ,his talents were ignored by the great public of his day2 and in #afha he was admitted into the town's almshouse at ,haarlem1 where he died in the following year4 ,his landscapes are now eagerly sought after and command high prices4 ,his views are mostly taken from the northern provinces of the ,netherlands2 the ,norwegian scenery which he introduced in many of his later works being studied probably from sketches by ,van ,everdingen4 ,but it is probable1 though 7as a writer in the ,quarterly ,review observes7 no direct evidence in confirmation has yet been found1 that ,ruysdael went to ,norway either with or without ,everdingen1 and for a time steeped himself in the spirit of the wild landscape4 ,the large number of works of the waterfall class that we possess show that he was deeply impressed by the artistic and ethical qualities of the landscape4 ,severe1 remote1 and melancholy1 these ,norwegian solitudes appealed to the mind of this most solitary of artists1 in whose art1 as ,goethe said1 the poetry of loneliness has found an eternal expression4 ,waterfalls are a speciality with the painter 7the name ,ruysdael appropriately signifies foaming water74 ,ordinary running or falling water may be sufficiently rendered1 by observing careful curves of projection with a dark ground1 and breaking a little white over it1 as we see done with judgment and taste by ,ruysdael 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 v4 ch4 i4 #b74 ,ruysdael's painting of falling water1 adds ,ruskin 7ibid4 #ba71 is generally agreeable2 more than agreeable it can hardly be considered4 ,there appears no exertion of mind in any of his works2 nor are they calculated to produce either harm or good by their feeble influence4 ,they are good furniture pictures1 unworthy of praise1 and undeserving of blame4 ,it is interesting to compare this damningly faint praise from ,ruskin with the words of another critic4 ,where is the traveller1 asks ,m4 ,charles ,blanc1 familiar with the impressive beauties of mountainous countries1 who cannot find them in the pictures of ,ruysdael8 ,at the foot of those steep rocks how the water falls1 foams1 and writhes round the ruins it has brought down6 ,it dashes forward from the right1 from the left1 and from the background of the picture towards the gulf which draws it in2 it rushes down1 ,i was going to say1 with a hollow noise1 for in fact one imagines one can almost hear it4 ,we see it gliding down the slippery rocks1 dashing against the rough bark of the trees1 and gushing down the rugged bottom of the ravine4 ,we fancy we feel the cold and humid spray falling on our faces4444 ,but such is the power of genius1 that after having seen in all its magnificent reality the spectacle which the artist has reproduced on a piece of canvas some few inches in magnitude1 nature seems to us less grand and less startling than the work of ,ruysdael4 #fbi4 ,,madonna ,,and ,,child4 ,lorenzo ,costa 7,ferrarese3 #adfj-aece74 ,lorenzo ,costa was a pupil of ,cosimo ,tura1 at ,ferrara1 but was soon drawn away to ,bologna1 where he worked with ,francia4 ,the friendship of these two men is a good instance of the unity between the different arts in the ,middle ,ages4 ,thus the workshop of ,francia at ,bologna consisted of two stories4 ,in the upper story1 pictures were painted under the supervision of ,costa2 whilst in the lower1 gold and silver works were executed1 and coins stamped1 under the direction of ,francia4 ,costa remained for twenty-three years at ,bologna1 where many of his principal works still exist4 ,the altar-piece in the church of ,s4 ,giovanni in ,monte is the most remarkable4 ,in #aeji1 invited by the ,marquis ,francesco ,gonzaga1 whose wife was ,isabella d',este1 ,costa fixed his abode in ,mantua1 where he remained till his death4 ,he depicted their court in an allegorical composition1 now in the ,louvre4 ,costa's style1 says ,sir ,f4 ,burton1 varied during his long career4 ,his earlier works bear signs of his filiation to ,tura and ,cossa4 ,in later productions we may trace more of the amenity of ,umbrian art1 and finally the influence of his own pupil ,francia4 ,his best merits are a gentle gravity and a sense of colour4 ,want of force mars what is meant for grace4 ,this picture 7which is signed1 and dated #aeje7 should be compared with the ,perugino in the next room 7#bhh71 for ,lorenzo ,costa has been called the ,perugino of ,ferrara1 and works of his are in many galleries wrongly attributed to ,perugino4 ,every one will feel that there is a grace and a sweetness here which recalls ,perugino4 ,lorenzo1 too1 has ,perugino's fondness for a purist landscape 7see #bhh72 and note the curious device1 peculiar to the ,ferrarese ,school1 by which he introduces it4 ,the ,madonna's throne is constructed in two parts1 so that between the base and the upper part a vacant space is left1 through which we look into the open air 7,thus saith the ,lord1 the heaven is my throne1 and the earth is my footstool74 ,one of ,costa's weaknesses may be observed in the figures of the standing saints4 ,his figures are seldom planted firmly on the ground--a fault which he shared with ,francia4 ,the ill-understood folds of their garments obscure the form1 and trail upon the ground in meaningless tags4 ,this insensibility on the part of ,costa to one of the noblest means of expression in art is remarkable1 inasmuch as the works of ,francesco ,cossa might have set him an example of draperies carefully studied1 true to fact1 and often grandly disposed 7,burton74 #fcj4 ,,madonna ,,and ,,child ,,with ,,saints4 ,gregorio ,schiavone 7,paduan3 painted about #adgj74 ,a picture of historical interest1 as being the earliest in the ,gallery of the ,paduan ,school4 ,gregorio1 the ,sclavonian 7i4e4 ,dalmatian71 though not1 one must think1 a very good artist1 was proud of his master1 and this picture is signed 7on the little card below the throne7 the work of ,schiavone1 the pupil of ,squarcione4 ,that master's style was distinguished by its sculpturesque quality2 and in the works of a somewhat clumsy pupil like ,gregorio 7this ,dalmatian clodhopper1 ,morelli calls him7 one sees this tendency carried to excess2 the outline of the ,madonna's face here1 and still more in #ijd1 is quite grotesquely sharp4 ,another characteristic of the school is exemplified in both ,gregorio's pictures--the choice1 namely1 of antique embellishments1 of bas-reliefs1 and festoons of fruit1 in the accessories4 ,thus note here the bas-relief behind the ,madonna's chair1 and in #ijd the festoons of fruit upon the arch4 #fca4 ,,portrait ,,of ,a ,,lady4 ,ascribed to ,francesco ,bissolo 7,venetian3 painted #aejj-aebh74 ,by one of ,bellini's pupils and imitators4 ,observe the rich dress of a ,byzantine stuff embroidered with strange animals1 such as one sees in the old mosaics at ,venice4 ,the lady wears too a long gold chain1 as the ,venetian women do to this day4 #fcb1 #fcc4 ,,two ,,saints4 ,girolamo da ,santa ,croce 7,venetian3 painted #aebj-aeej74 ,girolamo--a relation probably of ,francesco ,rizo1 also of ,santa ,croce 7a village near ,bergamo7--was one of the weaker followers of ,giovanni ,bellini4 ,morelli mentions1 as a sign by which ,girolamo's pictures1 which are frequently met with in ,north ,italian galleries1 may often be recognised1 that he introduced a parrot whenever the subject he was treating would allow it1 just as ,paolo ,farinato used to put a snail into his paintings as a sort of mark4 ,these two panels were formerly the doors of an altar-piece4 #fcd4 ,,the ,,madonna ,,of ,,the ,,goldfinch4 ,cima da ,conegliano 7,venetian3 #adfj-aeah74 ,see #cjj4 ,the ,madonna here wears a graver expression than is common with ,cima4 ,there is the usual hilly background1 with the ruins of a ,roman temple introduced on the left4 #fce4 ,,the ,,repose4 ,titian 7,venetian3 #adgg-aegf74 ,see #d4 ,the subject of this radiantly beautiful picture is the familiar ,repose of the ,holy ,family during their flight into ,egypt2 perfect serenity and repose are the keynote of the composition4 ,the introduction of ,st4 ,john the ,baptist1 and ,st4 ,catherine#aeg embracing the ,holy ,child1 and in the distance the angel appearing to the shepherds1 serve as the sign-manuals to mark the sacred subject4 ,for the rest it is a simple domestic scene1 laid amongst the hills of ,titian's country1 near ,ceneda1 on the way to ,cadore3-- ,to this ,ceneda scenery ,i would assign those charming mixtures of woodland and plain1--those sweeping intermingling lines of hill1 here broken by a jutting rock1 sinking there into the sudden depth of bosky shades1--which are another characteristic of ,titian's landscape4 ,the play of light and shade over such a country1 throwing out now this1 now that1 of the billowy ranges as they alternately smiled in sunshine1 or frowned in shadow2 now printing off a tower or a crag1 dark against a far-off flitting gleam1 now touching into brightness a cottage or a castle2 he specially delighted to record4444 ,it must have been from the village of ,caverzano1 and within an easy walk from ,belluno1 that he took the mountain forms1 and noted the sublime effect upon them of evening light1 introduced in the ,madonna and ,st4 ,catherine4 ,the lines of hill and mountain are identical with a record in my sketch-book1 and the sharp-pointed hill1 almost lost in the rays1 is one of the most familiar features in the neighbourhood of ,belluno 7,gilbert3 ,cadore1 pp4 #cf1 #ei74 ,mr4 ,gilbert makes another interesting remark1 which may be verified in this picture with its flocks of sheep1 as well as in #bgj1 with its farm buildings3 ,another characteristic of ,titian's landscape1 and new in his time1 is his perception of its domestic charm--the sweetness of a home landscape4 ,a cottage1 a farm1 a mill1 take the place with him of the temples1 towers1 and lordly palaces of town-bred painters4444 ,honest travellers on a country track1 or sleeping in the shade2 the peasant going forth to labour1 or returning with his tools2 the high-roofed1 quaintly gabled farm1 with its nondescript surroundings1 and all set snugly on the bosky knoll 444 these are his favourite subjects4 ,but they never would have been so to a thorough ,venetian4 ,they show us the man of the hills--the breezy1 happy hills3 the man of many pleasant memories1 upon the sward1 beside the brook1 under the bending boughs3 the man who carried no city apprehensions1 or city squeamishness to country places1 but was at home anywhere under the broad heaven 7ibid4 p4 #fj74 ,the colour-scheme of this masterpiece is worth noting4 ,it is in keeping with the effect of coolness and repose aimed at in the composition4 ,the dominant chord is composed by the cerulean blues of the heaven and of the ,virgin's dress1 the deep luscious greens of the landscape and the peculiar pale citron hue1 relieved with a crimson girdle1 of the robe worn by ,st4 ,catherine4 ,with this exception there is not a trace of red in the picture4 ,contrary to almost universal usage1 it might almost be said to orthodoxy1 the entire draperies of the ,virgin are of one intense blue4 ,her veil-like headgear is of a brownish-gray1 while the ,st4 ,catherine wears a golden-brown scarf1 continuing the glories of her elaborately dressed hair4 ,the audacity of the colour-scheme is only equalled by its success2 no calculated effort at anything unusual being apparent 7,claude ,phillips3 ,the ,later ,work of ,titian1 p4 #aj74 ,this picture1 which is signed ,,tician1 was formerly in the ,sacristy of the ,escurial2 it has the ,escurial mark on the back4 ,a ,madonna with ,st4 ,catherine by ,titian is mentioned in a letter of #aecj written by ,giacomo ,malatesta to ,federigo ,gonzaga at ,mantua4 ,the reference is supposed by ,crowe and ,cavalcaselle to be to the ,vierge au ,lupin of the ,louvre2 but it may be to our picture 7see ,phillips3 ,the ,earlier ,work of ,titian1 p4 #hb n474 #fcf4 ,,portrait ,,of ,a ,,poet4 ,titian2 or ,palma ,vecchio 7,bergamese3 #adhj-aebh74 ,see also 7p4 xix7 ,this picture was long ascribed to ,titian2 then for many years to ,palma 7of whom1 therefore1 some notice is here retained72 now it has been restored by the officials to ,titian4 ,others believe it to be the work of ,giorgione 7see below74 ,jacopo ,palma1 the elder 7,,ii ,vecchio71 is one of the most illustrious of the post-,bellinian ,school of painters at ,venice4 ,but he was born near ,bergamo and could never entirely lay aside his mountain nature in his works 7see ,morelli's ,german ,galleries1 pp4 #ac-ah1 #bd-ca1 for the best account of ,palma's place in art history74 ,he was especially great in the ,holy ,families1 called by the ,italians ,sante ,conversazioni1 in which the figures of sacred story are grouped together in restful attitudes and enframed with blue mountain landscapes4 ,he painted so many of these compositions that ,ruskin says--somewhat too sweepingly--that he painted no profane subject of importance 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 iii4 #ag74 ,he was also a magnificent painter of female and fancy portraits--a branch of art in which he rivals even ,titian4 ,palma's works are sometimes divided into three manners--the ,bellinesque1 the ,giorgionesque1 and the blonde4 ,among the most famous of his productions are the ,adoration of the ,shepherds1 in the ,louvre2 the ,jacob and ,rachel1 at ,dresden2 and the altar-piece in ,st4 ,sebastiano at ,vicenza--his finest and most perfect work1 according to ,morelli4 ,his ,st4 ,barbara1 in ,s4 ,maria ,formosa at ,venice1 is also celebrated4 ,the so-called ,bella da ,tiziano1 at ,rome1 and the ,three ,sisters1 at ,dresden1 are among the best-known of his portraits4 ,this fine portrait was formerly supposed to represent ,ariosto 7#adgd-aecc71 who was acquainted with ,titian and commemorates him as one who honours ,cadore not less than ,sebastiano del ,piombo and ,raphael honour ,venice and ,urbino4 ,but the portrait bears little resemblance to the poet as he is known to us by authenticated likenesses4 ,the title ,portrait of a ,poet is based partly on the character of the face1 partly on the bush of laurel in the background4 ,the evidence for the ascription to ,palma is by no means conclusive 7see ,notes and ,queries1 ,dec4 #bh1 #ahhi74 ,mr4 ,w4 ,fred ,dickes has suggested--ingeniously1 if not convincingly--that the portrait is of the famous ,liberator of ,italy1 ,prospero ,colonna 7#adfd-aebc71 painted in #aejj1 when he was living in temporary retirement as a lay brother in a ,benedictine monastery4 ,prospero is described as tall in person1 ruddy in countenance2 his eyes were black1 his beard reddish1 and the locks of his hair of a chestnut character4 ,the laurel would be appropriate to a victorious captain1 no less than to a poet4 ,mr4 ,dickes ascribes the portrait to ,giorgione 7see ,magazine of ,art1 ,march and ,april #ahic74 ,this ascription is accepted by ,mr4 ,herbert ,cook4 ,the conception is characteristic of ,giorgione--the pensive charm1 the feeling of reserve1 the touch of fanciful imagination in the decorative accessories1 but1 above all1 the extreme refinement4444 ,where can the like be found in ,palma1 or even ,titian8 ,titian is more virile in his conception1 less lyrical1 less fanciful2 ,palma1 infinitely less subtle in characterisation 7,giorgione1 p4 #hd74 #fcg4 ,,daphnis ,,and ,,chloe4 ,paris ,bordone 7,venetian3 #aejj-aegj74 ,paris ,bordone1 one of the most splendid colourists of the ,venetian ,school1 was born of a noble family of ,treviso4 ,he was taken1 says ,vasari1 at the age of eight to certain of his mother's kindred in ,venice1 where1 having studied grammar and become an excellent musician1 he was sent to ,titian4 ,with him he remained for a few years1 and afterwards set himself to imitate the manner of ,giorgione to the utmost of his power4 ,though ,venetian in his education1 he took a path peculiar to himself1 and it is only a very inexperienced eye that can mistake him for ,giorgione or ,titian4 ,he is remarkable for a delicate rosy colour in his flesh1 and for the purple1 crimson1 and shot tints of his draperies1 which are usually in small and crumpled folds 7,kugler74 ,his most famous work--the large picture in the ,venetian ,academy of ,the ,fisherman presenting the ,ring of ,st4 ,mark to the ,doge--is a masterpiece of gorgeous colouring4 ,the moment you come before the picture you say1 ',what a piece of colour6' ,to ,paris the ,duke1 the ,senate1 and the miracle are all merely vehicles for flashes of scarlet and gold on marble and silk 7,ruskin's ,guide to the ,venetian ,academy1 p4 #ag74 ,he painted sacred subjects1 mythology1 and portraits4 ,in all alike he found occasion for the same brilliant display of flesh-tints and stuffs4 ,visitors to the ,italian lakes will find a ,holy ,family by ,bordone at ,lovere1 in the ,accademia ,tadini1 which is another of his masterpieces4 ,there are some fine portraits by him at ,hampton ,court1 and ,no4 #fgd in our ,gallery is a very characteristic example4 ,chloe in the picture before us belongs to the same type4 ,the ideal of beauty for women in ,italy during the sixteenth century was--perhaps because so difficult of attainment6--extreme blondness4 ,palma seems to have had no other aim than to fill his canvases with expanses of fair flesh and yellow hair4 ,paris ,bordone succeeded ,palma as the fashionable beauty-painter1 and continued the tradition 7,mary ,logan3 ,guide to the ,italian ,pictures at ,hampton ,court1 p4 #bh74 ,the fame of ,bordone led to his being invited to ,france by ,francis ,,ii4 in #aeeh-aeei to paint the ladies of the ,court4 ,he was knighted by the king4 ,he also visited ,augsburg to execute commissions for the merchant princes of that city4 ,he lives quietly in his own house1 says ,vasari1 working only at the request of princes1 or others of his friends1 avoiding all rivalry and those vain ambitions which do but disturb the repose of man4 ,daphnis and ,chloe1 a shepherd and shepherdess1 whose life and love were a favourite ,greek story1 are about to be crowned by ,cupid with a wreath of myrtle4 #fch4 ,,the ,,virgin ,,and ,,child1 ,,with ,,saints4 ,francia 7,ferrarese-,bolognese3 #adej-aeag74 ,for more important pictures by this master1 see #agi and #ahj4 ,the saint with the palm-branch here will be recognised in one of the angels in #ahj4 #fci4 ,,noli ,,me ,,tangere6 ,francesco ,mantegna 7,paduan3 about #adgj-aeag74 ,francesco was the pupil and assistant of his father ,andrea1 whose style is very obvious in this and the two companion pictures 7#aajf1 #acha74 ,francesco completed some work which ,andrea had left unfinished4 7,for the subject see #bgj47 ,the three little pictures by ,francesco 7#fci1 #aajf1 #acha7 are all noticeable for their dainty detail1 often selected for symbolic meaning4 ,thus1 notice here the vine with purple grapes supported on a dead tree which hangs over the figure of ,christ--an emblem of life and death4 ,the vine is the most ancient of all symbols of ,christ and his ,church1 being founded on ,his own words3 ,i am the vine1 ye are the branches4 ,on the other side a bird is seen defending its nest against a snake which has crept up the tree2 on the left is a beehive4 #fdj4 ,,adoration ,,of ,,the ,,magi4 ,dosso ,dossi 7,ferrarese3 #adgi-aedb74 ,giovanni di ,lutero1 who adopted the name of ,dosso ,dossi1 was the greatest colourist of the ,ferrarese ,school4 ,his masterpiece is the great altar picture formerly in the ,church of ,s4 ,andrea at ,ferrara1 but now in the public gallery of that city1 and one of the principal art treasures of ,italy4 ,this sumptuous work1 notwithstanding the irreparable injuries it had sustained from injudicious restorations and repaints1 is still a perfect blaze of colour 7,kugler74 ,the little picture before us gives an inadequate impression of the painter's powers4 ,no4 #abcd is more characteristic4 ,for ,dossi's real bent lay towards portraiture and romantic subjects4 ,portraits by him of the ,dukes of ,ferrara and of other personages are in the public gallery at ,modena4 ,of his subject-pictures the ,circe of the ,borghese ,gallery at ,rome is the most sumptuous4 ,the records of ,dossi's career are scanty2 but his works point strongly to two widely different currents of influence1 the one ,venetian1 the other ,ferrarese4 ,he is supposed to have been for some years at ,venice1 but to have studied first under the ,ferrarese ,lorenzo ,costa at ,bologna4 ,his education in art1 the main characteristics of his style1 and his long residence at ,ferrara1 where he was attached to the court1 and where he chiefly worked1 entitle him to a place in the ,ferrarese ,school4444 ,his colouring is much admired1 and justly1 for its force1 brilliancy1 and novel harmonies3 but it would be a mistake to class it with that of the great ,venetian masters who had a profounder knowledge and a purer ideal of colour 7,burton74 ,dossi's romantic genius was no doubt fostered by his friendship with ,ariosto1 who celebrated ,dosso and his brother ,battista in somewhat exaggerated terms1 naming them in the same breath with ,leonardo1 ,mantegna1 ,bellini1 ,michael ,angelo1 ,raphael1 and ,titian4 ,the name of ,dosso1 says ,vasari ill-naturedly1 had then obtained greater fame from the pen of ,messer ,ludovico than from all the pencils and colours consumed by himself in the whole course of his life4 ,dosso was highly favoured1 he adds1 by ,duke ,alphonso1 of ,ferrara1 first because of his abilities in art1 and next on account of his excellent qualities as a man and the pleasantness of his manners1 which were advantages always highly acceptable to the ,duke 7iii4 #bef74 ,there are many pictures by ,dosso in private collections in ,england4 ,the exhibition of the ,ferrarese ,school at the ,burlington ,fine ,arts ,club in #ahid included thirteen of them4 ,he is well represented at ,hampton ,court4 ,his works1 says ,mary ,logan in an interesting appreciation of the painter1 are distinguished from all ,venetian paintings by effects of light in dreamland rather than in the everyday world 7and have in them7 444 a fascinating touch of the bizarre 7,kyrle ,society's ,guide to the ,italian ,pictures at ,hampton ,court74 ,many pictures passing under other names have been restored to ,dosso by ,morelli 7see his ,borghese and ,doria-,pamfili ,galleries1 pp4 #bad-bai74 #fda4 ,,the ,,woman ,,taken ,,in ,,adultery4 ,ludovico ,mazzolino 7,ferrarese3 #adhj-aebh74 ,see #afi4 ,a picture chiefly remarkable1 like #afi1 for its accessories4 ,notice the ornamental sculpture1 the paintings in imitation of bronze relievo1 and the modelled plaster work on the walls4 #fdb4 ,,christ',s ,,agony ,,in ,,the ,,garden4 ,garofalo 7,ferrarese3 #adha-aeei74 ,see #ha4 ,it is interesting to compare this with other versions of the subject in the ,gallery--e4g4 #gf1 #gbf1 #adag4 ,what we may call the necessary component parts of the picture are all present--the angel with cup and cross1 the sleeping apostles1 a crowd with torches approaching4 ,but ,garofalo's picture seems cold and unimaginative as compared with ,correggio's1 ,bellini's1 or ,mantegna's4 #fdc4 ,,the ,,capture ,,of ,,carthagena4 ,ascribed to ,rinaldo ,mantovano 7,roman3 early #afth century74 ,this and the companion picture1 #fdd1 formerly ascribed to ,giulio ,romano1 are now ascribed to ,rinaldo of ,mantua1 one of the scholars whom ,giulio formed when at work in that city4 ,rinaldo is mentioned by ,vasari as the ablest painter that ,mantua ever produced1 and as having been prematurely removed from the world by death4 ,in the upper compartment is represented the capture of ,new ,carthage by the ,roman general1 ,publius ,cornelius ,scipio1 ,b4,c4 #baj4 ,he distinguished himself on that occasion by the generosity with which he treated the ,spanish hostages kept there by the ,carthaginians4 ,this is the subject of the lower compartment4 ,among the hostages was a girl--hardly represented here as in the story1 so beautiful that all eyes turned upon her--whom ,scipio protected from indignity and formally betrothed to her own lover1 who is here advancing to touch the great man's hand1 and when they brought thank-offerings to ,scipio1 he ordered them1 as we see here1 to be removed again3 accept them from me1 he said1 as the girl's dowry 7,livy1 xxvi4 ch4 #ej74 #fdd4 ,,the ,,rape ,,of ,,the ,,sabines4 ,ascribed to ,rinaldo ,mantovano 7,roman3 early #afth century74 ,romulus1 the founder of ,rome--so the story goes--had collected a motley crew of men about him1 and demanded women from the neighbouring states wherewith to people his kingdom4 ,and when they refused1 he determined to take them by stratagem4 ,he appointed a day for a splendid sacrifice1 with public games and shows1 and the neighbouring ,sabines flocked with their wives and daughters to see the sight4 ,he himself presided1 sitting among his nobles1 clothed in purple4 ,as a signal for the assault1 he was to rise1 gather up his robe1 and fold it about him4 ,many of the people wore swords that day1 and kept their eyes upon him1 watching for the signal1 which was no sooner given than they drew them1 and1 rushing on with a shout1 seized the daughters of the ,sabines1 but quietly suffered the men to escape4 ,this is the subject of the upper compartment of this picture4 ,but afterwards the ,sabines fought the ,romans in order to recover their daughters4 ,the battle was long and fierce1 until the ,sabine women threw themselves between the combatants and induced them to ratify the accomplished union with terms of friendship and alliance4 ,this is the subject of the lower compartment--the intervention of the ,sabine women in the right-hand part1 the reconciliation in the left4 #fde4 ,,virgin ,,and ,,child4 ,albertinelli 7,florentine3 #adgd-aeae74 ,mariotto ,albertinelli1 a pupil of ,cosimo ,rosselli1 was the friend and assistant of the painter-monk1 ,fra ,bartolommeo 7see #afid74 ,he himself1 being of an impatient character1 was so offended with certain criticisms of his work1 says ,vasari1 that he gave up painting and turned publican4 ,this picture is often now attributed to a later painter--,sogliani1 #adib-aedd4 #fdf4 ,,st4 ,,catharine4 ,unknown 7,umbrian ,school3 #aeth century74 ,this1 and the companion picture 7#fdg71 formerly deposited in the ,south ,kensington ,museum1 were at the time of their purchase 7in #ahfj7 from the ,beauconsin ,collection ascribed to ,ridolfo ,ghirlandajo4 #fdg4 ,,st4 ,,ursula4 ,unknown 7,umbrian ,school3 #aeth century74 ,the emblem of her martyrdom1 an arrow1 is in her right hand4 #fdh4 ,,virgin ,,and ,,child4 ,lorenzo di ,credi 7,florentine3 #adei-aecg74 ,see #eic4 ,a pretty landscape background1 with a ruin1 and the angel appearing to the shepherds in the distance--the whole charmingly harmonious in its blue-grays4 ,a pure and simple-minded man1 ,lorenzo delighted in pure1 bright1 and simple landscapes1 in which one reads something of the gentle ,angelico's feeling4 ,nature with ,credi1 as with the saint of ,fiesole1 must show no stain1 no trouble1 no severity1 no sign of the transient4 ,far be it from him to introduce the jagged ranges that ,leonardo reared upon his far1 mysterious horizons4 ,no1 he must have all that is green and blue1 and cheerful 7,gilbert's ,landscape in ,art1 p4 #bbe74 ,with regard to the landscape backgrounds of the ,italian painters1 ,mr4 ,mackail1 in a letter to ,f4 ,t4 ,palgrave 7,journals and ,memories1 p4 #bef71 raises the question whether landscape painting has not lost as well as gained by being elevated from the background into the substance of a picture2 whether1 that is1 the moral or human interest that is essential to all great art can exist in pure landscape painting without putting a greater strain on it than it will bear4 ,take1 for instance1 the landscape backgrounds of ,lorenzo di ,credi's pictures in the ,national ,gallery1 or of the great ,perugino triptych4 ,have they not a moral or spiritual quality1 as they stand in their place in the picture1 that they can only have through this elusive 7if one may say so7 treatment8 #fdi4 ,,portrait ,,of ,a ,,boy4 ,angelo ,bronzino 7,florentine3 #aejb-aegb74 ,angelo di ,cosimo1 called ,il ,bronzino1 was born in a suburb of ,florence1 of poor parents2 he became a popular artist1 nor have we any one in our day1 says ,vasari1 who is more ingenious1 varied1 fanciful1 and spirited in the jesting kind of verse4 ,he was also good at a more serious kind of verse2 amongst other things he wrote sonnets on ,benvenuto ,cellini's ,perseus1 of which ,cellini says1 they spoke so generously of my performance1 in that fine style of his which is most exquisite1 that this alone repaid me somewhat for the pain of my long troubles4 ,vasari was a great friend of his1 and speaks in the warmest terms of his generosity and kindness4 ,he was the favourite pupil of ,pontormo1 some of whose works1 left unfinished1 he completed4 ,his portraits1 if sometimes hard and cold1 are often excellent1 and form a gallery of great interest to the historian of ,florence4 ,in his frescoes and allegories1 he belongs to the period of decline4 ,his ,descent of ,christ into ,hell1 in the ,uffizi1 is among the most celebrated of his works4 ,want of thought and feeling1 combined with the presumptuous treatment of colossal and imaginative subjects1 renders his compositions inexpressibly chilling 7,symonds1 iii4 #cfe74 ,ruskin cites him as an instance of the base grotesque of men who1 having no true imagination1 are apt1 more than others1 to try by startling realism to enforce the monstrosity that has no terror in itself 7,modern ,painters1 vol4 iii4 pt4 iv4 ch4 viii4 #h74 ,this charming portrait was formerly attributed to ,pontormo4 ,sir ,edward ,poynter1 following ,frizzoni1 has transferred it to ,bronzino4 7,see ,arte ,italiana del ,rinascimento1 p4 #bfg47 #fej4 ,,portrait ,,of ,a ,,lady4 ,angelo ,bronzino 7,florentine3 #aejb-aegb74 ,see #fdi4 ,see also 7p4 xix7 ,in the rich costume of the sixteenth century1 says the ,official ,catalogue1--and the picture therein resembles most portraits of the time4 ,for it is a remarkable thing how much great art depends on gay and dainty gowns4 ,note first1 in going round these rooms1 how fondly all the best painters enjoy dress patterns4 ,it doesn't matter what school they belong to--,fra ,angelico1 ,perugino1 ,john ,bellini1 ,giorgione1 ,titian1 ,tintoret1 ,veronese1 ,leonardo da ,vinci--no matter how they differ in other respects1 all of them like dress patterns2 and what is more1 the nobler the painter is1 the surer he is to do his patterns well4 ,then note1 as following from this fact1 how much of the splendour of the pictures that we most admire depends on splendour of dress4 ,true nobleness of dress is a necessity to any nation which wishes to possess living art1 concerned with portraiture of human nature4 ,no good historical painting ever yet existed1 or ever can exist1 where the dresses of the people of the time are not beautiful2 and had it not been for the lovely and fantastic dressing of the thirteenth to the sixteenth centuries1 neither ,french nor ,florentine nor ,venetian art could have risen to anything like the rank it reached 7see1 e4g41 under #bid74 ,and with regard to this nobleness of dress1 it may be observed lastly how the best dressing was never the costliest2 and its effect depended much more on its beautiful and1 in early times1 modest arrangement1 and on the simple and lovely manner of its colour1 than on gorgeousness of clasp or embroidery 7,cambridge ,inaugural ,address1 p4 #aa2 ,a joy for ever1 #ed74 #fea4 ,,an ,,allegory3 ,,all ,,is ,,vanity4 ,angelo ,bronzino 7,florentine3 #aejb-aegb74 ,see #fdi4 ,venus1 crowned as ,queen of ,life1 yet with the apple of discord in her hand1 turns her head to kiss ,cupid1 whose wings are coloured in ,delight1 but behind whom is the gaunt figure of ,jealousy1 tearing her hair4 ,folly1 with one foot in manacles1 and the other treading on a thorn1 is preparing to throw a handful of roses-- ,sweet is ,love and sweet is the ,rose1 ,each has a flower and each has a thorn4 ,a ,harpy1 the personification of vain desire and fitful passion1 with a human face1 but with claws to her feet and with a serpent's body1 is offering in one hand a piece of honey-comb1 whilst she holds her sting behind her in the other4 ,in one corner1 beneath the ,god of ,love1 doves are billing and cooing2 but over against them1 beneath ,folly1 there are masks showing the hideous emptiness of human passion4 ,and behind them all is ,time1 with wings to speed his course and the hour-glass on his shoulders to mark his seasons1 preparing to let down the veil which ,pleasure1 with grapes twined in her hair1 and with the scowl of angry disappointment on her face1 seeks in vain to lift-- ,redeem mine hours--the space is brief-- ,while in my glass the sand-grains shiver1 ,and measureless thy joy or grief1 ,when ,time and thou shalt part for ever6 ,,scott3 ,the ,antiquary4 ,this picture--in some ways harsh and vulgar--was originally painted for ,francis ,i4 of ,france4 ,for a note on its crude colouring1 see #bgj4 #feb4 ,,charity4 ,francesco ,salviati 7,florentine3 #aeaj-aefc74 ,francesco ,rossi1 called de' ,salviati from his patron1 the ,cardinal of that name1 studied under ,andrea del ,sarto1 and was an imitator of ,michael ,angelo4 ,he was a great friend of ,vasari1 whose life of ,salviati gives a most interesting account of their intimacy1 especially of their early student days1 when they met together and went on festival days or at other times to copy a design from the best works wherever these were to be found dispersed about the city of ,florence4 ,in #aedh ,salviati settled in ,rome1 where he was much employed4 ,the usual pictorial representation of ,charity1 as a woman surrounded by children and giving suck1 is the same as ,spenser's description of ,charissa-- ,she was a woman in her freshest age1 ,of wondrous beauty1 and of bounty rare4444 ,her necke and brests were ever open bare1 ,that aye thereof her babes might sucke their fill4444 ,a multitude of babes about her hong1 ,playing their sportes1 that joy'd her to behold2 ,whom still she fed whiles they were weake and young1 ,but thrust them forth still as they wexed old4 ,the ,farie ,queene1 i4 #aj4 xxx4 xxxi4 #fec4 ,,husband ,,and ,,wife4 ,unknown 7,early ,flemish3 #aeth century74 ,this picture1 formerly ascribed to ,roger van der ,weyden1 and called ,the ,painter and his ,wife1 is delightfully typical of the ,flemish ideal both in man and woman--the man shrewd and determined1 the woman sweet and motherly4 ,they are not fine of figure nor graceful of limb1 but1 with hardly an exception1 their faces tell us that they are men of tried capacity and learnt experience4 ,through the eyes of many of them glances a happy1 childlike soul enough1 but the mind is almost invariably a slow-moving1 solid power 444 and such as they1 were the artists who painted them2 they possessed the same industry1 they admired the same qualities4 ,the virtue of honest strength1 which made the men of ,flanders the merchant princes of ,europe1 was the virtue whose traces the artists of ,flanders loved to observe4444 ,they care little for mystery1 little for pity1 little for enthusiasm4444 ,they love a man whose visage tells the strength of his character1 who has weathered the buffetings of many a storm1 and bears on his visage the marks of the struggle 7,conway's ,early ,flemish ,artists1 p4 #ajd74 #fed4 ,,the ,,magdalen4 ,later ,school of ,roger van der ,weyden 7,early ,flemish3 #adjj-;about #adfd74 ,see #ffd4 ,see also 7p4 xix7 ,known for the ,magdalen by the small vase at her feet--emblem1 in all the religious painters1 of the alabaster box of ointment--the symbol at once of her conversion and her love4 ,in these reading ,magdalens she is represented as now reconciled to heaven1 and magnificently attired--in reference to her former state of worldly prosperity4 ,it is difficult for us1 in these days1 to conceive the passionate admiration and devotion with which the ,magdalen was regarded by her votaries in the ,middle ,ages4 ,the imputed sinfulness of her life only brought her nearer to them4 ,those who did not dare to lift up their eyes to the more saintly models of purity and holiness1--the martyrs who had suffered in the cause of chastity1--took courage to invoke her intercession 7,mrs4 ,jameson3 ,sacred and ,legendary ,art1 p4 #bje74 ,hence the numerous ,magdalens to be met with in nearly every picture gallery2 in art decidedly there has been more joy over one sinner that repenteth than over ninety-and-nine that need no repentance4 ,this picture is undoubtedly by the unknown master who painted two remarkable panels formerly in the ,abbey of ,flmalle in ,belgium1 but now in the ,stdel ,museum at ,frankfort-on-,maine4 ,they present respectively the standing figure of the ,virgin with the ,infant at her breast1 and the figure of ,st4 ,veronica1 as an elderly woman1 holding before her the sacred napkin on which is the impression of our ,lord's visage4 ,these1 and a third panel in the same museum1 representing the ,trinity1 but1 unlike the others1 painted in monochrome1 must have belonged to a large altar-piece in many compartments1 of which it is quite possible the small picture above described may have formed one 7,official ,catalogue74 ,mr4 ,claude ,phillips1 on the other hand1 while admiring the delicate and exquisite colour of our picture and the enamel-like quality of its surface1 sees in it no resemblance to the works described above 7see ,academy1 ,sept4 #bh1 #ahhi74 #fee4 ,,the ,,reading ,,magdalen4 ,bernard van ,orley 7,flemish3 about #adij-aedb74 ,see also 7p4 xix7 ,this painter1 who studied in ,raphael's school1 was a designer for tapestry 7the staple industry of ,brussels in his time7 and stained glass1 as well as what is now exclusively called an artist1 and had all a designer's care for little things4 ,he superintended the manufacture of the tapestries of the ,vatican made from ,raphael's cartoons1 and there are some tapestries by him in the great hall at ,hampton ,court4 ,notice the prettily designed cup in ivory and gold--symbolical of the box of precious ointment offered by the ,magdalen to her ,lord4 ,for the subject see under last picture4 #fef3 ,a ,,man',s ,,portrait4 ,mabuse 7,flemish3 about #adgj-aeda74 ,jan ,gossart1 called ,mabuse from the town in ,hainault 7now in ,france7 where he was born1 is interesting in the history of art as the man who began the emigration of ,flemish painters to ,italy4 ,he set out in #aejh in the suite of ,philip of ,burgundy1 and remained about ten years in ,italy where he copied the works of ,leonardo and ,michael ,angelo4 ,he was one of the illuminators of the famous ,grimani ,breviary in the ,library at ,venice4 ,the finest example of the first1 or ,flemish period of ,mabuse is the ,adoration of the ,magi at ,castle ,howard4 ,to his second period1 in which ,italian influence is discernible1 belongs the altar-piece in the ,cathedral of ,prague4 ,there is a good portrait group by him at ,hampton ,court representing the children of ,king ,christian ,,ii4 of ,denmark4 ,a very fine work1 attributed to ,mabuse1 has recently been added to the ,gallery1 ,no4 #afhi4 ,the sitter here is of the ,flemish national type1 but the ,italian influence may be seen in the ,renaissance architecture of the background4 #feg4 ,a ,,dutch ,,gentleman ,,and ,,lady4 ,jacob ,cornelissen 7,dutch3 about #adge-aeee74 ,this painter was the master of ,jan ,schorel 7#gbj71 and is mentioned by ,van ,mander as a great artist4 ,most of his altar-pieces for the churches of ,holland perished during the ,reformation4 ,he was also an engraver1 and his woodcuts were as much admired as the copperplates of his contemporary1 ,lucas van ,leyden4 ,he had a son1 ,dirk1 who was also a good painter1 especially of portraits4 ,presumably a husband and wife--the donors1 we may suppose1 of an altar-piece4 ,their patron saints attend them4 ,st4 ,peter lays his hand approvingly on the man's shoulder4 ,the woman1 as the weaker vessel1 seems to be supported by ,st4 ,paul4 ,it should be noticed that in sacred and legendary art these two saints are almost always introduced together--,st4 ,peter1 with the keys1 representing the church of the converted ,jews1 ,st4 ,paul that of the ,gentiles3 his common attributes are a book 7denoting his ,epistles71 and a sword1 signifying the manner of his martyrdom1 and being emblematic also of the good fight fought by the faithful ,christian with the sword of the ,spirit1 which is the word of ,god4 #feh4 ,,the ,,death ,,of ,,the ,,virgin4 ,after ,schongauer4 7,german-,swabian3 #adej-;about #adhh74 ,see also 7p4 xix7 ,a picture1 painted perhaps by ,hugo van der ,goes1 on the lines of a print by ,martin ,schongauer1 who was known to his contemporaries as the glory of painters and ,martin the ,beautiful4 ,he was born at ,colmar1 but probably studied under ,roger van der ,weyden4 ,by some the picture is ascribed to the anonymous ,master of ,flmalle1 a contemporary of ,roger van der ,weyden3 for whom see a little picture in ,room ,,xvi41 now 7#aijh7 lent to the ,gallery by ,mr4 ,salting4 ,the absolute joy in ugliness1 which ,ruskin finds most strongly exemplified in some of ,schongauer's prints 7,modern ,painters1 vol4 iv4 pt4 v4 ch4 xix4 #ah71 is not altogether absent from this picture4 ,a more unpleasant bedchamber1 with its unseemly crowd of fat bustling apostles 7notice the old fellow puffing away at a censer on the left71 it would be hard to conceive4 ,one is glad to escape through the open window to the pretty little view of the square4 #fei4 ,,pan ,,and ,,syrinx4 ,johann ,rottenhammer 7,german3 #aefd-afbc74 ,see also 7p4 xix7 ,this painter was born at ,munich4 ,early in life he went to ,rome1 where he obtained some reputation4 ,he next went to ,venice1 where he executed some pictures in imitation of ,tintoretto1 who was then still living4 ,on his return to his native country he settled at ,augsburg1 and was much patronised by the ,emperor ,rudolph ,,ii4 ,the nymph ,syrinx1 beloved by ,pan and flying from his pursuit1 takes refuge among some bulrushes4 ,the god1 thinking to grasp her1 finds only reeds in his hand-- ,and while he sighs his ill-success to find1 ,the tender canes were shaken by the wind1 ,and breathed a mournful air1 unheard before1 ,that1 much surprising ,pan1 yet pleased him more4 ,,dryden1 from ,ovid's ,metamorphoses4 ,he formed the reeds into a pipe1 hence the name of ,syrinx given to the ,pan's pipe1 see #id4 ,the background of this picture 7which is executed on copper7 is said to be by ,jan ,brueghel 7for whom see #abhg74 #ffj4 ,a ,,man',s ,,portrait4 ,ascribed to ,franois ,clouet 7,french3 about #aeaj-aegb74 ,franois ,clouet1 like his father ,jeannet before him1 was court painter to the ,king of ,france4 ,jeannet was1 however1 probably a ,netherlander2 and ,franois remained faithful to the old northern style of painting4 ,this and the other portrait ascribed to him might well be taken for works of the ,flemish school4 ,in the costume of the #afth century3 dated #aedc4 #ffa4 ,,the ,,madonna ,,di ,,san ,,sisto4 ,after ,raphael4 7,see under #aaga47 ,a tracing from the original picture by ,raphael at ,dresden1 by ,jakob ,schlesinger 7#agic-ahee7--;a ,professor of ,painting at ,berlin4 #ffc4 ,,the ,,resurrection4 ,fra ,angelico 7,florentine3 #achg-adee74 ,artists may be divided according to the subjects of their choice into ,purists1 ,naturalists1 and ,sensualists4 ,the first take the good in the world or in human nature around them and leave the evil2 the second render all that they see1 sympathising with all the good1 and yet confessing the evil also2 the third perceive and imitate evil only 7,stones of ,venice1 vol4 ii4 ch4 vi4 #ea74 ,of the first class ,fra ,giovanni da ,fiesole is the leading type4 ,his life was largely spent in the endeavour to imagine the beings of another world4#aeh ,his baptismal name was ,guido1 but he changed it early in life to ,giovanni1 when he entered a ,dominican convent in ,florence4 ,he was once offered the archbishopric of his city1 but he refused it3 ,he who practises the art of painting1 he said1 has need of quiet1 and should live without cares and anxieties2 he who would do the work of ,christ must dwell continually with ,him4 ,he was given the name of ,angelico1 and after his death the style and distinction of ,beato 7the ,blessed71 for his purity and heavenly-mindedness1 and it is said of him that he was never known to be angry1 or to reprove1 save in gentleness and love4 ,nor did he ever take pencil in hand without prayer1 and he could not paint the ,passion of ,christ without tears of sorrow4 ,by this purity of life1 habitual elevation of thought1 and natural sweetness of disposition1 he was enabled to express the sacred affections upon the human countenance as no one ever did before or since4 ,in order to effect clearer distinction between heavenly beings and those of this world1 he represents the former as clothed in draperies of the purest colour1 crowned with glories of burnished gold1 and entirely shadowless4 ,with exquisite choice of gesture1 and disposition of folds of drapery1 this mode of treatment gives1 perhaps1 the best idea of spiritual beings which the human mind is capable of forming4 ,it is1 therefore1 a true ideal2 but the mode in which it is arrived at 7being so far mechanical and contradictory of the appearances of nature7 necessarily precludes those who practise it from being complete masters of their art4 ,it is always childish1 but beautiful in its childishness 7,modern ,painters1 vol4 iii4 pt4 iv4 ch4 vi4 #d74 ,angelico1 it may be added1 looking on his work as an inspiration from ,god1 never altered or improved his designs when once completed1 saying that such was the will of ,god4 ,angelico's work1 says ,ruskin in a later passage1 in which he discusses the weakness of the monastic ideal1 will always retain its power1 as the gentle words of a child will4 ,yet the peculiar phenomenon in his art is1 to me1 not its loveliness1 but its weakness4444 ,of all men deserving to be called great1 ,fra ,angelico permits to himself the least pardonable faults and the most palpable follies4 ,there is evidently within him a sense of grace and power of invention as great as ,ghiberti's2 444 but comparing him with contemporary great artists of equal grace and invention1 one peculiar character remains noticeable in him--which1 logically1 we ought therefore to attribute to the religious fervour2--and that distinctive character is1 the contented indulgence of his own weaknesses1 and perseverance in his own ignorances4 ,passing to consider the sources of the peculiar charm which we nevertheless feel in ,angelico's work1 ,ruskin mentions for one minor thing1 an exquisite variety and brightness of ornamental work2 while much of the impression of sanctity is dependent on a singular repose and grace of gesture1 consummating itself in the floating1 flying1 and1 above all1 in the dancing groups 7,ethics of the ,dust1 pp4 #aej-aeb74 ,fra ,angelico is said to have begun his artistic career as an illuminator of manuscripts--a tradition which is entirely in accordance with the style of his later works4 ,in #adji he left ,fiesole for ,foligno and ,cortona4 ,in the churches of the latter place fine altar-pieces by him are still preserved4 ,from #adah to #adcf he was again at ,fiesole4 ,in the latter year he was invited to ,florence to decorate the new ,convent of ,st4 ,mark4 ,his frescoes here occupied him nine years4 ,this convent1 now converted into a national monument1 is a very museum of ,fra ,angelico--cloisters1 refectory1 chapter-house1 guest-room1 corridor1 stairs1 and not less than nineteen or twenty cells1 bear witness to a skill and leisure alike obsolete4 ,copies of several of the frescoes may be seen in the ,arundel ,society's collection4 ,in #adde ,fra ,angelico was called to ,rome1 where he painted the chapel of ,nicolas ,v4 in the ,vatican 7also copied and engraved for the ,arundel ,society74 ,at ,orvieto in #addg he commenced some paintings in the chapel of the ,madonna di ,san ,brixio1 which were afterwards completed by ,signorelli4 ,the last years of the painter's life were spent at ,rome4 ,he was buried in the ,church of the ,minerva1 where his recumbent effigy 7an emaciated figure in the ,dominican habit7 may still be seen4 ,some works are for ,earth1 says a line in his ,latin epitaph1 others for ,heaven4 ,the weakness and the strength of the painter are alike well seen in this picture of ,christ1 with the banner of the resurrection surrounded by the ,blessed4 ,the representation of ,christ ,himself is weak and devoid of dignity2 but what can be more beautiful than the surrounding angel choirs1 with the flames on their white foreheads waving brighter as they move1 and the sparkles streaming from their purple wings like the glitter of many suns upon a sounding sea1 listening in the pauses of alternate song for the prolonging of the trumpet blast1 and the answering of psaltery and cymbal1 throughout the endless deep1 and from all the star shores of heaven 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 ii4 ch4 v4 #ba74aei ,no two of the #bff figures are alike in face or form1 though each is perfect in grace and beauty4#afj ,in the central compartment the seraphim 7red7 are on ,christ's right1 the cherubim 7blue7 on ,his left4 ,in the compartment to ,christ's left are1 amongst other patriarchs and saints1 ,abraham with the sword1 ,noah with the ark1 ,moses with the tables of law1 ,aaron with his name on his mitre1 and below them ,st4 ,agnes with the ,lamb1 and ,st4 ,catherine with her wheel4 ,the martyrs bear palms in their hands2 some wear wreaths of roses1 others the crown of thorns4 ,in the compartment to ,christ's left are the ,virgin1 ,st4 ,peter with the keys1 and the ,evangelists4 ,on the extreme ends on either side are those of the painter's brother ,dominicans1 in their black robes1 who have joined the company of the ,blessed4 ,multitudes--multitudes--stood up in bliss1 ,made equal to the angels1 glorious1 fair2 ,with harps1 palms1 wedding-garments1 kiss of peace1 ,and crowned and haloed hair4 ,each face looked one way like a moon new-lit1 ,each face looked one way toward its ,sun of ,love2 ,drank love1 and bathed in love1 and mirrored it1 ,and knew no end thereof4 ,glory touched glory1 on each blessd head1 ,hands locked dear hands never to sunder more3 ,these were the new-begotten from the dead ,whom the great birthday bore4 ,,christina ,,rossetti3 ,from ,house to ,home4 ,this picture was formerly the predella of an altar-piece in ,san ,domenico at ,fiesole4 ,it was sold by the monks in #ahbf to the ,prussian ,consul in ,rome1 from whose nephew it was purchased for our ,gallery4 ,the price paid was #cejj4 ,the additional and incidental expenses1 in consequence of the demands of the ,roman ,government before allowing the exportation1 were unusually great4 ,those demands1 ostensibly founded on the excellence and celebrity of the picture1 were admitted to be partly also suggested by the state of the ,papal finances4 ,the ,british ,consul finally paid #gjj for the permission of exportation 7,director's ,report1 #ahfa74 ,the altar-piece to which our picture belonged remains sadly damaged in situ4 #ffd4 ,,the ,,deposition ,,in ,,the ,,tomb4 ,roger van der ,weyden#afa 7,early ,flemish3 #adjj-adfd74 ,see also 7p4 xix7 ,this painter was born at ,tournai1 where he was known as ,rogelet de la ,pasture4 ,he afterwards went to ,brussels1 where he assumed his ,flemish name1 and where in #adcf he was appointed town painter4 ,for the ,hall of ,justice there he painted four pictures1 which are now lost1 but of which the designs are preserved in a set of tapestries in ,berne ,cathedral4 ,he was the chief master 7as a teacher1 that is7 of the early ,flemish school4 ,it was he who carried ,flemish art into ,italy 7see #ggb71 where he was in #addi-adej4 ,contemporary ,italian writers laud the pathos1 the brilliant colouring1 and the exhaustive finish of his works4 ,he on his side gained something from the study of ,italian masters4 ,the composition of many of his great works--e4g4 ,the ,last ,judgment at ,beaune1 the ,nativity at ,berlin1 and ,the ,adoration of the ,magi at ,munich--bears evidence of ,italian influence4 ,nearer home1 the school of the ,lower ,rhine in its later time was an offshoot of his school3 and farther up the river1 ,martin ,schongauer1 at ,colmar1 was an immediate pupil of his4 ,he set the fashions in several subjects--such as descents from the cross1 and hundreds of followers imitated his designs4 ,what gave his art this wide currency was the way in which it united the older religious feeling1 from which ,van ,eyck had cut himself adrift1 with the new naturalism and improved technique which ,van ,eyck had introduced4 ,his ,french blood1 too1 gave his art an element of vivid emotion1 which was lacking in the staid control of ,van ,eyck4 ,he is especially praised for his representations of human desires and dispositions1 whether grief1 pain1 or joy4 ,he thus painted for the religious needs of the people at large2 and though an inferior artist1 enjoyed a far wider influence than ,van ,eyck4 ,less intensely realistic than ,van ,eyck1 less gifted with the desire and the power to reproduce the phenomena of nature for their own sake1 and in their completeness1 he thought more1 says ,sir ,f4 ,burton1 of expressing the feelings common to him and the pious worshippers for whose edification he wrought4 ,his figures exhibit deep1 if sometimes rather overstrained1 pathos4 ,he strove with naf earnestness to bring home to the senses the reality of the incidents connected with the last sufferings and death of the ,saviour4 ,still he was naturalistic too1 in the sense in which that term applies to all painters of the early ,flemish school1 in that he imitated with minuteness every object which he thought necessary to his compositions2 but of the broad principles of chiaroscuro and subordination which ,van ,eyck had so wonderfully grasped1 he had small perception4 ,his scenes seem filled with the light of early morning4 ,his colour1 pale in the flesh-tints with greyish modelling1 is varied and delicately rich in the clothing and other stuffs introduced4 ,his landscape abounds in freshness and greenth4 ,thus he transferred to his oil pictures the light and brilliance of missal painting1 an art which perhaps he had himself practised4 ,he occasionally practised a very different technical method from that usually employed in ,flanders--that is to say1 he painted in pure tempera colours on unprimed linen1 the flesh tints especially being laid on extremely thin1 so that the texture of the linen remains unhidden4 ,other colours1 such as a smalto blue used for draperies1 are applied in greater body1 and the whole is left uncovered by any varnish 7,middleton74 ,of this method the present picture is a fine example4 ,this picture--one of the most exquisite in feeling of the early ,flemish school 7,poynter7--is full of sincere emotion4 ,roger van der ,weyden is especially known by his touching conception of some of the scenes of the ,passion4 ,he excelled in the lull of suppressed feeling4 ,the picture of the ,entombment by him in the ,national ,gallery is as much more sad to the heart than the passionate ,italian conception1 as a deep sigh sometimes than a flood of tears4 ,we could almost wish those mourners1 with their compressed lips1 red eyelids1 and slowly trickling tears1 would weep more--it would grieve us less4 ,but evidently the violence of the first paroxysm of grief is over1 and this is the exhaustion after it4 ,the tide is ebbing as with all new sorrow1 too soon to flow again4 ,no finer conception of manly sorrow1 sternly repressed1 exists than in the heads of ,nicodemus and ,joseph of ,arimathea1 who devote themselves the more strenuously to their task in order to conceal their grief4 ,strange that a painter of such exquisite refinement of feeling should adhere to so hideous a type of ,christ as that which appears here 7,mrs4 ,jameson's ,history of our ,lord1 ii4 #bdf74 ,it is interesting to contrast the figure of ,christ with that in ,francia's picture 7#ahj74 ,in painting such subjects the ,italians of the best time endured the physical painfulness1 the ,northern temperament rejoiced in it4 ,the painters in so doing were only meeting the wishes of their patrons4 ,there is a contract1 for instance1 still in existence in which it is expressly stipulated that the form of our ,lord in a picture ordered at ,bruges shall be painted in all respects like a dead man4 #ffe4 ,,the ,,baptism ,,of ,,christ4 ,piero della ,francesca 7,umbrian3 about #adaf-adib74 ,this great ,umbrian master was a native of ,borgo ,san ,sepolcro in ,umbria1 but studied in ,florence1 where it is probable that he was a pupil of ,paolo ,uccello 7see #ehc74 ,a combination of the characteristics of the two schools is to be seen in the work of ,piero1 who had at the same time a marked individuality of his own4 ,he has the imaginative impulse1 the ,umbrian sense of an inner1 an almost mystic beauty1 of a certain aloofness from earth and uplifting of the soaring spirit2 and yet on the other side of his character he is strongly scientific2 he studies perspective1 the projection of shadows1 the scheme of values2 he fills his work with light and atmosphere1 and improves on the oil methods of the earlier ,florentines 7,brinton's ,renaissance in ,italian ,art1 iii4 #he74 ,by dignity of portraiture1 by loftiness of style1 and by a certain poetical solemnity of imagination he raised himself above the level of the mass of his contemporaries4 ,those who have once seen his fresco of the ',resurrection' at ,borgo ,san ,sepolcro in the ,pinacoteca will never forget the deep impression of solitude and aloofness from all earthly things produced by it 7,symonds1 iii4 #agj74 ,a copy of this fresco may be seen in the ,arundel ,society's collection4 ,the picture now before us also well illustrates the skill in dealing with technical difficulties and the solemn grandeur of conception which characterise the painter4 ,piero della ,francesca was so called after his mother1#afb ,francesca's ,peter1 for1 says ,vasari1 he had been brought up solely by herself1 who furthermore assisted him in the attainment of that learning to which his good fortune had destined him4 ,he received at first a scientific education1 and possessed1 adds ,vasari1 a considerable knowledge of ,euclid1 inasmuch that he understood all the most important properties of rectilinear bodies better than any other geometrician4 ,in a treatise on perspective1 written in the vulgar tongue1 he reduced the science to rules which have hardly admitted of subsequent improvement4 ,these studies influenced ,piero's tendencies in art4 ,the laws of aerial perspective1 of the harmony of colours1 the proportions of light and shade1 and the position of objects in space were equally developed by one whose feeling for precise calculation went pari passu with that of pictorial representation4 ,in this combination of science and art he was strictly the precursor of ,leonardo da ,vinci4 ,fra ,luca ,paccioli1 a celebrated mathematician1 and an intimate friend of ,piero1 was in later years in constant communication with ,leonardo 7,layard1 i4 #bae74 ,piero probably acquired the new method of oil painting from ,domenico ,veneziano 7see #gff71 whom he assisted in some wall paintings in ,s4 ,maria ,nuova in ,florence in #adci1 and with whom he afterwards worked at ,loreto4 ,some of his best works are to be seen in his native city1 and at ,arezzo he painted a remarkable series of frescoes for the church of ,s4 ,francesco4 ,piero was also employed at ,urbino1 where he appears to have been the guest of ,raphael's father1 ,giovanni ,santi4 ,he worked also in ,rimini and ,ferrara1 and was called to ,rome to paint two frescoes in the ,vatican1 which were afterwards destroyed to make room for the works of ,raphael4 ,his later1 like his earlier years1 were devoted to mathematical studies1 and in his old age the ban ,of blindness struck both palette from his thumb ,and pencil from his finger4 ,among his pupils ,vasari mentions ,perugino and ,signorelli4 ,a picture of great interest from a technical point of view1 as showing an advancing skill1 especially in perspective4 ,the feet of ,christ are finely foreshortened2 the tops of the mountains are correctly reflected on the surface of the river in the foreground2 in the middle distance there is a foreshortened view of a street leading to a fortified town1 and the anatomy of the figure stripping himself for baptism is very carefully rendered4 ,this very realistic figure of a convert strikes a curious note2 ,piero's paintings are the working out of problems before our very eyes4 ,in these technical respects ,piero resembles ,paolo ,uccello1 while there is also a striking affinity of style between the landscapes of the two painters4 ,the peculiar construction of these landscapes1 with steep mountains of an uncommon type1 is the more remarkable because they are the starting-point of all the later achievements in realistic landscape painting 7,richter's ,italian ,art in the ,national ,gallery1 p4 #af74 ,the study of natural phenomena1 says ,mr4 ,monkhouse1 is everywhere apparent4 ,the pomegranate trees are the earliest attempt in the ,national ,gallery to give what may be called the portrait of a particular tree--the habit of its growth1 the special character of its leafage4 ,the hedge in ,uccello's ',battle of ,st4 ,egidio' is the nearest approach to it4 ,he has striven to imagine the scene as it actually might have happened4 ,sundry worthies1 in strange rich costumes1 look on from a further bank4 ,nothing is 'newer' in the picture than the carefully studied reflections of their garments in the water4 ,the effect1 so beautifully rendered by ,burne-,jones in his picture of ',venus's ,looking-,glass1' ,piero was the first to paint1 if not to observe 7,in the ,national ,gallery1 p4 #ajf74 ,the subject is the baptism in ,jordan4 ,christ1 under the shade of a pomegranate tree1 is being baptized of ,john in ,jordan2 and straightway coming up out of the water1 he saw the heavens opened1 and the ,spirit like a dove descending upon him 7,mark i4 #i1 #aj74 ,the spiritual feeling of the scene is enhanced by the sweet presence of the attendant angels1--crowned with wreaths of flowers1 instead of the nimbus4 ,it is an old belief that angels watch over men's birth1 and so too they are represented as presiding over the new birth1 which is typified by the rite of baptism4 ,what solemnity in the bearing of ,christ as ,he permits ,john to pour over ,him the water of ,jordan which is flowing in a shallow stream at his feet6 ,how modest the deportment of the assistant angels at ,his side6 ,how the trees1 whose every leaf in the dense foliage is distinctly outlined1 seem even to hush their whispers that nothing may disturb the nearness of ,god1 who looking down from heaven as out of the far distance1 makes his presence felt 7,grimm's ,life of ,raphael1 p4 #df74 ,this picture1 which seems never to have been finished and shows the under-painting1 was formerly the principal altar-piece of the ,priory of ,st4 ,john the ,baptist at ,borgo ,san ,sepolcro4 #fff4 ,,the ,,annunciation4 ,fra ,filippo ,lippi 7,florentine3 about #adjf-adfi74 ,i am poor brother ,lippo1 by your leave6444 ,yes1 ,i'm the painter1 since you style me so4444 ,for me1 ,i think ,i speak as ,i was taught2 ,i always see the garden and ,god there ,a-making man's wife3 and1 my lesson learned1 ,the value and significance of flesh1 ,i can't unlearn ten minutes afterwards4444 ,why can't a painter lift each foot in turn1 ,left foot and right foot1 go a double step1 ,make his flesh liker and his soul more like1 ,both in their order8 ,,browning3 ,fra ,lippo ,lippi4 ,this and the companion picture by the same artist 7#ffg7 were painted for ,cosmo de' ,medici 7this one is marked with ,cosmo's crest--three feathers tied together in a ring71 and are identified with a story told by ,vasari1 which ,browning worked up in his poem on the artist4 ,cosmo1 knowing the artist's ways1 kept him under lock and key that his work might be the quicker done1 but ,lippi one night contrived a way of escape1 and from that time forward1 adds ,vasari1 ,cosmo gave the artist more liberty1 and was by this means more promptly and effectually served by the painter1 and was wont to say that men of genius were not beasts of burden1 but forms of light4 ,filippo was the son of a butcher1 and1 being left an orphan1 was committed to the charge of the monks of the ,carmelite convent close to which his parents had lived4 ,at the age of fourteen or fifteen he was induced to take the vows of the order4 ,at this time he must have seen ,masaccio painting in the famous ,branacci chapel of the conventual church1 ,s4 ,m4 del ,carmine4 ,lippi himself executed some works 7now destroyed7 in the church1 and having by this time found his true vocation1 he was in #adca permitted to leave the convent in order to be free to practise his art4 ,vasari relates that during an excursion on the ,adriatic1 ,lippi was taken captive by some ,moorish pirates4 ,but after a while he found opportunity to draw a whole-length portrait of his master with charcoal on a white wall1 which the pirates deemed so marvellous that they set him at liberty4 ,this tale1 however1 is inconsistent with the facts of ,lippi's life as now known from documentary evidence4 ,lippi enjoyed the patronage of the ,medici1 and he received sinecure offices also from the ,pope4 ,during the years #adca-ec many of his best panel pictures were painted4 ,among these may be mentioned the ,coronation of the ,virgin 7,academy1 ,florence71 in which is introduced a portrait of himself with the tonsure1 and bearing a scroll inscribed ,is perfecit opus1 and the ,virgin adoring the ,infant1 borne by two ,angels 7,uffizi71 which was selected by ,ruskin for one of his four ,lesson ,photographs1 and is fully described by him in ,fors1 #ahge1 p4 #cjg4 ,at the end of the period in question ,lippi undertook the principal work of his life1 which occupied him for several years1 the series of frescoes in the choir of the ,duomo at ,prato4 ,these magnificent paintings1 says ,morelli1 were executed at about the same time as those equally celebrated by ,mantegna in the ,cappella degli ,eremitani at ,padua4 ,whoever would learn to know the aspirations and artistic power of that period in the highest utterances1 has only to study those two wall-paintings4 ,if we are carried away by ,fra ,filippo's grandeur of conception and his pure dramatic vividness1 we are enthralled1 on the other hand1 by ,mantegna's greater fulness of expression and his perfect execution 7,german ,galleries1 p4 #ga74 ,while engaged on these frescoes1 the friar-painter was appointed chaplain to the convent of ,santa ,margherita4 ,here he became enamoured of one of the nuns1 ,lucrezia ,buti1 and having persuaded the abbess to let ,lucrezia sit to him for a study of the ,madonna1 he carried her off to his house4 ,she remained with him for two years1 and bore him a son1 the renowned painter1 ,filippino ,lippi 7#bic74 ,her portrait is to be seen in the ,virgin of the ,assumption1 now in the ,communal ,gallery at ,prato4 ,she was induced to return to the convent1 and took fresh vows1 but again escaped to seek the friar's protection4 ,the scandal now became serious1 and ,filippo was threatened with punishment4 ,but ,cosmo de' ,medici intervened1 and the ,pope issued a bull releasing the erring pair from their vows and sanctioning their marriage4 ,lippi's last work was a series of frescoes in the choir of the ,duomo at ,spoleto4 ,here he died1 from an illness ascribed by some to poison1 leaving the work to be finished by his assistant1 ,fra ,diamante4 ,he was buried in the ,duomo4 ,over his tomb ,lorenzo de' ,medici caused a monument to be erected1 and ,poliziano wrote ,latin couplets to commemorate the fame of the friar-painter4 ,his art1 says ,ruskin1 is the finest1 out and out1 that ever monk did1 which ,i attribute myself to what is usually considered faultful in him1 his having run away with a pretty novice out of a convent4444 ,the real gist of the matter is that ,lippi did1 openly and bravely1 what the highest prelates in the ,church did basely and in secret2 also he loved1 where they only lusted2 and he has been proclaimed therefore by them--and too foolishly believed by us--to have been a shameful person#afc 7,fors ,clavigera1 #ahgb1 xxii4 #d2 ,ariadne ,florentina1 vi4 #e n474 ,in other words1 ,lippi1 while true to his religion1 did not shut himself out from the world--to use the theological language1 he sanctified1 not crucified1 the flesh4 ,his pictures are nobly religious work1--examples of the most perfect unison of religious myth with faithful realism of human nature yet produced in this world 7,fors ,clavigera1 #ahgf1 p4 #ahg74 ,the human element1 with him so nave and spontaneous1 gives1 says ,burton1 a singular charm to his works4 ,his colour is golden and broad1 and his drapery finely cast and of fascinatingly broken tones4 ,among his pupils 7besides his son7 were ,pesellino and ,botticelli4 ,here the traditional legend of the ,annunciation is faithfully adhered to1 and there is much unusually mystic spiritualism of conception in the dove1 the ,spirit of ,god1 proceeding in rays of golden light from the hand of an unseen ,presence2 but the painter delights to elaborate also every element of human interest and worldly beauty4 ,note1 for instance1 the prettiness of the angel's face1 the gracefulness of his figure1 the sheen of his wings1 and the dainty splendour of the ,virgin's chamber4 #ffg4 ,,st4 ,,john ,,the ,,baptist ,,and ,,saints4 ,fra ,filippo ,lippi 7,florentine3 #adjf-adfi74 ,see #fff4 ,lippi's general characteristics1 noticed above under the companion picture 7#fff71 may again be seen here4 ,the other saints are ,sts4 ,francis 7on the spectator's right1 with the stigmata71 ,lawrence1 and ,cosmas2 on the left ,sts4 ,damianus1 ,anthony1 and ,peter ,martyr--this last a particularly human saint4 ,lippi was a monk himself1 and drew his saints in the human resemblance of good brothers that he knew4 ,i will tell you what ,lippi must have taught any boy whom he loved4 ,first1 humility1 and to live in joy and peace1 injuring no man--if such innocence might be4 ,nothing is so manifest in every face by him as its gentleness and rest4 ,it is characteristic of ,lippi1 too1 that the saints should be represented sitting in so pretty a garden4 ,secondly1--a little thing it seems1 but was a great one1--love of flowers4 ,no one draws such lilies or such daisies as ,lippi4 ,botticelli beat him afterwards in roses1 but never in lilies 7,ariadne ,florentina1 vi4 #i74 #ffh4 ,,the ,,beato ,,ferretti4 ,carlo ,crivelli 7,venetian3 painted #adfh-adic74 ,see #fjb4 ,gabriele ,ferretti 7to whose family ,pope ,pius ,,ix4 belonged7 was ,superior of the ,franciscans in the ,march of ,ancona1 and died in #adef4 ,thirty years later his body was found incorrupt1 and was deposited in a sarcophagus in the church of ,s4 ,francesco ad ,alto at ,ancona4 ,it is conjectured that the present picture was painted for that church in commemoration of the discovery of the body4 ,the artist shows us the holy man in enjoyment of the vision of the beatified4 ,the ,beato 7in ,franciscan habit7 has been reading or praying1 at the entrance of a cave near a church1 in a quiet country spot from which a road leads to a town in the distance4 ,suddenly in the sky the ,virgin and ,child appear 7surrounded by the ,vesica glory1 see ,no4 #efd74 ,he has laid down his book1 put off his sandals1 and kneels in prayer and adoration4444 ,the masterly treatment of the drapery1 the perfection of the forms1 the architecture1 the sense of spaciousness in the landscape1 all point to the maturity of ,crivelli's art4444 ,the landscape1 for general effect1 is one of his best1 though the treatment of the rocks and of the foreground is still conventional4 ,the most striking objects in it are the leafless tree-stems1 the counterpart1 as it were1 of the hard and bony human figures of which he was so fond1 and therefore an illustration of his love for anatomical forms4 ,his seeking after realism again appears in the two ducks painted with minute precision4 ,in contrast to them we get the festoon of fruit at the top of the picture1 illustrating the conventional and decorative aspect of his art4 ,no picture of his suggests more completely both the range and the limitations of ,crivelli 7,g4 ,m4 ,rushforth3 ,carlo ,crivelli1 pp4 #fe1 #hg74 #ffi4 ,,st4 ,,sebastian1 ,,st4 ,,roch ,,and ,,st4 ,,demetrius4 ,l',ortolano 7,ferrarese3 died about #aebe74 ,giambattista ,benvenuti1 called ,l',ortolano 7the gardener7 from his father's occupation1 is still a problem in art history1 details of his life being so uncertain that even the existence of him is disputed by some critics4 ,there is1 however1 documentary evidence which proves his existence4 ,this noble picture was1 until #ahdd1 the altar-piece of the parochial church of ,bondeno1 near ,ferrara1 where it was generally considered the painter's masterpiece4 ,his life and works are generally confounded with those of ,garofalo1 to which painter ,morelli ascribes the present work4 ,garofalo's characteristics are apparent in the form of hand1 the brown flesh-tints1 the drapery1 the landscape1 and the small stones in the foreground 7,italian ,painters3 ,the ,borghese and ,doria-,pamfili ,galleries in ,rome1 p4 #bjh74 ,on the other hand1 ,venturi has drawn up a list of works1 showing common characteristics and common differences from ,garofalo1 which he therefore attributes to ,ortolano4 ,to this list should be added ,lord ,wimborne's ,st4 ,joseph presenting the ,infant ,christ4 ,among the characteristics noticeable in our picture are houses planted on posts2 long1 straight streaks in the background turning to white2 trees with large1 sparse1 yellowing leaves4 ,garofalo never achieved the rapt expression of ,st4 ,demetrius 7see the argument of ,venturi quoted in ,burlington ,fine ,arts ,club's ,catalogue1 #ahid74 ,in the centre is ,st4 ,sebastian1 tied to a tree1 and pierced with arrows2 whilst in the foreground is a cross-bow1 lying uselessly4 ,for the story is that ,sebastian was a noble youth who was promoted to the command of a company in the ,prtorian ,guards by the ,emperor ,diocletian3 ,at this time he was secretly a ,christian1 but his faith only rendered him more loyal to his masters2 more faithful in all his engagements2 more mild1 more charitable2 while his favour with his prince1 and his popularity with the troops1 enabled him to protect those who were persecuted for ,christ's sake1 and to convert many to the truth4 ,among his friends were two young men of noble family1 soldiers like himself2 their names were ,marcus and ,marcellinus4 ,and when they were tortured for being ,christians1 ,sebastian1 neglecting his own safety1 rushed forward1 and1 by his exhortations1 encouraged them rather to die than to renounce their ,redeemer4 ,then ,diocletian ordered that ,sebastian also should be bound to a stake and shot to death with arrows4 ,the archers left him for dead2 but in the middle of the night1 ,irene1 the widow of one of his martyred friends1 came with her attendants to take his body away1 that she might bury it honourably2 and it was found that none of the arrows had pierced him in a vital part1 and that he yet breathed4 ,so they carried him to her house1 and his wounds were dressed2 and the pious widow tended him night and day1 until he had wholly recovered 7,mrs4 ,jameson3 ,sacred and ,legendary ,art1 #ahej1 pp4 #cdc1 #cdd74 ,this legend was one of the special favourites with the medival painters3 the display of beautiful form1 permitted and even consecrated by devotion1 is so rare in ,christian representations1 that we cannot wonder at the avidity with which this subject was seized 7ibid4 p4 #cdf74 ,it is instructive to compare the noble use of the subject made in this picture1 in which the great technical skill of the painter is subordinate to the beautiful display of a sacred legend1 with the ,st4 ,sebastian of ,pollajuolo 7#bib71 in which1 as we have seen1 the subject is used solely--and painfully--for the display of such skill4 ,with ,st4 ,sebastian is here represented1 on his left1 his contemporary1 ,st4 ,demetrius4 ,he is clad in armour1 for he also served under ,diocletian1 being ,proconsul of ,greece1 and like ,st4 ,sebastian used his high office to preach ,christ4 ,on the other side is ,st4 ,roch 7for whose legend see #gce74 ,he is a much later saint 7about ,a4,d4 #acjj71 and is associated with ,st4 ,sebastian as another patron of the plague-stricken4 ,arrows have been from all antiquity the emblem of pestilence2 and from the association of arrows with his legend1 ,st4 ,sebastian succeeded in ,christian times to the honours enjoyed by ,apollo1 in ,greek mythology1 as the protector against pestilence4 #fgj4 ,a ,,knight ,,of ,,st4 ,,stephen4 ,angelo ,bronzino 7,florentine3 #aejb-aegb74 ,see #fdi4 ,see also 7p4 xx7 ,he wears the robes of his order 7with a red cross bordered with yellow71 an order established by ,cosimo1 ,duke of ,tuscany1 and charged with the defence of the coasts against pirates4 ,the knight is a good specimen of the courtier aristocracy with which ,cosimo surrounded himself4 ,the knights of ,st4 ,stephen afterwards won much honour by their prowess1 but they were men of culture also3 notice that this one holds a book in his hand1 which rests on a table richly carved in the taste of the time4 ,this portrait was presented to the nation by ,mr4 ,watts1 ,r4,a4 #fga4 ,,madonna ,,and ,,child ,,enthroned ,garofalo 7,ferrarese3 #adha-aeei74 ,see #ha4 ,this fine picture was originally the principal altar-piece of the church of ,san ,guglielmo 7,st4 ,william7 at ,ferrara4 ,hence the introduction of that saint 7on our left7--a beautiful face1 into which the artist has put1 one may think1 all his local piety4 ,the saint is in armour1 for ,william--the institutor of the hermit order of ,guglielmites--was originally a soldier1 and was given1 says one of his biographers1 unto a licentious manner of living1 too common among persons of that profession4 ,it was to escape from such temptations that he became a holy penitent1 and fought thenceforward in mountain solitudes1 as a soldier of ,christ against the flesh and the devil4 ,beside him stands ,st4 ,clara1 the very ideal of a gray sister1 sedate and sweet1 sober1 steadfast1 and demure4 ,she gazes on a crucifix1 for she too had renounced the pomps and vanities of the world4 ,her wealth of golden hair was cut off1 it is said1 by ,st4 ,francis2 her fortune she gave to hospitals1 and herself became the foundress of the ,order of ,poor ,clares4 ,st4 ,francis stands on the other side of the throne1 and besides him is good ,st4 ,anthony 7see under #ggf74 #fgb4 ,,his ,,own ,,portrait4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,this portrait1 dated #afdj1 describes the man well--strong and robust1 with powerful head1 firm and compressed lips and determined chin1 with heavy eyebrows1 separated by a deep vertical furrow1 and with eyes of keen penetrating glance1--altogether a self-reliant man1 who would carry out his own ideas1 careless whether his popularity waxed or waned 7,j4 ,f4 ,white in ,encyclopdia ,britannica74 #fgc4 ,,salvator ,,mundi4 ,antonello da ,messina 7,venetian3 #addd-adic7 ,a picture of special interest as being the earliest known work 7it is dated #adfe7 of ,antonello1 of ,messina in ,sicily1 who is famous as the man by whom the art of painting in oils1 as perfected by the ,van ,eycks 7see #ahf71 was introduced into ,venice4 ,vasari's story is that ,antonello saw1 on a visit to ,naples1 a picture by ,john ,van ,eyck1 in which the brilliancy and fine fusion of the tints so struck him that he forthwith set out for ,flanders1 ingratiated himself with ,van ,eyck1 and learnt from him the secret of his method4 ,but the dates do not agree with this story4 ,for ,van ,eyck died in #addj1 and ,antonello must therefore have been born early in the century1 whereas1 on the contrary1 ,vasari expressly states that he died in #adic1 aged forty-nine4 ,more probably ,antonello learnt the ,flemish technique from the painters of that school who are known to have been at ,naples in the middle of the fifteenth century4 ,in his native town1 in the church of ,s4 ,gregorio1 is a triptych by him1 dated #adgc4 ,in the same year he was at ,venice1 where he remained until his death4 ,his practical mastery of the new method1 still unknown in the city of the ,lagoons1 of glazing in oil colours a ground laid in tempera1 must have given ,antonello a higher status at ,venice than his intrinsic merits as an artist would have warranted4 ,we see that he is at once honoured with a commission from the wardens of ,s4 ,cassiano4 ,unhappily the altar-piece there1 so highly praised by ,matteo ,collaccio and ,sabellico1 and signed with the year #adgc1 has long since disappeared4 ,and not only did the church dignitaries of ,venice patronise him1 but the patricians were eager to have their likenesses taken on the new principle practised by ,antonello2 and1 to judge by the number of portraits he turned out in those years1 he must for a time have been the most popular portrait painter in ,venice 7,morelli74 ,of his portraits there is a good example in our ,gallery 7#aada74 ,the splendid portrait in the ,louvre is dated #adge2 that in the ,berlin ,gallery1 #adgh4 ,the ,crucifixion in our ,gallery is dated #adgg4 ,it is evident to me1 says ,morelli1 that ,antonello gradually formed himself by studying the works and seeking the society of the great ,venetian masters1 till he reached that degree of perfection which we miss in his early ,ecce ,homos and admire in his portraits of #adge-gh4 ,his ,italian nature gradually works its way through the ,flemish shell in which his first master had encased his hand as well as mind4 ,in this transformation of ,antonello as an artist ,giovanni ,bellini had obviously the greatest share4 ,whoever visits the churches of ,messina1 and of the towns and villages along that eastern coast of ,sicily as far as ,syracuse1 will still find in many of them ,madonnas1 whether in colour or in marble1 that remind him of ,antonello and ,giambellino4 ,and not only did ,antonello act powerfully on his own ,sicilian countrymen2 we also discern his influence in several portraits by painters of ,upper ,italy--for instance1 those of ,solario4 ,no4 #ibc1 for example1 the portrait of a ,venetian ,senator1 by that master1 is strongly reminiscent of ,antonello's style4 ,in fact1 as ,sir ,f4 ,burton says1 to ,antonello and his ,flemish education is due that type of portraiture which we find among the ,venetian and ,north ,italian painters of his time1 and which1 under a southern sun1 and in the hands of a ,titian1 expanded itself in the noblest form4 7,the above account of ,antonello follows ,morelli3 see his ,italian ,masters in ,german ,galleries1 pp4 #cgf-cij74 ,christ as the ,saviour of the ,world1 stands with his finger on the edge of a parapet1 giving the blessing and gazing into eternity4 ,the picture1 being dated #adfe1afd must have been painted by ,antonello in his twenty-first year4 ,both in conception and in the ruddy complexion peculiar to the school of ,van ,eyck 7see #bbb and #bij7 it suggests a ,flemish influence4 ,notice also the pentimenti 7or corrections73 the right hand and border of the tunic were originally higher1 and their forms1 obliterated by the painter1 have now in course of time disappeared4 ,this again shows the hand of an experienced artist4 #fgd4 ,,portrait ,,of ,a ,,lady4 ,paris ,bordone 7,venetian3 #aejj-aegj74 ,see #fcg4 ,a splendid specimen of this painter's portraits1 and a type of the face which meets one in nearly every ,gallery of ,europe2 for ,bordone1 who had 7as we have seen7 a great vogue as a lady's portrait painter1 had yet a way1 says ,ridolfi1 of making such works appear more like fancy portraits than individual portraits4 ,this one is of a girl of the ,brignole family1 aged eighteen1 according to the inscription4 ,in the ,brignole ,palace at ,genoa 7now the property of the town7 are two magnificent portraits by ,bordone4 ,the type here is that of a cruel and somewhat sensual beauty--the eyes1 especially1 being1 like ,mars1 to threaten or command-- ,cold eyelids that hide like a jewel ,hard eyes that grow soft for an hour2 ,the heavy white limbs1 and the cruel ,red mouth like a venomous flower4 ,,swinburne3 ,dolores4 ,since the above note was written1 ,mr4 ,h4 ,schtz ,wilson has suggested1 with some plausibility1 that the portrait is of ,bianca ,cappello 7#aedb-aehg71 as pre-eminent in sumptuous voluptuous loveliness1 as she was in the crime of her day in ,italy4 ,in the deadly calm of the almost inscrutable lineaments of this remarkable portrait1 in which charm and grace are shown behind so much that is terrible1 so much that is earthly1 sensual1 devilish1 in those awful eyes1 and in that cruel 'red mouth1 like a venomous flower1' we see1 as ,i fancy1 says ,mr4 ,wilson1 not an obscure girl of a noble family of ,genoa1 but the counterfeit presentment of the romantically wicked ,renaissance heroine1 the fair and evil ,grand ,duchess of ,tuscany 7,pall ,mall ,gazette1 ,november #bb1 #ahhh74 #fgi4 ,,the ,,portrait ,,of ,,an ,,astronomer4 ,ferdinand ,bol 7,dutch3 #afaf-afhj74 ,bol was the most distinguished of ,rembrandt's pupils in portraiture4 ,he was born at ,dordrecht1 and settled at ,amsterdam1 where he acquired burgess rights in #afeb4 ,one of ,bol's portraits in the ,louvre has attained the honour of being hung in the ,salon ,carr4 ,his ,four ,regents of the ,leprosy ,hospital at ,amsterdam is the painter's masterpiece1 and one of the finest works of the ,dutch ,school4 ,bol's pictures are remarkable for a prevailing yellow tone4 ,up to about the year #affj he seems to have remained the pupil of ,rembrandt4 ,unfortunately he did not remain faithful to his early teaching4 ,he made sacrifices to the taste of his time1 and abandoned the sober and grave figures1 the severe and sustained method of painting1 the powerful light and shade of his school1 to seek a fresh source of success in overwhelming allegory and in the imitation of ,rubens4 ,this was his ruin4 ,his later works1 painted in full light1 are very inferior to those of an earlier date2 their colouring is hard1 glaring1 and discordant1 and in composition they are frequently bombastic and pretentious 7,havard3 ,the ,dutch ,school of ,painting1 p4 #ic74 ,the sitter is conjectured to be an astronomer1 from the globes on the table before him and from the look on his face as of a man dwelling among the clouds4 ,the picture is signed1 and dated #afeb4 #fhj4 ,,the ,,miraculous ,,draught ,,of ,,fishes4 ,van ,dyck 7,flemish3 #aeii-afda74 ,see #di4 ,painted by ,van ,dyck from the large picture by ,rubens at ,mechlin1 for an engraver to work from4 ,one of the too numerous brown sketches in the manner of the ,flemish ,school1 which seem to me rather done for the sake of wiping the brush clean than of painting anything4 ,there is no colour in it1 and no light and shade2--but a certain quantity of bitumen is rubbed about so as to slip more or less greasily into the shape of figures2 and one of ,st4 ,john's 7or ,st4 ,james's7 legs is suddenly terminated by a wriggle of white across it1 to signify that he is standing in the sea 7,art of ,england1 p4 #dd74 ,ruskin notices the picture as an example of the art which was assailed by the ,pre-,raphaelites4 ,a word-picture of the same scene in the ,pre-,raphaelite manner1 with its literal and close realisation1 will be found in ,modern ,painters1 vol4 iii4 pt4 iv4 ch4 iv4 #af4 #fhe4 ,,showery ,,weather4 ,meindert ,hobbema 7,dutch3 #afch-agji74 ,hobbema1 who disputes with ,ruysdael the place of best ,dutch landscape painter1 was a friend of the latter1 and perhaps his pupil3 certainly works of the two are sometimes remarkably alike4 ,thus it has been pointed out that ,hobbema's ,no4 #iif shows the influence of ,ruysdael1 whilst ,ruysdael's ,no4 #ihf recalls ,hobbema's4 ,often1 too1 they painted the same country2 compare e4g4 ,no4 #ihf with ,hobbema's ,no4 #hcb4 ,like ,ruysdael1 too1 ,hobbema was a painter without honour in his own country1 and nine-tenths of his known works are in ,england1 where he was first appreciated1 and where he was the means of influencing many of our landscape painters1 notably ,nasmyth4 ,his pictures were often ascribed to other painters1 now considered greatly his inferiors1 in order to obtain better prices4 ,it has been remarked as a curious fact that until the middle of the eighteenth century no engraver thought it worth while to reproduce any of ,hobbema's pictures2 and ,sir ,joshua ,reynolds in his ,tour in ,holland 7#agha7 makes no reference to ,hobbema1 though he must have seen some of his pictures4 ,even a hundred years ago they were not much sought after2 now they are more valued than those of any landscape painter and fetch very large prices at auctions4 ,recently one of them sold for as much as #hhbj4 ,this appreciation is due in part to the fact that ,hobbemas are very rare2 the known works by him number hardly more than a hundred4 ,of ,hobbema's life very little is recorded4 ,his name 7like that of ,alma ,tadema7 betokens ,frisian origin4 ,his birthplace is unknown1 but he appears to have been born at ,amsterdam1 and to have been the scholar of ,jacob ,ruysdael in landscape painting4 ,ruysdael was the witness at his marriage4 ,this was in #affh4 ,in the same year he was appointed one of the sworn gaugers for the excise of the town4 ,thus1 a century before ,burns1 fortune played upon one of the greatest of landscape painters the same trick that she played in his case upon the most spontaneous of poets4 ,hobbema was not the only painter of his time who had to eke out a bare subsistence by employment more lucrative than the production of masterpieces4 ,salomon van ,ruysdael was also a frame-maker2 ,van ,goyen speculated in houses1 picture-dealing1 and tulips2 and ,jan ,steen was an innkeeper4 ,the coincidence of ,hobbema's marriage and his appointment as gauger of wines and oil was not by chance4 ,the archives throw a curious light upon the public morals of ,amsterdam at the time of its greatest prosperity4 ,by a deed executed in the month of his marriage1 ,hobbema admits that he owes his appointment to the influence of a companion of his wife1 like her a servant in the employment of the burgomaster1 and in consideration of this he agrees to pay her1 so long as he holds the place1 an annual sum of #bej florins4 ,posterity owes this servant of the burgomaster a grudge1 for after taking up the appointment1 ,hobbema scarcely painted any more4 ,the post cannot1 however1 have been lucrative1 for he died in evil circumstances--in a house directly opposite to that in which ,rembrandt had died forty years before4 ,the painter of works1 any one of which is now worth a small fortune to its possessor1 was buried in a pauper's grave4 ,in spite of the resemblance to ,ruysdael above noted1 ,hobbema's best and most characteristic works are quite distinct4 ,ruysdael is the painter of the solitude of nature1 of rocks and waterfalls2 ,hobbema of the ,dutch fields with dwellings sprinkled o'er4 ,the pervading tone of ,ruysdael is dark and sombre2 that of ,hobbema is drowsy and still4 ,a second characteristic of ,hobbema is his fondness for oak foliage1 and a certain nigglingness in his execution of it4 ,see e4g4 #hcb1 #hcc4 ,they 7,hobbema and ,both7 can paint oak leafage faithfully1 but do not know where to stop1 and by doing too much1 lose the truth of all1 lose the very truth of detail at which they aim1 for all their minute work only gives two leaves to nature's twenty4 ,they are evidently incapable of even thinking of a tree1 much more of drawing it1 except leaf by leaf2 they have no notion nor sense of simplicity1 mass1 or obscurity1 and when they come to distance1 where it is totally impossible that leaves should be separately seen1 being incapable of conceiving or rendering the grand and quiet forms of truth1 they are reduced to paint their bushes with dots and touches expressive of leaves three feet broad each4 ,no word1 ,ruskin elsewhere adds1 has been more harmfully misused than that ugly one of 'niggling4' ,i should be glad if it were entirely banished from service and record4 ,the only essential question about drawing is whether it be right or wrong2 that it be small or large1 swift or slow1 is a matter of convenience only4 ,but so far as the word may be legitimately used at all1 it belongs especially to such execution as this of ,hobbema's--execution which substitutes1 on whatever scale1 a mechanical trick or habit of hand for true drawing of known or intended forms4 ,a second objection to ,hobbema's method may be mentioned besides its trickiness4 ,his niggling touch is extended from the foreground to objects farther off1 and thus a middle distance of ,hobbema involves a contradiction in terms2 it states a distance by perspective1 which it contradicts by distinctness of detail 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 ii4 ch4 v4 #ag1 sec4 vi4 ch4 i4 #bb2 vol4 v4 pt4 vi4 ch4 v4 #f74 ,in spite1 however1 of such defects1 the works of ,hobbema have an enduring charm for their incisiveness of touch1 and warmth of light4 ,he had not ,ruysdael's variety nor his depth of poetic feeling4 ,the forest glade and the watermill are almost all he paints4 ,but these he paints so firmly and decisively that they live for ever1 and upon them he casts a warm and golden tone which never fails to please4 #fhf4 ,,the ,,virgin ,,and ,,child4 ,hans ,memlinc 7,early ,flemish3 #adcj-adid74 ,it is only in the ,hospital of ,st4 ,john at ,bruges that the art of this exquisite painter can be properly studied4 ,there1 as among the ,fra ,angelicos at ,san ,marco in ,florence and the ,giottos at the ,arena in ,padua1 one may see the great works of a medival painter in the very surroundings which first produced them4 7,copies of some of ,memlinc's works at ,bruges and elsewhere are included in the ,arundel ,society's collection47 ,the ,hospital is1 as it were1 a shrine of ,memlinc4 ,around this fact legends grew4 ,in one of the pictures1 it was said1 a portrait of the artist might be discovered2 on the sculptured ornaments of a porch enframing one of its subjects1 an incident of the master's life might be traced1--his danger as he lay senseless in the street1 his rescue as charitable people carried his body to the hospital4 ,it came to be told how the great artist began life as a soldier who went to the wars under ,charles the ,bold1 and came back riddled with wounds from the field of ,nancy4 ,wandering homeward in a disabled state in #adgg1 he fainted in the streets of ,bruges1 and was cured by the ,hospitallers4 ,unknown to them and a stranger to ,bruges1 he gave tangible proofs of his skill to the brethren of ,st4 ,john1 and showed his gratitude by refusing payment for a picture he had painted4 ,unfortunately all this is a myth4 ,of his real life little is known1 but it is enough to refute the legends that for so long passed current4 ,in #adgg he was under contract to furnish an altar-piece for the guild chapel of the booksellers of ,bruges2 this picture1 preserved under the name of the ,seven ,griefs of ,mary1 is now one of the principal treasures of the ,gallery of ,turin4 ,his many pictures for the ,hospitallers were painted in #adgi and #adhj4 ,he was born at ,mayence on the ,rhine4 ,his name 7which should not be spelt ,memling7 was probably derived from the town of ,memmelinck 7now ,medenblik7 in the north-east of ,holland1 to which place his family presumably belonged4 ,he is known from the town records to have been settled in ,bruges in his own house in #adgi4 ,he must have been a citizen of some wealth1 for in the next year he was one of those who contributed to a loan raised by ,maximilian of ,austria to push hostilities against ,france4 ,in #adhg he lost his wife4 ,in #adid he died1 his children being still minors1 and was buried in the ,church of ,st4 ,giles 7see a document cited in the ,athenum of #bnd ,february #ahhi74 ,this is all that documentary evidence has disclosed about ,memlinc's life4 ,if the evidence of his pictures may be taken1 his life must have been gentle and peaceful4 ,for ,memlinc's place in the history of art is among the leaders of the ,purist ,school 7see under #ffc74 ,he was1 we may say1 the ,fra ,angelico of ,flanders4 ,in technique he used the methods perfected by the ,van ,eycks4 ,in drawing a comparison between ,memlinc and his predecessors and contemporaries1#afe he is found inferior to ,john ,van ,eyck in power of colour and chiaroscuro1 as well as in searching portraiture2 to ,van der ,weyden in dramatic force2 to ,dierick ,bouts and ,gheeraert ,david in beauty and finish of landscape 7,weale's monograph on ,memlinc1 published by the ,arundel ,society74 ,but ,memlinc had a sentiment and an ideal of his own to which none of his ,flemish contemporaries attained4 ,van ,eyck saw with his eye1 ,memlinc begins to see with his spirit4 ,the one copied and imitated2 the other copies1 imitates1--and transfigures4 ,van ,eyck1 without any thought of an ideal1 reproduced the virile types which passed before his eyes4 ,memlinc dreams as he looks1 chooses what is most lovable and delicate in human forms1 and creates above all as his feminine type a choice being who was unknown before his time1 and has disappeared since4 ,they are women1 but women seen according to the tender predilections of a spirit in love with grace1 nobility1 beauty4 ,memlinc's men1 on the other hand1 do not compare advantageously with ,van ,eyck's4 ,there is more vigour in the latter1 more framework1 more muscle1 more blood4 ,memlinc's art is very human1 but there is in it no trace of the villainies and atrocities of his time4 ,his ideal is his own4 ,it foreshadowed perhaps the ,bellinis1 the ,botticellis1 the ,peruginos1 but not ,leonardo1 nor the ,tuscans1 nor the ,romans of the ,renaissance4 ,imagine in the midst of the horror of the century a privileged spot1 a sort of angelic retreat where the passions are silenced and troubles cease1 where men pray and worship1 where physical and moral deformities are transfigured1 where new sentiments come into being and sweet usages grow up like the lilies3 imagine this and you will have an idea of the unique soul of ,memlinc and of the miracle which he works in his pictures 7,fromentin3 ,les ,maitres d',autrefois74 ,in front is a portrait of the donor of the picture4 ,on the ,virgin's left is ,st4 ,george with the dragon--not a very dreadful dragon1 either--they do not hurt or destroy in the peaceful gardens that ,memlinc fancied4 ,notice how the peaceful idea is continued in the man returning to his pleasant home in the background to the left4 ,the ,virgin herself is typical of the feminine idea in early ,flemish art4 ,it must be borne in mind that the people of the fifteenth century still lived in an age when the language of symbols was rich and widely understood4444 ,the high forehead of the ,virgin and wide arching brows tell of her intellectual power1 her rich long hair figures forth the fulness of her life1 her slim figure and tiny mouth symbolise her purity1 her mild eyes with their drooping eyelids discover her devoutness1 her bent head speaks of humility4 ,the supreme and evident virtue which reigns in all these ,madonnas is an absolute purity of heart 7,conway's ,early ,flemish ,painters1 pp4 #aji1 #aaj74 #fhg4 ,,st4 ,,veronica4 ,meister ,wilhelm of ,cologne 7,early ,german3 living in #achj74 ,a work of interest as being by the first artist who emerges in the ,north as an individual painter--painting before his time being a mere appendage of other arts and the work solely of guilds4 ,this ,master ,william1 who is mentioned in an old chronicle as having painted a man as though he were alive1 was a native of ,herle1 near ,cologne1 and attained a prominent position in the latter town4 ,the subject of this picture is the compassionate woman whose door ,christ passed when bearing his cross to ,calvary4 ,seeing the drops of agony on his brow she wiped his face with her napkin1 and the true image 7,vera ,icon3 hence her name7 of ,christ remained miraculously impressed upon it--the ,christ-like deed thus imprinting itself and abiding ever with her4 ,the subject of the picture gives it a further historical interest as being suggestive of the mystics1 the ,friends of ,god1 as they called themselves1 who were preaching in the ,rhine ,valley at this time1 and under whose influence this early school of painting arose4 ,the mystic is one who claims to be able to see ,god with the inner vision of the soul4 ,he studies to be quiet that his still soul may reflect the face of ,god--even as did the cloth of ,st4 ,veronica 7,beard's ,hibbert ,lectures74 #fij4 ,,his ,,own ,,portrait4#aff ,andrea del ,sarto 7,florentine3 #adhf-aeca74 ,the cabinet pictures of ,andrea del ,sarto1 the faultless painter1 are well known to all visitors in the great galleries of ,europe4 ,there is a certain mannerism in them which makes them very easy of recognition4 ,his type of ,madonna is constant1 for it was taken from the beautiful wife whom he loved so well1 and who requited his love so ill4 ,in his angels there is a delicate1 misty beauty2 and over all his works there is that peculiar softness1 harmony1 and delicacy of colouring which the ,italians call morbidezza1 and which is to be seen in its perfection in the ',madonna di ,san ,francesco' in the ,uffizi4 ,that ,holy ,family 7painted in #aeag7 is generally considered his masterpiece1 and may be taken as the supreme type of similar pictures in all the galleries4 ,another typical work is the ,charity of the ,louvre 7painted #aeah74 ,but it is only in ,florence among his frescoes--now unhappily fading1 but preserved in part by copies in the ,arundel ,society's collection--the frescoes of the ,santissima ,annunziata1 the convent of ,s4 ,salvi1 and1 above all1 the cloister of the ,scalzo1 that a full conception of ,andrea's power can be obtained4 ,there only1 says ,mr4 ,swinburne1 can one trace and tell how great a painter and how various he was4 ,there only1 but surely there1 can the influence and pressure of the things of time on his immortal spirit be understood4444 ,in the little cloister of the ,scalzo there is such exultation and exuberance of young power1 of fresh passion and imagination1 that only by the innate grace can one recognise the hand of the master whom hitherto we knew by the works of his after life1 when the gift of grace had survived the gift of invention4 ,this and all other gifts it did survive2 all pleasure of life and power of mind4 ,all these his charm of touch1 his sweetness of execution1 his ',elysian beauty1 melancholy grace' outlived and blossomed in their dust 7,mr4 ,swinburne's eloquent piece on this painter's works is in the first series of ,essays and ,studies1 where also are some notes on the master's drawings in the ,uffizi collection74 ,the painter's life is told in great detail and with much vivacity by ,vasari1 to whose pages every reader should turn4 ,he was the pupil of ,piero di ,cosimo1 and the friend and fellow-worker of ,franciabigio4 ,all their spare1 time1 we are told1 was spent in drawing from the cartoons of ,michelangelo and ,leonardo4 ,after the exhibition of ,michelangelo's celebrated ',cartoon of ,pisa1' in #aejf1 he became a decided imitator of that painter in design3 in colour and light and shade ,fra ,bartolommeo appears to have been his model4 ,his celebrated frescoes in the convent of the ,annunziata 7not completed till #aead7 were among his earliest works4 ,those in the ,scalzo were done in #aead4 ,in #aeag he married1 and in #aeah he went to ,paris1 returning to ,florence in the following year4 ,the story that he embezzled sums of money given him by the king for the purchase of pictures is open to suspicion1 since the accounts of the king have been discovered4 ,no trace of such moneys occurs1 nor did the king ever make any effort to obtain restitution4 ,andrea died of the plague at the early age of forty-five4 ,browning's poem1 in which he sets forth the pathos of the artist's life1 is the best commentary on this beautiful portrait--so masterly in workmanship1 so rich in suggestion of character4 ,the real name of ,andrea del ,sarto--,andrew of the ,tailor1 so called from his father's trade--was ,andrea d',agnolo3 his monogram1 formed of two inverted ,a's1 may here be seen on the background to the left4 ,the ,italians called him the faultless painter3 faultless1 they meant1 in all the technical requirements of painting-- ,all is silver-grey1 ,placid and perfect with my art4 ,but men may be faultily faultless2 and what he lacked was just the one thing needful--the consecration and the poet's dream1 which lift many works by less skilful hands than his into the higher region of imaginative art-- ,their works drop groundward1 but themselves1 ,i know1 ,reach many a time a heaven that's shut to me1444 ,my works are nearer heaven1 but ,i sit here4 ,and the self-reproach was not less bitter for the knowledge of what might have been4 ,there is a story that ,michael ,angelo visited his studio1 and said afterwards to ,raphael-- ,friend1 there's a certain little sorry scrub ,goes up and down our ,florence1 none cares how1 ,who1 were he set to plan and execute ,as you are1 pricked on by your popes and kings1 ,would bring the sweat into that brow of yours6 ,yet ,andrea himself too was once pricked on by kings4 ,two pictures of his had been sent to ,francis ,i41 who thereupon invited the painter to his court4 ,and there for a time he worked and was honoured2 but in the midst of it all he sat reading the letters which ,lucrezia1 his wife1 sent him to ,paris4 ,you called me and ,i came home to your heart4 ,it is her face which we see everywhere in ,andrea's ,madonnas1 and if at any time he took his model from any other face1 there was always a resemblance to hers in the painting-- ,you smile8 why1 there's my picture ready made6 ,but ,lucrezia served as his model1 not his ideal4 ,she had been married before to a hatter1 but was remarkable1 says ,vasari1 who worked in ,andrea's studio and had a grudge against her1 as much for pride and haughtiness1 as for beauty and fascination4#afg ,and ,had the mouth there urged ,god and the glory6 never care for gain4444 ,live for fame1 side by side with ,agnolo6 ,rafael is waiting3 up to ,god1 all three6 ,i might have done it for you4 ,so it seems4 ,it is in some such mood of communing with himself that we seem here to see the painter2 yet there is a certain undercurrent of contentment below the look of melancholy4 ,the force of a beautiful face carries me to heaven3 so sang ,michael ,angelo4 ,lucrezia dragged her husband down2 his rivals overcame him-- ,because there's still ,lucrezia1--as ,i choose4 #fia4 ,,ecce ,,homo6 ,ascribed to ,lo ,spagna 7,umbrian3 painted #aejc-aecj74 ,see #ajcb4 #fjb4 ,,st4 ,,hugo ,,of ,,grenoble4 ,lodovico of ,parma 7,parmese3 early #afth century74 ,said to have been a scholar of ,francia4 ,the crozier shows him to be a bishop1 and it is inscribed ,s4 ,,vgo4 ,this is ,st4 ,hugo 7died #aacb71 who was ,bishop of ,grenoble when ,st4 ,bruno founded the ,chartreuse1 and who often resided amongst the ,carthusians4 ,doubtless he was not an unwelcome visitor1 for he had the power1 it is said1 of converting fowls into fish1 which it was lawful to eat4 ,for forty years1 it is further told of him1 he had haunting doubts on the old1 old question of the origin of evil4 ,the good bishop referred them at last to ,pope ,gregory ,,vii41 who greatly comforted ,st4 ,hugo by assuring him that such doubts were only sent to try his virtue and faith in the providence of ,god in permitting evil in the world4 #fic4 ,,st4 ,,catherine ,,of ,,alexandria4 ,pinturicchio 7,umbrian3 #aded-aeac74 ,bernardino di ,betto1 or the son of ,benedetto1 was commonly called ,pinturicchio1 the little painter4 ,he is not strongly represented in our ,gallery4 ,his principal works are the decorated ceiling and frescoes in the ,library of ,siena1 which represent the life of the ,pope ,aeneas ,sylvius ,piccolomini 7,pius ,,ii474 ,a drawing of this ,library and copies of some of the frescoes are in the ,arundel ,society's ,collection4 ,pinturicchio1 says ,symonds1 is a kind of ,umbrian ,gozzoli1 who brings us here and there in close relation to the men of his own time4 ,his wall-paintings in the library of the ,cathedral of ,siena are so well preserved that we need not seek elsewhere for better specimens of the decorative art most highly prized in the first years of the #afth century4 ,these frescoes have a richness of effect and a vivacity of natural action which1 in spite of their superficiality1 render them highly charming4 ,the life of ,pius ,,ii4 is treated like a legend4 ,both ,pope and ,emperor are romantically conceived1 and each portion of the tale is told as though it were a part in some popular ballad4 ,so much remains of ,perugian affectation as gives a kind of childlike grace to the studied attitudes and many-coloured groups of elegant young men 7,renaissance1 iii4 #bbj74 ,in the foreground of one of the frescoes is a charming figure1 supposed to be a portrait of the young ,raphael4 ,vasari states and subsequent writers have repeated that ,pinturicchio was assisted in these frescoes by ,raphael4 ,this supposition rests on three drawings attributed to ,raphael1 but now proved to be by ,pinturicchio1 who bound himself to execute the whole work with his own hand4 ,morelli's attribution to ,pinturicchio of the so-called ,raphael's sketch-book at ,venice is one of the most important of that critic's discoveries4 ,if 7says ,morelli7 in representing serious religious subjects1 he does not come up to ,perugino as regards proportion1 finish1 and the filling of space2 if his forms are not so noble1 and the expression of religious sentiment not so deep as in ,pietro2 yet1 on the other hand1 ,pinturicchio is1 to my mind1 less conscious1 more fresh and racy than ,perugino1 and does not so often fatigue us by monotony and that conventional sweetness which1 especially in the productions of his last twenty years1 makes ,pietro positively wearisome4 ,and1 as an imaginative landscape-painter1 ,pinturicchio surpasses almost all of his contemporaries 7,german ,galleries1 p4 #bhe74 ,pinturicchio's frescoes at ,siena occupied him from #aejb to #aeji4 ,he probably studied first under ,fiorenzo di ,lorenzo 7,no4 #aajc72 afterwards he entered into partnership with ,pietro ,perugino4 ,he went to ,rome in #adgi and was honoured by commissions from cardinals and popes4 ,among his works in ,rome are frescoes representing the stories of the ,virgin and ,st4 ,jerome in ,s4 ,maria del ,popolo2 frescoes in the ,appartamenti ,borgia in the ,vatican1 and frescoes of ,s4 ,bernardino of ,siena in the ,bufalini ,chapel1 ,s4 ,maria ,aracoeli4 ,morelli attributes to him also two of the frescoes in the ,sixtine ,chapel 7the ,baptism of ,christ and the ,history of ,moses74 ,in #aejj he commenced the beautiful series of frescoes1 now much disfigured1 in the collegiate church at ,spello 7see ,arundel ,society's copies74 ,that he was held in high esteem by his fellow-citizens is shown by his having been elected in #aeja ,decemvir of ,perugia in place of ,pietro ,perugino4 ,unlike ,perugino1 he never mastered the use of oil1 but painted in tempera4 ,vasari1 who did not like ,pinturicchio1 describes him as somewhat of a hack1 and still more of a lover of money4 ,among other qualities he possessed that of giving considerable satisfaction to princes and nobles because he quickly brought the works commanded by them to an end4 ,as for his love of money1 he died of vexation1 ,vasari assures us1 because a certain trunk which he had insisted on being removed from his painting-room in ,siena was afterwards found to be full of gold pieces4 ,according1 however1 to a contemporary writer1 his wife left him alone in his house when ill1 and he was starved to death4 ,st4 ,catherine of ,alexandria was of all the female saints next to ,mary ,magdalene the most popular3 she meets us in nearly every room in the ,national ,gallery1 and even in ,london1 churches and districts once placed under her protection still retain her name4 ,her general attributes are a book1 a sword1 and a wheel4 ,the meaning of these will be seen from the legend of her which crusaders brought from the ,east4 ,she was the daughter of a queen1 and of marvellous wisdom and understanding4 ,and when the time came that she should govern her people1 she1 shunning responsibility and preferring wisdom before sovereignty1 shut herself up in her palace and gave her mind to the study of philosophy4 ,for this wilful seclusiveness her people wished her to marry a husband who should at once fulfil the duties of government and lead them forth to battle4 ,but she1 to prevent this repugnant union1 made one more spiritual by her mystical marriage with ,christ4 ,and for this and other unworldly persistencies1 the heathen tyrant ,maximin would have broken her on a wheel1 but that fire came down from heaven1 sent by the destroying angel of ,god1 and broke the wheel in pieces4 ,yet for all this the tyrant repented not1 and after scourging ,st4 ,catherine with rods beheaded her with the sword1 and so having won the martyr's palm1 she entered into the joy of her ,lord4 #fid4 ,,st4 ,,jerome ,,in ,,his ,,study4 ,school of ,giovanni ,bellini4#afh ,see under #ahi4 ,besides translating the ,bible1 ,st4 ,jerome 7see #bbg7 is famous as one of the founders of the monastic system1 of the ordered cell and tended garden where before was but the desert and the wild wood1 and he died in the monastery he had founded at ,bethlehem4 ,this picture shows us the inside of monastic life4 ,st4 ,jerome1 with the scholar's look of quiet satisfaction1 is deep in study2 his room has no luxury1 but is beautiful in its grace and order2 the lion1 who seems here to be sharing his master's meditation1 and the partridge peering into the saint's slippers1 speak of the love of the old monks for the lower animals2 and the beautiful landscape seen through the open window recalls the sweet nooks which they everywhere chose and tended for their dwelling4 ,the effect of the whole picture is to suggest the peaceful simplicity of the old religious life in contrast to the getting and spending with which we now lay waste our powers4 ,the picture belongs to what ,ruskin has called the ,time of the ,masters1 who desire only to make everything dainty and delightful4 ,everything in it is exquisite1 complete1 and pure2 there is not a particle of dust in the cupboards1 nor a cloud in the air2 the wooden shutters are dainty1 the candlestick is dainty1 the saint's blue hat is dainty1 and its violet tassel1 and its ribbon1 and his blue cloak1 and his spare pair of shoes1 and his little brown partridge--it is all a perfect quintessence of innocent luxury--absolute delight1 without one drawback in it1 nor taint of the ,devil anywhere 7,verona and other ,lectures1 #bf74 ,for another specimen of this pictorial perfectness and deliciousness1 see #bhh 7especially the compartment with ,raphael and ,tobit74 ,as for the partridge1 this is frequently introduced into sacred pictures1 especially those of the ,venetian ,school4 ,there is a pretty legend of ,st4 ,john which perhaps accounts for it1 and which makes its introduction very appropriate in the picture of a recluse4 ,st4 ,john had1 it is said1 a tame partridge1 which he cherished much1 and amused himself with feeding and tending4 ,a certain huntsman1 passing by with his bow and arrows1 was astonished to see the great apostle1 so venerable for his age and sanctity1 engaged in such an amusement4 ,the apostle asked him if he always kept his bow bent4 ,he answered that would be the way to render it useless4 ,if1 replied ,st4 ,john1 you unbend your bow to prevent its being useless1 so do ,i thus unbend my mind for the same reason 7,mrs4 ,jameson3 ,sacred and ,legendary ,art1 p4 #ajj74 #fie4 ,,madonna ,,and ,,child4 ,andrea ,previtali 7,bergamese3 about #adhj-aebh74 ,this painter 7whose personality is in some art-histories merged in that of ,cordelle ,agii1 see #adji7 was one of ,bellini's numerous pupils--a provincial from ,bergamo1 a dry1 honest1 monotonous painter 7see ,morelli's ,german ,galleries1 pp4 #agh-aha1 and under #abjc74 ,as regards technique1 ,previtali is certainly very eminent2 in brilliance of colouring he is not behind any of ,bellini's pupils1 and the landscapes in the background of his pictures are for the most part neatly and faultlessly executed4 ,but he lacks the main attributes of a great artist--invention and the power of original representation4 ,whilst painting in ,venice1 he signed his pictures ,andreas ,bergomensis2 on his return to ,bergamo1 ,andreas ,previtalus4 ,his pictures at ,bergamo are numerous2 the best is the altar-piece in ,s4 ,spirito4 ,a characteristic example of the painter4 ,the figure of the monk in adoration is somewhat hard4 ,the landscape background is pleasant4 #fif4 ,,marco ,,barbarigo4 ,unknown 7,flemish3 #aeth century74 ,see also 7p4 xx7 ,he was ,venetian ,consul in ,london in #addi1 and holds in his hand a letter addressed to him there4 ,he was subsequently elected ,doge1 but died 7in #adhf71 after holding the office for six months4 ,it is recorded of him as ,doge that he was a specially mild-tempered and good man--a character which is not belied in this portrait of him in his earlier days4 ,this portrait was formerly ascribed to ,gerard van der ,meire 7see under #ajgh74 ,it is now by some attributed to ,petrus ,cristus4 #fig4 ,,portrait ,,of ,a ,,tailor4 ,moroni 7,bergamese3 #aebe-aegh74 ,giambattista ,moroni is one of the greatest of the ,italian portrait-painters1 and this picture is perhaps his best-known and most popular production4#afi ,the works of ,moroni appeal alike to the general public and to the painter4 ,he gave to his figures a vitality and ease1 and impressed upon them a verisimilitude which appeal to every spectator4 ,his works 7adds ,sir ,f4 ,burton7 will always be highly estimated by the painter1 as they exhibit rare technical merits1 perfect knowledge and command of means1 facility of execution without display of dexterity1 truth of colour1 and the finest perception of the value of tones4 ,no portrait-painter ever placed the epidermis of the human face upon canvas with more fidelity1 and with greater truth than ,moroni3 his portraits have all a more or less prosaic look1 but they must all have had that startling likeness to the original which so enchants the great public1 who exclaim ',the very man6 just how he looks6' ,and it was with the eyes of the great public that ,moroni did look at his subjects2 he was not a poet in the true sense of the word1 but a consummate painter4 ,yet1 now and then1 he manages to go beyond himself1 and to pierce the surface till he reaches the soul of the sitter4 ,in such cases his portraits may rank with those of ,titian 7,morelli's ,german ,galleries1 p4 #dh74 ,his colouring varied at different periods of his life4 ,for examples of his manner before he came under ,il ,moretto's influence see #ajbc and #acaf--the reddish hue of his flesh-tints being characteristic4 ,in his second period he adopted the silvery manner of ,il ,moretto3 seen here and in #ajbb2 whilst for his third1 or naturalistic manner see #gdb4 ,moroni is a distinguished ornament of the school of ,bergamo--a provincial school characterised1 says ,morelli1 by manly energy1 but also by a certain prosaic want of refinement4 ,see1 for other ,bergamese painters1 ,previtali 7#fie7 and ,cariani 7#abjc74 ,palma ,vecchio1 the greatest of them1 is represented by the ,portrait of ,ariosto1 #fcf4 ,giambattista ,moroni was a painter without honour in his own country1 and when people from ,bergamo came to ,titian to be painted1 he used to refer them to their own countryman--no better face painter1 he would tell them1 existed4 ,moroni is believed to have entered the studio of ,moretto at ,brescia when fifteen years of age4 ,his religious pictures are inferior reflections of his master's4 ,upon one of them1 still preserved in the church of ,gorlago 7between ,bergamo and ,brescia7 he was engaged at the time of his death4 ,no admirer of ,moroni should omit to visit ,bergamo3 a splendid series of his portraits is to be seen in the ,carrara gallery of that town4 ,there too1 as also in the gallery at ,verona1 is a pretty portrait by him of a little girl4 ,a speaking portrait4 ,the tailor's picture is so well done1 says an old ,italian critic1 that it speaks better than an advocate could4 ,a portrait that enables one1 moreover1 to realise what was once meant by a worshipful company of merchant tailors4 ,tagliapanni--for such is his name--is no ,alton ,locke--- no discontented tailor and poet2 neither is he like some fashionable ,west-,end tailor1 with ambitions of rising above his work4 ,he is well-to-do--notice his handsome ring2 but he has the shears in his hands4 ,he does the work himself1 and he likes the work4 ,he is something of an artist1 it would seem1 in clothes3 his jacket and handsome breeches were a piece of his work1 one may suppose2 and the artist has caught and immortalised him1 as he is standing back for a minute to calculate the effect of his next cut4 #fih4 ,,the ,,death ,,of ,,procris4 ,piero di ,cosimo 7,florentine3 #adfb-aeba74 ,a very characteristic work1 and the most interesting of those extant1 by ,piero1 called di ,cosimo1 after his godfather and master1 ,cosimo ,rosselli4 ,piero's peculiarities are well known to all readers of ,george ,eliot's ,romola1 where everything told us about him by ,vasari in one of his most amusing chapters is carefully worked up4 ,the first impression left by this picture--its quaintness--is precisely typical of the man4 ,he shut himself off from the world and stopped his ears2 lived in the untidiest of rooms1 and would not have his garden tended1 preferring to see all things wild and savage about him4 ,he took his meals at times and in ways that no other man did1 and ,romola used to coax him with sweets and hard-boiled eggs4 ,his fondness for quaint landscape 7he would sometimes stand beside a wall1 says ,vasari1 and image forth the most extraordinary landscapes that ever were7 may be seen in this picture2 so also may his love of animals1 in which1 says ,vasari1 he took indescribable pleasure4 ,piero accompanied his master1 ,cosimo ,rosselli1 to ,rome in #adhj1 and painted the landscape to that master's ,sermon on the ,mount in the ,sixtine ,chapel4 ,he painted several altar-pieces1 but his true bent was towards mythological subjects and quaintly decorative treatment4 ,vasari describes in detail a ,carnival triumph devised by ,piero4 ,this and the adornment of dwelling-rooms and marriage-chests were the forms in which his fantastic originality found the most congenial expression4 ,he was also a good portrait-painter3 ,no4 #hie in this gallery has recently been recognised as his work4 ,the subjects of ,piero's pictures were generally mythological4 ,in ,romola he paints ,tito and ,romola as ,bacchus and ,ariadne2 here he shows the death of ,procris1 the story in which the ancients embodied the folly of jealousy4 ,for ,procris being told that ,cephalus was unfaithful1 straightway believed the report and secretly followed him to the woods1 for he was a great hunter4 ,and ,cephalus called upon aura1 the ,latin for breeze1 for ,cephalus was hot after the chase3 ,sweet air1 ,o come1 and echo answered1 ,come1 sweet air4 ,but ,procris1 thinking that he was calling after his mistress1 turned to see1 and as she moved she made a rustling in the leaves1 which ,cephalus mistook for the motion of some beast of the forest1 and let fly his unerring dart1 which ,procris once had given him4 ,but ,procris lay among the white wind-flowers1 ,shot in the throat4 ,from out the little wound ,the slow blood drained1 as drops in autumn showers ,drip from the leaves upon the sodden ground4 ,none saw her die but ,lelaps1 the swift hound1 ,that watched her dumbly with a wistful fear1 ,till at the dawn1 the hornd wood-men found ,and bore her gently on a sylvan bier1 ,to lie beside the sea1--with many an uncouth tear4 ,piero's treatment of the theme is1 it should be noted1 romantic1 rather than classical2 in which respect his picture is characteristic of the earlier ,renaissance4 ,in creating his ,satyr the painter has not had recourse to any antique bas-relief1 but has imagined for himself a being half human1 half bestial1 and yet wholly real2 nor has he portrayed in ,procris a nymph of ,greek form1 but a girl of ,florence4 ,the strange animals and gaudy flowers introduced into the landscape background further remove the subject from the sphere of classic treatment4 ,florentine realism and quaint fancy being thus curiously blended1 the artistic result may be profitably studied for the light it throws upon the so-called ,paganism of the earlier ,renaissance4 ,fancy at that moment was more free than when superior knowledge of antiquity had created a demand for reproductive art1 and when the painters thought less of the meaning of the fable for themselves than of its capability of being used as a machine for the display of erudition 7,symonds's ,renaissance1 iii4 #ahg74 ,piero seems to have taken his background from ,lake ,thrasymene4 ,piero's poetic fancy in this picture has aroused a responsive echo in the poets of our own day4 ,the lines quoted above are from ,the ,death of ,procris2 a version suggested by the so-named picture of ,piero di ,cosimo in the ,national ,gallery1 in ,mr4 ,austin ,dobson's ,old ,world ,idylls4 ,another version of the picture may be found in ,michael ,field's ,sight and ,song3-- ,and there she lies half-veiled1 half-bare1 ,deep in the midst of nature that abides ,inapprehensive she is lying there1 ,so wan2 ,the flowers1 the silver estuary afar-- ,these daisies1 plantains1 all the white and red ,field-blossoms through the leaves and grasses spread2 ,the water with its pelican1 ,its flight of sails and its blue countrysides-- ,unto themselves they are2 ,the dogs sport on the sand1 ,the herons curve about the reeds ,or one by one descend the air1 ,while lifelessly she bleeds ,from throat and dabbled hand4 ,mr4 ,ruskin also has written a piece around our picture1 which he reads with a different eye from ,michael ,field1#agj seeing in it not so much the inapprehensiveness of nature as the pathetic fallacy whereby the moods of nature are made to sympathise with human joy or sorrow3-- ,the next best landscape 7to ,bellini's ',peter ,martyr'7 in the ,national ,gallery is a ,florentine one on the edge of transition to the ,greek feeling2 and in that the distance is still beautiful1 but misty1 not clear2 the flowers are still beautiful1 but1 intentionally1 of the colour of blood2 and in the foreground lies the dead body of ,procris1 which disturbs the poor painter greatly2 and he has expressed his disturbed mind about it in the figure of a poor little brown 7nearly black7 ,faun1 or perhaps the god ,faunus himself1 who is much puzzled by the death of ,procris1 and stoops over her1 thinking it a woful thing to find her pretty body lying there breathless1 and all spotted with blood on the breast 7,lectures on ,landscape1 #id74 #fii4 ,,agostino ,,and ,,niccolo ,,della ,,torre4 ,lorenzo ,lotto 7,venetian3 #adhj-aeee74 ,to this great painter full justice has scarcely been done by writers on art--an omission which in recent years ,morelli and still more ,mr4 ,berenson1 in his elaborate monograph1 have sought to repair4 ,lotto led a wandering life1 which took him much away from ,venice2 hence his pictures are comparatively little known4 ,again1 as ,sir ,f4 ,burton points out1 great versatility and remarkable impressibility are among the chief characteristics of ,lotto1 who certainly was possessed of genius but whose development was oscillating and affected by many influences4 ,only by extremely careful study and comparison can his hand be traced throughout in works1 which at first sight exhibit little or nothing in common4 ,were none of ,lotto's works signed or otherwise attested they would certainly bear very various attributions1 as indeed many of his unsigned pictures have done1 and as it is likely some do still4 ,the portrait1 for instance1 of ,andrea ,odoni at ,hampton ,court was for several centuries attributed to ,correggio1 but recent cleaning has uncovered ,lotto's signature and the date #aebg4 ,of his power as a portrait-painter visitors to the ,national ,gallery can form a good idea4 ,his works in this sort will bear comparison with the best of his contemporaries4 ,they have1 says ,morelli1 all that refined1 inward elegance of feeling which marks the culminating point in the last stage of progressive art in ,italy1 and which is principally represented by ,leonardo da ,vinci1 ,lotto1 ,andrea del ,sarto1 and ,correggio2 whereas the elegance of ,bronzino in ,tuscany1 and of ,parmigiano in ,north ,italy1 is an outward affected one1 which has nothing to do with the inner life of the person represented1 and therefore characterises the first stage of declining art4 ,his sympathetic nature enabled him to seize the finer traits of his sitters1 and they in turn look out from his canvasses as if begging for the sympathy of the spectator4 ,no4 #ajdg in our ,gallery is especially characteristic4 ,lotto's altar-pieces1 which were numerous1 must be studied at ,treviso1 ,recanati1 ,jesi1 ,bergamo1 and ,trescorre 7frescoes71 near the latter place4 ,his pictures at different periods 7they are for the most part dated7 show strong resemblances to different painters--to ,bellini and the ,vivarini1 to ,palma1 to ,titian1 to ,giorgione1 and to ,correggio4 ,he was born at ,venice1 and1 according to ,vasari1 was a disciple of ,john ,bellini4 ,mr4 ,berenson1 on the contrary1 maintains on internal evidence that ,lotto must have belonged to the rival school of ,alvise ,vivarini4 ,of ,palma1 he was1 according to ,vasari1 the friend and companion4 ,with ,titian he was on friendly terms1 though if we may judge from a letter by ,pietro ,aretino1 the attitude of the worldly ,titian coterie to the gentle ,lotto1 was not unmixed with some contempt4 ,o ,lotto1 he writes1 as goodness good1 and as talent talented1 ,titian from ,augsburg1 in the midst of the high favour everybody is eager to show him1 greets and embraces you by the token of the letter which ,i received from him two days ago4 ,he says that it would double the pleasure that he takes in the emperor's satisfaction with the picture he is now painting1 if he had your eye and your judgment to approve him4 ,and indeed1 the painter is not mistaken1 for your judgment has been formed by age1 by nature1 and by art1 with the prompting of that straightforward kindliness which pronounces upon the works of others exactly as if they were your own4 ,envy is not in your breast4 ,rather do you delight to see in other artists certain qualities which you do not find in your own brush1 although it performs those miracles which do not come easy to many who yet feel very happy over their technical skill4 ,but holding the second place in the art of painting is nothing compared to holding the first place in the duties of religion1 for ,heaven will recompense you with a glory that passes the praise of this world4--,venice1 ,april #aedh4 ,the resemblance between ,lotto and ,correggio was founded on no personal intercourse or artistic influence1 but on similarity of temperament4 ,it is most conspicuous in the works of ,lotto's ,bergamask period 7#aeah-aebf74 ,but whereas ,correggio's sensitiveness is to impressions of outward joy and beauty1 ,lotto's is attuned rather to states of the human soul4 ,titian's sitters1 it has been well said1 are as if on parade1 and his religious pictures tell of the pomp or rapture of public services4 ,lotto's sitters commune rather with their own souls1 and in his devotional pieces he aims at a personal interpretation of religious motives4 ,as a colourist1 says ,burton1 ,lotto remained throughout a ,venetian4 ,his flesh tints are true1 and various as the age1 sex1 and temperament of the persons depicted4 ,all that we know of his life suggests a reserved1 sensitive1 and unworldly nature4 ,unlike so many of his contemporaries1 he never sued the favour of the mighty4 ,in his account book recently discovered at ,loreto he speaks again and again of having done excellent work for people who remunerated him with pence where if a contract had been made they would have had to pay him in pounds4 ,he lodged sometimes with friends1 sometimes with monks4 ,his life was that of a lonely wanderer1 very industrious1 but laying up no store4 ,in #aeed he made over himself and all his belongings to the ,holy ,house at ,loreto1 being tired of wandering and wishing to end his days in that holy place4 ,during the last years of his life he had almost entirely lost his voice4 ,in one of his wills is a reference which shows us the temperament of the man4 ,among his scanty possessions were a number of antique gems4 ,these he speaks of lovingly1 because they were engraved with mystic symbols for the spirit to brood upon 7see ,lorenzo ,lotto3 an ,essay in ,constructive ,criticism1 by ,bernhard ,berenson1 #ahie2 and ,morelli's ,german ,galleries1 pp4 #ca-dj2 ,roman ,galleries1 p4 #cja74 ,agostino was ,professor of ,medicine in the ,university of ,padua2 he holds a copy of ,galen1 the most celebrated of the ancient medical writers1 in his hand4 ,it was for ,niccolo1 however1 according to the inscription1 that the picture was painted in #aeae2 and ,signor ,morelli 7its former owner7 thinks that ,agostino's portrait must have been inserted at a later time1 for it is placed very awkwardly in the background 7,german ,galleries1 p4 #cg n474 ,no one with a feeling for composition can doubt for an instant that ,agostino was originally intended to be alone on the canvas1 as he occupies all of it that a single bust ought to occupy4 ,morelli's inference seems thus to be well founded that ,lotto1 on his return from ,venice to ,bergamo1 stopped at ,padua and painted the portrait of ,agostino1 which he brought to ,niccolo at ,bergamo1 who thereupon had his own portrait added4444 ,lotto's sitters were in no way remarkable4 ,nevertheless1 he gives them a look of refinement and innate sweetness of nature which brings us very close to them 7,berenson1 pp4 #ach1 #cba74 #gjj4 ,,the ,,holy ,,family4 ,bernardino ,lanini 7,lombard3 about #aejh-aegh74 ,lanini was a native of ,vercelli1 and a scholar of ,gaudenzio ,ferrari4 ,subsequently he approached more to the manner of ,leonardo1 as in this picture dated #aedc4 ,his works are frequent at ,turin and ,vercelli4 ,there is an altar-piece by him at ,borgo ,sesia1 near ,varallo2 his principal works are frescoes in the ,cathedral at ,novara4 ,mr4 ,pater bids us notice in this picture the pensive1 tarnished silver sidelights1 like mere reflections of natural sunshine 7,art ,notes in ,north ,italy1 ,new ,review1 ,nov4 #ahij74 #gja4 ,,the ,,coronation ,,of ,,the ,,virgin4 ,justus of ,padua 7died #adjj74 ,a picture of interest as being the oldest by any ,north ,italian painter in the ,gallery--the date inscribed on the plinth below is #acfg4 ,justus 7,giusto di ,giovanni7 was a native of ,florence1 who in #acge settled in ,padua and founded his style upon the works of ,giotto in that town4 ,the frescoes at ,padua formerly ascribed to him are now said to be the works of his scholars1 ,giovanni and ,antonio da ,padova4 ,none of the pictures in our ,gallery by followers of ,giotto is so satisfactory as this2 exquisite both in design and colour1 though on a very small scale1 it has1 says ,sir ,e4 ,poynter1 all the largeness of style which characterises the great ,florentine fourteenth-century frescoes 7,the ,national ,gallery1 i4 #beh74 ,the ,virgin is of a fresh type1 pretty and noble also4 ,amongst the saints in the centre picture that of ,st4 ,paul 7on the extreme right7 is distinguished by its natural bearing4 ,there is1 however1 vigour and a sense of beauty and proportion throughout this charming little work4 ,in the panel to the left1 with the ,nativity1 may be noticed the spirit of alertness in the attendant waiting to wash the child1 and the statuesque design of ,st4 ,joseph2 in that to the right1 with the crucifixion1 the figure of ,st4 ,john1 at the foot of the ,cross1 with its fine expression of grief1 and beautifully-designed drapery 7,monkhouse1 ,italian ,pre-,raphaelites1 p4 #bc74 ,above is the ,annunciation1 with regard to which see notes on ,no4 #aaci4 ,on the reverse side of the wings are other incidents from the life of the ,virgin4 ,this and the pictures following 7#gja-gbb7 were presented by ,queen ,victoria to the ,national ,gallery in fulfilment of the wishes of ,h4,r4,h4 the ,prince ,consort4 ,they formerly belonged to the collection of ,h4,i4,h4 ,prince ,louis of ,oettingen-,wallerstein1 and afterwards became the property of ,prince ,albert4 ,it was his intention from the first to present them to the nation1 but the gift was delayed owing to the uncertainty with regard to the site of the proposed new ,national ,gallery4 ,the ,prince's purpose remained unaccomplished1 but not forgotten1 at his death1 and in #ahfc the best pictures from the collection were presented by ,queen ,victoria to the nation4 #gjb4 ,,madonna ,,and ,,child4 ,unknown 7,umbrian3 #aeth-#afth century74 ,formerly ascribed to ,l',ingegno4 ,see #abbj4 #gjc4 ,,madonna ,,and ,,child4 ,pinturicchio 7,umbrian3 #aded-aeac74 ,see #fic4 #gjd4 ,,cosimo1 ,,duke ,,of ,,tuscany4 ,angelo ,bronzino 7,florentine3 #aejb-aegb74 ,see #fdi4 ,see also 7p4 xx7 ,a contemporary portrait of the great ,medici1 the first ,grand ,duke of ,tuscany 7ruled #aecg-aefd71 who was regarded in his day as the very incarnation of ,machiavelli's ,prince1 inasmuch as he joined daring to talent and prudence1 and though he could practise mercy in due season1 was yet capable of great cruelty4 ,no one1 who notices here that large protruding under lip of his1 will doubt this last element in his character4 #gje4 ,,sts4 ,,matthew1 ,,catherine1 ,,and ,,john4 ,ascribed to ,stephan ,lochner 7,early ,german3 died #adea74 ,meister ,stephan was a native of ,constance1 who settled in ,cologne1 and whose work has the stamp of the early ,cologne ,school 7see #fhg74 ,his chief work is the so-called ,dombild1 now in ,cologne ,cathedral3 ,item4 ,i gave two white pennies1 says ,albert ,drer in his diary1 to see the picture that ,master ,staffan of ,cologne painted4 ,this famous altar-piece has been published by the ,arundel ,society4 ,italian ,art1 says ,sir ,f4 ,burton1 has seldom produced a group so beautiful as that of the crowned ,madonna in its central panel4 ,another exquisite little picture ascribed to ,meister ,stephan is in the ,cologne ,museum4 ,three figures full of innocent fervour and graceful sentimentality4 ,st4 ,matthew as an evangelist holds a book and a pen1 and is attended by the symbolic angel4 ,st4 ,john is attended by the eagle1 which is the constant symbol of this evangelist1 because he soared upwards to the contemplation of the divine nature of the ,saviour4 #gjf4 ,,presentation ,,of ,,christ ,,in ,,the ,,temple4 ,the ,master of the ,lyversberg ,passion 7,german3 died about #adij74 ,a picture by the unknown painter of a series of ,passion pictures1 formerly belonging to ,herr ,lyversberg of ,cologne1 but now in the ,museum of the city4 ,he painted also a series of eight subjects from the ,life of ,mary4 ,of these six are in the ,pinacothek at ,munich1 a seventh is in the ,german ,museum at ,nuremberg1 and our picture is the eighth4 ,characteristic of the ,german ,school after the ,flemish influence4 ,the sky background is gilt as in the old ,german pictures1 but the types of the figures are ,flemish4 ,notice the quaint pointed shoes1 and the touch of realism in making the foot of ,simeon1 as he advances to receive the child from its mother1 come half out of his slipper4 #gjg4 ,,st4 ,,peter ,,and ,,st4 ,,dorothy4 ,master of the ,cologne ,crucifixion 7,early ,german ,school3 early #afth century74 ,part of an altar-piece1 the rest of which is in the ,munich ,gallery1 by an artist whose name is unknown1 and who is therefore called after his principal works 7now in the ,cologne ,museum74 ,it has been well said of him that he succeeded in giving an intense expression of transient emotion to the faces2 but by endeavouring to lend a sympathetic action to the whole figure1 he has exaggerated the action into distortion 7,history of ,painting1 from the ,german of ,woltmann and ,woermann1 ii4 #bbd74 ,this is conspicuously the case here4 ,look1 for instance1 at the comic contrast between ,st4 ,peter's big foot and ,st4 ,dorothy's pointed little shoe--between what is almost a leer on his face and the mincing affectation on hers4 ,st4 ,peter is distinguished of course by the keys2 ,st4 ,dorothy by the basket of flowers--the flowers which she sent to ,theophilus in token of the truth of the faith in which she died3 ,carry these to ,theophilus1 say that ,dorothea has sent them1 and that ,i go before him to the garden whence they came and await him there 7see ,mrs4 ,jameson2 ,sacred and ,legendary ,art1 p4 #ccf1 ed4 #ahej74 #gjh4 ,,madonna ,,and ,,child4 ,unknown#aga 7,early ,flemish3 #aeth century74 ,the ,madonna offers ,christ an apple--symbol of the forbidden fruit1 and thus of the sin in the world which he came to remove4 #gji4 ,,madonna ,,and ,,child4 ,unknown 7,flemish ,school2 #aeth-#afth century74 ,see also 7p4 xx7 ,in ,flemish pictures the varnish was incorporated with the surface colours1 and cannot be removed without destroying at the same time the very fabric of the work4 ,for this reason all attempts to1 what is called1 restore1 or clean pictures of the ,flemish ,school1 result only in the destruction of the work1 and by this means many fine pictures have1 for all practical purposes1 perished4444 7,this picture7 is a lamentable example 7,conway's ,early ,flemish ,artists1 p4 #aai74 #gaj4 ,,portrait ,,of ,a ,,monk4 ,unknown#agb 7,early ,flemish3 #aeth century74 #gaa4 ,,mater ,,dolorosa4 #gab4 ,,ecce ,,homo6 ,roger van der ,weyden 7,flemish3 #adjj-adfd74 ,see #ffd4 ,it was a common custom with ,roger's followers to copy single heads out of their master's large groups4 ,such single heads always have gold backgrounds1 usually dotted over with little black dashes 7,conway's ,early ,flemish ,artists1 p4 #bge74 ,these companion panels are perhaps instances1 and the heads selected for reproduction are typical of the overstrained pathos of this school4 ,notice how prominently the tears in the sorrowing mother1 and the blood and tears in the ,ecco ,homo are made to stand out4 #gac4 ,,madonna ,,and ,,child4 ,jan ,mostaert 7,early ,dutch3 #adgd-aeee74 ,see also 7p4 xx7 ,mostaert1 a native of ,haarlem1 was for eighteen years painter to ,margaret of ,austria1 ,regent of the ,netherlands4 ,a picture ascribed to him is preserved in the church of ,notre ,dame at ,bruges1 but no known pictures bear his signature4 ,a large number of his works perished in the great fire at ,haarlem in #aega4 ,one of the few specimens in the ,gallery of the first period of ,dutch art1 when it was still following the traditions of the ,early ,flemish ,school4 #gad4 ,,madonna ,,and ,,child4 ,cornelis ,engelbertsz 7,dutch3 #adfh-aecc74 ,see also 7p4 xx7 ,engelbertsz was one of the earliest oil painters at ,leyden1 and is said to have been the master of ,lucas of ,leyden4 ,most of his important religious works were destroyed by the ,dutch iconoclasts of the sixteenth century4 #gae4 ,,the ,,crucifixion4 ,joachim ,patinir 7,early ,flemish3 died #aebd74 ,see also 7p4 xx7 ,patinir 7born at ,dinant1 but settled in ,antwerp7 was styled by ,albert ,drer1 who stayed with him when in ,antwerp1 drew his portrait and attended his wedding1 ,joachim the good landscape painter4 ,what distinguishes his landscape is its greater expanse1 as compared with earlier works4 ,the ,flemish painters preceding him were mostly content with the narrow domestic scenery of their own ,maas country4 ,but ,patinir's pictures embrace miles of country1 and open on every side4444 ,some far-away cottage by the river-side1 some hamlet nestling against a remote hill-slope1 some castle on a craggy peak1 blue against the transparent sky--such objects were a joy to him4444 ,moreover1 with ,patinir the fantastic element was of much importance4 ,he wished his landscapes to be romantic4444 ,he would have precipitous rocks4444 ,his river must pass through gorges or under natural archways2 his skies must be full of moving clouds2 his wide districts of country must present contrasts of rocky mountain1 water1 and fertile plains4444 ,he saw also the grandeur of wild scenery1 and strove1 though not with perfect success1 to bring that into his pictures1 showing thereby the possession of a foretaste of that delight in nature for her own sake1 the full enjoyment of which has been reserved for the people of our own century 7,conway's ,early ,flemish ,artists1 pp4 #bii1 #cjj74 ,his figures1 says ,sir ,f4 ,burton1 while retaining old ,netherlandish characteristics1 are good1 expressive1 and even noble in conception4 ,most of the ,galleries contain pictures by ,patinir4 ,madrid is particularly rich in them4 ,a high authority on early ,flemish art1 ,m4 ,henri ,hymans1 has stated that the figures in the ',crucifixion' given to ,joachim ,patinir1 and of which the landscape is undoubtedly his1 are by the painter's friend1 ,quentin ,matsys4 ,unquestionably these figures differ much in colour and execution from those contained in such other examples of ,patinir in the ,national ,gallery as the ',nun' 7#ide71 or ',the ,visit of the ,virgin to ,st4 ,elizabeth' 7#ajhb7 7,claude ,phillips in the ,academy1 ,september #bh1 #ahhi74 #gaf4 ,,st4 ,,christopher4 ,joachim ,patinir 7,early ,flemish3 died #aebd74 ,see #gae4 ,one of the earliest attempts in painting to tell the beautiful legend of ,christopher 7the ,christ bearer71 the hermit ferryman1 who1 having sustained others in their chief earthly trials1 afterwards had ,christ for companion of his own4 ,the best account of the legend of ,st4 ,christopher is to be found in ,miss ,alexander's ,roadside ,songs of ,tuscany1 edited by ,ruskin1 illustrated with the most beautiful and true designs that have ever yet been made out of all the multitude by which alike the best spiritual and worldly power of ,art have commended to ,christendom its noblest monastic legend4 #gag4 ,,st4 ,,john ,,on ,,the ,,island ,,of ,,patmos4 ,joachim ,patinir 7,early ,flemish3 died #aebd74 ,see #gae4 ,the evangelist on the island of ,patmos1 writing the revelations out of an ink-horn held by an eagle1 which an imp is attempting to steal4 ,in the sky above are the revelations themselves3 ,and there appeared a great wonder in heaven2 a woman clothed with the sun1 and the moon under her feet1 and upon her head a crown of twelve stars4444 ,and there appeared another wonder in heaven2 and behold a great red dragon1 having seven heads and ten horns1 and seven crowns upon his heads 7,revelation xii4 #a1 #c74 #gah4 ,,christ ,,on ,,the ,,cross4 ,ascribed to ,hendrik ,bles 7,flemish3 about #adhj-aeej74 ,bles1 called by the ,italians ,civetta 7the owl71 on account of the owl which he often adopted as his monogram1 was an imitator of ,patinir 7see #gae74 ,van ,mander says that his nickname was ,met de ,bles 7with the forelock71 but as he signs himself ,henricus ,blessius1 it is probable that ,bles was his real name4 #gai4 ,,the ,,reading ,,magdalen4 ,ascribed to ,hendrik ,bles 7,see last picture74 ,for the subject see ,no4 #fed4 #gbj4 ,a ,,repose 7see ,no4 #afj74 #gba4 ,,portrait ,,of ,a ,,lady4 ,jan van ,schorel 7,dutch3 #adie-aefb74 ,schorel1 so called from his birthplace1 belongs to the second period of ,dutch art1 and was one of the most successful of the ,italianisers2 but neither of these pictures is a good or indeed a certain specimen4 ,he was a poet and musician as well as a painter1 and studied under ,albert ,drer at ,nuremberg4 ,he afterwards visited ,venice1 whence he went to ,jerusalem1 returning by ,rhodes to ,rome4 ,in #aebb he was made by his countryman1 ,pope ,adrian ,,vi41 ,keeper of the ,art ,collection of the ,vatican4 ,he afterwards returned to ,utrecht1 where he died a ,canon of ,st4 ,mary's4 ,he was the master of ,anthony ,mor4 #gbb4 ,a ,,lady',s ,,portrait4 ,unknown 7,german3 #aeth-#afth century74 ,formerly ascribed to ,sigmund ,holbein 7#adfe-aedj74 ,a ,german housewife--with a characteristic mixture about her of sentimentality 7for she holds a forget-me-not in her hand7 and of austerity 7for there is something forbidding1 surely1 in these terribly angular fingers of hers74 #gbd4 ,,our ,,lady ,,of ,,the ,,swallow4 ,carlo ,crivelli 7,venetian3 painted #adfh-adic74 ,see #fjb4 ,full of the dainty detail which characterises the ,venetian pictures of this time4 ,notice the fruit placed everywhere about the ,virgin's throne2 and above1 the vases of flowers and the swallow--hence the name of the picture1 ,madonna della ,rondine4 ,notice also the beautiful dress patterns and the rich hanging brocades4 ,the ,virgin's dress is a lovely silk brocade1 of a design which might well be copied for muslins and curtains4 ,in this picture1 however1 ,crivelli's gift of characterisation has been overpowered by his interest in the accessories4 ,st4 ,jerome1 indeed1 is a noble and dignified figure1 but who could believe in the ,st4 ,sebastian8 ,as a study of costume the figure is interesting1 reproducing every detail with minute fidelity1 and bringing before us the model of a well-dressed young man of ,crivelli's time4 ,but the features are of an ignoble type1 and the attitude is suggestive only of self-conscious vanity4 ,instead of a devout attendant at the throne1 we seem to get a dandy posing for the admiration of the spectator4 ,the scenes of the predella1 on the other hand1 are full of animation1 of feeling1 and of force 7,rushforth's ,crivelli1 p4 #gb74 ,the picture is signed by ,carolus ,crivellus ,miles1 so that it is one of his later works4 ,in the centre of the step is the escutcheon of the ,odoni family1 for whose chapel in the church of the ,franciscans at ,matelica the picture was painted4 #gbf4 ,,christ',s ,,agony ,,in ,,the ,,garden4 ,giovanni ,bellini 7,venetian3 #adbf-aeaf74 ,see #ahi4 ,an early work of the master1 painted probably about #adei 7nearly half a century earlier than the ,doge's portrait1 #ahi71 but interesting as showing the advance made by him in landscape4 ,we see for the first time an attempt to render a particular effect of light1 the first twilight picture with clouds rosy with the lingering gleams of sunset1 and light shining from the sky on hill and town--the first in which a head is seen in shadow against a brilliant sky 7,monkhouse3 ,the ,italian ,pre-,raphaelites1 p4 #gc74 ,in the figures of the ,apostles1 especially in the one on the left1 the repose of sleep is expressed in so admirable and convincing a manner1 that it would be difficult to name a second painter of the quattro-cento who could compare with ,bellini in this respect 7,richter74 ,nor is the advance one in the technique of art only4 ,the picture is one of the earliest in which art made use of what ,ruskin calls the pathetic fallacy--in which1 that is1 art represents nature as sympathising with human emotion4 ,bellini called in nature1 says ,mr4 ,hodgson1 ,r4,a4 7,magazine of ,art1 #ahhf1 p #bae71 to sympathise with human sorrows1 or rather he was the first to point out that nature takes her colouring and her aspects from the conditions of our passions and sentiments4#agc ,that sombre sky1 with its gleam along the horizon1 that long dark hill1 the wild plain over which the traitor and his accomplices are stealing1 have exactly the aspect which they would present to one who stood there knowing that a horrible treason was going to be perpetrated4 ,compare1 for this pathetic fallacy in painting1 ,titian's ,noli me tangere 7,no4 #bgj74 ,bellini's picture should be compared with ,mantegna's of the same subject in an adjoining room 7#adag74 ,mantegna seizes only the sublimity of the idea of the ,agony1 ,bellini's penetrating sympathy renders its infinite pathos4 ,mantegna's picture is in some technical respects the more accomplished2 but in all that concerns the imaginative conception of the subject1 in the harmonising of all the accessories to produce a single profound impression on the emotions1 above all in the large and reposeful spaciousness of the composition1 ,bellini is surely the more to be admired 7,roger ,fry3 ,giovanni ,bellini1 p4 #bb74 ,both pictures may be profitably compared with ,correggio's of the same subject1 in which we are introduced to a new order of ideas 7,see notes on ,no4 #gf74 #gbg4 ,,the ,,trinity4 ,francesco ,pesellino 7,florentine3 #adbb-adeg74 ,this accomplished master was called ,pesellino to distinguish him from his grandfather ,pesello1 by whom he was brought up4 ,he is entitled to one of the highest places in the ranks of the ,florentine ,school of the fifteenth century4 ,his compositions are distinguished by their lively grace1 and the beautiful and truthful expressions of the persons portrayed 7,kugler74 ,in beauty of colour and dignity of design the work before us is his masterpiece4 ,he was a pupil of ,fra ,filippo ,lippi1 and subsequently opened a workshop in ,florence in partnership with a certain ,piero di ,lorenzo4 ,he died at the early age of thirty-five1 leaving a widow and several children in penury4 ,his works are very rare4 ,two compartments of a predella by him are in the ,accademia at ,florence1 a fourth being in the ,louvre4 ,the collection of ,morelli 7now in the ,public ,gallery of ,bergamo7 contains three charming little pictures by him1 which strongly recall the style of ,fra ,filippo 7,morelli's account of the painter is in his ,roman ,galleries1 pp4 #bec-eh74 ,in the ,torrigiani ,palace at ,florence are two remarkable panels from cassoni1 there ascribed to ,gozzoli1 but by modern criticism more justly to ,pesellino2 they bear out ,vasari's remark as to this painter's skill in delineating animals 7,burton74 ,this picture is perhaps the finest version extant of the conventional ,italian representation of the mystery of the ,trinity4 ,the ,son on a crucifix is supported by the ,father1 whilst the ,holy ,spirit in the form of a dove hovers over the head of the ,son4 ,the head of the ,first ,person of the ,trinity is a very majestic conception4 ,in this face1 so full of beauty and power1 of intensity and calm1 as well as the careful modelling of the pathetic figure of ,christ upon the cross1 ,pesellino touches heights which ,lippi could not reach2 but in the charming cherubim and seraphim with which the severity of the subject is softened and decorated1 and in the beauty of the colour 7though that has suffered much7 we may recognise the influence of his master4 ,we have only to compare this picture with the representations of the same subject by ,landini 7#ehj;a7 and ,orcagna 7#egj7 to show how the power to render the most august subjects had been increased by progress in technical accomplishment and the liberation of the artist's imagination1 even when the elements and arrangements of the composition remained virtually unchanged from the traditional type 7,monkhouse1 ,in the ,national ,gallery1 p4 #fb74 ,the picture is referred to by ,vasari3 ,at ,pistoja is a work by ,pesello1 representing the ,trinity1 with figures of ,san ,zeno and ,san ,jacopo 7ii4 #aae74 ,on the suppression of the religious congregation to whom the church of the ,holy ,trinity at ,pistoja belonged1 the picture was sold1 and passed into the collection of ,mr4 ,young ,ottley4 ,the side panels referred to by ,vasari are still in private collections4 #gbh4 ,,madonna ,,and ,,child4 ,beltraffio 7,lombard3 #adfg-aeaf74 ,giovanni ,antonio ,beltraffio came of a noble family in ,milan 7his epitaph is in the ,brera7 and filled public offices in his native town4 ,he fell under the influence of ,leonardo1 and when that master settled at ,milan1 ,beltraffio lodged in his house1 and became his ardent disciple4 ,his most ambitious creation1 where he lamentably fails1 is the ,louvre altar-piece1 the redeeming features of which are the fine portraits of the ,casio family1 his friends and patrons4 ,when he confined himself to portraiture he was often strikingly successful1 and the older ,milanese families still possess a number of ancestral portraits by him1 some of which are of great charm4 ,he seems to have become the pet artist of the society of his day1 often painting the portraits of his friends in the guise of a ,st4 ,sebastian1 or as ,sta4 ,barbara4 ,he accompanied ,leonardo to ,rome in #aead4 ,although not a great artist1 and entirely lacking in imagination and dramatic power1 he exhibits singular refinement4 ,his cultured intellect enabled him to appreciate1 and in a measure reflect1 the fastidious spirit of his master4 ,his works charm by their high finish1 and by the absence of all vulgarity or display4 ,his portraits do not reveal much penetration1 and he never caught the subtleties of character or the intellectual qualities of his sitters 7,catalogue of the ,burlington ,fine ,arts ,club ,exhibition1 #ahih1 p4 lviii474 ,his pictures are for the most part on a small scale4 ,good specimens are to be seen in the ,morelli collection at ,bergamo1 and the ,poldi-,pezzoli collection at ,milan4 ,to delineate the human figure on a large scale1 or human passions1 was not his forte2 he succeeded better in expressing nave innocence in children1 and gentle grace in the ,mother of ,god1 or devoted women 7,morelli's ,german ,galleries1 pp4 #dbe-dh2 ,roman ,galleries1 p4 #afc74 ,of ,beltraffio's powers in the respect last mentioned this charming picture is perhaps the best specimen extant4 ,the child with its quaint belly-band1 and still more the noble but slightly languishing grace of the mother1 at once recall ,leonardo4 #gbi4 ,,the ,,adoration ,,of ,,the ,,kings4 ,vincenzo ,foppa 7,lombard3 about #adbe-adib74 ,foppa--,il ,vecchio as he is called1 to distinguish him from a younger ,foppa of the ,brescian ,school#agd--;is an important person in the history of art4 ,born at ,brescia1 but removing in early manhood to ,milan1 he holds both in the ,school of ,brescia1 and especially in that of ,milan1 the same place that the mighty ,mantegna does at ,padua1 and ,cosimo ,tura at ,ferrara1 representing that early period of development when force of character is more insisted on than beauty of expression4 ,in relation to the ,milanese1 ,foppa was the founder of the school which prevailed before and up to the time of ,leonardo da ,vinci4 ,he was already an artist of repute in #adef1 when he was employed to decorate the ,medici ,palace at ,milan with frescoes4 ,these works1 and many others executed by him in ,milan and the neighbourhood1 have perished4 ,his best remaining frescoes are those of the ,four ,fathers of the ,church in ,s4 ,eustorgio at ,milan4 ,foppa was also employed in ,genoa and ,savona4 ,late in life he returned to ,brescia1 where he received a renewed grant of citizenship1 and a pension1 and where also he died4 ,of his extant works1 the earliest is a ,crucifixion in the ,bergamo gallery4 ,this is dated #adef1 and supports the statement of old writers that ,foppa had studied under ,squarcione at ,padua4 ,his latest work is the altar-piece1 now in ,s4 ,maria di ,castello at ,savona4 ,this belongs to the year #adij1 and agrees in style with our ,national ,gallery picture4 ,foppa is said to have written on perspective1 and many painters of the ,lombard ,school studied under him4 ,traces of the older style of work1 from which ,foppa freed his school1 may here be seen in the embossed ornaments in gilt stucco4 ,notice the daintiness of the picture throughout3 the pretty flowers in the foreground1 the splendid brocades of the kneeling king1 the birds and weeds in the ruined stable4 ,in the background are the star and city of ,bethlehem4 ,the general effect is dark and heavy1 relieved by an abundant use of red2 the flesh tones1 as usual1 are of ashen hue4 ,the ,madonna is of ,foppa's characteristic type1 of solid build4 ,it is interesting to find that there is little or no direct trace of ,leonardesque influence1 a fact which shows that ,foppa was too advanced in years to modify perceptibly his style on the advent of the mighty ,florentine in #adha 7,catalogue of the ,burlington ,fine ,arts ,club ,exhibition1 #ahih1 p4 xxviii474 #gcb4 ,a ,,canal ,,scene4 ,aart van der ,neer 7,dutch3 #afjc-afgg74 ,see #aeb4 ,the figures in the picture are supposed to be by ,lingelbach 7see ,no4 #hcg74 #gcd4 ,a ,,milanese ,,lawyer4 ,andrea ,solario 7,lombard3 about #adfj-aebj74 ,andrea belonged to an artist family1 the ,solari 7of ,solaro1 a village near ,saronna72 one of his brothers1 ,christopher 7nicknamed ,il ,gobbo1 the hunchback71 was an architect and sculptor1 and from him perhaps ,andrea learnt his superb modelling of the head--a point which is conspicuous in this picture1 and in which he surpassed all his contemporaries4 ,his repute in his own time is attested by the journey he made to ,france in #aejg4 ,the ,cardinal ,george of ,amboise desired to entrust the decoration of a chapel to ,leonardo2 but ,leonardo was too much taken up with hydraulic works at ,milan to accept the commission1 and the ,cardinal's representative sent ,andrea in the great man's place4 ,it is not known with whom ,solario studied painting1 but his subject-pictures prove conclusively that he came within ,leonardo's sphere of influence4 ,although by birth and training a ,lombard artist1 ,solario was so much in ,venice that his native style was largely modified4 ,there is no historical evidence that he ever met ,antonello da ,messina1 but his works bear such close resemblance to that master's productions that it cannot be doubted they were acquainted4 ,the portrait ,no4 #ibc is obviously ,venetian in character2 indeed1 it passed not long since under ,bellini's name4 ,it seems unnecessary to suppose with ,morelli that he paid a visit to ,flanders4 ,the ,flemish traits so conspicuous in his work could well be derived from contact with ,antonello4 ,to the end of his life he painted with the utmost finish and delicacy4 ,the brilliance and warmth of his colour compensate for the somewhat cold ivory pallor of his flesh tones4 ,his landscapes are remarkably picturesque and full of incident4 ,that behind the figure of ,longono in the ,national ,gallery portrait is of the greatest delicacy and charm 7,catalogue of the ,burlington ,fine ,arts ,club ,exhibition1 #ahih1 p4 lxi4 ,see also ,morelli's ,german ,galleries1 pp4 #fc-fh2 ,roman ,galleries1 pp4 #agj-agf74 ,subject-pictures by ,solario may be seen in the ,brera and the ,poldi-,pezzoli ,gallery at ,milan1 and in the ,louvre4 ,his last work was a large ,assumption of the ,virgin for the ,certosa of ,pavia 7now in the ,sacristy71 which his death prevented him from finishing4 ,a portrait 7dated #aeje7 of the artist's friend1 a ,milanese lawyer1 whose name1 ,john ,christopher ,longono1 is written on a letter in his right hand4 ,he wears the gown and cap 7not unlike that still worn by ,french advocates7 of his profession4 ,observe the landscape background--here quaintly peopled with prancing dogs and horses on the left1 and servants in red pushing off boats on the right--with which the old painters1 like some of our modern photographers1 were fond of flattering their subjects4 ,but in this case the subject is well entitled to his setting1 for he is a nobleman as well as a lawyer1 and the background is perhaps studied from his country seat4 ,on the bottom of the panel is a ,latin inscription which1 literally interpreted1 runs1 ,not knowing what you have been or what you may be1 may it for long be your study to be able to see what you are1 i4e4 by looking at this picture of yourself--a neatly-turned compliment at once to the painter and his subject3 the picture is to last for many a long year1 and the lawyer for many a long year is to grow no older4 ,or is the inscription also meant to describe the lawyer's character in words1 as the portrait does in colours--a man not troubled overmuch with what has been or what may be hereafter1 but one who is keenly alive to what he is1 and who pours all his powers into the tasks and interests of the present8 #gce4 ,,st4 ,,roch ,,with ,,the ,,angel4 ,paolo ,morando 7,veronese3 #adhf-aebb74 ,paolo ,morando1 otherwise known as ,cavazzola 7his father was ,taddeo ,cavazzola di ,jacobi di ,morando71 was a pupil of ,morone 7see #bhe74 ,he infused a higher life1 and a fine system of colouring into the ,veronese ,school1 making thus a great advance upon his contemporaries1 and preparing the way for ,paul ,veronese4444 ,he shows1 as ,dr4 ,burckhardt has justly observed1 'a marvellous transition from the realism of the fifteenth century to the noble free character of the sixteenth1 not to an empty idealism' 7,layard1 i4 #bgj74 ,his masterpieces are still in his native ,verona1 and nowhere else1 except in the ,national ,gallery1 can he be studied4 ,st4 ,roch is the patron of the sick and plague-stricken4 ,the legend says that he left great riches to travel as a pilgrim to ,rome1 where he tended those sick of the plague1 and by his intercession effected miraculous cures4 ,through many cities he laboured thus1 until at last in ,piacenza he became himself plague-stricken1 and with a horrible ulcer in his thigh he was turned out into a lonely wood4 ,he has here laid aside his pilgrim staff and hung his hat upon it1 and prepared himself to die1 when an angel appears to him and drops a fresh rose on his path4 ,there is no rose without a thorn1 and no thorn in a saint's crown without a rose4 ,he bares his thigh to show his wound to the angel1 who 7says the legend7 dressed it for him1 whilst his little dog miraculously brought him every morning a loaf of bread4 #gcf4 ,a ,,venetian ,,senator4 ,francesco ,bonsignori 7,veronese3 #adee-aeai74 ,called incorrectly1 by ,vasari1 ,monsignori4 ,he was born at ,verona1 where1 in the churches of ,s4 ,fermo1 ,s4 ,bernardino1 ,s4 ,paolo1 and in the ,pinacoteca1 works by him may be seen4 ,in the grand but not always attractive productions of his earlier style1 ,bonsignori followed the traditions and manner of the ,veronese ,school4 ,later in life he went to ,mantua1 where he settled and was influenced by ,mantegna 7see ,morelli's ,german ,galleries1 p4 #ajc1 note74 ,a portrait--remarkable for vigorous execution1 and strong individuality--of a senator1 from the life1 in his habit as he stood1--a branch of art in which this painter excelled4 ,he has been called indeed the modern ,zeuxis1 after the famous ,greek painter whose painted grapes deceived the birds4 ,for so lifelike were ,bonsignori's pictures--says ,vasari in his entertaining account of this painter--that on one occasion a dog rushed at a painted dog on the artist's canvas1 whilst on another a bird flew forward to perch itself on the extended arm of a painted child4 ,the portrait before us is executed in tempera4 ,the study in chalk1 for it is in the ,albertina collection at ,vienna4 #gcg4 ,a ,,waterfall4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 #gci4 ,,the ,,annunciation4 ,carlo ,crivelli 7,venetian3 painted #adfh-adic74 ,see #fjb4 ,mary is kneeling in her chamber2 while a golden ray from a glory above1 piercing the house wall1 has struck her head1 over which is hovering a dove1 the symbol of the ,holy ,spirit4 ,the angel of the ,annunciation is outside in the court1 but she cannot see him1 for a wall stands between them--a treatment of the subject which may be intended to suggest that the angel appeared to her in a dream4 ,it also gives the painter an opportunity for introducing an additional display of incident and ornament4 ,beside the angel is ,st4 ,emidius1 the patron saint of ,ascoli1 with a model of the city in his hand4 ,there could not be better examples of what we may call ,crivelli's 'exquisite' style1 which is only just saved by its refinement from mere prettiness and affectation4 ,this angel is a poseur if ever there was one4 ,the picture is very characteristic1 in two features1 of medival art4 ,first1 it was never antiquarian3 it did not attempt to give a correct historical setting 7cf4 under #bid74 ,no medival painter made the ,virgin a ,jewess2 they nationalised her1 as it were1 and painted her in the likeness of their own maidens4 ,so too their scenery was the likeness of their own homes and their own country4 ,here1 for instance1 is a picture of an ,italian city in gala attire1 somewhat idealised1 no doubt1 in splendour1 but otherwise a perfectly true representation of what the architecture of ,italy was in her glorious time2 trim1 dainty1--red and white like the blossom of a carnation1--touched with gold like a peacock's plumes1 and frescoed1 even to its chimney-pots1 with fairest arabesques1--its inhabitants1 and it together1 one harmony of work and life 7,guide to the ,venetian ,academy1 p4 #ba74 ,and secondly1 the picture shows the pleasure the painters took in their accessories1 and the frank humour--free at once from irreverence and from gloom--with which the ,venetians especially approached what was to them a religion of daily life4 ,notice especially the little girl at the top of the steps on the left1 looking round the corner4 ,the whole of this side of the picture shows a naturalistic treatment which forms a curious accompaniment and contrast to ,crivelli's ordinary conventional manner4 ,the group talking with a friar at the house door1 the citizen who passes along bent on business1 the dandy who shades his eyes from the sun and looks up at the house1 the figures on the arch1 and the people walking in the open space by the town walls beyond1 make up a picture of real life unequalled among ,crivelli's works 7,rushworth's ,crivelli1 p4 #fc74 ,as a representation of the ,annunciation1 the picture should be compared and contrasted with ,lippi's 7#fff74 ,the ,madonna and the ,angel1 though essential to the work from the point of view of the patrons1 who commissioned it1 were merely its occasion from the point of view of that extraordinarily painstaking and detail-loving creature1 its painter4 ,there is endless profusion of decorative work2 elaborate arabesques on the pilasters of the ,madonna's lordly house1 elaborate capitals1 elaborate loggias1 an elaborate cornice4 ,the grain of the wood on her reading-desk is carefully painted2 so are the planks in the wall of her bedchamber4444 ,besides the endless interest of its decorative work1 this picture is useful as marking the difference between the spiritual and ideal motives which dominated ,florence1 and the worldly motives of richness and splendour which dominated ,venice4 ,compare its purely adventitious detail with the poetical background of ,filippo ,lippi4 ,in the ,florentine1 the detail is there for the sake of the picture2 in the ,venetian1 the picture is there for the sake of the detail 7,grant ,allen1 in the ,pall ,mall ,magazine1 ,july #ahie74 ,see under #aaci for further notes on the subject4 ,the picture is signed and dated1 #adhf1 at the bottom of the pilasters of the ,virgin's chamber4 ,on the face of the step below is an inscription between three coats of arms 7the ,bishop's1 the ,pope's1 and the town's7--,libertas ,ecclesiastica1 which is of some historical interest4 ,in the year #adhb the city of ,ascoli came to an agreement with the ,pope1 whereby1 in return for an annual tribute and the acknowledgment of his suzerainty1 the ,pope issued a ,bull in favour of its citizens1 conferring on them municipal ,home ,rule4 ,a new phrase--,libertas ,ecclesiastica1 ,independence under the ,church--was invented to describe the new settlement4 ,the arrival of the ,charter on ,march #be1 the ,feast of the ,annunciation1 was celebrated henceforth by ceremonies on that day1 in which a procession to the church of the ,annunziata was a prominent feature4 ,our picture was painted for that church1 where it remained until #agij4 #gdj4 ,,madonna ,,and ,,child4 ,sassoferrato 7,eclectic3 #afje-afhe74 ,see #bjj4 #gda4 ,,the ,,dead ,,orlando4 ,ascribed to ,velazquez4#age ,see under #aig4 ,the closing scene1 according to one of the many legends1 in the history of that peerless paladin1 ,orlando1 or ,roland1 who was slain at the battle of ,roncesvalles1 when returning from ,charlemagne's expedition against the ,saracens in ,spain4 ,invulnerable to the sword1 he was squeezed to death by ,bernardo del ,carpio4 ,he lies1 therefore1 prostrate1 but fully dressed and armed1 his right hand resting on his chest1 his left on the hilt of his famous sword4 ,over the dead man's feet there hangs from a branch a small brass lamp1 the flame of which1 like the hero's life1 has just expired4 ,on either side are the skulls and bones of other paladins and peers who on ,roncesvalles died4 #gdb4 ,,portrait ,,of ,a ,,lawyer4 ,moroni 7,bergamese3 #aebe-aegh74 ,see #fig4 ,an excellent example of the painter's third or naturalistic manner4 ,there is an ease of attitude and an absence of constraint which makes the portrait transparently natural4 #gdd4 ,,the ,,garvagh ,,madonna4 ,raphael 7,umbrian3 #adhc-aebj74 ,see #aaga4 ,this picture--known as the ,garvagh ,madonna1 from its former owner1 ,lord ,garvagh1 or the ,aldobrandini ,madonna1 from having originally belonged to the ,aldobrandini apartments of the ,borghese ,palace at ,rome--belongs to ,raphael's third or ,roman period1 and a comparison with the ,ansidei shows the changes in feeling between the painter's earlier and later manners4 ,the devotional character of the ,umbrian ,school is less marked4 ,in the ,ansidei ,madonna the divinity of the ,virgin is insisted on2 and above her throne is the inscription ,hail1 ,mother of ,christ4 ,but here the divinity is only dimly indicated by a halo4 ,and as the ,madonna is here a merely human mother1 so is the child a purely human child4 ,the saints in contemplation of the ,ansidei are replaced by a little ,st4 ,john1 and the two children play with a pink4 ,the expressions of the children1 as indeed the whole picture1 are full of sweetness and beauty4#agf ,very beautiful too is the pyramidal composition of the group4 ,of the ultimate significance of the change marked by ,raphael's third manner1 ,ruskin says that it-- ,was all the more fatal because at first veiled by an appearance of greater dignity and sincerity than were possessed by the older art4 ,one of the earliest results of the new knowledge was the putting away the greater part of the unlikelihoods and fineries of the ancient pictures1 and an apparently closer following of nature and probability4 ,the appearances of nature were more closely followed in everything2 and the crowned ,queen-,virgin of ,perugino sank into a simple ,italian mother in ,raphael's ',madonna of the ,chair4' 444 ,but the glittering childishness of the old art was rejected1 not because it was false1 but because it was easy2 and1 still more1 because the painter had no longer any religious passion to express4 ,he could think of the ,madonna now very calmly1 with no desire to pour out the treasures of earth at her feet1 or cover her brows with the golden shafts of heaven4 ,he could think of her as an available subject for the display of transparent shadows1 skilful tints1 and scientific foreshortenings1--as a fair woman1 forming1 if well painted1 a pleasant piece of furniture for the corner of a boudoir1 and best imagined by combination of the beauties of the prettiest contadinas#agg 7,modern ,painters1 vol4 iii4 pt4 iv4 ch4 iv4 #ab1 #ac74 ,it should1 however1 be remembered that the ,madonna di ,san ,sisto1 perhaps the most spiritual of all ,raphael's conceptions1 was the latest of the series4 #gde4 ,,king ,,philip ,,iv4 ,,of ,,spain4 ,velazquez 7,spanish3 #aeii-affj74 ,see #aig4 ,few kings have left so many enduring monuments of themselves as ,philip ,,iv41 whose face figures twice on these walls and meets one in nearly every ,european gallery4 ,but nowhere1 perhaps1 has it been more supremely rendered than on this canvas1 where the king seems to live and move before us4 ,the picture is perhaps the finest example of oil-painting accessible to the ,british student4 ,though one of the later works of the master1 it is constructed out of a carefully wrought and smooth impasto1 without any 'bravura' strokes4 ,the lights are nowhere loaded4 ,the hair is painted1 not modelled2 the jewels on the dress are easily touched in without relief-effect or juggling4 ,the wonder of the thing is the infinite variety over a surface so simply treated4 ,the face is in such broad1 even light that one has to adopt some device which brings it freshly into the field of vision--as by turning the head down or looking at it through the hand--in order to see how firm is the modelling4 ,the flesh-tints are simple enough4 ,yet take almost any square inch of surface on the face--say the upper lip with its moustache--and note the effect of each one of the free brush-strokes which draw the pale1 umber hair over the warm rubbing on the flesh2 or in the cold1 lack-lustre1 blue eye1 measure the apparent ease of the touches against their firm1 incisive clearness4 ,everything is there--form1 expression--in a word1 the life2 but it has all grown into perfection on the canvas so quietly1 so smoothly1 as if ,velazquez had indeed painted with the will only and not with the hand 7,baldwin ,brown3 ,the ,fine ,arts1 p4 #cai74 ,velazquez fuses his colours in a way that baffles painters4 ,they melt into each other by imperceptible gradations1 as he deals with plane after plane in his subtly-modelled faces4 ,observe the action of light on the pallid face of the worn-out king1 giving to the skin the breath of life in its delicate transparency 7,quarterly ,review1 ,april #ahii74 ,the face is one which1 once seen1 is not soon forgotten4 ,velazquez1 as we have said1 caught its expression at once1 and by comparing the face in its youth 7#aabi7 with its middle age here1 one can almost trace the king's career4 ,in youth we see him cold and phlegmatic1 but slender in figure graceful and dignified in bearing1 and with a fine open forehead4 ,but the young king was bent on ease and pleasure1 and his minister ,olivares did nothing to persuade him into more active kingship4 ,the less pleasing traits in his character have1 in consequence1 come to be deeper impressed at the time of this later portrait4 ,he was devoted to sport1 and the cruelty of the ,spaniard is conspicuous in the lip--more underhung now than before4 ,in the growth of the double chin and yet greater impassiveness of expression1 one may see the traces of that talent for dead silence and marble immobility which1 says the historian1 he so highly improved that he could sit out a comedy without stirring hand or foot1 and conduct an audience without movement of a muscle1 except those in his lips and tongue4 ,it is not the face of a great ruler2 but it is one which rightly lives on a painter's canvas1 for no king was ever at once so liberal and so enlightened a patron of the arts as he4 ,himself too he was something of an artist2 and the best-known piece of his painting tells a pretty story1 which it is pleasant to remember in front of ,velazquez's portraits of him4 ,velazquez painted once his own portrait in the background of the king's family 7the ,maids of ,honour--,las ,meninas--now at ,madrid74 ,is there anything wrong with it8 ,velazquez asked4 ,yes1 said the king1 taking the palette in his hand1 just this--and he sketched in on the painter's portrait the coveted red cross of the order of ,santiago4 ,in all his portraits ,philip wears the golilla1 a stiff linen collar projecting at right angles from the neck4 ,it was invented by the king1 who was very proud of it4 ,in regard to the wonderful structure of ,philip's moustaches1 it is said that1 to preserve their form1 they were encased during the night in perfumed leather covers called bigoteras 7,j4 ,f4 ,white1 in ,encyclopdia ,britannica74 #gdf4 ,a ,,landscape ,,with ,,ruins4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 ,this picture is signed and dated #afgc4 #gdg4 ,,st4 ,,john ,,the ,,baptist ,,and ,,st4 ,,lawrence4 ,ascribed to ,hans ,memlinc4 ,see #fhf4 ,st4 ,lawrence may nearly always be distinguished by his gridiron--the emblem of his martyrdom4 ,he was a pious deacon of the ,christian ,church1 who was put to death by the ,romans4 ,a new kind of torture was1 says the legend1 prepared for him4 ,he was stretched on a sort of bed1 formed of iron bars in the manner of a gridiron1 and was roasted alive4 ,but so great was his constancy that in the middle of his torments he said1 ',seest thou not1 ,o thou foolish man1 that ,i am already roasted on one side1 and that1 if thou wouldst have me well cooked1 it is time to turn me on the other8' ,then ,st4 ,lawrence lifted up his eyes1 and his pure and invincible spirit fled to heaven4 #gdh4 ,,madonna ,,and ,,child1 ,,with ,,st4 ,,anne4 ,girolamo dai ,libri 7,veronese3 #adgd-aeef74 ,girolamo inherited his surname 7of the books7 from the occupation of his father1 who was an illuminator of manuscripts4 ,girolamo himself excelled in this branch of art1 but he also became famous as a painter of altar-pieces4 ,he had a playful fancy1 and loved to introduce into his pictures festoons of flowers and fruit1 trees of rich green foliage bearing lemons and oranges1 and angels singing and playing on musical instruments4 ,he was a true ,veronese in his feeling for colour1 which in his works is always rich and gay4 ,in his backgrounds are frequently seen distant views of his native city1 with her castellated hills and blue mountains 7,layard1 i4 #bfi74 ,girolamo1 whose friendship with ,francesco ,morone 7#bhe7 is on record1 was born in ,verona1 and it is there that many of his principal works are preserved4 ,in the ,pinacoteca are several charming pictures1 and there also is a collection of ,girolamo's missals4 ,in ,s4 ,giorgio ,maggiore is a ,madonna ,enthroned1 dated #aebf1 which is by many considered the painter's masterpiece4 ,the ,german artist ,ludwig ,richter1#agh thus records 7in his ,lebenserinnerungen7 the impression it made upon him3--,i thought that ,i had scarcely ever seen anything so beautiful and touching4 ,the picture was by ,girolamo dai ,libri1 an old master of whom until then ,i had never heard1 nor1 indeed1 have ,i seen any other picture by him since4 ,here it was that there first arose in me a suspicion of what a depth of spiritual life1 and of the heavenly beauty that is born of it1 lay in the masters of the pre-,raphaelite period4 ,the master's way of seeing and feeling1 his style--and the style is the man--impressed me deeply and permanently1 touched me sympathetically4 ,in fact this dear old painter became veritably my patron saint1 for he it was who first opened to me the gates of the inner sanctuary of ,art 7quoted by ,dr4 ,richter1 in the ,art ,journal1 ,february1 #ahie74 ,a picture with a pedigree1 being mentioned by ,vasari4 ,in the church of the ,scala 7at ,verona71 he says1 in his life of the painter1 the picture of the ,madonna with ,st4 ,anna is by his hand1 and is placed between the ,san ,sebastiano of ,il ,moro and the ,san ,rocco of ,cavazzola 7,morando74 ,the latter picture 7#gce7 and ,girolamo's now hang on the same wall of our ,gallery4 ,in the composition of this picture one may trace1 perhaps1 the influence of the dainty work ,girolamo was first accustomed to4 ,thus the trefoil1 or cloverleaf pattern1 is followed both in the arrangement of the ,virgin1 ,st4 ,anne1 and the ,child1 and in that of the little playing angels below4 ,notice the pretty trellis-work of roses on either side1 and the slain dragon at the ,virgin's feet1 emblematic 7the latter7 of ,christ's victory over the powers of evil1 and 7the former7 of the ways of pleasantness and paths of peace that he came to prepare4 #gdi4 ,,the ,,giusti ,,family ,,of ,,verona4 ,niccolo ,giolfino 7,veronese3 painted #adhf-aeah74 ,little is known of this painter except that he was a friend of ,mantegna4 ,the faade of his house at ,verona was painted with frescoes1 the upper part by ,mantegna1 the lower by ,giolfino himself4 ,he was probably a scholar of ,liberale1 to whose altar-piece in the cathedral at ,verona he added the wings4 ,one of his best works is a large altar-piece in ,s4 ,anastasia in that city4 ,two groups of family portraits1 chiefly interesting for studies in costume1 originally in one picture1 which formed the predella of an altar-piece3 hence the upward look of some of the faces4 #gej4 ,,the ,,doge ,,giovanni ,,mocenigo4 ,lazzaro ,bastiani 7,venetian3 about #adbe-aeab74 ,see also 7p4 xx7 ,this picture was1 until recently1 ascribed to ,carpaccio1 of whom1 therefore1 some account is here retained4 ,it was once inscribed with ,carpaccio's name and the date #adgi1 but these1 having been shown to be false1 were removed4 ,the work is now attributed1 in accordance with the conclusions reached by ,signor ,molmenti and ,dr4 ,ludwig#agi to ,bastiani4 ,lazzaro ,bastiani was for many years the victim of one of ,vasari's confusions4 ,carpaccio1 we are told by that authority1 taught his art to two of his brothers1 both of whom imitated him closely2 one of these was called ,lazzaro1 the other ,sebastiano4 ,no such painters existed2 but the name of ,lazzaro ,bastiani is on record as that of a painter already at work in #addi4 ,the presumption is1 therefore1 that he was not taught by1 but the master of1 ,carpaccio1 by which latter painter there is no dated work before #adij4 ,numerous records of later works by ,bastiani from #addi onwards have been discovered2 and there is a public document of ,december #aa1 #aejh1 in which ,bastiani and ,carpaccio were appointed to value the frescoes executed by ,giorgione on the ,fondaco dei ,tedeschi4 ,our picture1 hitherto supposed to be an early work of ,carpaccio1 should be compared with the signed and dated 7#adhd7 work of ,bastiani in the ,duomo of ,murano1 representing a ,canon kneeling before the ,virgin4 ,other pictures by him are in the ,academies of ,vienna and ,venice respectively4 ,various technical similarities between the work of ,bastiani and ,carpaccio are pointed out by ,sig4 ,molmenti and ,dr4 ,ludwig1 but ,bastiani's pictures lack the charm and gaiety of ,carpaccio and his chief claim to fame is that which the critics now award him of having been the master of that great painter4 ,the works of ,vittore ,carpaccio 7about #adej-aebb7 have of recent years attracted great attention owing to the prominence given to them by ,ruskin in all his writings since #ahgj4 ,of ,the ,presentation in the ,venetian ,academy 7dated #aeaj7 he says3 ,you may measure yourself1 outside and in1--your religion1 your taste1 your knowledge of art1 your knowledge of men and things1--by the quantity of admiration which honestly1 after due time given1 you can feel for this picture4 ,you are not required to think the ,madonna pretty1 or to receive the same religious delight from the conception of the scene which you would rightly receive from ,angelico1 ,filippo ,lippi1 or ,perugino4 ,this is essentially ,venetian1--prosaic1 matter of fact1--retaining its supreme common-sense through all enthusiasm4 ,nor are you required to think this a first-rate work in ,venetian colour4 ,this is the best picture in the ,academy1 precisely because it is not the best piece of colour there2--because the great master has subdued his own main passion1 and restrained his colour-faculty1 though the best in ,venice1 that you might not say the moment you came before the picture1 as you do of the ,paris ,bordone1 ',what a piece of colour6' ,carpaccio does not want you to think of his colour1 but of your ,christ4444 ,if you begin really to feel the picture1 observe that its supreme merit is in the exactly just balance of all virtue2--detail perfect1 yet inconspicuous2 composition intricate and severe1 but concealed under apparent simplicity2 and painter's faculty of the supremest1 used nevertheless with entire subjection of it to intellectual purpose4 ,other powers of ,carpaccio are better seen in the ,st4 ,ursula ,series1 also in the ,venetian ,academy1 and since ,ruskin's day honourably hung4 ,they are1 says ,layard1 masterly works1 rich in all that gives value and grandeur to historical art4 ,the rather monotonous history which forms the groundwork of many of them is throughout varied and elevated by a free style of grouping and by happy moral allusions4 ,the colours1 notwithstanding injudicious cleanings and restorations1 still shine with the purest light4 ,the variety of expression1 always lifelike1 in the many figures1 their beautiful and simple action1 and the admirable dramatic representation of the different incidents connected with the story1 give these pictures an inexpressible charm4 ,the subject of the dream of the young ,st4 ,ursula1 in bed in her chamber1 with her table and an open book upon it and her vase of flowers1 has a purity and simplicity quite unique 7i4 #cbj74 ,these pictures were painted #adij-e4 ,of later date 7#aejb-aeaa7 is the series in the little church of ,s4 ,giorgio degli ,schiavoni4 ,they are full of the charm of picturesque reality1 the wealth of rich and quaint accessories1 the playful fancy and penetrative imagination1 which characterise ,carpaccio4 ,occasional works by him are to be seen in various continental galleries 7e4g4 ,milan and ,ferrara72 but it is only in ,venice that any adequate conception of him can be formed4 ,of his life little is known4 ,he was born either in one of the ,venetian islands1 or in ,istria4 ,he generally signed himself ,victor ,carpathius4 ,vasari calls him ,scarpaccia2 in old ,venetian documents1 he is ,scarpaza4 ,he was associated with ,gentile ,bellini in executing the historical paintings for the ,hall of the ,great ,council in the ,ducal ,palace1 and it has been thought possible that he accompanied ,gentile to ,constantinople as an assistant4 ,the minute knowledge of ,oriental customs and costumes which his works display suggests that he had visited the ,east1 and even those parts of it which were then still under the sway of the ,sultans of ,egypt 7,burton74 ,ruskin's criticisms1 and descriptions of his principal pictures1 will be found in his ,guide to the ,academy at ,venice1 ,st4 ,mark's ,rest 7,supplements71 and ,fors ,clavigera1 #ahgb1 xx42 #ahgc1 xxvi42 #ahgf1 pp4 #cbi1 #cdj1 #ceg1 #cha2 #ahgg1 p4 #bf2 #ahgh1 p4 #ahb4 ,an earlier reference is in the ,oxford ,lectures on ,art1 #gc4 ,copies from some of ,carpaccio's ,schiavoni pictures are in the ,arundel ,society's ,collection4 ,copies of the ,ursula series and other pictures made for ,ruskin are in the ,st4 ,george's ,museum at ,sheffield4 ,this is a votive picture commissioned by ,giovanni ,mocenigo 7who reigned over ,venice #adgg-adhe71 to be presented by him1 according to the custom with reigning doges1 to the ,ducal ,palace4 ,the scene selected represents the doge kneeling before the ,virgin and begging her protection on the occasion of the plague of #adgh4 ,the gold vase on the altar before the throne contains medicaments1 for which1 according to the inscription below1 a blessing is invoked3 ,celestial ,virgin1 preserve the ,city and ,republic of ,venice and the ,venetian ,state1 and extend your protection to me if ,i deserve it4 ,behind the doge is his patron saint ,st4 ,john1 on the opposite side is ,st4 ,christopher4 ,the setting thus chosen for the doge's picture is characteristic4 ,the first step towards the ennobling of any face is the ridding it of its vanity2 to which aim there cannot be anything more contrary than that principle of portraiture which prevails with us in these days1 whose end seems to be the expression of vanity throughout1 in face and in all circumstances of accompaniment2 tending constantly to insolence of attitude1 and levity and haughtiness of expression1 and worked out further in mean accompaniments of worldly splendour and possession2 together with hints or proclamations of what the person has done or supposes himself to have done1 which1 if known1 it is gratuitous in the portrait to exhibit1 and1 if unknown1 it is insolent to proclaim4444 ,to which practices are to be opposed 444 the mighty and simple modesty of 444 ,venice1 where we find the 444 doges not set forth with thrones and curtains of state1 but kneeling1 always crownless1 and returning thanks to ,god for his help2 or as priests1 interceding for the nation in its affliction 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 i4 ch4 xiv4 #ai74 ,the picture was bought in #ahfe from the ,doge's descendant1 ,aloise ,count ,mocenigo di ,sant' ,eustachio4 #gea4 ,,madonna ,,and ,,child4 ,giovanni ,santi 7,umbrian3 about #addj-adid74 ,this picture is of peculiar interest because it is by ,raphael's father4 ,it does not1 however1 give a full idea of the extent to which ,raphael's talent was hereditary1 for ,giovanni's easel pictures1 such as this1 are inferior to his wall pictures4 ,the young ,raphael had all the advantages of an atmosphere of artistic culture4 ,giovanni1 like his father before him1 was a well-to-do burgher1 and kept originally a general retail shop1 but he afterwards--under the teaching1 it is thought1 of ,melozzo da ,forli--took to painting1 and his house1 if one may judge from ,piero della ,francesca's visit in #adfg1 was a resort of painters4 ,at the brilliant court of ,duke ,federigo of ,urbino1 ,giovanni moreover acquired a taste for literature1 and there is a long rhyming chronicle by him extant in which he describes the ,duke's visit to ,mantua1 and amongst other things praises greatly the works of ,mantegna1 ,melozzo1 and ,piero della ,francesca4 ,but to see how much of ,raphael's genius was original1 one has only to compare this picture by the father with one 7say #gdd7 by the son4 ,giovanni's female heads are not without a mild dignity of their own2 but his works lack the soft grace and winning charm that distinguish his son's4 ,worth study1 in spite of what critics say of its crudity4 ,concede its immaturity1 at least1 though an immaturity visibly susceptible of a delicate grace1 it wins you nevertheless to return again and again1 and ponder1 by a sincere expression of sorrow1 profound1 yet resigned1 be the cause what it may1 among all the causes of sorrow inherent in the ideal of maternity1 human or divine4 ,but if you keep in mind1 when looking at it1 the facts of ,raphael's childhood1#ahj you will recognise in his father's picture1 not the anticipated sorrow of the ,mater ,dolorosa over the dead son1 but the grief of a simple household over the mother herself taken early from it4 ,this may have been the first picture the eyes of the world's great painter of ,madonnas rested on2 and if he stood diligently before it to copy1 and so copying1 quite unconsciously1 and with no disloyalty to his original1 refined1 improved1 substituted1--substituted himself1 in fact1 his finer self--he had already struck the persistent note of his career 7,pater3 ,miscellaneous ,studies1 p4 #cb74 #geb4 ,,madonna ,,and ,,child4 ,lippo ,dalmasii 7,bolognese3 painted #acgf-adaj74 ,see also 7p4 xx7 ,a picture by a ,bolognese artist1 of the ,giottesque period1 ,lippo1 son of ,dalmasius1 called also ,lippo of the ,madonna1 from the many pictures like this he painted3 no ,bolognese gentleman's family1 we are told1 was considered complete without one4 #gec4 ,,on ,,the ,,road ,,to ,,emmaus4 ,altobello ,melone 7,cremonese3 painted about #aejj74 ,there was no native and independent school of ,cremona4 ,melone was a pupil of ,romanino at ,brescia4 ,he painted some of the frescoes in the nave of ,cremona ,cathedral4 ,two of ,christ's disciples are walking after his death and burial to ,emmaus4 ,the risen ,christ drew near1 and went with them4 ,but their eyes were holden1 that they should not know him 7,luke xxiv4 #af74 ,the painter makes excuses for the disciples not recognising their ,master by navely dressing ,him as a tourist with an alpenstock4 #gee4 ,,rhetoric4 #gef4 ,,music4 ,melozzo da ,forli 7,umbrian3 #adch-adid74 ,melozzo1 born at ,forli in the ,romagna1 near ,ravenna1 is classed with the ,umbrian ,school1 both because he studied 7it is believed7 under ,piero della ,francesca1 and because he worked at ,urbino4 ,giovanni ,santi1 who was his friend1 especially praises ,melozzo1 to me so dear1 for his skill in perspective2 and1 like many other artists of these times1 he was an architect as well as a painter4 ,in #adgb he was in ,rome2 he was one of the original members of the ,roman ,academy of ,st4 ,luke1 founded by ,sixtus ,,iv41 and in the book of the ,academy he signs his name as ,painter to the ,pope4 ,some of his ,roman frescoes are preserved4 ,in the ,vatican gallery is a fresco transferred to canvas1 commemorating the restoration of the ,vatican ,library and containing many portraits4 ,this work has been published by the ,arundel ,society1 but ,melozzo is more widely known by the figures of angels playing on musical instruments1 now in the sacristy of ,st4 ,peter's1 which have been published by the same ,society4 ,these grand figures of youths with abundant flowing hair are among the most beautiful and masterful creations of the ,renaissance spirit1 caught up1 it would seem1 into a certain ecstasy and rapture of divine things4 ,portions of a fresco1 painted for ,,ss4 ,apostoli1 representing the ,ascension of our ,lord1 are now on the staircase of the ,quirinal ,palace4 ,the work was one of the most grand and daring feats of foreshadowing that art has bequeathed1 and may be considered as the first illustration of that science which ,mantegna and ,correggio further developed 7,kugler74 ,in this connection we may notice in our pictures that the steps and the figures thereon are drawn in perspective1 as if they were real objects seen from below2 they present the earliest example the ,gallery possesses of this kind of perspective illusion1 which was practised with great success by ,mantegna1 and carried out on the grandest scale by ,michael ,angelo in the ceiling of the ,sistine chapel 7,monkhouse1 ,in the ,national ,gallery1 p4 #aae74 ,about the year #adhj ,melozzo went to ,urbino1 where he executed the work described below4 ,in ,forli itself a few frescoes by ,melozzo survive4 ,in the ,british ,museum there are some drawings by this rare master4 ,these pictures are two of a series of seven1 which were painted for the good ,duke ,frederick to decorate the library of the ,ducal ,palace at ,urbino4 ,the words on the frieze above our pictures are portions of a running inscription describing the ,duke's style and titles4 ,he was created ,gonfaloniere of the ,church 7#gef7 in #adfe and ,duke of ,urbino 7#gee7 in #adgd4 ,the series represented symbolically the seven arts--grammar1 rhetoric1 logic1 arithmetic1 music1 geometry1 and astronomy--which1 until the close of the ,middle ,ages1 formed the curriculum of a liberal education4 ,notice in both pictures that the figures of the learners are kneeling--an attitude symbolical of the spirit of reverence and humility which distinguishes the true scholar 7,i prayed1 and the spirit of wisdom came upon me72 whilst the figures representing the sciences to be learned are seated on thrones--symbolical of the true kingship that consists in knowledge 7,and ,i set her before kingdoms and thrones71 and are clothed about with pearls and other precious stones 7,she is more precious than rubies74 ,in the picture of ,rhetoric 7#gee7 the youth is being taught not to speak1 but to read--,you must not speak1 the ,queen of ,rhetoric seems to tell him1 until you have something to say4 ,notice1 too1 that ,rhetoric is robed in cold gray4 ,you think ,rhetoric should be glowing1 fervid1 impetuous8 ,no4 ,above all things1--cool4 ,but ,music 7#gef7 is robed in bright red1 the colour of delight4 ,the book now is closed4 ,after learning to reason1 you will learn to sing2 for you will want to4 ,there is so much reason for singing in this sweet world1 when one thinks rightly of it4 ,music points her scholar to a small organ--not that you are never to sing anything but hymns1 but that whatever is rightly called music1 or work of the ,muses1 is divine in help and healing 7,mornings in ,florence1 v4 #abh1 #acd74 ,hanging from the wall on the left1 almost above the scholar's head1 is a sprig of bay1 the ,muses' crown4 ,other pictures of this same series are in the gallery at ,berlin and in the ,royal ,collection at ,windsor4 ,the latter is of peculiar interest in the history of the ,renaissance4 ,it shows the ,duke1 his son and the ,court1 and a black-robed humanist1 seated in a sort of pulpit--the unique representation of a scene of frequent occurrence in the ,courts of ,italy1 where listening to lectures formed a part of every day's occupation 7see the description in ,symonds1 ii4 p4 #bba74 #geg4 ,,christ ,,blessing ,,little ,,children4 ,unknown 7,dutch3 ,school of ,rembrandt74 ,this is one of the nation's conspicuously bad bargains4 ,it was bought in #ahff as a ,rembrandt and at a ,rembrandt price 7#gjjj71 but was soon recognised as being only a work by some pupil4 ,it is easy to be wise after the event1 but it certainly seems strange that the connoisseurs of the time1 even if technical differences had escaped them1 should not have seen a lack of ,rembrandt's power about this work4 ,a writer in the ,times 7,june #bd1 #ahhh7 has no hesitation in ascribing the picture to ,nicolas ,maes4 ,he says3 ,if it was painted by ,maes it would probably have been after the series of small works1 mostly dating about #afef4 ,maes was a pupil of ,rembrandt in #afej1 at the time when the master's treatment of sacred subjects was more direct than in his earlier years4 ,in this picture fanciful costume is discarded1 and the figures are painted straight from the life4 ,the figure of ,christ is1 indeed1 weak and conventional1 but it is not to be expected that a young man would here be successful in a figure so foreign to his general practice2 and1 if we admit the supposition that the composition followed the small panels1 the relaxation of style pervading the entire work tallies with the known facts of the career of ,maes1 who between #affj and #afgj appears to have devoted himself almost entirely to portrait painting2 these representations of ,dutch and ,antwerp burghers1 though solid and respectable1 possess none of the charm and interest of the earlier works owing their inspiration to the direct influence of ,rembrandt4 7,see1 for instance1 ,no4 #abgg47 ,some ascribe the picture with equal assurance to ,lievens 7see #ajie72 see an article by ,ford ,madox ,brown in the ,magazine of ,art1 ,feb4 #ahij2 others to ,eeckhout 7see ,the ,athenum1 ,jan4 #ai1 #aijg74 #geh4 ,,portrait ,,of ,,the ,,countess ,,palma ,,of ,,urbino4 ,piero della ,francesca 7,umbrian3 #adaf-adib74 ,see #ffe4 ,ascribed by ,morelli to ,paolo ,uccello4 ,the treatment of the hair recalls that of one of the portraits in ,paolo's battle-piece 7#ehc71 while ,piero used to represent curls in a thin and thread-like shape4 ,the ornament on the left sleeve of the lady also reminds one of the decoration on the standard 7,richter's ,italian ,art in the ,national ,gallery1 p4 #ag74 ,of purely ,florentine origin1 and with its hardness of outline and modelling1 and its severity of aspect1 resembles a ,pesellino writ large 7,claude ,phillips in the ,academy1 ,sept4 #bh1 #ahhi74 ,this and the other profile head once ascribed to ,piero 7#ehe7 are probably the earliest specimens we have in the ,national ,gallery of pure portraits1 i4e4 pictures devoted simply to record the likeness of an individual1 first introduced as donors into votive pictures1 and next as actors in scenes from sacred history and legend4 ,portraits have at length made good their claim to a separate existence in pictorial art 7,monkhouse3 ,the ,italian ,pre-,raphaelites1 p4 #da74 ,to ,piero della ,francesca also we owe most precious portraits 7at ,rimini and in the ,uffizi7 of two ,italian princes1 ,sigismondo ,pandolfo ,malatesta and ,federigo of ,urbino1 masterpieces of fidelity to nature and sound workmanship 7,symonds74 #gff1 #gfg4 ,,heads ,,of ,,saints4 ,domenico ,veneziano 7died #adfa74 ,though ,domenico describes himself as ,venetian 7as on the signature to #abae71 he worked at ,perugia and ,florence1 and his works belie any connection with ,venetian art4 ,between #adci and #adde he was engaged in the church of ,s4 ,maria ,nuova1 in which work he was assisted by his pupil ,piero della ,francesca4 ,these pictures have perished4 ,the works by his hand we possess give no evidence of his being an oil painter1 but he is known to have used oil1 and indeed was celebrated as one of the earliest ,italian painters in that medium4 ,vasari's story about ,andrea del ,castagno's jealousy1 and his murder of ,domenico in consequence1 is disproved by documentary evidence showing that ,domenico survived his alleged murderer by five years4 ,domenico's only known works1 now extant1 are an altar-piece in the ,uffizi and the work described below4 ,these heads are from the niche or tabernacle which contained the ,madonna and ,child1 ,no4 #abae4 ,the work was executed for the ,canto 7street corner7 de' ,carnesecchi in ,florence4 ,it is thus referred to by ,vasari3-- ,being invited to ,florence1 the first thing ,domenico did was to paint a tabernacle in fresco1 at the corner of the ,carnesecchi1 in the angle of the two roads1 leading1 the one to the new1 the other to the old ,piazza of ,santa ,maria ,novella4 ,the subject of this work is a ,virgin surrounded by various saints1 and as it pleased the ,florentines greatly and was much commended by the artists of the time1 as well as by the citizens1 this picture awakened bitter rage and envy against poor ,domenico in the ill-regulated mind of ,andrea 7ii4 #ii--;here follows ,vasari's rattling and reckless story of ,domenico's murder by the jealous ,andrea del ,castagno74 ,for centuries ,domenico's work was exposed to wind and weather4 ,the heads1 ,nos4 #gff1 #gfg1 passed into the possession of ,sir ,charles ,eastlake1 from whose collection they were purchased for the ,national ,gallery in #ahfg4 ,the central fresco 7,no4 #abae7 was in #ahea detached from the wall and badly restored4 ,it was subsequently acquired by ,lord ,lindsay1 the author of ,sketches of the ,history of ,christian ,art1 whose son1 ,james1 ,earl of ,crawford and ,balcarres1 presented it to the nation in #ahhf4 #gfh4 ,,st4 ,,peter ,,and ,,st4 ,,jerome4 ,antonio ,vivarini 7,venetian3 died #adgj74 ,antonio da ,murano1 called also ,antonio ,vivarini1 was the eldest of a family of painters1 who played a part in the development of the ,venetian ,school corresponding to that of ,giotto and his circle in the ,florentine ,school4 ,the ,venetian is1 it will be seen1 a century later than the ,florentine 7cf4 ,introduction74 ,it was at the adjacent island of ,murano 7where most of the ,venetian glass is now made1 and which was once the resort of the wealthier ,venetian citizens7 that an independent school first developed itself1 ,antonio and his brother ,bartolommeo 7see #bhd7 being natives of that place4 ,the work of the ,vivarini was to impart a distinctively artistic impulse to the conventional craftsmanship which previously prevailed in ,venice in accordance with ,byzantine traditions4 ,recently published documents 7dated #abgb7 give a curious insight into the position and work of the earliest ,venetian painters 7see ,richter's ,lectures on the ,national ,gallery1 pp4 #bc-bi74 ,they were treated merely as artisans4 ,they were engaged for the most part in work which would now be classed as industrial craftsmanship in painting arms and furniture4 ,paintings1 in our sense of the word1 were an unimportant and occasional branch of their work4 ,the division of labour which in our own day is a frequent cause of industrial disputes 7as1 for instance1 between builders and plasterers7 was then in dispute between painters and gilders4 ,a recorded case was settled as follows3 ,we judge it just to permit the gilder to use colour1 and the painter to use gilding1 when the one or the other plays a subordinate part in the finished work4 ,a decision in the opposite sense would seem to us hard2 for it would be inconvenient to decree that a work which can be done by one1 must be done by two4 ,thus1 though each litigant loses1 each is compensated for his loss4 ,the profession of the gilder is gilding1 but painting is permitted as an accessory4 ,in like manner painting is the profession of the painter1 but gilding is permitted as an accessory4 ,in this picture1 ,st4 ,peter's key is1 it will be seen1 embossed in goldsmiths' fashion1 and ,bartolommeo's picture has a gold background4 ,antonio ,vivarini first worked in partnership with a certain ,zuan 7,giovanni71 who appears to have been a ,german by birth1 and the visitor will notice between the work of the early ,venetian ,school a certain affinity with the contemporary ,german work of the ,cologne ,school4 ,after #adej the name of ,johannes the ,german disappears from the inscriptions on ,vivarini altar-pieces1 and that of ,bartolommeo takes its place4 #gfi4 ,,st4 ,,michael ,,and ,,the ,,dragon4 7,umbrian3 #adaf-adib74 ,see #ffe4 ,formerly ascribed to ,fra ,carnovale 7,bartolommeo ,corradini72 but between ,piero della ,francesca's angels in #ijh and the figure of ,st4 ,michael here there is a close resemblance1 which seems to identify the picture as his4 ,st4 ,michael1 the angel of war against the dragon of sin1 stands triumphant over his foe--emblem of the final triumph of the spiritual over the animal and earthly part of our nature4 ,it is the most universal of all symbols4 ,the victor is different in different ages1 but the enemy is always the same crawling reptile4 ,christian art1 from its earliest times1 has thus interpreted the text1 ,the dragon shalt thou trample under feet 7,psalm xci4 #ac72 and in illustrations of ,hindoo mythology ,vishnu suffering is folded in the coils of a serpent1 whilst ,vishnu triumphant stands like ,st4 ,michael1 with his foot upon the defeated monster4 #ggj4 ,,leonello ,d',,este4 ,giovanni ,oriolo 7,ferrarese3 painted about #adej74 ,of ,oriolo nothing is known4 ,he was probably by birth a ,ferrarese1 and was evidently a pupil of ,pisano 7see #ggf74 ,leonello 7of whom also there is a medallion portrait in the frame of the picture just referred to71 of the house of ,este1 was ,marquis of ,ferrara1 #adda-adej4 ,his mild and kindly face agrees well with what is known of his life4 ,the one important action of his reign was that of a peacemaker1 when he mediated between ,venice and the ,king of ,anjou4 ,he had not his equal1 says ,muratori1 in piety towards ,god1 in equity and kindness towards his subjects4 ,he was the protector of men of letters and was himself a good ,latin scholar4 #gga4 ,,st4 ,,jerome ,,in ,,the ,,desert4 ,bono 7,ferrarese3 painted about #adej74 ,in the signature of this picture1 ,bono of ,ferrara announces himself a pupil of ,pisano's1 and the figure of ,st4 ,jerome here much resembles ,pisano's ,st4 ,anthony 7#ggf74 ,bono's other known work is a fresco of ,st4 ,christopher in the ,eremitani ,chapel at ,padua4 ,a clumsy and inferior master1 says ,morelli 7,german ,galleries1 p4 #aa n472 an excellent painter1 says ,sir ,f4 ,burton4 ,his style is1 at any rate1 precise and effective4 ,st4 ,jerome 7for whom see #ggc and #bbg7 is in the desert1 deep in thought2 his lion couched at his feet keeps his master's thoughts company as faithfully as a scholar's dog4 ,the desert is here shown as the saint's study2 notice1 especially1 the little table that the rock makes behind him for his books4 ,ruskin says of a similar modification of accessories to express supernatural character1 in ,bellini's ,st4 ,jerome at ,venice3 ,the ,saint sits upon a rock1 his grand form defined against clear green open sky2 he is reading2 a noble tree springs out of a cleft in the rock1 bends itself suddenly back to form a rest for the volume1 then shoots up into the sky4 ,there is something very beautiful in this obedient ministry of the lower creature2 but be it observed that the sweet feeling of the whole depends upon the service being such as is consistent with its nature4 ,it is not animated1 it does not listen to the saint1 not bend itself towards him as if in affection2 this would have been mere fancy1 illegitimate and effectless4 ,but the simple bend of the trunk to receive the book is miraculous subjection of the true nature of the tree2 it is therefore imaginative1 and very touching 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 ii4 ch4 v4 #h74 #ggb4 ,,madonna ,,and ,,child ,,enthroned4 ,cosimo ,tura 7,ferrarese3 #adbj-adie74 ,cosimo ,tura 7pronounced ,cosm in ,ferrarese7 is the first ,ferrarese painter of eminence and of native talent whose works have come down to us4 ,he was a well-to-do citizen1 and1 like ,titian after him1 dealt in timber4 ,as an artist he was in the service of ,duke ,borso of ,ferrara 7whose portrait is introduced in the background of ,no4 #ggc71 and other members of the princely house of ,este4 ,the court of ,ferrara was then one of the most learned of ,italy4 ,a curious instance occurs in this picture1 where1 on either side of the ,virgin's throne1 are inscribed the ,commandments1 in ,hebrew characters4 ,such inscriptions are common in ,ferrarese pictures1 and point to the presence of some ,hebrew scholar or scholars4 ,it was at this court that ,cosimo came under the influence of ,flemish art as described below1 for the house of ,este 7which was of ,lombard origin1 and thus had a natural affinity perhaps for northern art7 had invited ,roger van der ,weyden to ,ferrara4 ,tura was first employed by the ,duke of ,ferrara in #adea4 ,between #adeb and #adef his whereabouts are uncertain4 ,possibly he was then in ,padua among the followers of ,squarcione1 or else in ,venice1 to the poor of which city he left by will part of the fruits of his long and industrious life4 ,in #adeh he rose to a fixed appointment in the ,ducal service4 ,he made a fortune1 risked it in trade1 and died a wealthy man 7,catalogue of the ,burlington ,fine ,arts ,club's ,exhibition1 #ahid1 p4 xv474 ,some of his works are to be seen at ,ferrara1 others are in the ,berlin ,gallery1 at ,bergamo1 and the ,correr ,museum at ,venice4 ,he is one of the most unmistakable and least fascinating1 yet most interesting of painters4 ,of beauty or grace in the human figure he had no perception4 ,his colour schemes are peculiar1 and harmonious rather than beautiful4 ,but he had sincerity of purpose and vigour of manipulation4 ,where his subjects lend themselves to strength1 he is impressive1 as in the ,st4 ,jerome 7#ggc71 but his ,madonnas 7#ggb and #ije7 are both affected and ugly4 ,his patience in the execution of detail1 and quaint if superabundant ornament1 are always interesting4 ,the picture now before us is thoroughly characteristic of a master who alternately repels and attracts4 ,the decorative detail here deserves close attention4 ,compare1 for instance1 the ornament of the pilasters here with that of the pilasters in ,crivelli's ,annunciation 7#gci71 which was painted about the same time4 ,crivelli follows the traditional lines common to all such features from later ,roman times downwards1 while ,tura's accessories are full of inventiveness and are evidently designed for this especial picture4 ,thus the cup1 balls1 and wing-like appendages in the pilaster are quite original4 ,the general scheme of colour in the picture1 also1 with its contrasts of red and green1 is quite apart from anything existing in contemporary ,italian art1 and recalls rather a ,flemish stained-glass window of the fifteenth century 7,g4 ,t4 ,robinson in ,art ,journal1 ,may #ahhf1 pp4 #adi1 #aej74 ,the musical instruments are also worth notice4 ,one of the angels1 on the left1 holds an ornamental viol1 having five strings1 with a carved man's head2 another angel1 on the right1 holds a similar viol1 with a carved woman's head4 ,in the centre is placed a positive organ--that is1 a small organ not intended for removal4 ,the player is on the left1 in front of the organ2 the blower is on the right1 behind it4 ,only natural keys are visible1 but there are three stops to be drawn out from the side1 in the primitive way1 by means of cords attached to them1 to control the pipes1 of which thirty are visible and three are drones4 ,these pipes are grouped in columnar disposition1 like an hour-glass1 and not in the order of ranks usual with small organs4 ,it is noticeable that the player uses both hands1 held nearly in the modern position 7,a4 ,j4 ,hipkins in ,the ,hobby ,horse1 ,no4 i4 p4 #ai74 #ggc4 ,,st4 ,,jerome ,,in ,,the ,,desert4 ,cosimo ,tura 7,ferrarese3 #adbj-adie74 ,see #ggb4 ,jerome knocking at his poor old breast ,with his great round stone to subdue the flesh-- and schooling himself into renunciation of the world1 the flesh1 and the devil4 ,in contrast to the wildness of the surroundings1 the painter introduces quite a company of birds and beasts--an owl sits in sedate wisdom above the saint1 his familiar lion is walking to the stream for water1 and in the crannies and ledges are other animals to keep him company4 ,for it was his union of gentleness and refinement with noble continence1 his love and imagination winning even savage beasts into domestic friends1 that distinguished ,st4 ,jerome and formed the true monastic ideal 7see #bbg74 #ggd4 ,,madonna ,,and ,,child4 ,unknown 7,flemish ,school3 #aeth century74 ,see also 7p4 xx7 ,on the ,madonna's right is ,st4 ,peter2 on her left ,st4 ,paul1 an arrangement common in early art1 ,st4 ,peter and ,st4 ,paul being the two chief apostles on whom the ,church of ,christ is built4 ,st4 ,paul offers a pink to the infant ,christ4 ,flowers were consecrated to the ,virgin1 and the early painters chose those they liked best to be emblems of love and beauty4 ,notice the design on the stuff fixed at the back of the ,madonna's throne2 it is a beautiful example of the ornamental work of the time in northern ,europe4 ,the picture was formerly ascribed to ,van der ,goes--an artist whose only certainly known picture is the altar-piece in the hospital of ,s4 ,maria ,nuova in ,florence1--and is by some ascribed to ,bouts 7see under #ghc74 #gge4 ,,an ,,old ,,lady4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,an old lady1 eighty-three years of age 7as the inscription shows74 ,this splendid portrait is dated #afcd1 and was made therefore when ,rembrandt was twenty-eight4 ,his mother was from the first a favourite sitter of his1 and hence1 perhaps1 the affectionate fidelity with which he always painted the wrinkled faces of old age4 ,in the ,british ,museum there is an ,indian-ink copy of this portrait1 from which it appears that the lady's name was ,franoise van ,wasserhoven4 ,rembrandt1 says ,m4 ,michel1 is most individual and moving in those portraits of old women1 in which by the accidents of form and feature he so admirably suggests the moral life4 #ggf4 ,,st4 ,,anthony ,,and ,,st4 ,,george4 ,vittore ,pisano 7,veronese3 #achj-adeb74 ,the earliest picture of the ,veronese ,school in the ,gallery4 ,no school of painting in ,italy except the ,florentine shows1 says ,morelli1 so regular and uninterrupted a development1 from the thirteenth to the seventeenth century1 as the graceful school of ,verona4 ,if we look1 for example1 at some of the oldest frescoes at ,st4 ,zeno1 at the frescoes of the great ,pisanello in ,s4 ,anastasia of the first half of the fifteenth century1 at the pictures of ,liberale 7#aacd and #accf7 and ,domenico ,morone 7#abaa71 and of their pupils ,francesco ,morone 7#bhe71 ,girolamo dai ,libri 7#gdh71 ,michele da ,verona 7#abad71 ,giolfino 7#gdi71 and ,morando 7#gce and #gfi71 and then to ,paolo ,veronese and his followers1 we find everywhere the same cheerful and graceful character looking out of each of these works of the ,veronese ,school4 ,the ,veronese do not penetrate so deep into the essence of art as the ,venetians1 but they are1 with few exceptions1 more gracious and serene4 ,and to this day the population of this beautifully situated town is reckoned the cheeriest and gayest in all ,italy3 ,veronesi1 mezzo natti 7,german ,galleries1 p4 #cie74 ,in the ,national ,gallery the development of the ,veronese ,school may1 as will be seen from the references inserted above1 be well studied4 ,the importance and independence of the ,veronese painters are shown by the career of ,vittore ,pisano1 commonly called by the endearing diminutive ,pisanello4 ,he was born at ,st4 ,vigilio1 near the ,lake of ,garda1 and was probably a pupil of ,altichiero1 an older master of the ,veronese ,school1 and was famous as the inventor of a method of casting medals2 but though better known now as a medallist1 in his own day he was equally famous as a painter4 ,in the frame of this picture are inserted casts from two of his medals1 and it will be noticed that the lower one--a profile of himself--is inscribed ,pisanus ,pictor2 ,pisano the ,painter4 ,the medal above is that of ,leonello d',este1 his patron1 for whom this picture was probably painted1 and whose portrait by a pupil of ,pisano is in our ,gallery 7#ggj74 ,at ,bergamo is a portrait of ,leonello by ,pisano himself 7reproduced in the ,illustrated ,catalogue of the ,morelli ,gallery by ,signor ,frizzoni74 ,another evidence of ,pisano's practice as a medallist will be noticed in the gilt embossed work of ,st4 ,george's sword and spurs4 ,leonello wrote of ,pisano as the most illustrious of all the painters of this age1 and contemporary writers similarly extol his fame4 ,in #adba he was summoned to ,venice4 ,when1 in the beginning of the fifteenth century1 great monumental works in painting were to be carried out at ,venice1 the local school was still so insignificant that no native artist could be entrusted with the commission4 ,they were obliged to summon ,vittore ,pisano1 notwithstanding that he had once been on the list of the politically obnoxious1 and as such was liable to penal consequences 7,richter74 ,pisano was accompanied by ,gentile da ,fabriano4 ,the presence of those two eminent artists in the city of the ,lagoons gave1 says ,morelli1 a new impulse to its school of painting4 ,jacopo ,bellini became a scholar of ,gentile1 and when his master had finished his work at ,venice he accompanied him to ,florence4 ,during the few years of their stay at ,venice1 ,gentile and ,pisanello must not only have instructed ,bellini in their art1 but their influence on ,antonio ,vivarini of ,murano also seems to me undeniable4444 ,taking him all in all1 ,i consider that ,giovanni ,bellini was the greatest painter in ,north ,italy in the fifteenth century1 though undoubtedly ,pisano was in the first half of the century as great a painter as was ,bellini in the second half 7,german ,galleries1 p4 #ceg2 ,roman ,galleries1 p4 #bfg74 ,of ,pisano's wall-paintings in the ,doge's ,palace1 in that of the ,pope1 and in the castles of the foremost princes of the century1 no traces remain4 ,his fresco of ,st4 ,george mounting for the fight may be seen in the church of ,st4 ,anastasia at ,verona4 ,among his very rare easel-pictures the one now before us is signed and very original in conception2 ,no4 #adcf is the most important1 and is especially interesting as illustrating ,pisano's love of representing animals1 and the high reputation he enjoyed for his skill in doing so4 ,vittore lived1 says ,sir ,f4 ,burton1 at a time when the traditions and forms of chivalry had not yet died out2 and all his works1 including his delicate and spirited pen-drawings in the ,louvre1 have a certain stamp of knightly grace which is singularly attractive3 in this respect they resemble the creations of ,gentile da ,fabriano4 ,the subject of the picture--a meeting between ,st4 ,george and ,st4 ,anthony1 with a vision of the ,virgin and ,child above--is not to be found in the legends of the saints1 and ,pisano's conception is quite original4 ,st4 ,george appears to have been a favourite subject with the artist--probably because of the way in which his armour lent itself to medallion-like treatment4 ,there is a good instance of frank anachronism in the large ,tuscan hat of ,pisano's own day which he quaintly makes ,st4 ,george wear1 according to the everyday custom of the ,italian noblemen at their country-seats in the summer4#aha ,perhaps too the painter chose ,st4 ,george partly because he involved a horse and a dragon1 and ,pisano1 says ,vasari1 took especial pleasure in the delineation of animals4 ,this may have given him a weakness for the boar of good ,st4 ,anthony--the hermit saint whose temptations have passed into a proverb4 ,the saint carries a bell1 for it is said that the wicked spirits that be in the region of the air fear much when they hear the bells ringen1 and a staff1 another means of exorcising the devil2 whilst the boar1 now tamed into service1 is symbolical of the demon of sensuality which ,st4 ,anthony vanquished4 ,and here perhaps we find the clue to the idea in the picture4 ,for the dragon whom ,st4 ,george slew represents the same sensual enemy4 ,st4 ,george conquered by fighting1 ,st4 ,anthony by fasting4 ,the two saints now meet when each on his course alone has worked out each a way4 ,the old man1 whose life has been spent in struggle1 greets the triumphant youth with curious surprise2 and ,st4 ,george too1 with the thoughtful look on his face1 will have much to say and learn4 ,but over them both1 as to all who overcome1 the heavens open in beatific vision2 for though there be diversity of gifts1 it is the same spirit4 ,the signature of the painter 7,pisanus pinxit7 is fantastically traced by herbage in the foreground4 #ggg4 ,,madonna ,,and ,,child4 ,paolo ,morando 7,veronese3 #adhf-aebb74 ,see #gce4 ,a picture of great beauty1 which goes far to justify the title of the ,raphael of the ,veronese ,school by which ,morando has been distinguished4 ,every visitor will be struck by the unpretentious simplicity of conception1 the rich colours and the sweet faces--with just a dash of ,raphaelesque affectation4 ,it is interesting to note that ,morando was almost exactly contemporary with ,raphael1 while his art exhibits a maturity developed under totally different circumstances4 ,for ,morando never left ,verona1 and was thus1 says ,sir ,f4 ,burton1 a pure growth of the native ,veronese ,school4 ,his colouring1 though often brilliant1 is rather cold2 the pale flesh-tints1 glossy in surface1 are shadowed with grey1 and even the lake reds introduced in garments tend towards that purplish hue which the best colourists avoid4 #ggh4 ,,madonna ,,and ,,child4 ,martino da ,udine 7,venetian3 #adgj-aedg74 ,martino of ,udine was called also ,pellegrino of ,san ,daniele 7a village near the former place74 ,according to ,vasari1 he was a pupil of ,giovanni ,bellini1 who1 astonished at the marvellous progress of his pupil1 gave him the name of ,pellegrino--that is1 rare1 extraordinary4 ,more probably1 however1 it should be interpreted merely as a stranger or foreigner at ,udine1 ,martino being of ,dalmatian origin 7see for a full account and discussion of this painter ,morelli's ,german ,galleries1 pp4 #ah-bc74 ,he was1 says ,sir ,f4 ,burton1 one of those men who1 with little native genius1 have yet the capacity of absorbing material from others1 and of working it into new forms with success4 ,thus ,pellegrino turned out some works which1 while they carry the foreign stamp of ,giorgione1 ,titian1 ,pordenone1 or other great contemporaries1 nevertheless show considerable freshness of conception and treatment4 ,his altar-piece1 of #adid1 in the church of ,osopo1 shows the influence of ,cima da ,conegliano4 ,from #aejd to #aeab he was frequently at ,ferrara working for the ,duke ,alfonso4 ,in #aeai-aeba he painted a part of the choir of ,s4 ,antonio at ,s4 ,daniele 7the earlier part was painted in #adig72 in this1 his best work1 he appears as an imitator not only of ,pordenone but of ,romanino4 ,in #aebf he went1 apparently for the first time1 to ,venice1 there to buy colours for a large picture which he had engaged to paint for the church of ,cividale3 that picture shows his study of ,palma4 ,pellegrino combined with painting the business of a timber merchant4 ,that so mediocre a painter as ,pellegrino should have attained high honour in ,friuli need1 says ,morelli1 surprise no one who knows the other painters of that little country4 ,the value of anything in the world is comparative4 ,the ,friulan race never manifested the same talent for art as1 for instance1 their neighbours of ,treviso4 ,on the right of the throne is ,st4 ,james1 with his hand on the shoulder of the donor of the picture2 on the left ,st4 ,george1 with the dead dragon at his horse's feet4 #ggi1 #ghj4 ,,family ,,portraits4#ahb ,borgognone 7,lombard3 about #adee-aebc74 ,see #bih4 ,see also 7p4 xx7 ,on the left 7#ggi7 a group of nine men1 above them a hand1 probably of some patron saint2 on the right 7#ghj7 a group of thirteen women1 kneeling 7apparently7 by the side of a tomb--studies of character drawing4 ,these pictures are painted on silk 7now attached to wood71 and were originally part of a standard4 ,mr4 ,pater says of ,borgognone that a northern temper is a marked element of his genius--something of the patience1 especially1 of the masters of ,dijon or ,bruges1 nowhere more clearly seen than in the two groups of male and female heads in the ,national ,gallery1 family groups1 painted in the attitude of worship1 with a lowly religious sincerity which may remind us of the contemporary work of ,m4 ,legros4 ,like those northern masters1 he accepts piously1 but can refine1 what 'has no comeliness' 7,art ,notes in ,north ,italy1 in the ,new ,review1 ,november #ahij74 #gha4 ,,raphael ,,and ,,tobias4 ,florentine ,school 7#aeth century74 ,see also 7p4 xx7 ,the ,hebrew legend of ,tobit and his son ,tobias 7told in the ,book of ,tobit in the ,apocrypha7 was a favourite one with the ,medival ,church1 and became therefore a traditional subject for painting2 see e4g4 in the ,national ,gallery1 #bhh1 #gb1 and #dh4 ,tobit1 a ,jewish exile1 having fallen also into poverty1 and afterwards becoming blind1 prays for death rather than life in noble despair4 ,to him the angel of all beautiful life 7,raphael7 is sent1 hidden in simplicity of human duty1 taking a servant's place for hire1 to lead his son in all right and happy ways of life 7,fors ,clavigera1 #ahgg1 p4 #ca74 ,here we see ,raphael leading the young ,tobias into ,media1 where he was to marry ,sara1 his rich kinswoman1 the daughter of ,raguel4 ,but she was haunted by an evil spirit1 who had slain her seven husbands1 each on their wedding-day1 and the angel bade ,tobias take the gall of a certain fish1 wherewith afterwards to heal his father's blindness1 and its heart and liver wherewith to drive away the evil spirit from his bride4 ,tobias is carrying the fish1 ,raphael has a small box for the gall4 ,the rising step and the springy motion in his gait are characteristic of him who was the messenger of heaven1 the kindly companion of humanity-- ,raphael1 the sociable spirit1 that deigned ,to travel with ,tobias1 and secured ,his marriage with the seven times wedded maid4 ,,milton3 ,paradise ,lost1 v4 #bba4 ,for the authorship of this picture1 see under #bif4 ,this picture1 says a critic who gives both to ,verrocchio1 may possibly be not entirely from his hand1 but there is no doubt that it is essentially his1 and that to his fancy for painting boyhood and opening youth we owe that curious misreading of the story of ,tobias1 representing him as a young lad instead of a grown man1 which is to be found through all the numerous ,florentine picture of him by the school of ,botticelli1 by ,piero di ,cosimo and the rest 7,times1 ,october #bf1 #ahhh74 #ghb4 ,,madonna ,,and ,,child4 ,botticelli 7,florentine3 #addg-aeaj74 ,see under #ajcd4 ,see also 7p4 xx7 ,probably only a school picture4 ,most of the old masters kept schools1 or shops1 in which several pupils served as apprentices and worked at pictures under the master's directions4 ,the sale of such pictures under the master's name was 7and is7 a very common occurrence1 and even in those days forged signatures were not unusual4 #ghc4 ,,the ,,exhumation ,,of ,,bishop ,,hubert4 ,unknown 7,early ,flemish3 #aeth century74 ,this beautiful work was formerly in the collection of ,mr4 ,beckford at ,fonthill1 where it was described as the ,burial of a ,bishop by ,jan ,van ,eyck4 ,it has also been ascribed to ,gerard ,van der ,meire 7see #ajgh7 and to ,thierri ,bouts 7about #adbj-adge74 ,this latter painter--called by early authors ,thierry1 or ,dierik of ,haarlem1 from the name of his native town1 and by modern writers ,thierri ,stuerbout1--was town's painter of ,louvain1 and a pupil probably of ,roger van der ,weyden4 ,his principal works are now in the ,brussels ,museum4 ,other pictures in the ,gallery attributed to him by some critics are #ffd1 #ggd1 and #idc4 ,van der ,meire1 ,justus of ,ghent1 and ,albert ,van ,ouwater have also been suggested as the painters of this picture2 it closely resembles the ,raising of ,lazarus ascribed to the last-named painter in the ,berlin ,gallery4 ,st4 ,hubert was originally a nobleman of ,aquitaine1 much addicted to all worldly pleasures1 and especially to that of the chase4 ,but one day in ,holy ,week1 when all good ,christians were at their devotions1 as he was hunting in the forest of ,ardennes1 he encountered a milk-white stag bearing the crucifix between his horns4 ,filled with awe and astonishment1 he renounced the pomps and vanities of the world1 turned hermit in that very forest of ,ardennes1 was ordained1 and became ,bishop of ,lige4 ,so the legend runs1 embalming1 we may suppose1 the conversion of some reckless lover of the chase1 like the wild huntsman of the ,german legend4 ,and at ,lige he was buried1 but thirteen years afterwards his body was disinterred1 and lo6 it was found entire2 even the episcopal robes in which he had been interred were without spot or stain4 ,a century later the body was removed from ,lige and reinterred in the abbey church of the ,benedictine monks of ,ardennes4 ,the ,emperor ,louis le ,dbonnaire assisted at the translation of the relics1 and the day was long kept as a festival throughout this part of ,flanders4 ,this is the subject of the present picture1 of which the scene is laid in the choir of a beautiful ,gothic church4 ,on the altar behind the principal group stands a shrine1 on which is a little figure of ,st4 ,hubert with his hunting-horn4 ,the royal personage assisting represents ,louis le ,dbonnaire4 ,the picture is of wonderful beauty1 finished in every part 7abridged from ,mrs4 ,jameson3 ,sacred and ,legendary ,art1 pp4 #dca1 #dcb74 ,though it is thus an historical picture1 the artist takes the figures from his own time1 and the heads1 like miniatures in character and delicacy of expression1 are doubtless portraits--the whole scene being a picture of a ,flemish ,cathedral on some festival day4 ,notice1 as a particularly interesting little piece of life1 the man flattening his nose against the screen on the left1 with a jeering expression1 as if he didn't half believe it all4 ,it is a piece of living grotesque1 exactly such as meets one in the sculptured stones of a medival cathedral itself--peeping round the corner at you and lurking in secret places1 like a monk's joke whispered in church 7,conway's ,early ,flemish ,artists1 p4 #ag74 #ghh4 ,,an ,,altar-,,piece4 ,carlo ,crivelli 7,venetian3 painted #adfh-adic74 ,see #fjb4 ,this important picture is one of ,crivelli's masterpieces and is very characteristic of his genius and its limitations4 ,the work1 it will be seen1 is not so much a picture as a collection of panel pictures built up into a gorgeous piece of decoration4 ,the panels in the two lower tiers were painted for the old church of ,san ,domenico1 at ,ascoli2 the central panel of the ,madonna and ,child is inscribed with the painter's name and the date #adgf4 ,the church was rebuilt in #aggf1 and some years afterwards the picture came into the possession of ,cardinal ,zelada at ,rome1 who added the four upper pictures by the same painter4 ,in #aheb the picture passed to ,prince ,anatole de ,demidoff1 at ,florence1 where it was put into its present magnificent frame4 ,crivelli's artistic aim1 it has been said1 was the development and perfection of isolated figures for elaborate altar-pieces of this kind1 and those before us are among the best he ever did3 in them calm dignity1 strength of character1 gentleness1 and grace1 can all be treated by him with perfect success apart from the disturbing elements of emotion and action4 ,the type of the ,virgin here is very characteristic1 with her high-arched eyebrows1 small mouth1 and hair tightly drawn back from the forehead4 ,so too are the hands1 with very long fingers1 in which affectation borders on dislocation4 ,very natural1 on the contrary1 is the figure of the infant ,christ1 fast asleep with one hand under his head while with the other he grasps his mother's middle finger--a picture drawn from the life4 ,the decorative details are characteristic4 ,note the dolphins on the base of the throne4 ,the festoons are meant to represent real offerings of fruit1 tied with string and fastened with nails4 ,on one side of the ,virgin is ,st4 ,peter1 an impressive figure3 his costume shows the use of raised ornaments and imitation gems1 which is common in ,crivelli's earlier works1 but which he gradually dropped4 ,beyond ,st4 ,peter is ,st4 ,john the ,baptist in the wilderness3 the hard and severe style of the figure is remarkable4 ,the landscape in which he stands should not be passed over1 with the stream flowing at his feet and the tree-stems broken off so as not to interfere with the gold background which sets off the upper half of the figure4 ,on the other side of the ,virgin is ,st4 ,catherine of ,alexandria1 and beyond her ,st4 ,dominic--a figure admirable in its expression of piety and humility and in the personality with which ,crivelli has invested it4 ,the half-length figures in the second tier are ,st4 ,francis1 with the stigmata2 ,st4 ,andrew1 with cross and book--a very grand head2 ,st4 ,stephen1 with the stones of his martyrdom2 and ,st4 ,thomas ,aquinas1 with book and the model of a church4 ,in the top tier are ,st4 ,jerome1 also carrying the model of a church2 the ,archangel ,michael1 trampling on the dragon and weighing in a pair of scales a man and a woman who are of light weight2 ,st4 ,peter ,martyr1 with the sword of his martyrdom1 and ,st4 ,lucy1 carrying a plate with eyes upon it4 ,the reference is to the legend which relates that in order to discourage the suit of a youth who loved her for the beauty of her eyes1 she plucked them out with her own hands and sent them to him in a dish4 ,the youth1 struck with remorse1 became a ,christian1 and ,lucy's sight was miraculously restored to her4 #gij4 ,,the ,,entombment ,,of ,,christ4 ,michael ,angelo 7,florentine3 #adge-aefd74 ,michelangelo 7commonly anglicised as above7 ,buonarroti 7which surname1 however1 is commonly dropped7 is the ,titan of ,italian art4 ,he was the rival of ,raphael2 and amongst the artists who were present at the unveiling of his great statue of ,david were ,perugino1 ,botticelli1 ,lorenzo di ,credi1 ,leonardo da ,vinci1 and ,filippino ,lippi4 ,he lived through the fall of ,rome and ,florence1 and survived into the decadence of ,italian art4 ,in the many-sidedness of his genius he may be compared to ,leonardo da ,vinci4 ,he was at once painter1 sculptor1 architect1 and man of action4 ,the greatness of his work was reflected in that of his character4 ,he passed most of his life at ,rome1 amidst the petty intrigues of a debased ,court2 but he never placed his self-respect in jeopardy4 ,filial duty1 too1 was one of the mainsprings of his life4 ,he lived most sparingly1 and sent all the money he could save to support his father's family at ,florence4 ,whence they must pray ,god1 he says in one of his letters1 that all his works may have good success4 ,he was proud1 and would brook no insult2 and when ,pope ,julius left him with unpaid marbles and workmen on his hands1 he mounted his horse and rode off to ,florence4 ,there are many stories1 too1 of the quiet sarcasm with which he would reproach men for sin4 ,what does the raised hand denote8 ,julius asked of a statue of himself4 ,you are advising the people of ,bologna to be wise1 was ,michelangelo's reply4 ,with all this1 however1 he was for the most part above the jealousy of other artists4 ,when commissioned to paint the ,sixtine ,chapel1 he urged that ,raphael would be a more fit person to execute so great a work2 and when he was appointed architect of ,st4 ,peter's he refused to permit any material alteration of ,bramante's design1 though ,bramante had perpetually intrigued against him4 ,michelangelo was a poet also 7his sonnets have been translated by ,j4 ,a4 ,symonds71 his poetry being partly inspired by ,vittoria ,colonna1 widow of the ,marquis of ,pescara1 to whom late in life he became attached1 and whose friendship1 until her death in #aedg1 was the solace of his lonely labours4 ,it is only in ,florence and in ,rome that the work of ,michelangelo can be studied4 ,our ,gallery is fortunate1 however1 in having two easel pictures1 which1 whether entirely from his own hand or not1 are eminently characteristic of his style4 ,the ,south ,kensington ,museum and the ,royal ,academy each possess one example of his sculpture4 ,his drawings are to be seen in several ,english collections1 especially in that of the ,university of ,oxford4 ,a concise chronological summary may here be useful to recall to the reader's recollection the chief works of the master4 ,at the age of thirteen he was apprenticed for three years to ,domenico ,ghirlandaio to whom our picture1 ,no4 #hji1 was formerly ascribed4 ,he made rapid advance in the art of painting1 and showed also aptitude for sculpture2 so that in #adhi1 before his apprenticeship was out1 ,domenico recommended him to ,lorenzo de' ,medici1 who had founded a school of sculpture in the garden of his villa4 ,here1 in the society and service of ,lorenzo1 ,michelangelo remained for four years4 ,lorenzo's unworthy successor ,piero employed the young artist only on unworthy commissions1 setting him on one occasion1 it is said1 to make a statue of snow2 a tradition which inspires a noble passage in ,ruskin's ,political ,economy of ,art1 as also in ,mrs4 ,browning's ,casa ,guidi ,windows4 ,in #adic ,michelangelo removed to ,bologna1 returning in the next year to ,florence1 where he produced a ,sleeping ,cupid1 which was sold in ,rome as a veritable antique4 ,this induced him1 in #adif1 to try his fortune in the ,papal capital4 ,to this period belong his statue of ,cupid1 now at ,south ,kensington1 the ,bacchus in the ,bargello at ,florence1 and the noble ,piet in ,st4 ,peter's at ,rome4 ,by these works he attained the position of the greatest sculptor in ,italy1 and on his return to ,florence in #aeja he executed the colossal statue of ,david1 now in the ,accademia4 ,works of about the same time are the round marble relief in the possession of the ,royal ,academy1 and our picture ,no4 #hji4 ,the circular ,madonna and ,child1 now in the ,uffizi1 belongs to #aejd4 ,in the same year he received a commission to paint one wall of the ,palazzo ,vecchio4 ,the painting was never executed2 but ,michelangelo's cartoon for it1--known as the ,cartoon of ,pisa--excited great admiration for its treatment of the human figure4 ,in #aeje began ,michelangelo's stormy relations with the imperious ,pope1 ,julius ,,ii4 ,for two years he was employed on a great bronze statue of the ,pontiff1 which was afterwards cast as a cannon and used against the ,pope by the ,bolognese4 ,in #aejh1 being then thirty-three1 ,michelangelo was commissioned by ,julius to paint the ceiling of the ,sixtine ,chapel4 ,in this great work1 which was finished on ,november #a1 #aeab1 the artist set forth1 in the vehicle of the human form1 his conception of the creation1 and the early history of the world1 with reference to man's final redemption and salvation4 ,the frescoes have in our time been admirably photographed1 and the figures of the ,prophets and ,sibyls1 who sit enthroned in niches round the vault1 are very widely known4 ,the paintings caused ,michelangelo to suspend his labour on the mausoleum of ,julius--a work which gave him an infinity of labour and vexation1 and which was never finished4 ,the great figure of ,moses1 now in ,s4 ,pietro in ,vincoli1 and the ,captives1 in the ,louvre1 were designed for this monument4 ,during the nine years' pontificate of ,leo ,x4 7#aeac-bb71 ,michelangelo was mostly employed in the unworthy occupation of procuring marble from the quarries of ,pietra ,santa for the faade of the church of ,san ,lorenzo at ,florence4 ,the short reign of ,adrian ,,vi4 succeeded1 and ,michelangelo went on working for a time at the monument to ,julius4 ,he was also employed on the works of the ,medici ,chapel at ,florence4 ,in #aebc when ,clement ,,vii4 succeeded1 the artist was put to various architectural works4 ,stormy years followed1 and ,michelangelo quitted the ,medici statues to defend his native city4 ,he was appointed director of fortifications1 and was entrusted also with diplomatic missions4 ,when in #aecj ,florence was treacherously yielded to the ,medici1 ,michelangelo lay for some time in concealment4 ,clement1 however1 gave him his pardon1 and ordered him to resume work on the ,medici chapel in ,san ,lorenzo4 ,he worked1 as he says1 with morbid haste but saddened heart1 and thus were completed his most impressive productions in sculpture--the four great recumbent figures for the tombs of ,lorenzo and ,giuliano de' ,medici4 ,in #aecd ,clement died4 ,michelangelo flung down his mallet1 and set foot in ,florence no more4 ,but a new ,eurystheus arose for our ,hercules4 ,the artist hoped to complete the mausoleum of ,julius4 ,but the new ,pope1 ,paul ,,iii41 set him to work upon the fresco of the ,last ,judgment1 on the altar wall of the ,sixtine ,chapel4 ,in this mighty work1 containing #cad figures1 which occupied him from #aecd to #aedb1 the painter devoted his terrible genius to a subject worthy of the times in which he lived4 ,since he had first listened1 while a youth1 to the prophecies of ,savonarola1 the woes announced in that apocalypse had all come true4 ,to ,michelangelo1 ,christ came as an avenger1 vindictive and implacable1 and the lost souls fall before his wrath in every contortion of nudity4 ,after the painting of the ,last ,judgment1 one more great labour was reserved for ,michelangelo4 ,he was called upon to succeed ,antonio da ,san ,gallo as architect of ,st4 ,peter's1 a post which he continued to hold under succeeding ,popes until his death4 ,the dome of ,st4 ,peter's1 as seen from ,tivoli or the ,alban hills1 like a cloud upon the ,campagna1 is his2 but he has no share in the faade which screens it from the ,piazza4 ,his last poem declared the vanity of the art which was his glory1 and his dying words to his household were these2 ,in your passage through this life remember the sufferings of ,jesus ,christ4 ,his body was taken1 as he had desired1 to ,florence1 and he lies in ,santa ,croce4 ,to the artistic genius of ,michelangelo1 a few out of innumerable tributes may here be mentioned4 ,raphael thanked ,god that he was born in the days of ,michelangelo1 and ,sir ,joshua ,reynolds says1 in his ,discourses1 that to kiss the hem of his garment1 to catch the slightest of his perfections1 would be glory and distinction enough for an ambitious man4 ,his knowledge of the human body and his power of representing it were supreme4 ,if a combination of the most exquisite finish in drawing and modelling which allows the work to bear the closest inspection in its details1 with the utmost simplicity1 breadth1 and clearness of effect in a distant view1 constitute1 as ,i believe they do1 the elements of perfect work1 ,i must assert positively1 says ,sir ,edward ,poynter1 that ,michelangelo is the most perfect of workmen4 ,this workmanship was employed with consummate dramatic effect4 ,he considered figures the highest means of telling a story2 he concentrated his powers on the single important point of expression1 so that he had no need of accessories to help him out with his story 7,lectures on ,art74 ,but above all the work of ,michelangelo was the expression of a vast imaginative gift1 the stormy poetry of his mind4 ,his works1 says ,ruskin1 have borne and in themselves retain and exercise the same inexplicable power--inexplicable because proceeding from an imaginative perception almost superhuman1 which goes whither we cannot follow1 and is where we cannot come2 throwing naked the final1 deepest root of the being of man1 whereby he grows out of the invisible1 and holds on his ,god home 7,modern ,painters1 vol4 ii4 ,of ,imagination ,penetrative74 ,about the qualities of his genius1 says ,symonds1 opinions may and will1 and ought to differ4 ,it is so pronounced1 so peculiar1 so repulsive to one man1 so attractive to another1 that1 like his own dread statue of ,lorenzo de' ,medici1 'it fascinates and is intolerable4' ,there are few1 ,i take it1 who can feel at home with him in all the length and breadth and dark depths of the regions that he traversed4 ,the world of thought and forms in which he lived habitually is too arid1 like an extinct planet1 tenanted by mighty elemental beings with little human left to them1 but visionary ,titan-shapes1 too vast and void for common minds to dwell in pleasurably4 ,the sweetness that emerges from his strength1 the beauty which blooms rarely1 strangely1 in unhomely wise1 upon the awful crowd of his conceptions1 are only to be apprehended by some innate sympathy or by long incubation of the brooding intellect4 ,it is probable1 therefore1 that the deathless artist through long centuries of glory will abide as solitary as the simple old man did in his poor house at ,rome 7,life of ,michelangelo1 ii4 #cgc74 ,on his successors the influence of ,michelangelo was not happy4 ,they could imitate his mannerisms1 but not his manner4 ,they had not his imagination1 but they could copy the violent attitudes in which he clothed his ,titanic thoughts4 ,the anatomical studies which with him were the groundwork for his imagination to build upon became in their hands the final object of their art4 7,among those who have been alternately fascinated and repelled by ,michelangelo was ,ruskin4 ,his case against ,michelangelo is contained in the pamphlet entitled ,the ,relation between ,michael ,angelo and ,tintoret4 ,but some of ,ruskin's critics forget that the pamphlet was meant to be read in conjunction with his own earlier praise in ,modern ,painters1 and with ,mr4 ,tyrwhitt's appreciation in ,christian ,art and ,symbolism4 ,these lectures1 said ,ruskin1 in his preface to that book1 show throughout the most beautiful and just reverence for ,michael ,angelo1 and are of especial value in their account of him2 while the last lecture on sculpture1 which ,i gave at ,oxford1 is entirely devoted to examining the modes in which his genius itself failed1 and perverted that of other men4 ,but ,michael ,angelo is great enough to make praise and blame alike necessary1 and alike inadequate74 ,one of the many unfinished works1 which1 as ,vasari tells us1 ,michelangelo left behind him in painting as in sculpture4 ,its history is interesting4 ,it was formerly in the gallery of ,cardinal ,fesch1 which was sold and dispersed after his death4 ,from its unfinished state and neglected condition it attracted little attention1 and was bought literally dirt cheap by ,mr4 ,macpherson1 an ,english gentleman established as a photographer in ,rome4 ,after the dirt upon its face had been removed1 it was submitted to competent judges1 who unhesitatingly pronounced it to be the work of ,michelangelo4 ,the discovery caused a great sensation4 ,a law-suit was instituted against ,mr4 ,macpherson for the recovery of the picture1 which was sequestrated pending the decision of the ,roman courts4 ,after some years he obtained a judgment in his favour1 removed the picture to ,england1 and sold it to the ,national ,gallery for #bjjj4 ,peter von ,cornelius1 the eminent ,german painter1 in evidence in the law-suit declared it to be una cosa preziosa--un vero originale di ,michelangelo4#ahc ,however this may be1 the picture is entirely characteristic of the school of ,michelangelo4 ,what we notice in it most is not the features of the ,maries1 but the rendering of the corpse1 in all its flaccid limbs and muscles3-- ,take the heads from a painting of ,angelico1--very little but drapery will be left2--drapery made redundant in quantity and rigid in fold1 that it may conceal the forms1 and give a proud or ascetic reserve to the actions of the bodily frame4 ,bellini and his school1 indeed1 rejected at once the false theory and the easy mannerism of such religious design1 and painted the body without fear or reserve1 as1 in its subordination1 honourable and lovely4 ,but the inner heart and fire of it are by them always first thought of1 and no action is given to it merely to show its beauty4 ,whereas the great culminating masters1 and chiefly of these1 ,tintoret1 ,correggio1 and ,michael ,angelo1 delight in the body for its own sake1 and cast it into every conceivable attitude1 often in violation of all natural probability1 that they may exhibit the action of its skeleton and the contours of its flesh4 ,correggio and ,tintoret learn the body from the living body1 and delight in its breath1 colour1 and motion4 ,michael ,angelo learned it essentially from the corpse1 and had great pride in showing that he knew all its mechanism4 ,the simplicity of the old religious art was rejected not because it was false1 but because it was easy2 and the dead ,christ was thought of only as an available subject for the display of anatomy 7,modern ,painters1 vol4 iii4 pt4 iv4 ch4 iv42 ,relation between ,michael ,angelo and ,tintoret1 passim74 ,the ideal of the painter has in fact changed4 ,the picture is in its essence not a devotional work3 it is a study in the dead nude4 #gid4 ,a ,,dutch ,,courtyard4 ,pieter de ,hooch 7,dutch3 #afcj-;about #afgg74 ,hooch 7or ,hooghe7--the indoor ,cuyp1 as he has been called1 and one of the glories of the ,dutch ,school--is also one of the glories of ,england1 for it was here that his great merits were first discovered1 and that three-fourths of his pictures are now preserved4 ,there are1 says ,ruskin 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 viii4 #aa71 whilst tracing the general insensitiveness of the ,dutch ,school1 deeper elements in ,de ,hooghe1 sometimes expressed with superb quiet painting4 ,he chose the simplest subjects and used apparently the simplest means4 ,but his figures are always placed with the utmost skill1 and the details1 so carefully wrought1 are all made contributory to the general idea of the picture4 ,in producing an effect of serenity1 ,hooch is unsurpassed4 ,of his life nothing is known except that he was at ,delft #afec-ef1 and that afterwards he resided at ,amsterdam4 ,in his own country1 a fine picture by him so late as #agfe brought only #dej florins4 ,in #ahag it fetched #djjj florins1 whilst in #ahgf the ,berlin ,gallery paid #fjjj for one of his pictures4 ,at the ,secrtan ,sale in #ahhi an interior by ,de ,hooch fetched #aa1jdj4 ,the present picture was bought in ,paris in #ahfi for #agbb4 ,no4 #hcd fetched in #ahjd1 #bbj2 ,no4 #hce1 in #ahaj1 #ahg4 ,the whole picture1 in its cheerful colour and dainty neatness1 seems to reflect the light of a peaceful and happy home1 in which everything is done decently and in order4 ,they are no rolling stones1 these ,dutch burghers1 but stay-at-home folk1 whose pride is in the trimness of their surroundings4 ,every day1 one thinks1 the good housewife will thus look to see that the dinner is duly prepared2 every day the husband will thus walk along the garden1 sure of her happy greeting4 ,the picture is signed1 and dated #affe4 #gif4 ,a ,,vase ,,of ,,flowers4 ,jan van ,huysum 7,dutch3 #afhb-agdi74 ,jan was the son and pupil of ,justus van ,huysum1 a painter of ,amsterdam4 ,by close study ,jan attained great fame as a flower-painter4 ,the principal florists of ,holland supplied him with their choicest productions as subjects1 and his reputation soon spread throughout ,europe4 ,whilst still young he became rich and honoured1 and reached the summit of fortune4 ,the prices noted in the sale catalogues of the eighteenth century1 which are altogether out of proportion to those realised by other works1 reveal to us with what infatuation this finished master1 so delicate1 erudite1 and careful1 was regarded 7,havard3 ,the ,dutch ,school1 p4 #bfd74 ,he usually arranged his flowers in elegant vases1 of which he finished the ornaments in the most careful manner4 ,he was fond also of introducing a bird's nest with eggs4 ,both of these characteristics may be seen in the picture before us4 ,the care with which he rendered every detail is remarkable4 ,as to you1 dear old ,jan ,van ,huysum1 writes an artist of our own day1 you have edified me beyond expression4 ,you teach me that a man can't be too careful as to his work1 be it what it may4 ,your pearly dewdrops on the fresh gathered green things of the earth refresh me4 ,your tiny ants on the petals of the pink teach me in their minute contemplation to be like the star1 ,ohne ,hast1 ,ohne ,rast4 ,how cool1 and calm1 and cheerful1 and confident you are1 ,jan6 7,letters of ,james ,smetham1 p4 #agc74 ,the world is so old1 says ,ruskin1 that there is no dearth of things first-rate2 and life so short that there is no excuse for looking at things second-rate4 ,let us then go to ,rubens for blending1 and to ,titian for quality1 of colour2 to ,veronese for daylight1 and ,rembrandt for lamplight2 to ,buonarroti for awfulness1 and to ,van ,huysum for precision4 ,any man is worthy of respect1 in his own rank1 who has pursued any truth or attainment with all his heart and strength 7,letter to ,liddell in the ,memoir of the ,dean1 by ,h4 ,l4 ,thompson1 p4 #bbd74 ,other pictures by ,jan ,van ,huysum may be seen in the ,wallace ,collection and the ,dulwich ,gallery4 ,signed1 and dated #agcf-agcg4 ,notice the bird's nest1 with the greenfinch's eggs4 #gig4 ,a ,,man',s ,,portrait4 ,cuyp 7,dutch3 #afbj-afia74 ,see #ec4 ,this excellent portrait serves to remind us that1 unlike most of his fellow landscape painters1 ,cuyp could paint his own figures4 ,indeed we have seen that he sometimes painted them in other landscapes1 see ,no4 #aeb4 ,the picture is signed ,aetatis suae #ef1 #afdi4 ,a4 ,cuyp fecit4 ,cuyp is one of the most various of all the ,dutch masters4 ,what universality in the hand that could paint skies more glowing than those of ,both1 clouds as vaporous as those of ,van de ,cappelle1 water more luminous than ,van de ,velde's1 cattle as true to nature as ,paul ,potter's1 horses better than ,wouverman's1 horsemen more distinguished than ,vandyck's6 ,sometimes1 too--and there is a noble example in our ,national ,gallery--we find ,aelbert ,cuyp painting portraits1 not in the stiff precise way that the father painted them1 but with a freedom of touch and a brilliancy of colour that place him between ,van der ,helst and ,rembrandt 7,quarterly ,review1 ,october #ahia1 and ,fromentin's' ,les ,maitres d'autrefois1 ,hollande1 ch4 viii474 #gih4 ,,cardinal ,,richelieu4 ,philippe de ,champaigne 7,french3 #afjb-afgd74 ,a painter of historical subjects and portraits1 he was born at ,brussels1 but went to ,paris at the age of #ai4 ,he was employed by ,du ,chesne1 the painter royal1 to work at the ,luxembourg in concert with ,nicolas ,poussin4 ,du ,chesne was of mediocre talent and jealous disposition1 and ,champaigne and ,poussin soon left him4 ,the two men were mutually attached1 and in after years ,champaigne discoursed at a session of the ,academy on the merits of his friend ,poussin4 ,champaigne returned to ,brussels1 but was recalled in #afbg to succeed ,du ,chesne4 ,he executed many works for the churches and royal residences and also for ,cardinal ,richelieu's palace4 ,he became an original member of the ,french ,academy in #afdh1 of which he was also ,professor and ,rector4 ,towards the end of his life1 his fame began to pale before that of ,le ,brun4 ,his religious and historical works1 of which there are several in the ,louvre1 are apt to leave the modern spectator cold2 but his portraits are excellent4 ,this picture was painted for the ,roman sculptor ,mocchi to make a bust from1 hence the two profiles as well as the full face4 ,over the profile on the right are the words 7in ,french71 of the two profiles this is the better4 ,in this profile the compressed lips1 the merciless eyes1 the iron-gray hair and prominent nose1 bespeak the great ,cardinal ,minister of ,louis ,,xiii41 and the maker of ,france1 who summed up his policy and his character in the words1 ,i venture on nothing without first thinking it out2 but once decided1 ,i go straight to my point1 overthrow or cut down whatever stands in my way1 and finally cover it all up with my cardinal's red robes4 ,in the full face one sees rather the man who was also a princely patron of the arts and artists 7of ,de ,champaigne amongst their number71 and the founder of the ,french ,academy4#ahd ,the central head here was clearly used as a study for the full-length portrait1 ,no4 #addi4 #hjb4 ,,virgin ,,and ,,child4 ,bartolommeo ,montagna 7,venetian3 about #adej-aebc74 ,montagna was born near ,brescia1 and worked at ,vicenza1 but must have studied at ,venice4#ahe ,he is entitled1 says ,kugler1 to a much higher place among the painters of the last part of the fifteenth century than that hitherto accorded to him4 ,his art is distinct in character1 with a firm outline and a bold1 sure hand2 his colour is low but rich1 bright1 and gem-like4 ,he gives a grand1 dignified expression and pose to his figures2 his draperies are generally arranged in broad folds1 and his landscape backgrounds1 although minute1 frequently denote an original and poetical fancy4 ,his best work is the great altar-piece now in the ,brera at ,milan1 a picture worthy to rank with those of the same kind by ,bellini and ,carpaccio4 ,other important works by ,montagna are in the ,public ,gallery of ,bergamo1 in the ,museo ,civico at ,vicenza1 and in the ,pilgrimage ,church on ,monte ,berico1 near ,vicenza4 ,this picture is ascribed by some critics to ,giovanni ,speranza1 a painter of ,vicenza contemporary with ,montagna4 #hjc4 ,,the ,,circumcision ,,of ,,christ4 ,marco ,marziale 7,venetian3 painted #adii-aejg74 ,marco was one of the assistants engaged to work under ,giovanni ,bellini in the decoration of the ,ducal ,palace4 ,whilst ,bellini received sixty ducats a year1 ,marco received only twenty-four4 ,nothing else is known about his career4 ,of his works1 which are very rare1 the best are in our ,gallery4 ,an example which shows what wealth of interest there is in the ,national ,collection4 ,it is only by a second-rate painter of the ,venetian school2 but no picture in the ,gallery is richer than this in decorative design4 ,note first the varied and beautifully-designed patterns in the mosaics of the church--recalling one of the domes of ,st4 ,mark's4 ,then the lectern1 covered with a cloth1 and the delicately-embroidered border1 wrought in sampler stitch1 deserve close examination4 ,the cushion above this1 and the tassels1 formed of three pendent tufts of silk hung on to a gold embroidered ball1 offer good decorative suggestions to the trimming manufacturer4 ,attached to the front of the lectern is a label or cartellino1 setting forth that ,marco ,marziale the ,venetian1 by command of that magnificent knight and jurisconsult1 the learned ,thomaseo ,r41 made this picture in the year #aejj4 ,as it is probable that this was the first important commission ,marco ever obtained on his own account1 there is little wonder that he wrought the record so elaborately4 ,this ,thomaseo ,r4 was ,raimondi1 a knight of the order of ,jerusalem--a man of considerable note in ,cremona as a lawyer and poet4 ,his portrait occupies the forefront of the right-hand corner of the picture1 his set features recalling the lawyer rather than the poet4 ,it is his mantle1 however1 which best repays notice--a sumptuous robe of raised red velvet1 such a fabric as ,venice was then winning industrial renown by weaving4 ,the very pretty pattern is of the so-called pomegranate form1 and occurs also on the mantle of the donor's wife1 who occupies a corresponding position on the left-hand side of the picture4 ,in the ,south ,kensington ,museum there is a remnant of ,italian silk brocade of this pattern 7in the ,bock collection74 ,the robe of the ,high ,priest is also evidently taken by the painter from a silk robe1 and is very rich4 ,the design1 in which the wild pink is largely introduced1 is unique4 ,ruskin had a wall-paper made for him in #ahgb copied from this robe3 it has ever since been used for the walls of the drawing-room and study at ,brantwood4 ,it will thus be seen that this one picture brings before us a great number of suggestions in design for various technic arts2 at least half a dozen patterns exist in the ornaments of the mosaic work of the vaults2 five or six patterns of embroidered or woven borders will be found in it1 as many designs for diapered or other surface decoration1 examples of beaten metal-work and of bookbinding1 besides the carved wood lectern4 ,for notice of other points1 see further the interesting article by ,g4 ,t4 ,robinson in the ,art ,journal1 ,june #ahhf1 and cp4 ,vacher's ,italian ,ornament1 ,no4 #bd4 #hjd4 ,,madonna ,,and ,,child ,,enthroned4 ,marco ,marziale 7,venetian3 painted #adii-aejg74 ,see #hjc4 ,this picture was painted seven years later 7#aejg7 than #hjc1 which it resembles in the bright mosaics of the vault and the interesting design on the robe of the bishop on the left4 ,notice the little angel playing the mandoline on the steps of the throne1 characteristic of the earlier ,venetian painters4 #hje4 ,,peeling ,,pears4 ,teniers 7,flemish3 #afjj-afid74 ,see #aed4 #hjf4 ,,the ,,procession ,,to ,,calvary4 ,boccaccio ,boccaccino 7,cremonese3 about #adfj-aebe74 ,boccaccino was a native of ,cremona1 where many of his works are still preserved4 ,all that is best in his art1 says ,morelli1 he derived from the school of the ,bellini4 ,in the ,venetian ,academy is a beautiful mystic marriage of ,st4 ,catherine which is signed by him4 ,he is a painter1 says ,kugler1 of very distinct individuality1 and may be easily recognised by the peculiar type and expression of his figures1 and especially by his women1 who generally have much grace and beauty4 ,one of his characteristics is a light-grey eye with a dark rim4 ,this picture is not characteristic of ,boccaccino's manner1 and is probably by another hand 7ii4 #chi74 ,for some remarks on the subject of this picture see under #aadc4 #hjg4 ,,madonna ,,and ,,child ,,enthroned4 ,carlo ,crivelli 7,venetian3 painted #adfh-adic74 ,see #fjb4 ,this picture 7like #gbd7 is signed by ,sir ,charles3 it is dated #adia4 ,it bears the painter's sign-manual also in the fruits and the vase of flowers4 ,the giver of the picture 7which was dedicated to the ,virgin1 and which1 as recorded in a ,latin inscription below1 cost no inconsiderable sum7 is kneeling1 in the habit of a ,dominican nun1 at the foot of the throne4 ,on the ,madonna's left is ,st4 ,sebastian1 pierced with arrows and tied to a pillar1 but with the happy look of sorrow ended on his face4 ,on her right is ,st4 ,francis4 ,near his feet are some flowers and a snail--typical of the kindness and humbleness of the saint1 of whom it is recorded that he spoke never to bird nor to cicala1 nor even to wolf and beast of prey1 but as his brother1 and who thus taught the lesson ,never to blend our pleasure1 or our pride1 ,with sorrow of the meanest thing that feels 7,wordsworth74 #hjh4 ,,st4 ,,peter ,,martyr4 ,giovanni ,bellini#ahf 7,venetian3 #adbf-aeaf74 ,see #ahi4 ,see also 7p4 xx7 ,a fancy portrait of a jolly comfortable-looking ,dominican monk--a faithful portrait doubtless4 ,his face is painted as it really was1 wart and all1 but it has pleased him to be represented in the character of ,peter1 a famous member of his order 7see under #hab74 #hji4 ,,the ,,holy ,,family4 ,michael ,angelo 7,florentine3 #adge-aefd74 ,see #gij4 ,the ,virgin mother is seen withholding from the child ,saviour the prophetic writings in which ,his sufferings are foretold4 ,angelic figures beside them examine a scroll-- ,turn not the prophet's page1 ,o ,son6 ,he knew ,all that ,thou hast to suffer and hath writ4 ,not yet ,thine hour of knowledge4 ,infinite ,the sorrows that thy manhood's lot must rue ,and dire acquaintance of ,thy grief4 ,that clue ,the spirits of ,thy mournful ministerings1 ,seek through yon scroll in silence4 ,for these things ,the angels have desired to look into4 ,still before ,eden waves the fiery sword1-- ,her ,tree of ,life unransomed3 whose sad tree ,of ,knowledge yet to growth of ,calvary ,must yield its ,tempter1--,hell the earliest dead ,of ,earth resign1--and yet1 ,o ,son and ,lord1 ,the ,seed o' the woman bruise the serpent's head4 ,d4 ,g4 ,,rossetti3 ,sonnets and ,ballads4#ahg ,this picture was at one time attributed to ,domenico ,ghirlandajo2 and ,signor ,frizzoni now attributes it to ,granacci4 ,but1 says ,sir ,edward ,poynter1 the beauty of the figures1 the nobility of the heads1 and the fine qualities of drawing and modelling stamp it as the work of the great master himself4 ,in my judgment1 says ,symonds 7,life of ,michelangelo ,buonarroti1 i4 #fe71 this is the most beautiful of the easel pictures attributed to ,michelangelo4444 ,florentine painters had been wont to place attendant angels at both sides of their enthroned ,madonnas4 ,but their angels were winged and clothed like acolytes2 the ,madonna was seated on a rich throne or under a canopy1 with altar-candles1 wreaths of roses1 flowering lilies4 ,it is characteristic of ,michelangelo to adopt a conventional motive1 and to treat it with brusque originality4 ,in this picture there are no accessories to the figures1 and the attendant angels are ,tuscan lads half draped in succinct tunics4 ,the types have not been chosen with regard to ideal loveliness or dignity1 but accurately studied from living models4 ,this is very obvious in the heads of ,christ and ,st4 ,john4 ,the two adolescent genii on the right hand possess a high degree of natural grace4 ,yet even here what strikes one most is the charm of their attitude1 the lovely interlacing of their arms and breasts1 the lithe alertness of the one lad contrasted with the thoughtful leaning languor of his comrade4 ,only perhaps in some drawings of combined male figures made by ,ingres1 for his picture of the ',golden ,age1' have lines of equal dignity and simple beauty been developed4 #haj4 ,,pardon ,,day ,,in ,,brittany4 ,charles ,poussin 7,french3 born #ahai74 ,m4 ,pierre ,charles ,poussin1 a pupil of ,l4 ,cogniet1 was an exhibitor at the ,french ,salon from #ahdb to #ahhb4 ,many of his pictures were1 like this one1 of scenes in ,brittany4 ,the scene is that of a fte held in honour of ,notre ,dame de ,bon ,secours of ,guingamp in ,brittany1 on the #bnd of ,july in every year4 ,pope ,paul ,v4 in #afai granted a plenary indulgence to all persons who truly confessed and communicated1 who shall visit the said church of ,notre ,dame de ,guingamp on the day and fte of the ,visitation of the ,blessed ,virgin ,mary1 which it is the custom every year to celebrate on the #bnd day of ,july2 who shall devotionally pray for the preservation of concord and peace among all ,christian princes2 who shall render hospitality to the poor pilgrims2 who shall make peace with their enemies1 and shall promote it amongst others--shall1 in short1 sweetly bring into the way of salvation some unfortunate and erring soul4 ,an ,english visitor published a long account of the fte in the ,standard of ,july #e and following days in #ahgj1 describing the frank but sedate festivity and merry-making under the trees4 ,that was twenty years after this picture was painted4 #haa4 ,,tobias ,,and ,,the ,,angel4 ,salvator ,rosa 7,neapolitan3 #afae-afgc74 ,see under #hd4 ,for the subject of ,tobias1 who is in the water holding the fish1 see #gha4 ,the wild rocky landscape conveys a general sense of savage power4 ,salvator1 says ,ruskin1 is a good instance of vicious execution1 dependent on too great fondness for sensations of power1 vicious because intrusive and attractive in itself1 instead of being subordinate to the results and forgotten in them 7,modern ,painters1 vol4 i4 pt4 i4 sec4 ii4 ch4 ii4 #i74 #hab4 ,,the ,,death ,,of ,,st4 ,,peter ,,martyr4 ,giovanni ,bellini#ahh 7,venetian3 #adbf-aeaf74 ,see #ahi4 ,peter ,martyr was general of the ,dominicans in #abeb1 a most powerful person in the ,holy ,inquisition1 and a violent persecutor for what he deemed the true faith1 which made him many inveterate enemies4 ,there was one family in particular which he had treated with excessive cruelty1 and their relations1 who were in the army1 were so enraged by ,peter's barbarity that they resolved to revenge themselves4444 ,having been informed that he was to make a visit to a distant province in pursuit of some wretched heretics1 who had been denounced to the inquisition1 they lay in wait for him in a wood1 through which they knew he must pass1 in company with one person1 a friar of his convent2 here they attacked him1 cleft his skull with a sabre1 and left him dead on the spot 7,mrs4 ,jameson2 ,handbook to the ,public ,galleries1 #ahdb1 i4 #gj74 ,this picture1 one of the painter's latest works1 is interesting1 first1 for its skill in landscape4 ,it is a true piece of local scenery that ,bellini paints1--all ,italian in masses of intricate wood and foliage1 in plain1 mountain1 and buildings1 and glowing1 not under direct sunshine1 but with the soft suffusion of southern light 7,layard1 i4 #cab74 ,it is1 says ,ruskin1 one of the six most beautiful landscapes in the earlier medival art1 of the purist school1 being wholly felicitous and enjoyable4 ,every leaf is painted with loving care1 and ,bellini treats the incident in the foreground as entirely cheerful and pleasing2 it does not disturb or even surprise him1 much less displease in the slightest degree4 ,you see in a moment the main characteristic of the school1--that it mattered not in the least to ,john1 and that he doesn't expect it to matter to you1 whether people are martyred or not1 so long as one can make a pretty grey of their gown1 and a nice white of their sleeves1 and infinite decoration of forest leaves behind1 and a divine picture at last out of all4 ,everything in the world was done and made only that it might be rightly painted--that is the true master's creed 7,verona and its ,rivers1 #bg1 and ,lectures on ,landscape1 pp4 #bb1 #fe1 #gc74ahi ,notice1 further1 ,bellini's compliance1 as far as the subject admitted1 with one of the conditions of the greatest art1 serenity in state or action4 ,you are to be interested in the living creatures2 not in what is happening to them4444 ,it is not possible1 of course1 always literally to observe this condition1 that there shall be quiet action or none2 but ,bellini's treatment of violence in action you may see exemplified in a notable way in his ,st4 ,peter ,martyr4 ,the soldier is indeed striking the sword down into his breast2 but in the face of the ,saint is only resignation and faintness of death1 not pain--that of the executioner is impassive2 and while a painter of the later schools would have covered breast and sword with blood1 ,bellini allows no stain of it2 but pleases himself with most elaborate and exquisite painting of a soft crimson feather in the executioner's helmet 7,relation between ,michael ,angelo and ,tintoret1 p4 #af74 #had4 ,,dutch ,,boats ,,in ,a ,,calm4 ,p4 ,j4 ,clays 7,belgian3 #ahah-aijj74 ,paul ,jean ,clays was a native of ,bruges4 ,he studied art in ,paris under ,gudin1 and afterwards settled at ,brussels1 where in #ahea he received a gold medal4 ,he frequently exhibited at the ,french ,salon1 and was a chevalier of the ,legion of ,honour as well as of the ,order of ,leopold4 ,for a long time1 says a ,french critic1 the sea1 or rather the water1 has had no interpreter more exact than ,clays3 he knows its clearness1 and he knows how to render the little noisy waves1 all bathed in light4 ,he does not paint the sea1 says another1 but the ,scheldt where it widens1 and those gray and light waters that bear you on a steamer from ,moerdyk to ,rotterdam4 ,with a profound feeling for these things he expresses the humidity of the skies of ,western ,flanders1 the sleep of the calmed waters1 or the caressing1 and sometimes menacing1 of the breeze which makes the little uneasy waves stride around the barges loaded to the brim4 ,some of his pictures have fetched very large prices--one having sold in ,new ,york for #ceej 7,miss ,clement and ,laurence ,hutton3 ,artists of the ,nineteenth ,century74 #hae4 ,,dutch ,,boats ,,at ,,flushing4 ,p4 ,j4 ,clays 7,belgian3 #ahah-aijj74 ,see #had4 #haf4 ,,the ,,incredulity ,,of ,,st4 ,,thomas4 ,cima da ,conegliano 7,venetian3 #adfj-aeah74 ,see #cjj4 ,a picture interesting among other things for its history4 ,it is signed and dated 7#aejd71 and was painted as a commission for a religious fraternity1 for the altar of their patron saint1 ,st4 ,thomas1 in the church of ,st4 ,francesco at ,portogruario 7near ,conegliano74 ,the price paid for it was equal to about #ag sterling1 at that time representing a considerable sum4 ,the account of its cost and of a law-suit instituted by the painter against the fraternity is still preserved4 ,for #cbh years it remained in its original place2 it was then removed by the local authorities1 and in #ahgj was sold to our ,government4 ,when bought it was greatly disfigured by various repaints1 and was otherwise in bad condition4 ,judicious cleaning and restoration 7by ,mr4 ,wm4 ,dyer7 have brought out its fine qualities4 ,the heads are highly expressive1 and some of the figures 444 of great dignity 7,layard1 i4 #cbe74 #hag4 ,,teniers',s ,,country-,,seat ,,at ,,perck4 ,teniers 7,flemish3 #afjj-afid74 ,see #aed4 ,a perfect type of the ,unromantic ,art which was assailed by the gentle enthusiasm of the ,english ,school of ,landscape4 ,it represents a few ordinary ,dutch houses1 an ordinary ,dutch steeple or two1 some still more ordinary ,dutch trees1 and most ordinary ,dutch clouds1 assembled in contemplation of an ordinary ,dutch duck-pond2 or1 perhaps1 in respect of size1 we may more courteously call it a goose-pond4 ,all these objects are painted either gray or brown1 and the atmosphere is of the kind which looks not merely as if the sun had disappeared for the day1 but as if he had gone out altogether1 and left a stable lantern instead4 ,the total effect having appeared1 even to the painter's own mind1 at last little exhilatory1 he has enlivened it by three figures on the brink of the goose-pond--two gentlemen and a lady1--standing all three perfectly upright1 side by side1 in court dress1 the gentlemen with expansive boots1 and all with conical hats and high features4 ,in order to invest those characters with dramatic interest1 a rustic fisherman presents to them1 as a tribute1--or1 perhaps1 exhibits as a natural curiosity1--a large fish1 just elicited from the goose-pond by his adventurous companions1 who have waded into the middle of it1 every one of them1 with singular exactitude1 up to the calf of his leg 7,art of ,england1 pp4 #bji1 #baa74 ,the group on the left comprise the painter and his wife1 another lady1 and his son4 #hah4 ,,coast ,,scene4 ,bakhuizen 7,dutch3 #afca-agjh74 ,see #bjd4 #hai4 ,,off ,,the ,,mouth ,,of ,,the ,,thames4 ,bakhuizen 7,dutch3 #afca-agjh74 ,see #bjd4 ,on representations of rough weather by this painter and ,vandevelde1 ,ruskin writes as follows3 ,if one could but arrest the connoisseurs in the fact of looking at them with belief1 and1 magically introducing the image of a true sea-wave1 let it roll up through the room1--one massive fathom's height and rood's breadth of brine1 passing them by but once1--dividing1 ,red-,sea like1 on right hand and left1--but at least setting close before their eyes1 for once in inevitable truth1 what a sea-wave really is2 its green mountainous giddiness of wrath1 its overwhelming crest--heavy as iron1 fitful as flame1 clashing against the sky in long cloven edge1--its furrowed flanks all ghastly clear1 deep in transparent death1 but all laced across with lurid nets of spume1 and tearing open into meshed interstices their churned veil of silver fury1 showing still the calm gray abyss below2 that has no fury and no voice1 but is as a grave always open1 which the green sighing mounds do but hide for an instant as they pass4 ,would they1 shuddering back from this wave of the true1 implacable sea1 turn forthwith to the papillotes8 ,it might be so4 ,it is what we are all doing1 more or less1 continually 7,harbours of ,england1 p4 #ai74 ,in default of the actual sea-wave1 the visitor may be recommended to look next at ,turner's rough seas 7#dgb and #dgf74 ,such a comparison will show how much of the roughness in the ,dutch pictures is due to mere blackness1 how little to any terror in the forms of the waves1 such as ,turner depicts4 #hbj4 ,,landscape ,,with ,,ruin4 ,berchem 7,dutch3 #afbj-afhc74 ,see #gh4 #hba4 ,a ,,family ,,group4 ,gonzales ,coques 7,flemish3 #afah-afhd74 ,in spite of his ,spanish-sounding name1 this artist was a pure ,fleming4 ,he was born at ,antwerp and appears never to have left his native town4 ,his father1 whose surname was ,cocx1 gave the child the name of ,gonzalvus3 these names the painter afterwards changed to ,gonzales ,coques4 ,his first master was ,peter ,breughel 7the third painter of that name74 ,he afterwards studied under ,david ,ryckhaert the ,elder1 whose daughter he married4 ,his first subjects were conversation-pieces and assemblies2 but the extraordinary reputation acquired by ,van ,dyck for his portraits inspired ,coques with the ambition to distinguish himself in like manner1 although on a smaller scale4 ,there is in the little works of ,coques the same air of elegance and refinement which distinguishes ,van ,dyck4 ,hence he has been called the ,little ,van ,dyck4 ,his works1 says ,brger1 are ,van ,dycks seen through the wrong side of the glass2 or as another critic puts it1 ,van ,dycks in #ahmo4 ,they were greatly admired during his lifetime1 and he was patronised by ,charles ,i41 the ,archduke ,leopold1 and the ,prince of ,orange4 ,his works1 however1 are very rare2 about half of them are in this country4 ,he was admitted as a master in the ,guild of ,painters in #afdj-da1 and twice served as its ,dean1 in #affe-ff and #afhj-ha4 ,notice the youngest child in the go-cart1 which is being pushed by another of the children1 whilst the eldest sister1 as befits her years1 is playing the guitar4 ,and the little dogs1 as befits them1 are sporting in front4 ,it is pretty of the painter or his sitters to include them in the family group4 #hbb4 ,,an ,,evening ,,landscape4 ,cuyp 7,dutch3 #afbj-afia74 ,see #ec4 ,an excellent example of the hazy1 drowsy effect in which ,cuyp excelled4 ,a brewer by trade1#aij he feels the quiet of a summer afternoon1 and his work will make you marvellously drowsy4 ,it is good for nothing else that ,i know of2 strong1 but unhelpful and unthoughtful4 ,nothing happens in his pictures1 except some indifferent persons asking the way of somebody else1 who1 by the cast of countenance1 seems not likely to know it4 ,for further entertainment1 perhaps1 a red cow and a white one2 or puppies at play1 not playfully2 the man's heart not going even with the puppies4 ,essentially he sees nothing but the shine on the flaps of their ears 7,modern ,painters1 vol4 v4 pt4 ix4 chap4 vi4 #ab74 #hbc4 ,,on ,,the ,,meuse4 ,cuyp 7,dutch3 #afbj-afia74 ,see #ec4 ,notice the reflections4 ,cuyp is a man of large natural gift1 and sees broadly1 nay1 even seriously2 finds out--a wonderful thing for men to find out in those days--that there are reflections in the water1 and that boats require often to be painted upside down 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 vi4 #ab74 #hbd4 ,a ,,ruined ,,castle4 ,cuyp 7,dutch3 #afbj-afia74 ,see #ec4 ,the castle may be the same as that seen in ,no4 #abhi4 ,some lines from ,beattie's ,scotland have been applied to it3-- ,behold our lakes 444 ,each girdled with its mountain belt ,of rock and tower and forest trees1 ,and gemmed with island sanctuaries ,like floating palaces1 they seem ,the elysium of a poet's dream4 ,this picture was originally bought at ,horn1 in the ,netherlands1 of an old clothesman1 for #as4 #c;d4 ,sir ,robert ,peel paid #cej guineas for it4 #hbe4 ,,the ,,poulterer',s ,,shop4 ,gerard ,dou 7,dutch3 #afac-afge74 ,see #aib4 ,this picture1 as an acknowledged chef d'oeuvre of the master1 has long been celebrated4 ,it was purchased by ,sir ,robert ,peel from the ,fonthill ,collection in #ahbc for #abgj4 ,mrs4 ,jameson1 on seeing the picture at ,sir ,r4 ,peel's1 wrote3 ,all executed with such a nicety of touch--such an inconceivable truth and minuteness of imitation--as to render the picture a very miracle of art4 ,a higher merit consists in the admirable painting of the heads1 especially that of the old woman1 which is full of life4 ,a wicker market-basket is a common homely thing1 but look at its presentment here--every polished1 well-used twig of it following the true undulations of form and colour1 light and shade1 through the marvellous patience and skill of the vanished ,dutchman--and see if it does not produce an exquisite poetic tremor by the thoughts it evolves4 ,there is a dead image of the barnyard cock which ,mr4 ,darwin may compare with the barndoor fowl of to-day as accurately as if it were photographed4 ,his once fiery eye is glazed and sightless as a dim pearl1 his neck feathers ruffled but no longer in anger or pride2 his pale1 amber-coloured legs helplessly and ingloriously reversed1 their impatient and masterful scratching among his dames in the stubble over for ever2 the glossy purples1 greens1 and blacks of his tail-feathers rising sharp and delicate out of the speckled hazes of colour which it required days and days to lay side by side among the crushed and crowding plumes4 ,the cock1 the horologe of ,thorpe's light1 crows no more to the answering hill-farms4 ,he is destined for the spit of the housewife who holds up the hare4 ,but his fate was glorious1 for by what tens of thousands since the year #afej or thereabouts have his perfections been admired and praised4 ,it was worth living for1 and1 to chanticleer1 worth dying for1 to become the occasion of such a miracle of art 7,smetham's ,literary ,works1 p4 #bdj74 #hbf4 ,,figures ,,and ,,animals4 #hbg4 ,,fording ,,the ,,stream4 #hbh4 ,,landscape ,,with ,,cattle4 ,karel du ,jardin 7,dutch3 #afbb-afgh74 ,this painter was the ablest of the followers of ,nicolas ,berchem1 and like that master often painted ,italian scenery4 ,he stayed for some years in ,rome1 where his pictures were greatly admired1 and where1 in the jovial artist circles of the day1 he was given the nickname of ,barbe de ,bouc 7goat's-beard74 ,on his return from ,italy he is said to have stayed some time at ,lyons1 where he married a widow with whom he afterwards settled in ,holland4 ,he resided at the ,hague from #afef to #afei1 and there was much influenced by the example of ,paul ,potter4 ,he next moved to ,amsterdam1 which he made his home for some years4 ,he returned in the end to the ,italian haunts of his early years1 and died at ,venice4 ,in his best pastoral works1 the truth and finish of his execution1 the brilliancy of their atmosphere1 and the harmonious colouring1 are attractive4 ,he also painted portraits and large groups1 and executed some good etchings4 ,it has been said of ,du ,jardin that his works are excellent when they are not detestable1 a remark which is well exemplified in these pictures4 ,no4 #hbg is at once vulgar in incident and unpleasant in colour4 ,no4 #hbf1 on the other hand1 one of the pastoral idyls for which ,du ,jardin is famous1 is a chef d'oeuvre of the painter 7,sir ,robert ,peel paid #icj guineas for it74 ,no4 #hbh has a true ,italian air1 and there is a touch of almost pathetic humour in the contrast between the cow and the woman4 ,it is the beast that has its eyes on the sunset and enjoys the benediction of the evening hour4 ,the woman is cumbered with much serving1 and spins with her back to the light4 #hbi4 ,a ,,stag ,,hunt4 ,jan ,hackaert 7,dutch3 #afbi-afif74 ,hackaert was a native of ,amsterdam1 but between the years #afec and #afeh he travelled much in ,switzerland1 ,germany1 and ,italy4 ,at this time he chose his subjects from the mountains4 ,in painting the landscape of his own country he especially affected woodland views1 with effects of light shining through the trees4 ,the figures in this picture are attributed to ,n4 ,berchem4 #hcj4 ,,the ,,avenue1 ,,middelharnis4 ,hobbema 7,dutch3 #afch-agji74 ,see #fhe4 ,perhaps the best rendering of a ,dutch village in the ,gallery--beautiful alike in its general effect and in the faithful way in which every characteristic of the country is brought out4 ,note the long avenue1 a ,high ,street1 as it were1 of lopped trees1 to lead the traveller to the village2 the bright red roofs1 suggestive already in the distance of the cheerful cleanliness he will find2 the broad ditch on either side of the road--the land reclaimed from the water1 and the water now embanked to fertilise the land2 the neat plantations1 allotments it may be1 each as trim and well kept as a lawn2 and lastly1 the nursery-garden on the left1 in which the gardener1 smoking1 like the true ,hollander1 as he works1 is pruning some grafted trees4 ,middelharnis is one of several places that dispute the honour of being ,hobbema's birthplace4 ,this picture--which is signed1 and dated #af-i 7third figure illegible7--is generally recognised as the painter's masterpiece4 ,the subject is unusual1 showing a more open landscape and a wider expanse of sky than ,hobbema ordinarily represented4 ,the power and freshness with which he has treated the theme are remarkable4 ,such daylight1 says ,waagen1 ,i have never seen in any picture4 ,it is to be noted further that the artist makes no effort to attain the picturesque1 and that the picture offends in some respects against the laws of composition4 ,thus ,m4 ,michel complains of the road coming straight1 at once cutting the picture awkwardly in two1 of the slender trees with which it is symmetrically bordered1 and which have on their tops only small plumes of foliage1 of the parallel ditches which hold in the road on either side1 and of the cross-road which cuts the picture horizontally1 and lastly1 the rose-trees and shrubs planted regularly in straight lines4 ,all this1 he says1 does not make a very picturesque picture4 ,for our own part1 it is the fearless and truthful manner in which ,hobbema has treated what must at first sight have appeared an unpromising subject1 that is one of its greatest charms 7,cundall3 ,the ,landscape ,painters of ,holland1 p4 #ec74 ,like ,hobbema's pictures generally1 this masterpiece was held in little honour in its own country4 ,it was sold at ,dort in #ahae for #ij4 ,sir ,robert ,peel bought it in #ahbi for #hjj4 ,it is said to have been restored and retouched by ,reinagle 7see ,mrs4 ,jameson's ,handbook to the ,private ,galleries of ,london1 p4 #ced n474 #hca4 ,,the ,,ruins ,,of ,,brederode ,,castle4 ,hobbema 7,dutch3 #afch-agji74 ,see #fhe4 ,this fine picture also is somewhat unusual in subject for ,hobbema1 who was ordinarily content with humble village scenes4 ,it affords a good instance of his literal truth to nature4 ,m4 ,michel1 in his monograph on the painter1 gives side by side a reproduction of it and a sketch from his own pen of the ruins as they exist to-day1 which1 with the exception of the addition of a modern barbaric bell-turret and some battlements1 preserve almost the identical appearance which ,hobbema portrayed upwards of two centuries ago4 ,the ivy continues to entwine its garlands round the disjointed bricks1 and1 as formerly1 the ducks sport in the stagnant waters of the moat1 or take a luxurious siesta amidst the tufts of grass on its banks1 while the rooks and crows1 installed as masters in the recesses of the ancient walls1 fill the air with their incessant cries 7quoted in ,cundall's ,landscape and ,pastoral ,painters of ,holland1 #ahia1 p4 #eb74 ,the ducks#aia are ascribed to ,wyntrank2 the figures to ,lingelbach4 ,the picture is signed1 and dated #affg4 ,it was1 however1 at one time re-christened as a ,wijnants1 in order to procure a better price at auctions4 ,in #ahbe it sold for #hhj4 #hcb4 ,a ,,village ,,with ,,watermills4 ,hobbema 7,dutch3 #afch-agji74 ,see #fhe4 ,this is one of ,hobbema's most usual subjects--a cottage1 a mill1 a few trees4 ,the effect is that of a summer sky1 with light fleecy clouds1 and gleams of sunshine seem to pass over the scene4 ,sir ,robert ,peel paid #ebe for the picture4 ,it should be compared with ,ruysdael's of a similar scene 7#ihf74 #hcc4 ,a ,,forest ,,scene4 ,hobbema 7,dutch3 #afch-agji74 ,see #fhe4 #hcd4 ,a ,,dutch ,,interior4 ,pieter de ,hooch 7,dutch3 #afcj-;about #afgg74 ,see #gid4 ,this picture is interesting as enabling us to discern the painter's technical process4 ,the more luminous parts of it1 such as the costumes of the two men at the table1 are painted in semi-opaque colour over a brilliant orange ground4 ,here and there the orange may be seen peeping out1 and its presence elsewhere gives a peculiar pearliness to the tints laid upon it4 ,de ,hooch painted very thinly4 ,in this picture the maid with the brazier is an afterthought4 ,she is painted over the tiles and other details of the background1 which now show through her skirts4 ,before she was put in1 this space to the right was occupied by an old gentleman with a white beard and moustache1 and a wide-brimmed hat1 all of which can be descried under the brown of the mantelpiece 7,armstrong3 ,notes on the ,national ,gallery1 pp4 #cf1 #cg74 #hce4 ,,court ,,of ,a ,,dutch ,,house4 ,pieter de ,hooch 7,dutch3 #afcj-;about #afgg74 ,see #gid4 ,a courtyard at ,delft3 superbly painted1 and a good picture of ,dutch home life--of its neatness1 its cleanliness1 its quiet1 and its content4 ,notice over the entrance a commemorative inscription1 partly covered already by vine leaves1 dated #afad4 ,the day's work is done1 and the wife stands in the porch1 waiting for her husband's return2 a servant brings down the child too into the courtyard to greet its father4 ,it is natural to think your own house and garden the nicest house and garden that ever were4444 ,they are a treasure to you which no money could buy1--the leaving them is always pain1--the return to them a new thrill and wakening to life4 ,they are a home and a place of root to you1 as if you were founded on the ground like its walls1 or grew into it like its flowers 7,fors ,clavigera1 #ahgf1 p4 #ea74 ,such a home 7says ,mr4 ,pater in his ,imaginary ,portraits7 was1 in its minute and busy wellbeing1 like an epitome of ,holland itself1 with all the good-fortune of its thriving genius reflected1 quite spontaneously1 in the national taste4 ,the nation had learned to content itself with a religion which told little1 or not at all1 on the outsides of things4 ,but we may fancy that something of the religious spirit had gone1 according to the law of the transmutation of force1 into the scrupulous care for cleanliness1 into the grave1 old-world1 conservative beauty of ,dutch houses1 which meant that the life people maintained in them was normally affectionate and pure4 ,this picture was much admired by ,constable4 ,the least mannered1 he said1 and consequently the best pictures ,i have seen1 are some of the works of ,de ,hooge1 particularly one of an outdoor subject1 at ,sir ,r4 ,peel's4 ,his indoors are as good1 but less difficult1 as being less lustrous 7,leslie's ,life of ,constable1 p4 #bii74 ,the picture is signed1 and dated #afeh4 #hcf4 ,a ,,view ,,in ,,holland4 ,philip de ,koninck 7,dutch3 #afai-afhh74 ,koninck1 or ,koning1 was born at ,amsterdam and became a pupil of ,rembrandt4 ,he painted historical subjects and portraits1 but it is for his landscapes that he is now most admired4 ,these are generally expansive views in which aerial perspective is well given3 ,the distances of the painters of the older schools had been full of objects and figures as minutely rendered as those on the foremost places1 only ever so much smaller4 ,compare with these distances the simply treated expanse of country offered to view in ,p4 de ,koninck's landscapes4 ,here we do not have merely a series of objects getting smaller as they recede1 but a far more generalised representation of the whole face of nature bathed in an atmosphere in which objects are lost to view 7,baldwin ,brown's ,fine ,arts1 p4 #cja74 ,there is a repetition of this picture in the ,royal ,museum at the ,hague4 ,one may presume that ,koninck's pictures had aristocratic purchasers2 for1 unlike the painters of pastoral landscape1 he is fond of introducing persons of distinction--here it is a hawking party2 in #igd a carriage-and-six with outriders4 #hcg4 ,,the ,,hay ,,harvest4 ,jan ,lingelbach 7,dutch3 #afbc-afgd74 ,though a ,german by birth1 ,lingelbach is included amongst the ,dutch painters2 for he lived chiefly in ,amsterdam1 and was largely employed in inserting the figures in the landscapes of ,wynants and others4 ,he also passed some years in ,italy1 and frequently painted ,italian scenes and incidents4 #hch4 ,,the ,,duet4 ,gabriel ,metsu 7,dutch3 #afcj-affg74 ,metsu is one of the genre painters who are now appraised most highly--sums of #behj and #cbjj severally were given at the ,secrtan ,sale for pictures of his4 ,in the ,hertford ,house ,gallery are some good specimens which the late ,sir ,richard ,wallace acquired at great cost4 ,though1 like most of his brother-artists1 he was fond of painting tavern-scenes 7e4g4 ,no4 #igj71 he was also a painter of high life and the drawing-room1 like ,terburg and ,netscher4 ,in each of these spheres he combined humour with expression1 a keen appreciation of nature with feeling1 and breadth with delicacy of touch1 in a manner unsurpassed by any of his contemporaries 7,crowe74 ,when his pictures have escaped the ordeal of ruthless cleaning they are pervaded by the finest tone1 and the whites in them have that delicate glow which distance and atmosphere lend to snowy peaks4 ,it is obvious that he caressed this least manageable of colours with unceasing love4 ,altogether his works have a quality of distinction rare in those of any school 7,burton74 ,metsu's father was a painter1 whose third wife 7the mother of ,gabriel7 was a painter's widow4 ,the boy was taught by ,gerard ,dou1 and already at the age of fourteen was admitted a member of the ,leyden ,guild of ,painters4 ,in #afej he removed to ,amsterdam1 where he fell under the influence of ,rembrandt4 ,the large picture in the ,louvre of ,the ,woman taken in ,adultery1 signed by ,metsu and dated #afec1 shows this fact4 ,metsu did not1 however1 adhere to religious subjects1 but applied the lessons he learnt from the great master to subjects more congenial to his talent4 #hci4 ,,the ,,music ,,lesson4 ,gabriel ,metsu 7,dutch3 #afcj-affg74 ,a picture that might serve as an illustration of the gamut of ,hortensio 7see ,taming of the ,shrew1 ,act4 iii4 sc4 #a74 #hdj4 ,a ,,lady ,,feeding ,a ,,parrot4 ,frans van ,mieris 7,dutch3 #afce-afha74 ,this painter1 the son of a goldsmith 7one of twenty-three children7 and the pupil of ,gerard ,dou1 is known as ,old ,frans1 to distinguish him from his grandson of that name1 who1 like his son ,william 7see #hda71 was also a painter4 ,the works of ,frans are very much superior to those of his successors4 ,unlike ,william ,mieris1 he rarely cared to carry the eye from the beautiful painting of the figures by working up or covering the base of the casement with highly finished bas-reliefs4 ,that kind of thing may be looked for in ,william ,mieris's curiously finished pictures1 but certainly is not wanted in the works of ,francis4 ,his female figures1 independently of being always well painted1 are often graceful and pretty2 he could paint a lady at her toilet with the delicacy and feeling of ,metsu and ,terburg1 and was besides happy in varying the expressions and faces of his female beauties2 he was fond of painting them in richly coloured jackets trimmed with fur4 ,he was also a capital hand at painting birds 7,seguier74 ,the elegance and high technical qualities of his productions brought him numerous and distinguished patrons4 ,the ,grand ,duke of ,tuscany visited him at ,leyden1 and the ,archduke ,leopold ,william desired to attract him to ,vienna4 ,mieris1 however1 would not leave ,leyden2 nor did his large and lucrative practice induce any carelessness or neglect in his work4 #hda4 ,a ,,fish ,,and ,,poultry ,,shop4 ,willem van ,mieris 7,dutch3 #affb-agdg74 ,the son of ,frans 7see above1 #hdj74 ,he succeeded to his father's practice1 but was an indifferent imitator4 ,a comparison between him and the leading ,little ,masters of ,holland will show the difference between true finish and laborious trifling4 ,decidedly an artistic shop3 notice the elaborate bas-relief 7as also in #hbe71 with marine subjects suitable to a fishmonger's1 below the shop-window1 and the handsome curtain ready to serve as shutters4 ,the picture is sometimes called ,the ,cat1 from the cat eyeing the duck whose head hangs from the window-sill4 #hdb4 ,a ,,garden4 ,frdric de ,moucheron 7,dutch3 #afcc-afhf74 ,this painter came of an ,antwerp family1 but he studied and afterwards settled at ,amsterdam4 ,he also studied and worked for some years in ,paris4 ,he confined himself to landscape2 ,lingelbach1 ,a4 van de ,velde and others were employed to paint in his figures4 ,the figures here are ascribed to ,adrian van de ,velde4 #hdc4 ,,blowing ,,bubbles4 ,gaspard ,netscher 7,dutch3 #afci-afhd74 ,netscher1 one of the chief painters of ,dutch high life1 had a somewhat eventful career4 ,he was born at ,heidelberg1 which was then being besieged4 ,his mother1 after seeing her two elder children die of hunger before her eyes1 escaped with ,gaspard through the investing lines to ,arnheim4 ,the boy was intended for a doctor1 but took to painting and studied under ,terburg4 ,in #afei he started on a tour to ,italy1 but at ,bordeaux he fell in love with a girl from ,lige1 whom he married4 ,he settled at ,bordeaux1 but his pictures1 such as this1 which are now so much valued1 then brought him but slight remuneration2 and after returning to the ,hague1 he turned his attention to portrait-painting4 ,several of his portraits are of ,english sitters1 and it is supposed that he visited this country1 but this is uncertain4 ,netscher's portraits are generally on a small scale1 and very highly finished4 ,he was patronised by ,william ,,iii41 and was rapidly acquiring fame1 when he died at the age of forty-five4 ,his genre pieces resemble those of ,f4 ,mieris4 #hdd4 ,,maternal ,,instruction4 ,netscher 7,dutch3 #afci-afhd74 ,see #hdc4 ,notice in the background1 over a cupboard1 hanging in a black frame1 a small copy of ,rubens' ,brazen ,serpent1 now in this collection 7#ei74 #hde4 ,a ,,lady ,,at ,a ,,spinning ,,wheel4 ,netscher 7,dutch3 #afci-afhd74 ,see #hdc4 #hdf4 ,,the ,,alchymist4 ,adrian van ,ostade 7,dutch3 #afaj-afhe74 ,adrian1 the elder of the two ,ostades1 was a pupil of ,frans ,hals4 ,later in life1 he felt the influence of ,rembrandt1 and he painted some religious subjects4 ,but he is best known for his scenes from peasant life4 ,these are now greatly esteemed1 and pictures which the painter himself probably sold for a few shillings now fetch hundreds and even thousands of pounds4 ,adrian ,ostade is the contemporary of ,teniers1 and it is interesting to compare their respective delineations of rustic life4 ,the contrast lies in the different condition of the agricultural classes of ,brabant and ,holland4 ,brabant has more sun1 more comfort1 and a higher type of humanity2 ,teniers1 in consequence1 is silvery and sparkling2 the people he paints are fair specimens of a well-built race4 ,holland1 in the vicinity of ,haarlem1 seems to have suffered much in war2 the air is moist and hazy1 and the people1 as depicted by ,ostade1 are short1 ill-favoured1 and marked with the stamp of adversity on their features and dress4 ,the greatness of ,ostade lies in the fact that he often caught the poetic side of the life of the peasant class1 in spite of its ugliness and stunted form and mis-shapen features4 ,he did so by giving their vulgar sports1 their quarrels1 even their quieter moods of enjoyment1 the magic light of the sun-gleam1 and by clothing the wreck of cottages with gay vegetation 7,crowe74 ,ostade was especially fond of the foliage of the vine4 ,he is often coarse1 but sometimes shows a genuine sense of humour4 ,he had1 says ,sir ,f4 ,burton1 artistic qualities of a high order--consummate skill in composition and taste in arrangement2 subtlety of chiaroscuro and refined delicacy of colour2 appropriate1 and never overstrained action in the figures1 and precision1 combined with breadth1 of handling4 ,his earlier pictures are the coolest in tone2 those of his middle period more golden1 showing gradually the influence of ,rembrandt4 ,his drawings and etchings are extremely fine4 ,his father1 ,jan ,hendrik1 was a weaver2 the children adopted the name of ,ostade from a small hamlet1 near ,eindhoven1 which their parents left to settle at ,haarlem4 ,there ,adrian lived and worked1 being enrolled as a member of the ,civic ,guard in #afcf1 and becoming ,dean of the ,painters' ,guild in #affb4 ,he was twice married2 the second time1 to a daughter of ,jan van ,goyen4 ,under the three-legged stool is a paper on which is written a warning of the vanity of the alchymist's labour--oleum et operam perdis3 you are wasting your cost and pains--a warning not unjustified in a painter's mouth1 for more than one old master devoted the end of his life to the fruitless task of making gold 7e4g4 ,parmigiano1 see #cc74 ,the ,english painter1 ,romney1 too1 dabbled in alchemy when he was a young man1 and in his declining years sketched a melodrama representing the progress of an alchymist in quest of the philosopher's stone4 ,the picture is signed 7on a shovel hanging against the wall71 and dated #affa4 ,it is1 says ,mr4 ,j4 ,t4 ,nettleship in a comparison between ,ostade and ,george ,morland1 a marvellous example of the atmosphre de tableau4 ,everything takes its place1 but is also a wonder of finish4 ,the whole picture gives you a large feeling of space and tone4 ,and there is no bogeydom1 no straining after weirdness2 the whole is a common workshop1 the scene of the man's daily life2 he feeds well1 one is sure--if he has dreams his face does not betray them1 it is just the face of a born craftsman4 ,it is impossible to look at this picture without acknowledging the influence such work must have had on ,morland4 ,but ,morland never achieved such delicacy united to breadth1 such finish combined with harmony of effect1 though before he took the wrong turn he came near achieving it 7,george ,morland1 p4 #bc74 #hdg4 ,a ,,village ,,scene4 ,isaac van ,ostade 7,dutch3 #afba-afdi74 ,isaac1 born at ,haarlem1 was the younger brother of ,adrian van ,ostade1 with whom he remained as pupil till #afda1 when he set up in business on his own account4 ,there is a record of a transaction of his in that year which throws an interesting light on the picture-dealing world of the day4 ,in #afdc a dealer summoned him for breach of a contract made in #afda to deliver six pictures and seven rounds for twenty-seven florins4 ,part of ,isaac's defence was that his pictures had since risen in value4 ,the case was referred to the ,painters' ,guild1 which decided that he must perform his contract1 but that the number of the rounds should be reduced to five and the price of the whole be increased to fifty florins4 ,it may be conjectured that the low value thus set upon the cottage scenes in his brother's manner induced ,isaac to cultivate a different style of his own4 ,this consisted largely of village inns 7of which the present picture is a capital example71 and winter scenes 7among which ,no4 #ifc in our ,gallery is a masterpiece74 ,he combined a genuine appreciation of nature with great skill in the treatment of figures4 ,he was fond1 as will be seen1 of introducing a white horse to serve as the principal light in his compositions4 ,this picture was bought by ,sir ,robert ,peel for #djj guineas1 and was esteemed1 says ,mrs4 ,jameson in her catalogue of his collection1 the masterpiece of the painter4 ,the transparent1 sparkling beauty of the execution was never surpassed4 ,the figures1 the foliage1 the animals1 the atmospheric effect1 are all perfect4 #hdh4 ,a ,,skating ,,scene4 ,isaac van ,ostade 7,dutch3 #afba-afdi74 ,see #hdg4 #hdi4 ,,landscape ,,with ,,cattle4 ,paul ,potter 7,dutch3 #afbe-afed74 ,paul ,potter1 the best of the ,dutch cattle painters1 was the son of an artist 7see #ajjh71 and a remarkable instance of precocious talent1 having been a clever painter and etcher at the age of fourteen4 ,the environs of ,enkhuizen1 where he was born1 did not offer scenes of surpassing beauty2 but the rich brown and gold tints of the cattle contrasted pleasantly with the verdure of the flat fields4 ,these ,potter set himself to study and to paint2 and so accurately did he master the anatomy of cattle that a writer on the natural history of ,holland1 in #agfi-gi1 did not hesitate to utilise1 in order to illustrate his work1 paintings and sketches by ,potter1 including geometrical drawings which he had made to demonstrate the proper proportions of cattle4 ,his skill brought him much patronage at the ,hague2 and in #afej he married the daughter of a distinguished architect in that city1 who made some objections1 it is said1 to his daughter marrying a mere painter of animals4 ,but the painter of animals prospered better than many of his contemporary painters of men1 and both at the ,hague and at ,amsterdam his works continued to be in great request4 ,but a too close application to his art told on a weak constitution1 and he died of consumption at the age of twenty-nine 7,cundall's ,landscape and ,pastoral ,painters of ,holland1 pp4 #aac sq474 ,for a century after his death his works realised very small sums1 but latterly they have been sought after at extravagant prices4 ,technically they are very accomplished2 but ,ruskin calls attention to a certain defect of feeling in his treatment4 ,he does not care even for sheep1 but only for wool2 regards not cows1 but cow-hides4 ,he attains great dexterity in drawing tufts and locks1 lingers in the little parallel ravines and furrows of fleece that open across sheep's backs as they turn2 is unsurpassed in twisting a horn or pointing a nose2 but he cannot paint eyes1 nor perceive any condition of an animal's mind except its desire of grazing 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 vi4 #ab74 ,in estimating his work1 it should however be remembered that he died very young1 and died learning4 ,the famous ,young ,bull of the ,hague1 painted in #afdg when he was twenty-two1 is usually considered his masterpiece4 ,rather1 says ,fromentin1 is it only a tour de force1 a wonderful study4 ,the portrait of the painter as he appeared in his last days1 done by his friend ,van der ,helst1 is in the ,hague ,museum4 ,signed1 and dated #afea1 and therefore among the painter's later works4 #hej4 ,a ,,man',s ,,portrait4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,dated #afce4 ,the sitter wears the typical ,rembrandt collar4 #hea4 ,,venus ,,sleeping4 ,sebastiano ,ricci 7,venetian3 #afei-agcd74 ,an unimportant work by a painter who worked for several years in this country1 and covered many walls and ceilings with his facile compositions4 ,examples of his religious and mythological pictures may be seen at the ,dulwich ,gallery4 ,ricci1 says ,dr4 ,richter in his catalogue of that collection1 is one of the most attractive painters of the ,italian decadence4 ,his compositions are lively and ingenious1 without1 however1 being profound4 ,there are also several of his works at ,hampton ,court4 ,he was born at ,belluno in the ,venetian ,state1 and before coming to ,england was employed by the ,duke of ,parma and at the ,viennese court in decorating the palace of ,schoenbrunn4 ,he left ,england in disgust on finding that the work of decorating the cupola of ,st4 ,paul's was to be entrusted to a native artist1 ,sir ,james ,thornhill4 ,ricci had great facility in imitating the style of other masters4 ,his picture of the ',apostles adoring the ,sacrament' in the church of ,s4 ,giustina at ,padua is painted in imitation of the cupola of ,s4 ,giovanni at ,parma by ,correggio2 and his ',s4 ,gregorio' at ,bergamo recalls the works of ,guercino4 ,but his most successful imitations were those of ,paul ,veronese1 many of which he is said to have sold as by that master4 ,he deceived the ,french painter ,la ,fosse1 who avenged himself by the sarcastic remark1 ',for the future1 take my advice and paint no more ,ricci's' 7,bryan74 #heb4 ,,the ,,chapeau ,,de ,,poil4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,one of the best known and most be-copied pictures in the ,gallery4 ,its fame among artists depends to no slight extent on its being a tour de force4 ,the head is painted in reflected light1 so as to come as near as may be to ,queen ,elizabeth's shadowless ideal 7,armstrong3 ,notes on the ,national ,gallery1 p4 #ca74 ,no one who has not beheld this masterpiece of painting can form any conception1 says ,dr4 ,waagen1 of the transparency and brilliancy with which the local colours in the features and complexion1 though under the shadow of a broad-brimmed hat1 are brought out and made to tell1 while the different parts are rounded and relieved1 with the finest knowledge and use of reflected lights4 ,the expression of the subject is as much a tour de force as the technical treatment-- ,i know a maiden fair to see1 ,take care6444 ,she gives a side-glance and looks down1 ,beware6 beware6444 ,she has a bosom as white as snow1 ,take care6 ,she knows how much it is best to show1 ,beware6 beware6 ,trust her not1 ,she is fooling thee6 ,,longfellow3 from the ,german4 ,the picture is a portrait of ,susanne ,fourment1 an elder sister of ,rubens's second wife1 ,helne ,fourment4 ,susanne often sat to ,rubens2 other paintings and drawings of her by his hand exist4 ,she afterwards married ,arnold ,lunden4 ,the picture remained in the possession of the painter until his death1 when it passed into that of ,nicholas ,lunden1 who had married ,isabella1 a daughter of ,rubens by his second wife1 ,helne ,fourment4 ,the picture remained in the ,lunden family until #ahbb1 when it was sold by auction for #cf1jjj florins and brought to ,england4 ,after being offered in vain to ,george ,,iv41 it was bought by ,sir ,robert ,peel for #cejj guineas4 ,why and when this picture of a lady in a beaver hat acquired the inappropriate title of ,chapeau de ,paille 7,the ,straw ,hat71 by which it has hitherto been called1 is unknown4 ,perhaps the title is a corruption of ,chapeau d',espagne4 ,an entirely different story about the picture was current in the ,lunden family4 ,according to this not very probable tradition1 ,miss ,susanne had refused to sit to ,rubens1 so he painted her unawares whilst she was in her garden1 wearing a large straw hat4 ,when the picture was done1 she pardoned the flattering indiscretion and accepted it as a gift4 ,rubens afterwards begged leave to take back the portrait1 promising in return a work in which he would put all his talent4 ,this was a replica of the same portrait1 but instead of a straw hat 7chapeau de paille7 he introduced in the second version the beaver hat 7chapeau de poil7 that we see4 ,the ,lunden family had christened the original ,chapeau de ,paille1 and the present picture has ever since retained the same title4 7,see letter in the ,times1 ,august #f1 #ahhf1 from ,m4 ,jules ,nolle de ,noduwez1 himself a connection of the ,lunden family74 #hec4 ,,the ,,triumph ,,of ,,silenus4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,for the subject see under #ic4 ,rubens painted these subjects with a gusto in which there is something fearful1 so wonderful is the skill1 the felicity of execution1 the life1 the energy1 the fancy displayed--so gross and so repulsive the sentiment4 ,in ,niccolo ,poussin's ,bacchanalian scenes we have the licence and the revels of gods and nymphs1 and of the golden age4 ,rubens gives us1 with perhaps a truer moral feeling but more depraved taste1 mere animal sensuality1 with all its most brutal attributes 7,mrs4 ,jameson's ,handbook to the ,private ,galleries of ,london1 p4 #cfb74 ,this picture was in the artist's possession at the time of his death1 and was then bought for ,cardinal ,richelieu4 ,it was afterwards in the collection of ,sir ,robert ,peel1 who gave #aajj for it4 #hec4 a-p4 ,these sixteen drawings by ,rubens formed part of the rich collection of ,sir ,thomas ,lawrence1 ,p4,r4,a41 after whose death they were acquired for ,sir ,robert ,peel4 ,they were purchased for the nation in #ahga with the ,peel ,collection of pictures4 ,the subjects are as follows3-- #hec a1 b1 c1 and d4 ,four studies for the famous picture at ,munich1 representing the ,fall of the ,damned4 ,in black chalk1 tinted slightly4 ,inconceivably fine1 says ,mrs4 ,jameson4 #hec e4 ,,the ,,martyrdom ,,of ,a ,,saint4--,he kneels1 and a woman is about to bind his eyes4 ,fifteen figures with angels4 #hec f4 ,,the ,,descent ,,of ,,the ,,holy ,,ghost4--,study for the picture at ,munich4 #hec g4 ,,the ,,crucifixion4--,drawing from the great picture at ,antwerp1 done for the engraver to work from4 #hec h4 ,,portrait ,,of ,a ,,girl2 with a cap and feather4 ,study from one of his own children4 #hec i4 ,,portrait ,,of ,a ,,lady1 with flowers in her hair4 ,probably a study from his first wife4 ,extremely fine1 says ,mrs4 ,jameson1 and full of life4 #hec j4 ,,head ,,of ,a ,,lady1 in chalk and sepia1 wonderfully spirited4 #hec k4 ,,sketch ,,for ,,monumental ,,sculpture1 or design for a frontispiece--with a figure of ,fame4 #hec l4 ,,the ,,same1 with figures of ,moses and ,aaron4 #hec m4 ,,the ,,same1 with satyrs4 #hec n4 ,,the ,,same1 representing the siege of ,breda3 ,minerva and ,hercules1 prisoners1 implements of war1 etc4 #hec o4 ,,study ,,of ,a ,,lioness1 introduced into his picture of ,daniel in the ,lion's ,den4 #hec p4 ,,sketch ,,of ,a ,,lion ,,hunt4--,study for the great picture at ,dresden4 #hed4 ,a ,,forest ,,scene4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 ,of this picture1 when it was in ,sir ,robert ,peel's collection1 ,mrs4 ,jameson tells a pretty tale4 ',i cannot express to you1' said the statesman1 'the feeling of tranquillity1 of restoration1 with which1 in an interval of harassing official business1 ,i look around me here4' ,and while he spoke1 in the slow1 quiet tone of a weary man1 he turned his eyes on a forest scene of ,ruysdael1 and gazed on it for a minute or two in silence1 as if its cool1 dewy verdure1 its deep seclusion1 its transparent waters stealing through the glade1 had sent refreshment into his very soul 7,handbook to the ,private ,galleries of ,london1 p4 xix474 #hee4 ,a ,,waterfall4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 #hef4 ,,the ,,music-,,master4 ,jan ,steen 7,dutch3 #afbf-afgi74 ,it is in the collections of ,holland1 and especially in the ,museum of ,amsterdam1 that the best works of this remarkable painter are to be seen--a painter whose talent and occasional grace made ,reynolds name him in the same breath with ,raphael1 and who has by other critics been called the ,molire of painting4 ,this latter comparison happily expresses the dramatic and intellectual quality of ,steen's best works4 ,he drew not merely ,dutch life1 but human nature4 ,he depicts the comedy of human life1 for the most part1 in a spirit of genial toleration1 but sometimes with touches of almost ,hogarthian satire4 ,with regard to technical qualities1 his best works are admirable for their skilful composition1 brilliant touch1 and harmonious colouring4 ,steen when it pleased him was an artist of great ability4 ,unfortunately it did not always please him to be so1 and then his colour became blurred1 his execution trivial1 and the general aspect of his figures heavy and monotonous2 but whenever he exerts himself he becomes once more and remains a great master4 ,it is the more astonishing to find these defects1 as they are peculiar neither to the beginning nor to the end of his career1 and therefore cannot be attributed to a hard apprenticeship or premature decay4 ,they are to be explained by the irregular life which the painter led 7,havard74 ,the number of his works1 however1--of which more than #ejj have been catalogued--seem to negative the stories in which some biographers accept of ,steen's drunken and dissolute life4 ,he was the son of a brewer and was born at ,leyden4 ,he first studied under a ,german painter1 ,knpfer1 at ,utrecht2 afterwards with ,adrian van ,ostade1 and ,jan van ,goyen whose daughter he married in #afdi4 ,in the previous year he had joined the ,painters' ,guild of ,haarlem4 ,that he was improvident is proved by records of executions for debt which have been discovered in the archives of that town4 ,his pictures must have fetched small prices1 for he contracted to pay the year's rent of his house for #afff-fg with three portraits painted as well as he was able1 the rent being #bi florins4 ,in #affi his wife and his father died1 and ,steen1 who is supposed to have resided for some years at the ,hague1 returned to ,leyden and opened a tavern1 and for the rest of his life combined the businesses of painter and publican4 ,a work of some humour4 ,the music-master is sadly bored with the exercises of his pupil at the harpsichord1 but his disgust is fully shared by the young brother whose turn is to come next1 and who is bringing a lute into the room4 ,the picture is signed on the harpsichord4 #heg1 #heh1 #hei1 #hfj4 ,,the ,,four ,,seasons4 ,teniers 7,flemish3 #afaj-afid74 ,see #aed4 ,very interesting little pictures1 as characteristic of the entire want of poetry in ,teniers' art4 ,compare ,mantegna's version of ,summer and ,autumn 7#aabe71 or recall ,botticelli's lovely vision of ,spring at ,florence1 and one sees in a moment the difference in art between poetical imagination and vulgarity4 ,to ,teniers1 ,spring--the sweet spring1 the year's pleasant king--is only a man carrying a flower-pot4 ,summer--all the sweet season of summertide--suggests nothing but a man holding a wheat-sheaf4 ,autumn--season of mists and mellow fruitfulness--brings him only a first glass of wine2 and ,winter--white winter1 rough nurse1 that rocks the dead cold year--only a second4 ,these pictures 7which are painted on copper71 were once in the possession of ,prince ,talleyrand1 and ,sir ,robert ,peel bought them in #ahbc for #ahi4 #hfa4 ,a ,,country ,,scene4 ,teniers 7,flemish3 #afaj-afid74 ,see #aed4 ,the man with the barrow is a portrait of ,teniers' gardener4 #hfb4 ,,the ,,surprise4 ,teniers 7,flemish3 #afaj-afid74 ,see #aed4 ,hardly an instance in which vice itself loses half its evil by losing all its grossness4 ,it is a very vulgar intrigue4 ,the husband courts without passion2 the maid-servant stoops to folly without grace2 the wife surprises the lovers without dignity4 #hfc4 ,,the ,,rich ,,man ,,in ,,hell4 ,teniers 7,flemish3 #afaj-afid74 ,see #aed4 ,the sequel to the story of ,dives and ,lazarus4 ,and it came to pass1 that the beggar died1 and was carried by the angels into ,abraham's bosom3 the rich man also died1 and was buried4 ,and in hell he lift up his eyes1 being in torments 7,luke xvi4 #bb1 #bc74 ,a favourite subject with ,teniers1 giving him an opportunity for painting comic monstrosities4 #hfd4 ,,the ,,guitar ,,lesson4 ,gerard ,terburg 7,dutch3 #afag-afha74 ,terburg is the most refined of all the ,dutch painters of conversation pieces4 ,he depicts with admirable truth1 both in his portraits and genre pictures1 the life of the wealthy and cultured classes of his time4 ,his figures are well drawn and expressive1 and the accessories are duly subordinated4 ,he renders the texture of draperies with great skill1 and his colouring is at once rich and quiet4 ,he was the son of a wealthy man1 a traveller and a connoisseur who himself imparted the rudiments of art to his son4 ,gerard afterwards studied in ,amsterdam and ,haarlem4 ,in #afce he visited ,england1 and thence made the grand tour of the ,continent1 studying the works of ,titian and others4 ,on his return to ,holland he remained some time at ,amsterdam1 learning much from the works of ,rembrandt4 ,in #afdf he was at ,mnster1 where he painted the famous picture1 ,no4 #hif in our ,gallery4 ,this excited such admiration on account of the excellence of its portraits and general truth to nature1 that the ,spanish ambassador took ,terburg with him to ,madrid1 where he was knighted by ,philip ,,iv4 and had the opportunity of adding a study of ,velazquez to his artistic advantages4 ,terburg settled eventually at ,deventer1 where he married and became burgomaster3 a full-length portrait of him in that capacity is in the ,museum at the ,hague4 ,this is a characteristic example of the painter's conversation pieces4 ,sir ,robert ,peel bought it in #ahbf for #ibj guineas4 #hfe4 ,a ,,coast ,,scene4 ,jan van de ,cappelle 7,dutch3 painted about #afej-afhj74 ,of this painter1 whose works have of recent years become popular with collectors1 the ,dutch writers have left no record4 ,nor has anything been discovered about him beyond the fact that1 on the occasion of his marriage in #afec1 he received the freedom of the city of ,amsterdam4 ,one may connect with this fact the state barge1 introduced in some of his pictures1--or the corporation barge1 it may be1--much resembling the barges belonging to the ,city and the ,city ,companies which not long ago might still be seen on the ,thames at ,london1 and some of which survive1 transformed into ,college barges at ,oxford4 ,cappelle's works are comparatively rare2 they show that he loved a calm sea1 lit up with warm rays4 #hff4 ,a ,,street ,,in ,,cologne4 ,jan van der ,heyden 7,dutch3 #afcg-agab74 ,van der ,heyden 7or ,heyde71 who has been called1 from the minute neatness of his workmanship1 the ,dou of architectural painters1#aib was one of the first ,dutch artists to devote himself to that class of subject4 ,it was a result no doubt of the ,italianising tendency of the time4 ,it would seem that they required to be initiated in this style by the views of foreign market-places and squares with which the ,italianising painters had decorated the saloons of ,amsterdam1 and that in the presence of this invasion of forums and piazzas they exclaimed1 ',have we not streets1 squares1 and monuments to paint8' 7,havard3 ,the ,dutch ,school1 p4 #bch74 ,of course they had2 and no works of the time are more interesting than these minute historical records4 ,a striking feature in ,van der ,heyden is the pencilling or dividing of the brickwork of the houses and walls by delicate white lines2 so finely are these drawn that if it were not for the trouble1 one might count the bricks in his buildings 7,seguier74 ,but he had the art of combining this microscopic detail with breadth of effect4 ,the division of labour in art work was in his time very fully applied2 and ,van der ,heyden's range was very limited4 ,he seldom turned his hand to anything but brick houses and churches in streets or squares1 or rows along canals1 or the moated granges common in his native country4 ,he could draw neither man nor beast1 and relied on ,adrian van der ,velde to enliven his street scenes with spirited figures4 ,van der ,heyden was born at ,gorcum1 and was apprenticed to a glass-painter4 ,he then moved to ,amsterdam and studied architectural drawing4 ,he visited ,england1 ,belgium1 and the ,rhenish ,provinces4 ,in the later part of his life he varied the practice of art with the pursuit of mechanics1 for which he had a strong turn4 ,he invented various improvements in the fire-engine1 introduced the use of street-lamps1 and at the time of his death was superintendent of the lighting and director of the firemen's company at ,amsterdam4 ,in the background is seen the then unfinished tower of ,cologne ,cathedral surmounted by the old vane4 ,this was a favourite subject of the painter2 there is another version of it in the ,wallace ,collection4 ,the figures are attributed to ,a4 van de ,velde4 #hfg4 ,,the ,,farm ,,cottage4 ,adrian van de ,velde 7,dutch3 #afcf-afgb74 ,adrian1 the son of ,william van de ,velde the elder1 the marine painter1 first studied under his father1 and next under ,wynants1 the landscape painter4 ,he showed his talent very early4 ,wynants1 said that painter's wife1 when the young ,adrian entered his studio1 you have found your master4 ,he afterwards studied the figure under ,wouwerman4 ,his talent was versatile1 for he painted figures1 animals1 and landscapes with equal truth and refinement4 ,his large canvases 7e4g4 ,no4 #hj in the ,wallace ,collection7 are hard1 and leave the spectator cold2 but his cabinet pictures are refined in outline and delicate in tone4 ,he was fond of village scenery with cattle introduced1 in which kind are several good examples in our ,gallery4 ,he was also successful in winter scenes4 ,of his sandy coast scenes there is a choice example in the ,six ,collection at ,amsterdam4 ,the value and interest of many pictures by ,ruysdael1 ,van der ,heyden1 ,hobbema1 and other painters of the time1 were enhanced by figures inserted by ,adrian4 ,he must have had wonderful facility and industry1 for in addition to these insertions1 and in spite of his short life1 the catalogue of his own pictures includes nearly #bjj items4 ,this picture is signed1 and dated #afeh4 ,the effect is that of a fine warm summer afternoon4 #hfh4 ,,the ,,ford4 ,adrian van de ,velde 7,dutch3 #afcf-afgb74 ,see #hfg4 ,the figures and faces1 says ,mrs4 ,jameson in her catalogue of the ,peel ,collection1 are finished with inexpressible delicacy2 the animals are painted with characteristic truth2 the foliage of the trees seems stirred by the breeze2--in short1 it is a most rare piece of work in every part1 and full of pastoral sentiment1 though there is certainly nothing ,arcadian in the personages introduced4 ,sir ,robert ,peel bought the picture in #ahdj for #gfj gs4 #hfi4 ,a ,,frost ,,scene4 ,adrian van de ,velde 7,dutch3 #afcf-afgb74 ,see #hfg4 ,this picture--known as ,les ,amusements d',hiver--is signed1 and dated #affh4 ,the men are playing hockey4 ,other figures are occupied with a sledge4 ,on the left is a refreshment booth4 #hgj4 ,,shipping ,,in ,a ,,calm4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 ,a dogger1 with hanging sail1 in the foreground2 behind it a frigate--and a variety of vessels1 at every different gradation of distance1 carry the eye back to the horizon4 ,the air and ocean are still as sleep4 ,signed1 and dated #afeg1 when the painter was only #bd4 #hga4 ,,bathing ,,at ,,low ,,water4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 ,incidentally a good study in the philosophy of clothes4 ,the painter hits off with much humour the essential difference between those who regard man as by nature a naked animal--seen in the naked bathers--and those who regard him as emphatically a clothed animal--seen in the prim old gentleman who gets himself carried on a man's back4 ,intermediate between these two classes are those who use clothes as a convenience1 but are not entirely subject to them--such1 for instance1 is the comfortable old fellow smoking his pipe and wading home1 not without obvious contempt for the old gentleman riding1 as aforesaid1 in ignominious slavery to his ,sunday best4 ,dated #affa2 bought by ,sir ,robert ,peel from the collection of the ,duc de ,berri4 #hgb4 ,a ,,slight ,,breeze4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 #hgc4 ,,the ,,coast ,,of ,,scheveningen4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 ,a scene well known to those who have visited the ,hague1 and frequently represented by ,van de ,velde4 ,there are the high sand-hills to the left1 and above them are seen a few fishermen's huts and the little church of ,scheveningen4 ,along the beach are numerous figures1 variously grouped and employed2 the most conspicuous are several persons near a post-waggon4 ,the sea is quietly rolling in to the shore1 impelled by a light breeze4 ,the figures are painted with exquisite finish and spirit by ,adrian van de ,velde 7,mrs4 ,jameson74 ,sir ,robert ,peel bought this picture from the ,pourtals ,collection for #hjj4 ,it is a characteristic specimen of the master1 showing how his version of the sea was coloured by that mixture of sand and sea-water which belongs to his native coasts4 ,i have come1 writes ,fromentin1 to ,scheveningen4 ,before me is the calm1 gray1 fleecy ,north ,sea4 ,who has not seen it8 ,one thinks of ,ruysdael1 of ,van ,goyen1 of ,van de ,velde4 ,one easily finds their point of view4 ,i could tell you the exact place where they sat1 as if the trace of them had remained imprinted for two centuries3 the sea is on the left2 the ridged sand-hills stand out on the right1 stretch away1 diminish and are lost insensibly in the dim horizon2 the grass is poor2 the sand-hills are pale2 the sea-shore is colourless2 the sea is like milk2 the sky has silky clouds and is wonderfully aerial4 #hgd4 ,a ,,calm ,,at ,,sea4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 ,a ,dutch frigate and a small ,english cutter becalmed4 ,there is a repose in the air1 a clearness in the still1 smooth sea1 quite indescribable 7,mrs4 ,jameson74 #hge4 ,a ,,light ,,breeze4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 ,two doggers in the foreground2 behind one of them1 a ,dutch frigate4 #hgf4 ,a ,,gale4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 #hgg4 ,,his ,,own ,,portrait4 ,van ,dyck 7,flemish3 #aeii-afda74 ,see #di4 ,that ,van ,dyck was at a very early age a portrait-painter of rare merit may be seen1 from this likeness of himself while still quite young and beardless4 ,in the ,wallace ,collection there is another early portrait of himself1 in the character of ,paris4 ,our picture is the portrait of an artist and a man of refinement4 ,notice especially the long1 tapering fingers--delicate almost to the point of feminineness4 ,they are very characteristic of ,van ,dyck's work1 who1 indeed1 drew all his hands from one model3 the same delicate fingers may be seen in the so-called portrait of ,rubens 7#di74 ,in giving this delicacy to all sitters ,van ,dyck fell no doubt into mannerism2 in giving it to great artists such as himself he was entirely right4 ,palmistry assigns fine1 tapering fingers to artistic temperament1 and rightly1 for fine fingers are necessary for fine work4 ,the art of painting1 properly so called1 consists in laying on the least possible colour that will produce the required result2 and this measurement1 in all the ultimate--that is to say the principal--operations of colouring1 is so delicate that not one human hand in a million has the required lightness 7,two ,paths1 ,appendix iv41 where much interesting matter on this subject will be found74 #hgg ,a4 ,,the ,,crucifixion4 #hgg ,b4 ,,rinaldo ,,and ,,armida4 ,van ,dyck 7,flemish3 #aeii-afda74 ,see #di4 ,these drawings were bought with the ,peel ,collection4 ,the former is the study for an altar-piece of the church of ,st4 ,michael at ,ghent--a most superb drawing1 says ,mrs4 ,jameson4 ,the latter is a drawing prepared for the engraver1 ,peter de ,jode1 from the large picture of the subject in the ,louvre4 ,it was the sight of that picture that determined ,king ,charles ,i4 to secure the services of ,van ,dyck4 #hgh4 ,,the ,,pretty ,,milkmaid4 ,philips ,wouwerman 7,dutch3 #afai-affh74 ,wouwerman--whose pictures may nearly always be told by a white horse1 which is almost his sign-manual--is selected by ,ruskin as the central instance of the hybrid school of landscape4 ,to understand this term we must recall his division of all landscape1 in its relation to human beings1 into the following heads3 7#a7 ,heroic1 representing an imaginary world inhabited by noble men and spiritual powers--,titian2 7#b7 ,classical1 representing an imaginary world inhabited by perfectly civilised men and inferior spiritual powers--,poussin2 7#c7 ,pastoral1 representing peasant life in its daily work--,cuyp2 7#d7 ,contemplative1 directed to observation of the powers of nature and record of historical associations connected with landscape1 contrasted with existing states of human life--,turner4 ,the hybrid school of which ,berchem and ,wouwerman are the chief representatives is that which endeavours to unite the irreconcilable sentiment of two or more of the above-mentioned classes4 ,thus here we have ,wouwerman's conception of the heroic in the officers and in the rocky landscape2 of the pastoral in the pretty milkmaid1 to whom an officer is speaking1 and who gives her name to the picture4 ,so again the painter's desire to assemble all kinds of pleasurable elements may be seen in the crowded composition of an adjoining picture 7#hgi74 ,wouwerman is further selected by ,ruskin as the chief type of vulgarity in art--meaning by vulgarity1 insensibility4 ,he introduces into his pictures--see1 for instance1 #hgi--;every element that he thinks pleasurable1 yet has not imagination enough to enter heartily into any of them4 ,his pleasure is without a gleam of higher things1 and in his war-pieces there is no heroism1 awe or mercy1 hope or faith4 ,with regard1 finally1 to the execution1 it is careful and conscientious1 the tone of his pictures generally dark and gray1 the figures being thrown out in spots of light 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 viii474 ,there is no good painting1 ,ruskin says of a ,wouwerman at ,turin1 properly so called1 anywhere1 but of clever1 dotty1 sparkling1 telling execution1 as much as the canvas will hold 7ibid4 #h74 ,wouwerman was born at ,haarlem2 his father was a painter4 ,from him ,philips learnt the practice of art1 afterwards studying landscape under ,wynants4 ,he worked for some time at ,hamburg1 in the studio of ,everard ,decker4 ,in #afdj he returned to ,haarlem1 where he remained for the rest of his life4 ,he had two brothers who were also painters4 ,his productivity was enormous4 ,he lived forty-nine years1 and it has been calculated that even if we deny his authorship of one half the pictures ascribed to him1 we leave him with at least #ejj1 or about one for every three weeks during his productive years 7,bryan's ,dictionary of ,painters74 ,few galleries are without several pictures by ,wouwerman4 ,in the ,wallace ,collection he is represented by six1 in the ,dulwich ,gallery by ten4 ,the picture is known after the milkmaid whom the officer is chucking under the chin1 whilst the trumpeter takes a sarcastic pleasure1 we may suppose1 in sounding all the louder the call to arms4 #hgi4 ,,the ,,interior ,,of ,a ,,stable4 ,wouwerman 7,dutch3 #afai-affh74 ,see #hgh4 ,the profusion of pleasurable incident in this picture has already been noticed 7see under #hgh7 in connection with ,wouwerman's bent of mind2 but notice also how the crowded composition spoils the effect of a picture as a picture4 ,clearly also will it spoil the stable-keeper's business4 ,he eyes the coin which one of his customers is giving him with all the discontent of a ,london cabman1 and has no eye to spare for the smart lady with her cavalier1 who are just entering the stable4 ,this is a good instance of what has been called ,wouwerman's nonsense-pictures1 a mere assemblage of things to be imitated1 items without a meaning 7,w4 ,b4 ,scott3 ,half-hour ,lectures on ,art1 p4 #bii74 #hhj4 ,,on ,,the ,,sea ,,shore4 ,wouwerman 7,dutch3 #afai-affh74 ,see #hgh4 ,this picture was formerly in the collection of ,queen ,elizabeth of ,spain1 whose arms are stamped on the back4 ,sir ,robert ,peel bought it in #ahbc for #dej guineas4 #hha4 ,,gathering ,,faggots4 #hhb4 ,a ,,landscape4 ,wouwerman 7,dutch3 #afai-affh74 ,see #hgh4 #hhc4 ,a ,,beggar ,,by ,,the ,,roadside4 ,jan ,wynants 7,dutch3 about #afae-afgi74 ,wynants--spelt also ,wijnants--the painter of the sandy wayside1 was one of the founders of the ,dutch school of landscape1 and was an artist of much originality4 ,out of a few docks and thistles1 it has been said1 a tree1 and a sandbank1 he could make a picture4 ,in the choice of his subjects ,wijnants shows a preference1 says ,sir ,f4 ,burton1 for open scenery1 where1 under a sky of summer blue broken by illuminated cloud-masses1 the undulating soil reveals its nature through beaten tracks and rugged roads with their shelving sides of gold-coloured sand1 while trees are scattered thinly on the slopes4 ,or he loves the borders of the forest1 where mighty tree-trunks1 smitten by past storms1 still extend some gnarled branches across the sky1 or a fallen stem lies half imbedded amongst tall grasses and large-leaved plants4 ,in such scenes ,wynants is particularly attractive4 ,they give us the poetry of form and light1 as ,ruisdael's deep pine-forests give us that of gloom and solitude4 ,of his life little is known4 ,he was probably born about the year #afae1 as his earliest pictures bear the dates #afda and #afdb4 ,he was still living in #afgi1 as one of his paintings in the ,hermitage of ,st4 ,petersburg bears that date4 ,in ,october #afdb the registers of ,st4 ,luke's ,guild at ,haarlem mention a ,jan ,wijnants as dealer in works of art2 this probably refers to the painter4 ,he resided at ,haarlem1 and afterwards at ,amsterdam4 ,wouwerman and ,a4 van de ,velde were among his scholars1 the latter artist and others inserted figures in his pictures1 for ,wynants painted only landscape4 ,the visitor will find good examples of him at ,dulwich and ,hertford ,house4 ,the picture is signed 7on the trunk of the felled tree7 and dated #afei4 ,the figures in this and the next picture are ascribed to ,a4 van de ,velde4 #hhd4 ,,sand ,,dunes4 ,jan ,wynants 7,dutch3 about #afae-afgi74 ,see #hhc4 ,it is not uninteresting to notice--as strangely in keeping with the poor and hard country here depicted--that in nearly every picture by ,wynants 7see #hhc1 #iga1 #igb7 there is a dead tree4 ,that ,dutch painters were alive to the beauties of vegetation1 the oaks of ,ruysdael are enough to show2 but to ,wynants at least nature seems to have been visible only as a destroying power1 as a rugged and conflicting force1 against which the sturdy ,hollander had to battle for existence as best he might4 #hie4 ,,portrait ,,of ,a ,,warrior4 ,piero di ,cosimo 7,florentine3 #adfb-aeba74 ,see #fih4 ,francesco ,ferruccio1 of whom this is said to be a portrait1 was the ,florentine general whose skill and patriotism shed a lustre on the final struggle of ,florence against the combined forces of the ,pope and the ,emperor4 ,he was then in command of the outlying possessions of ,florence1 and had there been a second ,ferruccio within the city itself the fortune of war might have been different4 ,francesco was killed in a battle near ,pistoia on ,august #c1 #aecj4 ,in the background of this portrait there is a view of the ,piazza della ,signoria at ,florence2 and at the entrance door ,michael ,angelo's statue of ,david1 which was placed there in #aejd4 ,the picture was formerly ascribed to ,lorenzo ,costa2 the recognition of its true authorship is due to ,dr4 ,richter and ,dr4 ,g4 ,frizzoni4 ,the identification of the warrior with the celebrated general is considered doubtful by them 7see ,richter's ,italian ,art in the ,national ,gallery1 p4 #cf2 and ,frizzoni's ,arte ,italiana del ,rinascimento1 p4 #beb74 #hif4 ,,the ,,peace ,,of ,m,,nster4 ,terburg 7,dutch3 #afag-afha74 ,see #hfd4 ,one of the gems of the ,national ,collection--priceless because not only of its great artistic merit1 but of its unique historical interest4 ,it is an exact representation by a contemporary ,dutch painter of one of the turning-points in ,dutch history--the ratification1 namely1 by the delegates of the ,dutch ,united ,provinces1 on #aeth ,may #afhd1 of the ,treaty of ,mnster1 with which the eighty years' war between ,spain and the ,united ,provinces was concluded1 altogether to the advantage of the latter4 ,the clerk 7in a scarlet cloak7 is reading the document4 ,the plenipotentiaries are standing nearest to the table4 ,six of them1 holding up the right hand1 are the delegates of the ,united ,provinces2 two1 with their right hands resting on an open copy of the ,gospels1 are the representatives of ,spain4 ,one of the ,dutch delegates and one of the ,spanish hold copies of the document1 which they follow as it is being read by the clerk4 ,the brass chandelier1 it is interesting to note1 still hangs in the hall at ,mnster4 ,the painter has introduced his own portrait among the figures on the left1 in three-quarter face1 behind the officer who stands with one arm resting on the chair of the third ,dutch delegate 7counting from the left74 ,during his lifetime ,terburg did not part with the picture4 ,it passed at one time into the possession of ,prince ,talleyrand1 and by a curious coincidence was hanging in the room of his hotel1 under the view of the ,allied ,sovereigns1 at the signing of the treaty of #ahad4 ,after several more changes of hands it was bought in #ahfh by the late ,marquis of ,hertford for #hhjj--;equivalent1 the curious in such things may like to know1 to nearly #bd per square inch of canvas2 at his death it came into the possession of ,sir ,richard ,wallace1 who presented it to the nation in #ahga4 ,a curious story is told in this connection4 ,at the ,de ,morny sale in #ahfe the picture had been sold for #ahje4 ,at the ,san ,donato 7or ,demidoff7 sale1 three years later1 ,sir ,william ,boxall1 ,director of the ,national ,gallery1 bid up to #fjjj for it2 but his mandate went no further1 and his mortification was great when he found himself far outbid by the ,marquis of ,hertford4 ,three years later1 an unknown gentleman1 not too smartly dressed1 was announced at the ,national ,gallery1 and began to open a small picture-case4 ,sir ,william was busy1 and could not go into the matter now4 ,but you had better just have a glance--,i ask no more1 said the stranger4 ,sir ,william refused4 ,the stranger insisted4 ,boxall1 struck dumb at the sight of the picture it had been his dream to add to the ,national ,collection1 raised his eyes to those of the visitor4 ,my name is ,wallace1 said the stranger quietly1 ,sir ,richard ,wallace2 and ,i came to offer this picture to the ,national ,gallery4 ,i nearly fainted1 said ,boxall in recounting the story2 ,i had nearly refused ',the ,peace of ,mnster1' one of the wonders of the world 7,m4 ,h4 ,spielmann3 ,the ,wallace ,collection1 p4 #ajg74 #ija4 ,a ,,landscape4 ,jan ,looten 7,dutch3 about #afah-afha74 ,looten is said to have visited ,england in the reign of ,charles ,,ii41 in order 7as a countryman of his explains7 to initiate the ,english into the beauties of ,dutch landscape4 ,the process was successful1 for many large pictures by ,looten are 7or were7 in ,english country-seats4 ,the figures in his landscapes were sometimes painted by ,berchem4 #ijb4 ,,the ,,triumph ,,of ,,scipio4 ,andrea ,mantegna 7,paduan3 #adca-aejf74 ,see #bgd4 ,one of the grisailles1 or pictures in gray and brown1 of which ,mantegna in his later years painted very many1 and to multiply which he took to engraving4 ,in its subject the picture is a piece of ancient ,rome4 ,no other works of the time1 it has been said1 are so full of antique feeling as ,mantegna's4 ,botticelli played with the art of the ancients and modernised it2 ,mantegna actually lived and moved in it 7,woltmann and ,woermann3 ,history of ,painting1 translated by ,clara ,bell1 ii4 #cgh74 ,mantegna's classical scholarship1 too1 is abundantly shown in the details of this picture1 which is full of allusions to ,latin authors and history4 ,the ,triumph of ,scipio1 it may be briefly explained1 consisted in his being selected by the ,senate as the worthiest man in ,rome1 by whom alone--so the oracle decreed--must ,cybele1 the ,phrygian mother of the gods1 be received4 ,it was an honour1 says ,livy1 with the fine patriotism of ,rome1 more to be coveted than any other which the ,senate or people could bestow4 ,on the left1 the image of the goddess is being borne on a litter1 and with it the sacred stone alleged to have fallen from heaven4 ,it was an unusual fall of meteoric stones that had caused the ,romans to consult the oracle in ,b4,c4 #bjd1 during ,hannibal's occupation of ,italy1 and the oracle had answered that the ,phrygian mother must be brought to ,rome4 ,this goddess1 worshipped under different forms in many parts of the world1 was a personification of the passive generative power in nature1 and from this time forward she was included among the recognised divinities of the ,roman ,state4 ,in the centre of the picture ,scipio and his retinue are receiving her2 whilst ,claudia1 a ,roman lady1 has thrown herself before the image4 ,some slur had attached to her reputation1 but she had proved her innocence by invoking the goddess and then drawing off from a shoal in the harbour of ,ostia1 with the aid of only a slight rope1 the vessel which bore the sacred image4 ,the picture1 says ,sir ,f4 ,burton1 has a history of its own4 ,it was undertaken towards the close of ,mantegna's long and laborious career2 and when that career terminated in the sadness and gloom which have too often awaited those whose imaginative powers had placed them above their fellow-men1 it remained in his studio1 probably not fully finished4 ,it may have been the last1 it was certainly one of the last1 pictures which his pencil touched4 ,an advance payment of #be ducats had been made to ,mantegna in #aejd4 ,his son ,francesco made an unsuccessful claim to it as an inheritance from his father1 offering to repay the amount received in advance4 ,the picture1 representing an event glorious in the history of the ,scipios1 was commissioned by a ,venetian nobleman1 ,francesco ,cornaro1 in order to throw lustre upon the genealogy of his family1 which claimed to belong to the ,roman gens ,cornelia4 #ijc4 ,,cardinal ,,fleury4 ,hyacinthe ,rigaud 7,french3 #afei-agdc74 ,rigaud was a native of ,perpignan1 and the son and grandson of a painter4 ,in #afha he went up to ,paris1 and following the advice of ,le ,brun devoted himself to portraiture4 ,he studied diligently the works of ,van ,dyck1 whose disciple he always professed to be4 ,he rapidly obtained fame as a portrait-painter1 but it was not till #agjj--on the completion of his ,st4 ,andrew now in the ,louvre--that he was admitted as an historical painter into the ,academy4 ,he held various offices in that body1 and painted all the great men of his day4 ,his own portrait by himself is in the ,uffizi4 ,a portrait of the famous tutor1 and afterwards prime minister1 of ,louis ,,xv4 ,it is eminently the pacific ,fleury1 who strove to keep ,france out of war and starved her army and navy when she was forced into it1 that we see in this amiable old gentleman--the scholar and member of the ,academy1 who completed what is now the ,national ,library of ,france--rather than the statesman4 ,a similar picture is in the ,wallace ,collection 7,no4 #acj74 #ijd4 ,,madonna ,,and ,,child4 ,gregorio ,schiavone 7,paduan3 painted about #adgj74 ,see #fcj4 #ije4 ,,the ,,madonna ,,in ,,prayer4 ,cosimo ,tura 7,ferrarese3 #adbj-adie74 ,see #ggb4 ,tura's type of the ,madonna is perhaps the least pleasing in the whole range of ,italian art4 #ijf4 ,,the ,,madonna ,,in ,,ecstasy4 ,carlo ,crivelli 7,venetian3 painted #adfh-adic74 ,see #fjb4 ,the latest of ,crivelli's dated pictures in the ,gallery 7#adib71 and remarkable for the deep colours which mark the artist's highest powers4 ,notice the usual hanging fruit and the pot of roses and carnations4 ,the ,virgin looks up to the ,almighty and the dove1 while two angels1 with a scroll1 support a crown over her head4 ,on the scroll are inscribed 7in ,latin7 the words1 ,as ,i was conceived in the mind of ,god from the beginning1 so was ,i also made4 ,the masterpiece known as ,the ,virgin in ,ecstasy1 rather presents 7as the text shows7 the idea which is the foundation of the doctrine of the ,immaculate ,conception1 combined with the ,coronation of the glorified mother4 ,it is intended1 in fact1 to bring before us not the historical mother of ,christ so much as that medival conception of the mystical being of ,ecclesiasticus and the ,book of ,wisdom1 existing from all time in the mind of ,god as the instrument of the ,incarnation1 and returning to share the glory of her divine ,son4 ,crivelli has expressed with rare distinction that combination of humility and awe with a sense of personal dignity which befits this ideal of the ,virgin4 ,in herself she is an imposing figure1 but she is absorbed in the divine influences which mould her destiny4 ,never did ,crivelli come nearer to the grand style than in this magnificent conception 7,rushforth's ,crivelli1 p4 #ge74 #ijg4 ,,st4 ,,catherine ,,and ,,st4 ,,mary ,,magdalene4 ,carlo ,crivelli 7,venetian3 painted #adfh-adic74 ,see #fjb4 ,the figure of ,st4 ,mary ,magdalene1 with the vase of precious ointment1 is characteristic of the painter's more affected style2 notice especially the fingers elongated to the point of grotesqueness4 #ijh4 ,,the ,,nativity ,,of ,,christ4#aic ,piero della ,francesca 7,umbrian3 #adaf-adib74 ,see #ffe4 ,this painting is said to be unfinished4 ,but even minute details1 such as the pearls on the robes of the angels and on the head-dress of the ,virgin1 have been worked out with an accuracy which excites astonishment4 ,one of the two shepherds1 standing on the right side and seen in front1 appears to have no pupils to his eyes1 and this strange fact might account for the theory of the unfinished state of the picture4 ,on the other hand it seems to me to have suffered very much from repainting in all the flesh parts4444 ,the restorer has1 ,i believe1 forgotten to paint in the pupils of the shepherd's eyes after having destroyed them by the cleaning of the original painting 7,richter's ,italian ,art in the ,national ,gallery1 pp4 #af1 #ag74 ,the beauty of the picture is in the choir of angels with their mouths in different attitudes of singing1 making such music sweet ,as never was by mortal finger strook-- ,divinely-warbled voice ,answering the stringd noise1 ,as all their souls in blissful rapture took4 ,,milton3 ,hymn on ,christ's ,nativity4 ,the picture is a masterpiece says ,mr4 ,hipkins1 in musical delineation4 ,it is the perfectly expressed singing of these characteristic angels that arrests attention first2 but the archologist in musical instruments values the two large lutes held by the outside angels of the group1 who are accompanying the singers4 ,the splendid lines and fine dimensions of these instruments suggest their sonorous tone4 ,when this picture came from the ,barker ,collection1 each lute had eleven strings1 and the number of pegs in one of them seems to have this number2 but in cleaning the picture the strings have disappeared4 ,as the picture was not finished by the painter1 it is supposed that the strings were a later addition4 ,however1 the number was right1 according to the practice with large lutes at that time1 to give six open notes2 the highest1 or melody1 string being open#aid 7,the ,hobby ,horse1 ,no4 #a1 #ahic74 ,the figures of the ,virgin and ,child are of the gentlest and fairest type1 and show undoubted signs of the ,flemish influence1 which made itself felt in ,florence and throughout ,central ,italy after ,hugo van der ,goes set up his great altar-piece in the ,ospedale of ,santa ,maria ,novella 7,w4 ,g4 ,waters3 ,piero della ,francesca p4 #fd74 ,this picture was formerly in the possession of the ,marini-,franceschi family1 of ,borgo ,san ,sepolcro1 descendants of the painter4 ,the wings and the predella once belonging to it are in the cathedral of that city4 #iji4 ,,the ,,madonna ,,of ,,the ,,white ,,rose4 ,benvenuto da ,siena 7,sienese3 #adcf-aeah74 ,the earliest known work by this painter is an ,annunciation1 painted in #adff1 in the church of ,s4 ,girolamo at ,volterra4 ,he executed some of the illuminations of the choir-books1 and designed portions of the pavement1 in the cathedral of ,siena4 ,he was the son of a mason4 ,a charming combination of older and newer motives4 ,there is the gold background1 true to the old ,sienese traditions1 but there are also the little fiddling angels1 so common in ,venetian and other pictures of the time of ,benvenuto's later years4 ,in the compartments on either side are ,st4 ,peter1 and ,st4 ,nicholas of ,bari 7with various adornments referring to his story3 see under #aaga74 #iaj4 ,,the ,,triumph ,,of ,,chastity4 ,luca ,signorelli 7,cortona3 #adda-aebc74 ,see under #aabh4 ,in the foreground ,cupid on his knees is bound by maidens2 in the distance there are other two groups1 in one of which the god of love is being captured1 in the other he is led away in triumph with his arms pinioned behind him4 ,this painting is a fresco which was transferred to canvas from the wall of a palace at ,siena4 ,it was injured in the process1 and has been badly restored4 ,it is signed ,,lucas ,,coritius1 and according to the official catalogue1 the hand of the master is visible enough in the less damaged parts4 ,according to other authorities1 the inscription is forged1 and the picture a weak production by ,genga1 ,signorelli's assistant at ,orvieto 7,richter's ,italian ,art in the ,national ,gallery1 p4 #di74 #iaa4 ,,ulysses ,,and ,,penelope4 ,pinturicchio 7,umbrian3 #aded-aeac74 ,see #fic4 ,penelope was wife of ,ulysses1 ,king of ,ithaca1 whose wanderings after the ,trojan war are told in ,homer's ,odyssey1 and shown in summary in the distance of this picture4 ,through the open window is seen the ship of ,ulysses1 with the hero bound to the mast2 the sirens1 whose coasts he passed unhurt1 are sporting in the sea2 and on an island near is the palace of ,circe1 who changed his companions into swine4 ,in his absence ,penelope was beset by many suitors1 such as are here seen clad in joyous raiment1 and was in sore straits to resist their importunity4 ,but some god put it into my heart to set up a great web in the halls1 and thereat to weave a robe fine of woof and very wide2 and-anon ,i spake among them1 saying3 ',ye princely youths1 my wooers1 now that goodly ,odysseus is dead1 do ye abide patiently1 how eager soever to speed on this marriage of mine1 till ,i finish the robe 444 even this shroud for the hero ,laertes1 father of ,odysseus1 against the day when the deadly doom shall bring him low1 of death that lays men at their length4' 444 ,so spake ,i1 and their high hearts consented thereto4 ,so then in the daytime ,i would weave the mighty web1 and in the night unravel the same 7xix4 #ach-aej3 ,butcher and ,lang's translation74 ,and for the space of three years ,penelope's web was still unwoven1 and the suitors were deceived2 but afterwards1 when they chid her loudly1 she finished the web1 and could neither escape marriage nor devise any further counsel1 for that her son too chafed while the suitors devoured his livelihood4 ,but ,ulysses then returned2 he is now in the doorway just entering2 and presently ,penelope will take down her husband's bow--now hanging with a quiver of arrows above her head--which the suitors could not bend1 but was bent by ,ulysses4 ,the painter makes no attempt at archological reconstruction2 he gives us a picture of the costumes of his own day4 ,this vivacious picture is a fresco transferred to canvas4 ,it was painted in the ,pandolfo ,petrucci ,palace at ,siena1 which also ,signorelli's ,triumph of ,chastity once decorated 7now #iaj in our ,gallery74 #iab1 #iac1 #iad4 ,,the ,,story ,,of ,,griselda4 ,umbrian ,school3 #aeth-#afth century4 ,on these three panels 7formerly ascribed to ,pinturicchio71#aie which were probably destined to serve as decorations to a chest1 the story of ,griselda is told with much nave awkwardness of drawing1 but also with much nave playfulness of incident4 ,the story1 told in ,boccaccio's ,decameron1 and by ,petrarch1 is also to be found in ,chaucer's ,clerkes ,tale4 ,in the first picture 7#iab7 we see 7#a7 on the extreme left the ,marquis of ,saluzzo1 who is out hunting with a great retinue4 ,he meets ,griselda1 a peasant girl1 who is drawing water at the well1 and falls in love with her4 ,next 7#b7 on the extreme right is her humble barn-like dwelling1 with the marquis serenading his love from below4 7#c7 ,he carries her off with him2 and note how ,griselda1 who is to be modest and humble to the end1 hangs her head in maiden shamefacedness4 7#d7 ,then the marquis has her attired in gold and fine linen1 fit for a prince's bride4 ,her pattens and perhaps her garters are lying discarded beside her4 ,and so 7#e71 in the centre of the picture1 all is ready for the wedding3 ,this markis hath hir spoused with a ring ,brought for the same cause1 and then hir sette ,upon an hors1 snow-whyt and wel ambling4 ,before the second act 7#iac7 a few years are supposed to have elapsed4 7#a7 ,on the left ,griselda's two children--a boy and a girl--7in the likeness of two very wooden dolls7 are being carried off1 as if by a villain in a transpontine tragedy4 ,they are supposed to have since died miserably4 7#b7 ,the marquis tires of his love for ,griselda1 and is divorced3 in the centre of the picture we see her giving back the wedding ring4 7#c7 ,then she is stripped of her fine clothes1 and 7#d7 sent away to her father's house1 but ,the smok1 quod he1 that thou hast on thy bak1 ,lat it be stille1 and ber it forth with thee4 ,two young gallants1 in absurd attitudes1 look on in half-pitying amusement1 while nearer to us two serving-men are disgusted at the cruel shame4 7#e7 ,on the extreme right she is at home again1 tending1 as before1 her father's sheep4 ,in the last act 7#iad71 a grand banquet is prepared for the marquis's second wedding1 and ,griselda is sent for to the castle to do menial work4 ,on the left we see her sweeping2 on the right she is waiting at table4 ,then1 on the left again1 it is discovered that the marquis's new bride is none other than ,griselda's long-lost daughter1 accompanied by her brother4 ,they had all the while been tended in a distant city with the utmost care4 ,griselda is thereupon affectionately embraced by her husband1 publicly reinstated in her proper position1 and presented to all the court as a model of wifely obedience and patience-- ,no wedded man so hardy be tassaille ,his wyues pacience1 in hope to fynde ,grisildes1 for in certein he shal faille6 ,o noble wyues1 ful of heigh prudnce1 ,lat non humilitee your tong naille4 #iae4 ,,mars ,,and ,,venus4 ,botticelli 7,florentine3 #addg-aeaj74 ,see #ajcd4 ,so the picture is usually called--,mars1 the ,god of ,war1 asleep1 and the young satyrs playing with his discarded armour1 while one of them attempts to rouse him by blowing a shell4 ,the subject is almost identical with that which ,spenser draws in the ,farie ,queene1 where ,sir ,guyon1 the ,knight of ,purity1 overthrows the ,bower of ,bliss in which ,acrasia 7or ,pleasure7 dwells--the last and worst of ,sir ,guyon's trials1 for it is harder to fight against pleasure than against pain4 ,note especially the expression of the sleeping youth3 he is overcome with brutish paralysis1 and they cannot awaken him4 ,note also the swarm of hornets issuing from the tree-trunk by his head--significant of the power that sensual indulgence has of venomously wounding4 ,visitors who have been in ,venice may remember similar details in ,carpaccio's picture of ,st4 ,george and the ,dragon 7,j4 ,r4 ,anderson in ,st4 ,mark's ,rest1 ,second ,supplement1 p4 #bj74 ,upon a bed of ,roses she was layd1 ,as faint through heat1 or dight to pleasant sin2 ,and was arrayd1 or rather disarrayd1 ,all in a vele of silke and silver thin1 ,that hid no whit her alabaster skin 444 ,the young man1 sleeping by her1 seemd to be ,some goodly swayne of honorable place1 ,that certes it great pitty was to see ,him his nobility so fowle deface 444 ,his warlike armes1 the ydle instruments ,of sleeping praise1 were hong upon a tree 444 ,ne for them ne for honour cared hee1 ,ne ought that did to his advauncement tend2 ,but in lewd loves1 and wastfull luxuree1 ,his dayes1 his goods1 his bodie1 he did spend3 ,o horrible enchantment1 that him so did blend6 ,farie ,queene1 bk4 ii4 #ab1 lxxvii4-lxxx4 ,it has been suggested by ,dr4 ,richter that the subject of the picture is not mythological1 but an illustration of ,angelo ,poliziano's poem1 ,stanze per la ,giostra1 ,the ,song of the ,tournament1 written in #adgf in glorification of ,giuliano de' ,medici1 who had entered the lists in the preceding year1 at the tournament given in honour of ,simonetta ,cattaneo4 ,in this poem1 ,giuliano appears as a youth enamoured of the chase1 and contemptuous of women4 ,cupid determines that he shall fall a prey to a pair of lovely eyes1 and leads him to the presence of ,simonetta4 ,but night falls and ,simonetta vanishes1 whereupon ,venus sends ,giuliano a dream in which he is exhorted to enter the lists in honour of his lady-love4 ,he foreknows that victory will crown his arms1 and that love will reward his valour1 but these joyful tidings are black with the shadow of death1 for early in #adgf ,simonetta died4 ,according to ,dr4 ,richter's interpretation1 ,giuliano in the picture before us lies sunk in deepest sleep4 ,the little satyrs are whispering dreams into his ears1 dreams from the realms of ,venus4 ,in his dreams1 ,giuliano is overcome with fear1 because his lady is clad in the armour of ,pallas3 he cannot brook the gleam of her helmet and her lance4 ,but ,cupid whispers3 ,lift thine eyes1 ,giuliano1 to that flame which with its radiance blinds thee like a sun2 for she it is who quickens noble minds1 and from the breast all evil thoughts expels4 ,he dreams again2 a goddess comes to his aid leading him to battle and to victory4 ,she divests his lady of the armour of ,pallas1 and leaves her robed in white 7,lectures on the ,national ,gallery1 p4 #ea74 ,the poem#aif may thus be made to fit the picture4 ,it may1 however1 be questioned whether the action of the little ,cupids is not more appropriate to the accepted theory which sees in the armour the discarded weapons of a ,mars or a knight1 and ,count ,plunkett 7,sandro ,botticelli1 pp4 #dd-e7 refers to a passage in ,lucian1 with whose dialogues ,botticelli was familiar4 ,in describing a picture by ,ation of the ,nuptials of ,alexander and ,roxana1 ,lucian describes how on one side of it little ,cupids play among ,alexander's armour2 two are carrying his spear1 as porters do a heavy beam2 two more grasp the handles of a shield1 tugging it along with another reclining on it 444 and then another has got into the breastplate4444 ,all this is not idle fancy1 on which the painter has been lavishing needless pains2 he is hinting that ,alexander has also another love1 in ,war4 #iaf4 ,,venus ,,with ,,cupids4 ,school of ,botticelli 7,florentine3 #addg-aeaj74 ,see #ajcd4 ,see also 7p4 xx7 ,the expression of melancholy characteristic of ,botticelli's ,madonnas is not absent from his heathen goddesses either4 ,notice also the roses--the painter's favourite flower 7see #bbf74 ,this picture is probably only a work of his school2 the figure of the goddess is a not very successful repetition of the one in #iae4 ,the subject of the picture recalls the description of ,simonetta in ,poliziano's poem3-- ,white is the maid1 and white the robe around her1 ,with buds and roses and thin grasses pied2 ,enwreathd folds of golden tresses crowned her1 ,shadowing her forehead fair with modest pride2 ,the wild wood smiled2 the thicket1 where he found her1 ,to ease his anguish1 bloomed on every side3 ,serene she sits1 with gesture queenly mild1 ,and with her brow tempers the tempests wild4 ,,symonds's ,translation4 #ibj4 ,,orpheus4 ,roelandt ,savery 7,dutch3 #aegf-afci74 ,savery1 a painter of ,courtrai1 was instructed by his brother at ,amsterdam4 ,his works show the influence of ,jan ,breughel4 ,he visited ,france in the reign of ,henry ,,iv41 by whom he was employed in the royal palaces4 ,he was subsequently invited to ,prague by the ,emperor ,rudolph ,,ii41 in whose service he spent several years4 ,a not very poetical rendering of the poetical legend of the power of music3-- ,you shall perceive them make a mutual stand1 ,their savage eyes turn'd to a modest gaze ,by the sweet power of music3 therefore the poet ,did feign that ,orpheus drew trees1 stones1 and floods2 ,since naught so stockish1 hard1 and full of rage1 ,but music for the time doth change his nature4 ,merchant of ,venice1 ,act v4 ,sc4 #a4 #ibc4 ,a ,,venetian ,,senator4 ,andrea ,solario 7,lombard3 about #adfj-aebj74 ,see #gcd4 ,this picture was ascribed to ,giovanni ,bellini before it entered the ,national ,gallery1 and dilettanti might well mistake it for a work of ,antonello da ,messina4 ,there seems to be little doubt that the picture was painted by ,solario at ,venice1 where he went in #adij in company of his brother4444 ,the firmly drawn portrait of the senator1 with its minutely executed landscape in the background1 reveals plainly that he there became an ardent follower of ,antonello 7,richter's ,italian ,art in the ,national ,gallery1 p4 #ii74 #ibd4 ,a ,,gothic ,,interior ,pieter ,neeffs 7,flemish3 #aegg-;about #affa74 ,this eminent architectural painter belonged to a family of ,antwerp artists4 ,he was a pupil of ,hendrick ,steenwyck the elder4 ,he did for the ,roman ,catholic churches of ,antwerp that which1 thirty years later1 and with greater talent1 a more flowing brush1 and a better understanding of chiaro-oscuro1 ,emmanuel de ,witte 7see #ajec7 was destined to do for the ,protestant churches of ,delft4 ,neeffs took special delight in the representation of night scenes1 torchlight funeral services1 and the like4 ,teniers and ,velvet ,breughel themselves often assisted him in these small canvases1 thus bearing testimony to the high esteem in which ,neeffs was held by his colleagues 7,wauters1 ,the ,flemish ,school1 p4 #cdb47 ,a group of figures is inspecting a conspicuous ,renaissance tomb4 ,notice the dogs among the visitors4 #ibg4 ,,an ,,angel ,,adoring4 ,filippino ,lippi 7,florentine3 #adeg-aejd74 ,see #bic4 ,and with the morn those angel faces smile1 ,which ,i have loved long since1 and lost awhile4 ,,cardinal ,,newman4 ,this exquisite fragment once belonged to ,sir ,augustus ,callcott1 ,r4,a4 #ibh4 ,,apollo ,,and ,,daphne4 ,ascribed to ,pollajuolo 7,florentine3 #adbi-adih74 ,see #bib4 ,the ,greeks1 seeing the perpetual verdure of the laurel1 personified it in the story of ,apollo and ,daphne 7 laurel71 which told how the sun-god was enamoured of her4 ,but she1 praying to be delivered from his pursuit1 was changed by the gods into a laurel--her two arms are here sprouting1 just as the god has caught her in his embrace2 and he1 crowning his head with the leaves1 ordained that the tree should for ever bloom and be sacred to his divinity 7see further for the story of ,apollo and ,daphne under #ebj74 ,the fact that ,phoebus ,apollo was also the god of song has suggested a pretty adaptation of the legend to the case of poets who sing for love and earn the laurel wreath-- ,yet1 what he sung in his immortal strain1 ,though unsuccessful1 was not sung in vain3 ,all1 but the ,nymph that should redress his wrong1 ,attend his passion and approve his song4 ,like ,phoebus thus1 acquiring unsought praise1 ,he catched at love1 and filled his arms with bays4 ,,waller4 #ibi4 ,,the ,,bridgewater ,,madonna4 ,copy after ,raphael4 ,see under #aaga4 ,this is an ancient copy1 probably by a ,flemish painter1 of the original1 which is in the possession of the ,earl of ,ellesmere at ,bridgewater ,house4 ,it belongs to ,raphael's second or ,florentine period1 and its exquisite grace has caused it to be known by some writers as ,la ,plus ,belle des ,vierges4 #icj4 ,,the ,,garden ,,of ,,love4 ,school of ,giorgione 7,venetian3 #afth century74 ,see #bfi4 ,certainly not by ,giorgione1#aig but a characteristic example of a class of composition of which1 as we have seen1 he was the inventor--one of those ,venetian pastorals in which young men and women disport in the open air1 amuse themselves at random 7,asolando74 #ica4 ,,the ,,magdalen4 ,paolo ,veronese 7,veronese3 #aebh-aehh74 ,see #bf4 ,the ,magdalen--she who had sinned much1 but who was forgiven because she loved much--is represented at the ,saviour's feet1 laying aside her jewels1 and thus renouncing the vanities of the world4 #icb4 ,a ,,knight ,,of ,,malta4 ,unknown 7,italian3 #afth century74 ,formerly ascribed to ,sebastiano del ,piombo4 #icc4 ,,boy ,,with ,a ,,bird4 ,padovanino 7,venetian3 #aeij-afej74 ,see #gj4 ,contrast with this child caressing a dove ,baroccio's ,christ teasing a bird4 ,padovanino lived much at ,venice1 and shared perhaps the ,venetian's fondness for pigeons--the sacred birds of ,st4 ,mark's1 which are kept and fed in the great square to this day at the public charge4 #icd4 ,,virgin ,,and ,,child4 ,carlo ,dolci 7,florentine3 #afaf-afhf74 ,carlo ,dolci1 the son of a ,florentine tailor1 is1 like his contemporary ,sassoferrato1 a good instance of the affected religious school described in our introduction to the ,later ,italian ,schools4 ,he was of a very retiring and pious disposition1 much given1 we are told1 to melancholy4 ,every one who looks first at the pictures of similar subjects by earlier ,italian artists will be struck by something sentimental and effeminate in ,dolci's conceptions4 ,similarly in his execution there is an over-smoothness and softness1 corresponding to polished language in literature 7see ,modern ,painters1 vol4 iii4 pt4 iv4 ch4 ix4 #g74 ,in the ,dulwich ,gallery is a ,st4 ,catherine of ,siena which is one of ,dolci's chefs d'oeuvre4 #ice4 ,a ,,river ,,scene4 ,salvator ,rosa 7,neapolitan3 #afae-afgc74 ,see #hd4 #icf4 ,,the ,,farnese ,,theatre1 ,,parma4 ,ferdinando ,bibiena 7,bolognese3 #afeg-agdc74 ,ferdinando ,galli1 called ,bibiena1 was one of a family of artists who came from a place of that name in the ,bolognese ,state4 ,he was a celebrated architect and scenic artist4 ,he was engaged at many of the ,european courts in the arrangement of state pageants4 ,he executed several works for ,ranuccio ,farnese1 ,duke of ,parma4 ,his architectural and perspective views are to be seen in the principal galleries in ,italy4 ,in these the figures are usually painted by his brother ,francesco4 ,ferdinando1 who published several works on architecture1 became blind in his old age4 ,a scene in the theatre with ,othello being played4 ,the pit is unseated2 it is a kind of promenade play4 #icg4 ,,venice3 ,,scuola ,,di ,,san ,,rocco4 ,canaletto#aih 7,venetian3 #afig-agfh74 ,see #abg4 ,the principal building is the ,scuola of the religious fraternity of ,st4 ,roch--an interesting building of the early ,renaissance 7#aeag71 passing into ,roman ,renaissance1 and1 as regards the pictures it contains 7by ,tintoret71 one of the three most precious buildings in ,italy 7,stones of ,venice1 ,venetian ,index74 ,from the adjoining ,church of ,st4 ,roch1 the ,holy ,thursday procession of the ,doges and ,officers of ,state1 together with the members of the ,fraternity1 is advancing under an awning on its way to ,st4 ,mark's4 ,notice the carpets hung out of the windows--a standing feature1 this1 in ,venetian gala decorations from very early times 7see1 for instance1 ,no4 #gci74aii ,notice1 also1 the pictures displayed in the open air--a feature which well illustrates the difference between the later easel pictures and the earlier pictures intended to serve as architectural decorations4 ,a glance at this picture is sufficient to show how utterly the ordinary oil painting fails when employed as an architectural embellishment4 ,pictures which were to adorn and form part of a building had to consist of figures1 separated one from another1 all standing in simple and restful attitudes1 and all plainly relieved against a light ground 7,conway3 ,early ,flemish ,artists1 p4 #bgj74 ,apart from one of the conditions of early art thus suggested1 the picture is interesting as showing how in the eighteenth century in ,italy1 as in the thirteenth1 art was part and parcel of the life of the people4 ,cimabue's pictures were carried in procession2 and here in ,canaletto's we see ,venetian old masters hung out to assist in the popular rejoicing4 #ich4 ,,venice3 ,,regatta ,,on ,,the ,,grand ,,canal4 ,canaletto 7,venetian3 #afig-agfh74 ,see #abg4 ,a state regatta--a pastime which owes its origin to ,venice--in honour of the visit to the city of the ,king of ,denmark in #agji4 ,in the centre of the canal are the gondoliers1 racing2 to the sides are moored the spectators1 the gala barges of the nobles conspicuous amongst them4 ,the variegated building on the left is a temporary pavilion for the distribution of prizes4 ,these regattas at ,venice took the place of our royal processions here4 ,wherever the eye turned1 it beheld a vast multitude at doorways1 on the quays1 and even on the roofs4 ,some of the spectators occupied scaffoldings erected at favourable points along the sides of the canal2 and the patrician ladies did not disdain to leave their palaces1 and1 entering their gondolas1 lose themselves among the infinite number of the boats 7,feste ,veneziane3 quoted in ,howells's ,venetian ,life1 ii4 #fi74 ,another custom in which we have begun to imitate the ,venetians1 and which may be seen in this picture1 is that of hanging out carpets and stuffs by way of decorations4 ,the windows and balconies1 says the same account1 were decked with damasks1 stuffs of the ,levant1 tapestries1 and velvets2 a very old ,venetian custom3 see under #icg4 #ici1 #idj4 ,,venice3 ,,the ,,piazzetta1 ,,and ,,the ,,ducal ,,palace4 ,canaletto 7,venetian3 #afig-agfh74 ,see #abg4 ,canaletto's representation of the central spot of ,venice4 ,in #ici is the ,piazzetta1 the little ,piazza or square1 in front the church of ,st4 ,mark1 with its bell towers2 on the left are the mint and library2 on the right is the ducal palace4 ,this appears again in #idj1 with the famous column of ,st4 ,mark1 patron saint of ,venice1 while beyond it is the ,ponte della ,paglia1 the prisons1 and the ,riva degli ,schiavoni4 #ida4 ,,venice3 ,,the ,,grimani ,,palace4 ,canaletto 7,venetian3 #afig-agfh74 ,see #abg4 ,this palace1 situated on the ,grand ,canal and used until lately as the post-office1 was built in the sixteenth century by ,san ,micheli1 and is the principal type at ,venice1 and one of the best in ,europe1 of the central architecture of the ,renaissance schools--that carefully studied and perfectly executed architecture to which those schools owe their principal claim to our respect1 and which became the model of most of the important works subsequently produced by civilised nations4444 ,it is composed of three stories of the ,corinthian order 7i4e4 in which the ornament is concave1 distinguished from ,doric1 in which it is convex71 at once simple1 delicate1 and sublime2 but on so colossal a scale that the three-storied palaces on its right and left only reach to the cornice which marks the level of its first floor 7,stones of ,venice1 vol4 iii4 ch4 ii4 #a1 #b74 ,buildings in the same style in ,london are ,st4 ,paul's and ,whitehall4 #idb4 ,,eton ,,college4 ,canaletto 7,venetian3 #afig-agfh74 ,see under #abg4 ,painted during the artist's first ,english visit1 #agdf-agdh1 perhaps in the same year 7#agdg7 that ,gray published his well-known ode-- ,ye distant spires1 ye antique towers ,that crown the watery glade1 ,where grateful ,science still adores ,her ,henry's holy shade4 #idc4 ,a ,,portrait4 ,unknown 7,early ,flemish3 #aeth century74 ,see also 7p4 xx7 ,this portrait1 which is dated #adfb1 was formerly supposed to be ,memlinc's portrait of himself1 in the costume of the ,hospital of ,st4 ,john at ,bruges1 but is now called by others ,bouts's own portrait4 ,it is1 says ,sir ,w4 ,armstrong 7,notes on the ,national ,gallery1 p4 #bh71 pretty surely the work of ,dirck ,bouts4 ,compare it with the ,madonna numbered #ggd1 and ascribed to ,van der ,goes4 ,in conception1 in chord of colour1 in technical manner1 the similarity is so complete between them as to leave room1 in my mind1 for very little doubt as to the identity of their authors4 ,and this ,madonna is by ,dirck ,bouts1 as no one who has examined his ',last ,supper' in the ,church of ,st4 ,pierre at ,louvain can doubt4444 ,sir ,martin ,conway1 who was the first1 ,i fancy1 to recognise ,bouts in all three of these pictures1 drew my attention to a curious peculiarity of his3 he goes out of his way to paint hands4 ,in his ',last ,supper' many hands are displayed that might quite naturally have been hidden1 and we find the same thing in this portrait4 ,whether of ,memlinc or of ,bouts1 the face bespeaks a gentle1 humble1 pious1 laborious soul4 ,the painting of the hair is especially remarkable4 ,it is touched with the utmost minuteness1 and yet the silky1 flowing texture is conveyed with the utmost freedom4 ,this picture was formerly in the possession of ,samuel ,rogers4 #idd4 ,,two ,,usurers4 ,marinus van ,romerswael 7,flemish3 about #adig-aegc74 ,marinus of ,romerswael 7his birthplace71 also called de ,zeeuw 7the ,zeelander71 was fond of this subject1 the composition of which he seems to have borrowed from ,quentin ,metsys1 by whom also similar pictures are common4 ,in early life ,marinus was apprenticed to a glass-painter at ,antwerp4 ,nothing is known of his later life till towards its close1 when he was residing at ,middelburg4 ,there1 in #aeff1 in an iconoclastic outburst of the populace1 the churches of the town were wrecked2 and ,marinus was accused before the tribunals of taking part in the spoliation of the ,westmonsterkerk4 ,being held guilty1 he was condemned on the #beth of ,june #aefg to perform an ignominious public penance and to be banished from ,middelburg for the space of six years4 ,an aged man then1 he can scarcely have survived his term of exile 7see authorities cited in the ,official ,catalogue74 ,one inserts items in a ledger2 the other puzzles over the particulars of some business transaction4 ,it is a powerful realisation of what ,ruskin calls the ,new ,beatitude1 ,blessed are the merciless1 for they shall obtain money4 ,the picture is remarkable1 says ,sir ,edward ,poynter1 not only for its marvellous finish1 and the energy of the expressions1 but for its luminous quality and the purity of the colour4 #ide4 ,,st4 ,,agnes ,,adoring4 ,joachim ,patinir 7,early ,flemish3 died #aebd74 ,see #gae4 ,st4 ,agnes1 the young martyr virgin1--attired as a ,pensive nun1 devout and pure1 ,sober1 steadfast1 and demure1-- kneels before the infant ,christ1 for knowest thou not that ,agnes has been a ,christian from her infancy upwards1 and the husband to whom she is betrothed is no other than ,jesus ,christ8 ,the infant ,christ holds a coral rosary in his hand1 for he would crown her with jewels compared with which all earthly gifts are as dross4 ,it chanced that the son of the prefect of ,rome beheld her one day as he rode through the city1 and became violently enamoured1 and desired to have her for his wife4 ,he asked her in marriage of her parents1 but the maiden repelled all his advances4 ,then he brought rich presents1 bracelets of gold and gems1 and rare jewels and precious ornaments1 and promised her all the delights of the world if she would consent to be his wife4 ,but she rejected him and his gifts1 saying1 ,away from me1 tempter6 for ,i am already betrothed to a lover who is greater and fairer than any earthly suitor4 ,to him ,i have pledged my faith1 and he will crown me with jewels1 compared to which thy gifts are dross 7,,mrs4 ,,jameson3 ,sacred and ,legendary ,art1 p4 #cef47 #idf4 ,a ,,man',s ,,portrait4 ,mabuse 7,flemish3 about #adgj-aeda74 ,see #fef4 ,on the back of this picture is the brand of ,charles ,i41 a crown with ,c4 ,r4 #idg4 ,a ,,portrait4 ,unknown 7,flemish ,school74 ,formerly hung with the ,french pictures4 ,now ascribed to the ,flemish ,school of the #aeth or early #afth century4 #idh4 ,,landscape3 ,a ,,sketch4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 #idi4 ,,landscape ,,with ,,gipsies4 #iej4 ,,village ,,gossips4 #iea4 ,,the ,,game ,,of ,,bowls4 ,david ,teniers1 the elder 7,flemish3 #aehb-afdi74 ,this artist is less memorable for his own works1 which are mediocre1 than as the founder of a family of painters 7see ,wauters3 ,the ,flemish ,school1 p4 #bii71 and the father of the celebrated ,david ,teniers 7the younger74 ,he was a member of the ,antwerp ,guild of ,painters1 but spent ten years at ,rome1 where he came under the influence of ,adam ,elsheimer4 ,the elder ,teniers was the master of his son1 who carried on his style1 so that it is not always easy to distinguish their several pictures4 ,in their own time father and son were equally appreciated4 ,there is a large number of works by the elder ,teniers in the ,dulwich ,gallery4 ,on the whole they are browner in tone than those of the younger painter4 #ieb4 ,,the ,,village ,f,,te4 ,david ,teniers 7,flemish3 #afaj-afid74 ,see #aed4 ,so the picture is usually called1 but the subject seems rather to be a pilgrimage to some holy shrine or miraculous well4 ,a cross is seen on the right2 the priest in charge of the pilgrimage stands somewhat lower down2 on the left is a man selling little memorial flags with crosses on them4 ,the hungry travellers are waiting for the meal which is being prepared for them in several huge cauldrons4 ,the town of ,antwerp is seen in the distance4 ,this picture1 dated #afdc1 is among the best works of ,teniers1 and includes #aej figures4 ,truth in physiognomy1 distribution of groups1 the beautiful effect of light and shade1 command1 says ,hymans1 our warmest admiration4 ,in the foreground are ,teniers and his party1 with his little boy leading a greyhound1 and the girl of this party is almost the only pleasant face in the picture4 ,the painter1 one begins to suspect1 had not much real sympathy with his village scenes after all2 and perhaps the demand for such scenes on the part of his aristocratic patrons was only a kind of vicarious slumming--an anticipation of the fashionable craze of a later age4 #iec4 ,,the ,,toper4 ,david ,teniers 7,flemish3 #afaj-afid74 ,see #aed4 ,this picture is signed with a ,t4 within a ,d41 which is the signature of the elder ,teniers4 ,but1 lo1 a ,teniers woos1 and not in vain1 ,your eyes to revel in a livelier sight3 ,his bell-mouth'd goblet makes one feel quite ,danish1 ,or ,dutch1 with thirst--what1 ho6 a flask of ,rhenish4--,,byron4 #ied4 ,a ,,landscape4 ,cornelis ,huysmans 7,flemish3 #afdh-agbg74 ,this painter1 whose pictures have for the most part become very dark1 was born at ,antwerp1 the son of an architect4 ,he studied the art of landscape under ,jacques d',arthois at ,brussels1 by which master we are told he was kept so closely to drawing that he could only practise painting by night4 ,he took up his abode at ,mechlin2 but in #agjb removed to ,antwerp1 returning1 however1 to ,mechlin fourteen years later4 ,favourable examples of his work may be seen at the ,louvre4 #iee4 ,,women ,,bathing4 ,cornelis van ,poelenburgh 7,dutch3 #aehf-affg74 ,this painter was a native of ,utrecht1 where he studied under ,a4 ,bloemaert4 ,he afterwards visited ,italy and ,rome1 where he was in #afag1 and where he studied the works of ,elsheimer4 ,he generally painted ,italian landscapes1 which he peopled with nude figures1 goddesses1 nymphs bathing1 or antique shepherdesses4 ,these works hit the taste of ,royal and ,grand ,ducal patrons throughout ,europe4 ,on quitting ,rome for ,florence1 he was employed by the ,grand ,duke4 ,in #afbg he returned to ,utrecht1 whither his fame had preceded him4 ,rubens is said to have visited him1 and ,van ,dyck painted his portrait4 ,he was invited also to ,london1 and was employed both by ,charles ,i4 and ,james ,,ii4 ,he was on three occasions appointed ,dean of the ,painters' ,guild at ,utrecht1 where he died4 ,he frequently helped his fellow landscape painters by inserting figures for them4 ,those in ,both's ,judgment of ,paris 7,no4 #bji7 are by him4 #ief4 ,,an ,,italian ,,landscape4 #ieg4 ,,goatherds4 #ieh4 ,,outside ,,the ,,walls ,,of ,,rome4 #iei4 ,a ,,river ,,scene4 ,jan ,both 7,dutch3 #afaj-affb74 ,see #ga4 #ifj4 ,,the ,,windmills4 ,cuyp 7,dutch3 #afbj-afia74 ,see #ec4 #ifa4 ,,dort 7,,the ,,large ,,dort74 #ifb4 ,,dort 7,,the ,,small ,,dort74 ,cuyp 7,dutch3 #afbj-afia74 ,see #ec4 ,groups of ,cuyp's favourite cows in the foreground4 ,in the distance the ,groote ,kerk of ,dordrecht1 with its handsome tower4 #ifc4 ,a ,,skating ,,scene4 ,isaac van ,ostade 7,dutch3 #afba-afdi74 ,see #hdg4 ,a scene such as ,isaac van ,ostade specially loved4 7,see ,pater's ,imaginary ,portraits1 cited under #aacg47 #ifd4 ,a ,,river ,,scene4 #ife4 ,,river ,,scene ,,with ,,state ,,barge4 #iff4 ,a ,,river ,,scene4 #ifg4 ,,dutch ,,shipping4 ,jan van de ,cappelle 7,dutch3 painted #afej-afhj74 ,see #hfe4 #ifh4 ,,the ,,painter',s ,,wife4 ,gerard ,dou 7,dutch3 #afac-afge74 ,see #aib4 #ifi4 ,a ,,frost ,,scene4 ,aart van der ,neer 7,dutch3 #afjc-afgg7 ,see #aeb4 #igj4 ,,the ,,drowsy ,,landlady4 ,gabriel ,metsu 7,dutch3 #afcj-affg74 ,see #hch4 #iga1 #igb4 ,,landscapes4 ,jan ,wynants 7,dutch3 about #afae-afgi74 ,see #hhc4 #igc4 ,,sandbank4 ,wouwerman 7,dutch3 #afai-affh74 ,see #hgh4 ,formerly ascribed to ,jan ,wynants4 #igd4 ,,landscape4 ,philip de ,koninck 7,dutch3 #afai-afhh74 ,see #hcf4 ,a view of the ,scheldt and ,antwerp ,cathedral in the distance4 #ige4 ,,the ,,stag ,,hunt4 #igf4 ,a ,,battle4 ,wouwerman 7,dutch3 #afai-affh74 ,see #hgh4 ,in ,wouwerman's battle-pieces1 says ,ruskin1 there is nothing but animal rage and cowardice--with which he contrasts the noble battle-piece by ,paolo ,uccello 7#ehc74 ,it is very singular1 he adds1 that unmitigated expressions of cowardice in battle should be given by the painters of so brave a nation as the ,dutch4 ,not but that it is possible enough for a coward to be stubborn1 and a brave man weak2 the one may win his battle by blind persistence1 and the other lose it by a thoughtful vacillation4 ,nevertheless1 the want of all expression of resoluteness in ,dutch battle-pieces remains1 for the present1 a mystery to me4 ,in those of ,wouwerman1 it is only a natural development of his perfect vulgarity in all respects 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 viii4 #h-aj74 #igg4 ,a ,,sea-,,piece4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 #igh4 ,a ,,river ,,scene4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 ,a state barge in the centre2 trumpeters sounding a salute on either side in other vessels4 #igi4 ,a ,,stiff ,,breeze4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 #ihj4 ,,dutch ,,ships ,,of ,,war4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 ,the best example we have of the painter--a delightful picture4 ,the sky is so delicate and unobtrusive that it does not expose his weakness in cloud drawing 7,j4 ,brett1 ,a4,r4,a41 on ,landscape at the ,national ,gallery1 in ,fortnightly ,review1 ,april #ahie74 #iha4 ,a ,,storm ,,at ,,sea4 ,w4 van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 ,see also under #hai4 ,this picture is signed 7on a floating spar7 and dated ,london #afgc4 #ihb4 ,a ,,forest ,,scene 7dated #afeh74 #ihc4 ,a ,,bay ,,horse 7dated #affc74 #ihd4 ,,landscape ,,with ,,cattle4 ,a4 van de ,velde 7,dutch3 #afcf-afgb74 ,see #hfg4 #ihe4 ,,sheep ,,and ,,goats4 ,karel du ,jardin 7,dutch3 #afbb-afgh74 ,see #hbf4 #ihf4 ,,the ,,watermills4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 #ihg4 ,a ,,rocky ,,torrent4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 #ihh4 ,,an ,,old ,,oak4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 #ihi4 ,,watermills1 ,,with ,,bleachers4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 ,see note to ,no4 #dd4 #iij4 ,a ,,wooded ,,prospect4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 ,this picture with its large shadows sweeping over the landscape and its faint gleams of sunlight1 suggesting an imminent rain-storm1 is one of ,ruysdael's most poetical works 7,poynter3 ,the ,national ,gallery1 ii4 #agd74 #iia4 ,,the ,,broken ,,tree4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 #iib4 ,,architectural ,,scene4 ,jan van der ,heyden 7,dutch3 #afcg-agab74 ,see #hff4 ,classic v4 ,gothic4 ,an interesting picture of the architectural tendency of the time--the classical ,palladian architecture of stone rising over the ruins of the red brick ,gothic of earlier times4 ,the same mixture of the old and the new--in juxtaposition not altogether unlike what is here represented--may be seen in the town of ,abingdon 7,berks71 where ,inigo ,jones's market-hall1 built about the time of this picture1 towers above the red bricks of the humbler and earlier styles4 #iic4 ,a ,,house ,,among ,,trees4 #iid4 ,a ,,street ,,in ,a ,,town4 ,jan van der ,heyden 7,dutch3 #afcg-agab74 ,see #hff4 #iie4 ,a ,,woody ,,landscape4 ,hobbema 7,dutch3 #afch-agji74 ,see #fhe4 #iif4 ,a ,,castle ,,in ,a ,,rocky ,,landscape4 ,hobbema 7,dutch3 #afch-agji74 ,see #fhe4 ,signed1 and dated #affg4 #iig4 ,,scouring ,,the ,,kettle ,godfried ,schalcken 7,dutch3 #afdc-agjf74 ,see #aii4 ,in pictures of this kind by ,dou and his followers you fancy1 it has been said1 that you see and hear the very grit as it cuts into the yellow metal4 #iih4 ,,singing ,a ,,duet4 ,godfried ,schalcken 7,dutch3 #afdc-agjf74 ,see #aii4 ,a lover holds a guitar1 his mistress some music2 on the table is a rose-- ,if love were what the rose is1 ,and ,i were like the leaf1 ,our lives would grow together ,in sad or singing weather4444 ,if love were what the rose is ,and ,i were like the leaf4 ,,swinburne3 ,a ,match4 #iii4 ,,by ,,candle-,,light4 ,godfried ,schalcken 7,dutch3 #afdc-agjf74 ,see #aii4 ,to give the most natural effect to his candle-light pieces1 ,schalcken is said to have adopted the following system3--,he placed the object he intended to paint in a dark room1 with a candle1 and looking through a small hole1 painted by day what he saw by candle-light 7,bryan's ,dictionary74 #ajjj4 ,,the ,,estuary ,,of ,a ,,river4 ,bakhuizen 7,dutch3 #afca-agjh74 ,see #bjd4 #ajja4 ,,hollyhocks ,,and ,,other ,,flowers4 ,jan van ,huysum 7,dutch3 #afhb-agdi74 ,see #gif4 ,notice the snail crawling along in front4 #ajjb4 ,,flowers1 ,,insects1 ,,and ,,fruit4 ,jacob ,walscappelle 7,dutch3 painted about #afge74 ,a painter of fruit and flowers in the style of de ,heem4 ,his flowers are generally arranged in water-bottles1 and are besprinkled with butterflies and other insects4 ,he painted at ,amsterdam from about #affg to #agah4 #ajjc4 ,,dead ,,partridges ,,and ,,other ,,birds4 ,jan ,fyt 7,flemish3 #afaa-affa74 ,fyt--painter and etcher of animals--was a pupil of ,snyders1 whom in some respects he excelled4 ,the sale catalogues of the greater part of the nineteenth century show that his works were little appreciated1 but recent criticism has given him a very high place among the animal and still-life painters of his country4 ,fyt's work1 says ,sir ,f4 ,burton1 is perfect in its kind1 exhibiting the finest observation of nature1 and an execution which unites the greatest mastery with the utmost delicacy4 ,his composition is unconstrained1 and the colouring and tone of his pictures are most pleasing4 ,he was born at ,antwerp1 where1 after some years' residence in ,italy1 he became ,dean of the ,painters' ,guild4 #ajjd4 ,,an ,,italian ,,landscape4 ,nicolas ,berchem 7,dutch3 #afbj-afhc74 ,see #gh4 #ajje4 ,,ploughing4 ,nicolas ,berchem 7,dutch3 #afbj-afhc74 ,see #gh4 ,there is in this small picture1 says ,sir ,edward ,poynter1 a genuine feeling for nature1 which is generally somewhat wanting in the works of ,berchem1 whose manner1 founded on the study of ,italian landscape art1 gives frequently an artificial effect to his composition 7,national ,gallery1 i4 #dd74 #ajjf4 ,,hurdy-,,gurdy4 ,nicolas ,berchem 7,dutch3 #afbj-afhc74 ,see #gh4 ,berchem1 as we have seen1 was an ,italianiser1 and here introduces us to one of the exports of that country-- ,far from ,england1 in the sunny ,south1 where ,anio leaps in foam1 ,thou wast reared1 till lack of money ,drew thee from thy vine-clad home4 ,,calverley3 ,fly ,leaves4 #ajjg4 ,a ,,rocky ,,landscape4 ,jan ,wils 7,dutch3 about #afjj-afgj74 ,wils1 whose pictures are seldom met with1 would appear1 from the style of most of his works1 to have studied under ,jan ,both at ,utrecht4444 ,he was the father-in-law and one of the teachers of ,nicolas ,berchem1 between whose works and some of those of ,wils 7as1 for instance1 the present picture7 a great resemblance may be traced 7,official ,catalogue74 ,the figures in this picture are supposed to have been put in by ,wouwerman4 #ajjh4 ,a ,,stag ,,hunt4 ,pieter ,potter 7,dutch3 #aeig-afeb74 ,pieter ,potter1 the father of ,paul ,potter1 was a native of ,enkhuizen1 and originally painted on glass4 ,in one of his early signatures 7#afbh7 he describes himself as glass annealer1 also painter4 ,later on1 he settled at ,amsterdam and was director of a manufactory of gilt leather there4 ,he formed his style1 we are told1 under the influence of ,frans ,hals1 and painted various subjects1 such as scenes in the guard-house1 still-life1 and landscape4 #ajji4 ,,the ,,old ,,gray ,,hunter4 ,paul ,potter 7,dutch3 #afbe-afed74 ,see #hdi4 #ajaj4 ,,renaissance ,,architecture4 ,dirk van ,delen 7,dutch3 #afjg-afgc74 ,this painter was born at ,heusden4 ,he lived at ,arnemuiden in ,zealand1 of which town he was burgomaster4 ,he worked also at ,haarlem1 ,delft1 and ,antwerp4 ,a picture by a rare master--interesting to students of the history of architectural taste4 ,in #iib we are shown the struggle between the old ,gothic style and the new ,renaissance architecture2 here we see the full victory of the latter4 ,dirk van ,delen loved to depict the costly and variegated marbles on splendid palaces in the style of the late ,renaissance4 ,he will not be defrauded1 even by considerations of distance1 of any of his details1 and every statue and ornament is shown us as minutely as if it were on the level of the eye4 ,the classical style has pervaded too the fountain2 note the gilt bronze group of ,hercules and the ,hydra4 #ajaa4 ,,portrait ,,of ,a ,,lady4 ,coques 7,flemish3 #afah-afhd74 ,see #hba4 ,a faithful imitation on a reduced scale of ,van ,dyck's ideal of feminine elegance4 ,there is a certain artificial simplicity very characteristic of the time1 in the combination of the lady1 with her sumptuous white satin and the elaborate architecture behind her1 and her pet lamb4 #ajab4 ,,portrait ,,of ,a ,,man4 ,matthew ,merian1 the younger 7,swiss3 #afba-afhg74 ,this painter was the son of ,matthew ,merian1 the elder1 an eminent ,swiss draughtsman and engraver4 ,the father had established himself at ,frankfort as a book and print seller1 and on his death in #afej1 the son assumed management of the business1 and continued the publication of the ,theatrum ,europum1 for which he arranged several plates4 ,but the younger ,merian was best known as a painter4 ,he was born at ,ble1 and at the age of #ad came to ,frankfort1 where he learnt to paint under ,joachim van ,sandrart1 whom he accompanied to ,amsterdam in #afcg and to ,england in #afdj4 ,in this country he came into friendly relations with ,van ,dyck1 whom he took as his model in the art of portraiture4 ,merian also travelled in ,france and ,italy4 ,as a portrait-painter he was much patronised by the ,german princes and also by the ,emperor ,leopold ,i4 ,he also painted religious and historical pictures1 such as the ,martyrdom of ,st4 ,lawrence1 for the high altar of ,bamberg ,cathedral1 and the ,resurrection1 in the ,library of ,ble4 ,this picture was formerly ascribed to ,van ,dyck4 ,the man's dress is of black velvet1 of the fashion of about #affe-gj4 #ajac4 ,,geese ,,and ,,ducks4 ,melchior de ,hondecoeter 7,dutch3 #afcf-afie74 ,see #bjb4 #ajad4 ,,the ,,martyrdom ,,of ,,st4 ,,lawrence4 ,adam ,elsheimer 7,german3 #aegh-afbj74 ,elsheimer was the son of a tailor at ,frankfort-on-,maine4 ,he himself settled in ,rome4 ,he inherited with his northern blood an intense love of nature and her varied aspects4 ,upon this he engrafted a careful study of the human form1 and in ,italy he profited by the example of the great masters of preceding generations4 ,thus1 aided by a certain homely imagination1 he formed a style of his own1 combining landscape and figure in such a manner that each was the necessary complement of the other1 and that subject and situation were in perfect harmony4 ,the lonely1 and at that time1 wooded1 depressions of the ,roman ,campagna1 and the hills of ,albano and ,tivoli1 were his favourite haunts1 and in their scenery his imagination placed events in biblical or mythological story4 ,he loved especially to paint the strange effects produced by diverse sources of illumination4 ,the novelty of his aims1 the beauty of his execution1 and the geniality of his disposition1 gained him admirers and friends 7,official ,catalogue74 ,his contemporaries ,sandrart and ,cornelius de ,bie describe him as an extraordinary artist who had a peculiar manner of his own4 ,he was1 indeed1 the first who invented a style of small sceneries1 landscapes1 and other curiosities4 ,he possessed1 we are told1 so extraordinary a memory1 that it was sufficient for him to have looked at an object or scene once to draw it with the utmost precision4 ,the extreme patience and labour with which he finished his pictures were such that the prices he received never sufficiently repaid him4 ,had he been paid but a fourth part of what his works have since produced1 he might have lived in affluence instead of indigence and distress4 ,elsheimer usually painted on copper 7as is the case with this picture74 ,his etchings and drawings are well known2 in the ,stdel ,institute of his native town there is a large collection of them4 ,there are also some in the ,british ,museum4 ,elsheimer's works had a considerable influence on many succeeding ,dutch painters4 ,elsheimer1 says ,mr4 ,colvin in his ,guide to the ,british ,museum ,drawings1 fills a very important part in art as the forerunner on the one hand of ,claude and his group1 by his delight in the composition and massing of the forms of hill1 plain1 and grove in the country round ,rome1 and on the other hand of ,rembrandt and his group1 by his predilection for strong artificial contrasts of light1 and for the dramatic and speaking action of his figures4 ,st4 ,lawrence 7for whose legend see #gdg7 is being prepared for martyrdom4 ,beside him there is an image of ,csar1 unto whom will be rendered ,csar's due--the saint's life2 but over his head is an angel from heaven1 for unto ,god will go the saint's soul4 ,the emperor is crowned on earth2 the angel brings the saint a palm branch1 an earnest of the martyr's crown in heaven4 #ajae4 ,,fruit1 ,,flowers1 ,,and ,,dead ,,birds4 ,jan van ,os 7,dutch3 #agdd-ahjh74 ,born at ,middelharnis1 a most distinguished flower-painter in the manner of ,van ,huysum4 ,he also painted marine pieces and wrote poetry4 ,his wife drew portraits in chalk1 and his two sons were painters4 ,prominent amongst the flowers is the red cockscomb4 ,a picture by the most distinguished flower-painter of his time1 and characteristic1 in an interesting particular1 of ,dutch pictures of this kind generally4 ,if the reader has any familiarity with the galleries of painting in the great cities of ,europe1 he cannot but retain a clear1 though somewhat monotonously calm1 impression of the character of those polished flower-pieces1 or still-life pieces1 which occupy subordinate corners1 and invite to moments of repose1 or frivolity1 the attention and imagination which have been wearied in admiring the attitudes of heroism1 and sympathising with the sentiments of piety4 ,recalling to his memory the brightest examples of these 444 he will find that all the older ones agree--if flower-pieces--in a certain courtliness and formality of arrangement1 implying that the highest honours which flowers can attain are in being wreathed into grace of garlands1 or assembled in variegation of bouquets1 for the decoration of beauty1 or flattery of noblesse4 ,if fruit or still-life pieces1 they agree no less distinctly in directness of reference to the supreme hour when the destiny of dignified fruit is to be accomplished in a royal dessert2 and the furred and feathered life of hill and forest may bear witness to the ,wisdom of ,providence by its extinction for the kitchen dresser4 ,irrespectively of these ornamental virtues1 and culinary utilities1 the painter never seems to perceive any conditions of beauty in the things themselves1 which would make them worth regard for their own sake3 nor1 even in these appointed functions1 are they ever supposed to be worth painting1 unless the pleasures they procure be distinguished as those of the most exalted society 7,notes on ,prout and ,hunt1 pp4 #aj1 #aa1 where ,ruskin goes on to contrast with this ,dutch ideal the simple pleasure in the flowers and fruits for their own sake which marks ,w4 ,hunt's still-life drawings74 ,observe1 as further characteristic of ,dutch fruit-pieces1 the butterfly1 the fly1 and the earwig3 ,there was a further tour de force demanded of the ,dutch workman1 without which all his happiest preceding achievements would have been unacknowledged4 ,not only a dew-drop1 but1 in some depth of bell or cranny of leaf1 a bee1 or a fly1 was necessary for the complete satisfaction of the connoisseur4 ,in the articulation of the fly's legs1 or neurology of the bee's wings1 the genius of painting was supposed to signify her accepted disciples2 and their work went forth to the ,european world1 thenceforward1 without question1 as worthy of its age and country4 ,but1 without recognising in myself1 or desiring to encourage in my scholars1 any unreasonable dislike or dread of the lower orders of living creatures1 ,i trust that the reader will feel with me that none of ,mr4 ,hunt's peaches or plums would be made daintier by the detection on them of even the most cunningly latent wasp1 or cautiously rampant caterpillar2 and will accept1 without so much opposition as it met with forty years ago1 my then first promulgated1 but steadily since repeated assertion1 that the 'modern painter' had in these matters less vanity than the ancient one1 and better taste 7ib4 pp4 #ad1 #ae74 #ajaf4 ,a ,,portrait ,,of ,a ,,girl4 ,sir ,peter ,lely 7,dutch3 #afag-afhj74 ,lely1 the court painter of the reign of ,charles ,,ii41 by whom he was knighted1 was a native of ,holland2 his father's name was ,van der ,vaes1 but the son took the nickname of ,le ,lys or ,lely 7from the lily with which the front of his father's house was ornamented7 as a surname4 ,he was born in ,westphalia1 but settled in ,england in #afda1 the year of ,van ,dyck's death1 on whom he modelled his style4 ,it was ,lely who is said to have painted ,cromwell1 warts and all1 but he easily accommodated himself to the softer manners of the ,restoration4 ,the rich curls1 the full lips1 and the languishing eyes of the frail beauties of ,charles ,,ii4 may be seen at ,hampton ,court4 ,lely was a mighty proud man1 says ,pepys1 and full of state4 ,the painting of great ladies was a lucrative business1 and his collection of drawings and pictures sold at his death for #bf1jjj1 a sum which bore a greater proportion to the fortunes of the rich men of that day than #ajj1jjj would bear to the fortunes of the rich men of our time4 ,he was struck with apoplexy while painting the ,duchess of ,somerset1 and was buried at ,st4 ,paul's1 ,covent ,garden4 ,the courtly affectation which distinguishes ,lely's portraits is not absent from this little girl4 ,she is feeding the parrot1 but obviously takes no interest in it--not even troubling indeed to look at it4 ,her concern seems to be only to hold up her flowing frock 7or simar7 prettily and to point her fingers gracefully4 #ajag4 ,a ,,woody ,,landscape4 ,unknown 7,flemish3 dated #afbb74 ,see also 7p4 xx7 ,the landscape is probably by ,josse ,mompers1 an ,antwerp artist who lived #aefd-afce4 #ajah4 ,a ,,classical ,,landscape4 ,claude ,lorraine 7,french3 #afjj-afhb74 ,see #b4 ,a characteristic example of ,claude's classical compositions as described in our chapter on the ,french ,school4 ,it is one of his late works1 being dated #afgc2 the names of ,anchises and neas occur4 #ajai4 ,,the ,,head ,,of ,a ,,girl4 ,greuze 7,french3 #agbe-ahje74 ,see #bjf4 ,i will paint her as ,i see her4444 ,with a forehead fair and saintly1 ,which two blue eyes under-shine1 ,like meek prayers before a shrine4 ,face and figure of a child1-- ,though too calm1 you think1 and tender1 ,for the childhood you would lend her4 ,mrs4 ,,browning3 ,a ,portrait4 #ajbj4 ,,girl ,,with ,,an ,,apple4 ,greuze 7,french3 #agbe-ahje74 ,see #bjf4 ,a cloud of yellow hair ,is round about her ear4 ,she hath a mouth of grace1 ,and forehead sweet and fair4 ,,austin ,,dobson3 ,a ,song of ,angiola4 #ajba4 ,,portrait ,,of ,a ,,woman4 ,frans ,hals 7,dutch3 #aehj-afff74 ,among the ,dutch portrait-painters1 ,hals stands second only to ,rembrandt1 while for mastery of the brush he is second only to ,velazquez4 ,though born in ,antwerp and a pupil of ,karel van ,mander 7the ,flemish painter and biographer71 ,hals is claimed as a member of the ,dutch ,school1 inasmuch as his father was settled at ,haarlem in ,holland1 and he himself lived and worked there4 ,in style1 though his vigorous drawing recalls by its boldness the masterly method of ,rubens1 his manner of giving to his work a sustained light1 his style of composition1 and the choice of his subject1 place him unmistakably in the ,dutch ,school4444 ,no one1 either before or after him1 ever attained the marvellous exactness with which he places flesh tints in juxtaposition1 without their mixing together1 just as they come from the palette4444 ,no artist ever manipulated his brush with such firmness1 freedom1 and life4 ,in consequence of his extraordinary ability1 ,frans ,hals has been called 'the personification of painting' 7,havard3 ,the ,dutch ,school1 p4 #aaj74 ,we prize in ,rembrandt1 says another critic1 the golden glow of effect based upon artificial contrast of low light in immeasurable gloom4 ,hals was fond of daylight of silvery sheen4 ,both men were painters of touch1 but of touch on different keys4 ,rembrandt was the bass1 ,hals the treble4 ,rembrandt's portraits are the more profound1 and there is in them an intensity of pathetic realism which was beyond the reach of ,hals2 but ,hals seizes the brighter moments of lusty life with a force and truth which have never been excelled4 ,hals is best seen in the ,haarlem ,museum in a series of portrait groups4 ,of his single portraits1 ,no4 #abea in our ,gallery is a characteristic example1 and at ,hertford ,house is a famous and charming picture1 ,the ,laughing ,cavalier1 which is full of what ,fromentin well calls the irresistible verve of ,frans ,hals4 ,the life of ,hals was irregular and improvident1 but full also of work and energy4 ,at a time when the ,dutch nation fought for independence and won it1 ,hals appears in the ranks of its military guilds4 ,he was also a member of the ,chamber of ,rhetoric1 and president of the ,painters' ,corporation at ,haarlem4 ,in #afaj he married1 and five years later was summoned before the magistrates for ill-treating his wife1 and on that occasion was severely reprimanded for his violent and drunken habits4 ,his first wife died prematurely1 and he saved the character of his second by marrying her in #afag4 ,with her he seems to have lived happily for nearly fifty years1 and they brought up a large family4 ,financial troubles1 however1 befell the painter4 ,in #afed a forced sale of his pictures and furniture at the suit of his baker brought him to penury4 ,a few years later we hear of the municipality paying his rent and firing for him1 and granting him a small annuity4 ,his widow had to seek outdoor relief from the guardians of the poor4 ,his four sons were all painters1 and attained some distinction4 ,several of the best ,dutch painters--,van der ,helst1 ,a4 van ,ostade1 ,metsu1 ,terburg1 ,steen1 and others--were directly or indirectly his scholars4 ,in the ,haarlem ,museum there is a picture by ,job ,berck-,heyde1 dated #afeb1 of the studio in which ,frans ,hals is surrounded by his sons and pupils4 #ajbb4 ,,an ,,italian ,,nobleman4 ,moroni 7,bergamese3 #aebe-aegh74 ,see #fig4 ,his left foot appears to have been wounded1 for it is attached by a kind of stirrup and black cord to a band above the knee4 ,it is interesting to compare this portrait with the closely corresponding one by ,moretto which hangs near it 7#ajbe74 ,both are excellent examples of the several masters4 ,both were1 no doubt1 good likenesses2 but there is a suggestion of poetry in ,moretto's which one misses in ,moroni's4 ,both are believed to be portraits of members of the ,fernaroli family4 #ajbc4 ,,an ,,italian ,,lady4 ,moroni 7,bergamese3 #aebe-aegh74 ,see #fig4 ,said to be the wife of the subject of the preceding portrait4 ,not so happy a production2 ,moroni's strength lay in portraits of the other sex4 #ajbd4 ,,an ,,italian ,,ecclesiastic4 ,moroni 7,bergamese3 #aebe-aegh74 ,see #fig4 ,the letter in his hand is addressed to himself1 and tells us that he is ,ludovico di ,terzi1 ,canon of ,bergamo1 and an ,apostolic ,prothonotary4 ,these latter functionaries1 of whom there are still twelve in the ,roman ,church1 are the chiefs of what may be called the ,record ,office of the ,church4 ,it is their business to draw up the reports of all important ,church functions1 such as the enthronements of new popes and public consistories4 ,it is an office of much dignity--as this holder of it seems to be fully conscious1 and the prothonotaries rank with bishops in the ,church4 #ajbe4 ,,an ,,italian ,,nobleman4 ,il ,moretto 7,brescian3 #adih-aeee74 ,see #bii4 ,this picture1 dated #aebf1 is one of ,moretto's most elegant portraits4 ,it is a true character portrait1 a picture of a soul as well as of a face4 ,it shows us an ,italian nobleman with all the poetry and aspiration of chivalry4 ,on his scarlet cap he bears his proud device--a medallion in gold and enamel of ,st4 ,christopher bearing the infant ,saviour--the ideal of ,christian chivalry3 ,inasmuch as ye have done it unto the least of one of these1 ye have done it unto me4 ,the picture is no doubt a portrait of one of the ,fernaroli family1 from whose palace in ,brescia it came4 #ajca4 ,,mary ,,magdalene4 ,giovanni ,girolamo ,savoldo 7,brescian3 about #adhj-aedh74 ,savoldo1 an excellent amateur1 who was apparently first a pupil of ,romanino1 then of ,giovanni ,bellini1 and later of ,titian#bjj 7,morelli3 ,borghese ,gallery1 p4 #bdf74 ,he visited ,florence in #aejh1 and we find him enrolled as master in the ,painters' ,guild there2 his stay cannot1 however1 have been of long duration1 as none of his works known to us betray the slightest ,florentine influence 7id4 ,german ,galleries1 p4 #djh74 ,his works1 says ,sir ,f4 ,burton1 display a distinct individuality1 the result of tendencies inherent in his nature4 ,the romantic element1 already developed in ,venetian art1 shows itself strongly in his passion for scenes of early dawn and late sunset and effects of night illuminated by fire4 ,his human types are pleasing with a certain grave dignity4 ,his colouring is on the whole colder than that of his contemporaries of the ,veneto-,brescian ,school1 and his flesh tints are adust and sombre1 especially in his male figures2 nor are his draperies generally brilliant in colour1 although he delighted in the sheen of silken stuffs1 contrasting it with the kind of twilight which pervades many of his pictures4 ,his landscapes in sacred subjects make a profound impression of silent wonder and devotion4 ,they seem to palpitate in sympathy with the deeds they witness1 instead of being mere scenic backgrounds4 ,in the ,berlin ,deposition1 for instance1 the sky is lurid and blood-stained2 in the ,adoration at ,turin the shepherds seem to be stealing noiselessly along1 afraid of causing the least disturbance in the hush and awe of the morning 7,mary ,logan's ,guide to ,hampton ,court1 in which collection there is a picture by ,savoldo of a ,madonna and ,child1 dated #aebg74 ,savoldo's pictures are rare1 and often pass under other names4 ,he was1 says ,vasari 7iv4 #ece71 a fanciful and ingenious person1 what he has accomplished well meriting to be highly commended4 ,an important altar-piece1 bearing his signature1 is in the ,brera at ,milan1 and a beautiful ,adoration of the ,shepherds is in the ,church of ,st4 ,giobbe at ,venice4 ,a vein of realism1 combined with the mystery of ,savoldo's deep colours and half-lights1 is seen in the picture of a woman shrouded in a mantle in the ,national ,gallery 7,layard1 ii4 #ehe74 ,the picture agrees with the description given by ,ridolfi of a ,magdalene1 a celebrated work of which there are many copies4 ,a very similar picture1 signed with ,savoldo's name1 is in the ,berlin ,gallery4 ,the ,magdalen is here approaching the sepulchre1 before which is a vase of ointment on a square stone--for she had bought sweet spices1 that they might come and anoint him4 ,and very early in the morning 444 they came unto the sepulchre at the rising of the sun 7,mark xvi4 #a1 #b74 ,notice the daring anachronism in the ,venetian background1 which gives with exquisite truth a very early dawn upon the ,giudecca4 #ajcb4 ,,christ',s ,,agony ,,in ,,the ,,garden4 ,lo ,spagna 7,umbrian3 painted #aejc-aecj74 ,giovanni di ,pietro1 called ,lo ,spagna 7the ,spaniard71 presumably from his nationality1 was a pupil of ,pietro ,perugino--the best1 perhaps1 of all his pupils who remained untouched by other influences4 ,observe for the influence of ,perugino's teaching the lovely flowers in the foreground and the attitude of the leader of the ,roman soldiers on the left 7like that of ,perugino's ,michael in #bhh74 ,in #aeaf ,lo ,spagna was made a citizen of ,spoleto1 and in the following year president of the ,society of ,artists there4 ,the ,madonna ,enthroned1 now in the ,lower ,church of ,assisi1 is considered his masterpiece4 ,an angel bearing a chalice flies towards ,christ from above 7,o my ,father1 if this cup may not pass away from me1 except ,i drink it1 thy will be done74 ,on the right is ,judas with a band of ,roman soldiers4 ,on the foreground are the three disciples sleeping 7,what6 could ye not watch with me one hour8 ,watch1 and pray1 that ye enter not into temptation2 the spirit indeed is willing1 but the flesh is weak74 ,this picture was at one time ascribed to the young ,raphael1#bja being identified with the work which he executed for ,duke ,guidobaldo of ,urbino1 and which is thus described by ,vasari 7iii4 #h73 ,for the same noble1 the master executed another small picture1 representing ,christ praying in the ,garden1 with three of the apostles1 who are sleeping at some distance1 and which is so beautifully painted that it could scarcely be either better or otherwise were it even in miniature4 ,vasari traces the history of the picture down to his time1 when it was in the ,hermitage of ,camaldoli4 ,our picture was formerly in the possession of ,prince ,gabrielli at ,rome4 ,the greater portion of the original drawing for it is in the ,uffizi1 catalogued under ,perugino4 #ajcc4 ,,the ,,adoration ,,of ,,the ,,magi4 ,filippino ,lippi 7,florentine3 #adeg-aejd74 ,see #bic4 ,see also 7p4 xx7 ,this picture#bjb 7like #eib1 q4v47 is often ascribed to ,botticelli1 from whom ,filippino learnt his fondness for the circular form4 ,every one will recognise too the resemblance to ,botticelli in the daintiness of the dresses1 the trappings of the horses 7especially in the middle of the foreground71 and the other accessories 7such as the head-dresses of the ,magi on the right74 ,vasari1 indeed1 says of ,filippino that the ornaments he added were so new1 so fanciful1 and so richly varied1 that he must be considered the first who taught the moderns the new method of giving variety to the habiliments1 and who first embellished his figures by adorning them with vestments after the antique4 ,filippino and later painters give these embellishments to angels as well as to men2 and ,vasari1 it will be seen1 considered it altogether an improvement4 ,some remarks on the other side will be found in ,modern ,painters1 vol4 ii4 pt4 iii4 sec4 ii4 ch4 v4 #ad 7,of the ,superhuman ,ideal74 ,the ornaments used by ,angelico1 ,giotto1 and ,perugino 7see1 e4g4 #bhh7 are always of a generic and abstract character4 ,they are not diamonds1 nor brocades1 nor velvets1 nor gold embroideries2 they are mere spots of gold or of colour1 simple patterns upon textureless draperies2 the angel wings burn with transparent crimson and purple and amber1 but they are not set forth with peacocks' plumes2 the golden circlets gleam with changeful light1 but they are not beaded with pearls nor set with sapphires4 ,in the works of ,filippino ,lippi1 ,mantegna1 and many other painters following1 interesting examples may be found of the opposite treatment2 and as in ,lippi the heads are usually very sweet1 and the composition severe1 the degrading effect of the realised decorations and imitated dress may be seen in him simply1 and without any addition of painfulness from other deficiencies of feeling4 ,in addition to the minor ornamentation1 one may notice in this picture the crowded groups of spectators which ,filippino was fond of introducing4 ,but so harmoniously are they grouped in six principal groups that the spectator will at first probably be surprised to hear that there are as many as seventy figures in the picture4 #ajcd4 ,,the ,,nativity ,,of ,,christ4 ,sandro ,botticelli 7,florentine3 #addg-aeaj74 ,the family surname of ,sandro 7,alessandro1 or ,alexander7 was ,filipepi4 ,he was apprenticed when a lad to a goldsmith1 called ,botticello 7for he obstinately refused to learn either to read1 write1 or sum72 of which master we know only that he so formed this boy that thenceforward the boy thought it right to be called ,botticello's ,sandro1 and nobody else's 7in ,italian ,sandro di ,botticello1 abbreviated into ,sandro ,botticelli74#bjc ,having learned prosperously how to manage gold1 he took a fancy to know how to manage colour1 and was put under the best master in ,florence1 the ,monk ,lippi 7see #fff74 ,some characteristics of ,lippi's art--its union of a buoyant spirit of life and enjoyment with simplicity and tenderness of religious feeling--are seen in the pupil4 ,but he added in his turn marked characteristics of his own1 which are noticed in detail under his several pictures here4 ,where ,fra ,filippo was all repose1 ,sandro was all movement4 ,moreover1 ,botticelli's range of subject was very wide--embracing ,venus crowned with roses and the ,virgin crowned by ,christ1 the birth of ,love 7at ,florence71 and the birth of the ,saviour4 ,botticelli1 says ,ruskin1 is the only painter of ,italy who understood the thoughts of ,heathens and ,christians equally1 and could in a measure paint both ,aphrodite and the ,madonna4 ,so that he is1 on the whole1 the most universal of painters2 and1 take him all in all1 the greatest ,florentine workman 7,fors ,clavigera1 #ahgb1 xxii4 #b74 ,he was1 we are told1 persona sofistica1 and lived on terms of intimacy with members of the ,florentine ,platonic ,academy4 ,the speculations which he shared with the poet ,matteo ,palmieri are enshrined in his ,assumption 7,no4 #aabf71 painted about #adge4 ,in #adha he executed a series of designs for ,landino's edition of ,dante3 these wonderful drawings1 formerly in the ,hamilton ,collection1 are now at ,berlin4 ,by this time1 says ,ruskin1 he was accounted so good a divine1 as well as painter1 that ,pope ,sixtus ,,iv4 sent for him to be master of the works in his new 7,sistine7 chapel--where the first thing my young gentleman does1 mind you1 is to paint the devil1 in a monk's dress1 tempting ,christ6 ,the sauciest thing1 out and out1 done in the history of the ,reformation1 it seems to me2 yet so wisely done1 and with such true respect otherwise shown for what was sacred in the ,church1 that the ,pope didn't mind2 and all went on as merrily as marriage bells4 ,the history of ,moses--the subject of his other fresco in the ,sistine ,chapel--teems with his exuberant power and displays great grandeur of landscape4 ,in the same chapel are also #bh portraits of ,popes by ,botticelli4 ,and having thus obtained great honour and reputation1 and considerable sums of money1 he squandered all the last away4 ,and at this time1 ,savonarola beginning to make himself heard1 and founding in ,florence the company of the ,piagnoni 7,mourners or ,grumblers1 as opposed to the men of pleasure71 ,sandro made a ,grumbler of himself1 being then some forty years old2 fell sadder1 wiser1 and poorer day by day2 until he became a poor bedesman of ,lorenzo de' ,medici2 and having gone some time on crutches1 being unable to stand upright1 died peacefully 7,ariadne ,florentina1 ,lecture ,,vi42 ,fors ,clavigera1 #ahgb1 xxii4 #b-f74 ,few things are more curious in the history of taste than the vicissitudes of ,botticelli's fame4 ,in his own day he had been much esteemed1 but his reputation was soon eclipsed4 ,in #afjb a decree was issued by the ,grand ,duke of ,tuscany prohibiting the inhabitants of ,florence from removing important works of art1 for neither the city nor the land itself is to be despoiled of the masterpieces of eminent painters4 ,the schedule of eccellenti pittori contains nineteen names1 among which that of ,filippino ,lippi1 ,botticelli's pupil1 is included1 but not ,botticelli himself4#bjd ,the rediscovery of ,botticelli has fallen to our country and generation4 ,the influence of ,rossetti1 the example of ,burne-,jones1 the famous essay of ,pater1 and the enthusiasm of ,ruskin1 have established a cult of ,botticelli which in earlier generations would have passed for a mild lunacy4#bje ,goldsmith1 had he witnessed it1 might have substituted the name of ,botticelli for that of ,perugino in his satire on fashionable stheticism4 ,the poetical imagination of ,botticelli1 his inventive design1 the strong sense of life which glows through all his pictures1 are truly admirable4 ,but what lends additional force to his vogue is the seal of intimit which is set upon his work4 ,botticelli treats his themes1 says ,burton with a verve1 a navet1 and pathos peculiar to himself4 ,besides the very greatest men1 there is 7says ,pater7 a certain number of artists who have a distinct faculty of their own by which they convey to us a peculiar quality of pleasure which we cannot get elsewhere1 and these1 too1 have their place in general culture4 ,of this select number ,botticelli is one2 he has the freshness1 the uncertain and diffident promise which belongs to the earlier ,renaissance itself1 and makes it perhaps the most interesting period in the history of the mind2 in studying his work one begins to understand to how great a place in human culture the art of ,italy had been called4 ,the other pictures by ,botticelli in the ,national ,gallery 7see #bge1 #aabf1 and #iae7 adequately represent his earlier phases2 this one completes the story of his life--painted as it was under ,savonarola's influence-- ,wrought in the troublous times of ,italy ,by ,sandro ,botticelli1 when for fear ,of that last judgment1 and last day drawn near ,to end all labour and all revelry1 ,he worked and prayed in silence4 ,,andrew ,,lang3 ,ballads and ,lyrics1 etc4 ,this beautiful and curious picture is very characteristic of ,botticelli's genius4 ,it is full of highly wrought emotion--note the fervour of the still ,madonna as she kneels before the ,child1 the extraordinary nervous tension which the artist has managed to suggest in the seated figure of ,joseph1 the rapture and ecstasy of the angels2 the picture is full also1 as we shall see1 of mystic symbolism1 but all is crowned and harmonised by a sense of pictorial daintiness and beauty4 ,the centre of the picture is occupied by the familiar subject of the ,nativity1 and the accessories suggest in symbolic fashion the effects of ,christ's ,advent upon the good and the evil respectively4 ,the theological symbolism may be seen in the gesture of the divine ,child pointing to his mouth--typifying that he was the ,word of ,god4 ,so at the bottom of the picture there are devils running1 at ,christ's coming1 into chinks of the rocks 7those who are ,christ's must put away the works of darkness72 whilst the shepherds and angels embracing signify the reconciliation such as ,savonarola wished to effect between heaven and earth4 ,on either side of the central group angels are telling the glad tidings of peace on earth1 goodwill towards men4 ,note the symmetry in this part of the picture2 the three ,magi on the left1 the three shepherds in adoration on the right2 and in colour1 the red frock of the angel on the right1 the red wings on the left4 ,meanwhile in the sky above is a lovely choir of ,botticelli's floating angels1 dancing between earth and heaven1 on a golden background suffused with light4 ,the picture is1 says ,ruskin1 a quite perfect example of what the masters of the pure ,greek school did in ,florence4444 ,the entire purpose of the picture is a mystic symbolism by motion and chiaroscuro4 ,by motion1 first4 ,there is a dome of burning clouds in the upper heaven4 ,twelve angels half float1 half dance1 in a circle1 round the lower vault of it4 ,all their drapery is drifted so as to make you feel the whirlwind of their motion4 ,they are seen by gleams of silvery or fiery light1 relieved against an equally lighted blue of inimitable depth and loveliness4 ,it is impossible for you ever to see a more noble work of passionate ,greek chiaroscuro--rejoicing in light 7,lectures on ,landscape1 #eh74 ,the introduction in the same picture of the solemn teaching below1 with these beautiful angel forms above1 suggests precisely what ,ruskin has defined to be ,botticelli's position among pictorial reformers4 ,he was what ,luther wished to be1 but could not be--a reformer still believing in the ,church2 his mind is at peace1 and his art therefore can pursue the delight of beauty and yet remain prophetic4 ,he was not a preacher of new doctrines1 but a witness against the betrayal of old ones4 ,the first and more obvious intention of ,botticelli's painted sermon was1 as we have seen1 to show the effects of the ,advent upon the good and the evil4 ,but he has also a particular application1 an esoteric meaning4 ,the clue to this is afforded by the ,greek inscription at the top1 which1 being interpreted1 is-- ,this picture ,i1 ,alexander1 painted at the end of the year #aejj1 in the troubles of ,italy1 in the half-time after the time during the fulfilment of the eleventh of ,st4 ,john1 in the ,second ,woe of the ,apocalypse1 in the loosing of the devil for three years and a half4 ,afterwards he shall be confined1 and we shall see him trodden down1 as in this picture4 ,in the troubles of ,italy1 at the end of the year #aejj4 ,now1 on ,may #ab1 #adig1 exactly three years and a half before the date of ,botticelli's inscription1 ,savonarola was burnt alive 7as depicted on the little panel1 ,no4 #acja72 and his death1 says the historian1 meant for ,florence the triumph of all that was most corrupt2 vice was everywhere rampant1 and virtuous living was utterly despised4 ,but in the faith of ,botticelli1 the reverent disciple of ,savonarola1 this tyranny of the ,evil ,one was doomed to pass away4 ,he saw in the troubles of ,italy a fulfilment of the awful words to which his inscription refers us in the eleventh chapter of the ,revelation of ,st4 ,john the ,divine3-- ,the holy city shall they tread under foot forty and two months4 ,and ,i will give power unto my two witnesses1 and they shall prophesy4 ,these are the two olive trees4 ,and when they shall have finished their testimony1 the beast that ascendeth out of the bottomless pit shall make war against them1 and shall overcome them1 and kill them4 ,and they that dwell upon the earth shall rejoice over them1 and make merry1 and shall send gifts one to another2 because these two prophets tormented them that dwelt on the earth4 ,and after three days and an half the ,spirit of life from ,god entered into them1 and they stood upon their feet2 and great fear fell upon them which saw them4 ,and they heard a great voice from heaven saying unto them1 ,come up hither4 ,and they ascended up to heaven in a cloud2 and their enemies beheld them4 ,the second woe is past4 ,and there were great voices in heaven1 saying1 ,the kingdoms of this world are become the kingdoms of our ,lord1 and of his ,christ2 and he shall reign for ever and ever4 ,to the elect1 then1 ,botticelli meant his picture to show the fulfilment of the prophecy by the ,second ,advent of ,christ1 and the final triumph of ,savonarola4 ,the men embraced by angels are in this reading of the picture the witnesses to whom the spirit of life was returned2 they are welcomed back to earth by angels1 ere they are rapt heavenward4 ,they bear olive boughs1 because in the ,apocalypse olive trees are symbolical of the ,lord's anointed ones4 ,there is but one point which seems at variance with the ,biblical text3 in it two witnesses are spoken of1 here there are three4 ,this deviation was doubtless intentional4 ,when ,savonarola died1 two others shared his palm of martyrdom1 ,fra ,domenico ,buonvicini and ,fra ,silvestre ,marussi4 ,the three figures crowned with myrtle represent the three risen and glorified martyrs 7,richter's ,lectures on the ,national ,gallery1 p4 #fa4 ,see also ,mr4 ,sidney ,colvin's article in the ,portfolio1 ,feb4 #ahgi74 #ajce4 ,,portrait ,,of ,a ,,young ,,man4 ,francia ,bigio 7,florentine3 #adhb-aebe74 ,francesco di ,cristoforo ,bigi 7this picture is signed ,,fra ,,cp ,franciscus ,cristophori pinxit71 commonly called ,francia ,bigio1 was the son of a weaver at ,milan1 and devoted himself to the art of painting1 not so much 7,vasari tells us7 because he was desirous of fame1 as that he might thus be enabled to render assistance to his indigent relations4 ,he was at first the pupil of ,albertinelli 7#fde71 and afterwards formed a close friendship with ,andrea del ,sarto1 in conjunction with whom he produced his first important work in #aeac1 in the small cloister of the ,servi4 ,it was here that occurred the famous scene1 described by ,vasari1 with the ,friars1 who1 having uncovered ,bigio's fresco of the ,sposalizio before the painter considered it finished1 so enraged him that he defaced some of the finest heads in it with a mason's hammer1 and would have destroyed the whole but for forcible intervention4 ,neither he nor any other painter could be induced to repair the injuries1 which remain to this day4 ,bigio was1 as we may see from this picture1 an admirable portrait-painter--an excellence which he owed1 says ,vasari1 to his patient and modest industry4 ,he was a great lover of peace1 and for that reason 7adds ,vasari drily7 would never marry4 ,the young man wears on his breast the cross of the ,knights of ,malta4 ,the letter in his hand bears the date #aead4 ,on the parapet is an inscription3 tar3 vblia3 chi3 bien3 eima 7slowly forgets he who loves well7-- ,dear as remember'd kisses after death1 ,and sweet as those by hopeless fancy feign'd ,on lips that are for others2 deep as love1 ,deep as first love1 and wild with all regret2 ,o ,death in ,life1 the days that are no more4 ,,tennyson3 ,the ,princess4 #ajcf4 ,a ,,man',s ,,portrait4 ,unknown 7,flemish3 #aeth-#afth century74 ,a picture1 it might be1 of ,hamlet with the skulls3 ,that skull had a tongue in it1 and could sing once4 ,in his left hand he holds a flower3 there's pansies1 that's for thoughts4 #ajda4 ,,the ,,vision ,,of ,,st4 ,,helena4 ,paolo ,veronese 7,veronese3 #aebh-aehh74 ,see #bf4 ,st4 ,helena1 the mother of ,constantine1 made a pilgrimage to ,jerusalem1 when a victory was gained by the emperor1 to recover the very cross of which she had seen a mysterious symbol4 ,having reached the sacred city1 she caused the soil of ,calvary to be excavated1 because the ,jews were accustomed to bury the instruments of execution upon the spot where they had been used4 ,and there she found three crosses1 and that one which was the holy cross was distinguished from the others by the healing of a lady of quality who was sick4 ,the empress divided the true cross into three parts1 giving one of them to the ,bishop of ,jerusalem1 and another to the church at ,constantinople4 ,the third she brought to ,rome1 where she built for it the great basilica of ,s4 ,croce4 ,here we see the saint in devout reverie1 while through the open window two cherubim bear a cross through the air4 ,this beautiful picture1 in which ,veronese gives us an ideal and mystic composition1 treated with a simplicity unusual to him1 seems to have been derived from a plate by ,marc ,antonio1 the founder of ,italian engraving 7#adhj-aecd71 supposed to be after a drawing by ,raphael4 ,the design is identical1 though an exquisitely airy angel with a slender cross in ,marc ,antonio's engraving is replaced in ,veronese's picture by chubby cherubs with a more solid cross4 7,the engraving is reproduced in the ,art ,journal1 #ahia1 p4 #cgf1 with some critical remarks4 ,this wonderful picture1 says the writer1 is at once a delight and a puzzle4 ,if ,veronese was capable of efforts like the ',vision of ,st4 ,helena1' why have we not more such1 seeing how many treasures of his art have survived to us8 ,the engraving offers an explanation1 curiously exact1 of this difficulty4 ,whatever in the ',vision' is ,veronese's own--the drapery and the colour--is not more remarkable than in many other pictures of his2 on the other hand1 whatever is not distinctively of ,veronese is ,marc ,antonio's4444 ,what more natural than that ,veronese should essay to clothe in the glory of his own colouring#bjf some creation of the great ,italian who learnt from ,drer how to interpret the art of ,raphael to ,italy87 ,veronese's picture once formed the altar-piece of a chapel dedicated to ,st4 ,helena at ,venice1 and was afterwards in the collection of the great ,duke of ,marlborough4 #ajdb4 ,a ,,man',s ,,portrait4 ,catharina van ,hemessen 7,flemish3 painted about #aeej74 ,catharina was the daughter of a painter named ,jan ,sanders1 called ,jan van ,hemessen from his native village4 ,she married a musician of repute in the ,low ,countries1 and with him went to ,madrid1 where she acquired celebrity and favour through her ability in portraiture4 #ajde4 ,a ,,canon ,,and ,,his ,,patron ,,saint4 ,gerard ,david 7,early ,flemish3 #adfj-aebc74 ,this remarkable painter1 who has been rediscovered in recent years by the researches of ,mr4 ,weale1 was born in ,oudewater1 a small town in the south of ,holland4 ,he settled in ,bruges in #adhc1 passing through the various grades of the ,painters' ,guild in that town1 until he became its ,dean in #aeja4 ,he was also connected with the ,guild of ,illuminators of ,bruges1 and with that of painters at ,antwerp4 ,in #adif he married the daughter of a ,bruges goldsmith4 ,in #aeji he painted and presented to the ,carmelites of ,sion at ,bruges a beautiful altar-piece1 in which he introduced his own portrait in the background to the right1 and that of his wife to the left4 ,this altar-piece was sold by the ,carmelites in #aghe1 and is now in the ,museum of ,rouen4 ,other important works by the painter are now in the ,academy at ,bruges1 and in the church of ,st4 ,basil in that town there is a triptych by him4 ,the present picture and ,no4 #adcb were also painted for a church in the same place4 ,david's works have often been confounded with those of ,memlinc1 and it is impossible to give them higher praise4 ,he was a fine colourist4 ,his faces show that he was an adequate interpreter of character4 ,the details he executed with the utmost minuteness and skill2 and he is remarkable also for his careful and truthful landscapes4 ,in #aejh ,david entered a religious brotherhood2 he was buried in ,notre ,dame at ,bruges1 where he was laid beneath the tower4 ,the canon kneels in adoration1 with his patron saints around him--,st4 ,bernardino of ,siena behind1 ,st4 ,donatian in advance of him1 and ,st4 ,martin to the left4 ,it was ,st4 ,martin who shared his cloak with the beggar1 and here in the distance to the left--in compliment to the canon's generosity--is a beggar limping towards the group1 asking alms4 ,notice the wood through which he walks4 ,the subdued light beneath the thick foliage of the trees is admirably rendered4 ,david was the first painter to think of the shadow-giving nature of trees4 ,trees had for many years formed a favourite subject for backgrounds1 but even by ,memlinc they were rather conventionally rendered1 one by one1 not grouped into woods1 and seldom brought into the foreground4 ,here we have a wood brought near us1 with its domed canopy of foliage above1 and its labyrinth of trunks buried in sylvan twilight below 7,conway's ,early ,flemish ,artists1 p4 #bih74 ,notice also the beautiful and elaborate work on the robes of ,st4 ,martin and ,st4 ,donatian4 ,they are fully described in ,mr4 ,weale's monograph referred to below4 ,this will repay the most minute examination4 ,the crimson-velvet cope of ,st4 ,martin is a masterpiece4 ,the portrait of the donor is admirable4 ,the history of this beautiful picture1 and of the changes and chances it went through before finding a permanent home in the ,national ,gallery1 is very curious4 ,in #aeja a colleague of ,richard van der ,capelle 7see #adcb7 and one of the executors of his will1 namely1 ,canon ,bernardin ,salviati 7illegitimate son of a rich ,florentine merchant who traded or resided in ,flanders71 was secretary of the chapter of ,s4 ,donatian at ,bruges4 ,having obtained leave to restore and embellish the altar of ,,ss4 ,john ,baptist and ,mary ,magdalene1 he commissioned ,gerard ,david to paint the shutters of the reredos4 ,these shutters1 together with those of several other altar reredoses in the nave of the church1 were1 at the request of the sacristan1 who complained that they were always breaking the wax candles1 sold in a lot by order of the chapter in #aghg for an insignificant sum of money4 ,what became of the others is not known1 but the one before us was1 as we learn from the letters of ,horace ,walpole1 bought in #agib1 by ,mr4 ,thomas ,barrett1 of ,lee ,priory1 ,kent1 and it figures in the catalogue of that collection as a group of saints by ,john ,gossart of ,maubeuge4 ,at the sale of the ,lee ,priory ,collection in ,may #ahei1 it was knocked down to the late ,mr4 ,william ,benoni ,white for #ebe guineas4 ,sir ,j4 ,c4 ,robinson drew ,mr4 ,weale's attention to the picture1 which he at once recognised as being the right-hand shutter of the reredos of ,salviati's chantry altar4 ,i tried hard1 says ,mr4 ,weale1 but in vain1 to persuade the late ,sir ,charles ,eastlake to purchase it for the ,national ,gallery1 but ,mr4 ,white would not part with it for less than #ajjj4 ,oddly enough the latter1 who bore the character of being a most penurious and miserly man1 by his last will and testament proved a generous benefactor to the nation1 and left this panel in ,july #ahgh to the ,national ,gallery 7,w4 ,h4 ,james ,weale3 ,portfolio monograph on ,gerard ,david1 #ahie1 p4 #ah74 #ajdg4 ,a ,,family ,,group4 ,lorenzo ,lotto 7,venetian3 #adhj-aeee74 ,see #fii4 ,supposed1 says the official catalogue1 to represent the painter1 his wife1 and two children4 ,this cannot be the case1 for ,lotto seems to have had no close domestic ties4 ,the picture is1 however1 full of interest for its own sake4 ,the man and the woman are1 it is true1 both looking out of the picture1 but nevertheless the feeling we have is that the group before us is not1 as is usual in ,italian family pictures1 a mere collection of portraits1 but that it is composed of people who are intimately related to each other1 constantly acting and reacting one upon the other1 and that it is presented in a way which1 while giving the individuality of each1 makes it hard to think of them except as conditioned1 and even determined1 by each other's presence4 ,we may in fact find in this domestic group an anticipation of the spirit of the modern psychological novel4 ,far from being painted as such groups usually were in ,italy--a mere collection of faces looking one like the other1 but with no bond of sympathy or interest uniting them--it is in itself a family story1 as modern almost as ,tolstoi's ,katia4 ,lotto makes it evident that the sensitiveness of the man's nature has brought him to understand and condone his wife's limitations1 and that she1 in her turn1 has been refined and softened into sympathy with him2 so that the impression the picture leaves is one of great kindliness1 covering a multitude of small disappointments and incompatibilities 7,b4 ,berenson3 ,lorenzo ,lotto1 pp4 #aid1 #bbg1 #cbb74 ,mr4 ,berenson calls attention further to the historical significance of this page from contemporary life and manners4 ,the artist opens our eyes to the existence in a time and in a country supposed to be wholly devoted to carnality and carnage1 of gentle1 sensitive people1 who must have had many of our own social and ethical ideas4 ,he helps us to a truer and saner view of the sixteenth century in ,italy than has been given by popular writers from ,stendhal downwards1 who too exclusively have devoted themselves to its lurid side4 ,lotto's charity helps us to restore that human balance without which the ,italy of the sixteenth century would be a veritable pandemonium4 ,the ,venetian costumes1 etc4 may also be noticed4 ,the little girl is dressed in as grown-up a way as her mother4 ,on the table is a ,turkey carpet1 reminding us of ,venetian commerce with the ,east4 ,a ,turkey carpet figures also in ,no4 #aaje4 #ajdh4 ,,portrait ,,of ,a ,,cardinal4 ,italian ,school 7#afth century74 ,see also 7p4 xx7 ,painted on copper1 a material which seems first to have been used for painting in the ,school of ,antwerp4 ,m4 ,auguste ,cartan1 of ,besanon1 in a paper by him in the ,courrier de l',art 7,june #be1 #ahhf71 points out the resemblance between this portrait and one1 also on copper1 in the museum at ,besanon1 ascribed to ,scipione ,pulzone1 surnamed ,gaetano 7#aeej-aeeh71 a painter who has been called the ,van ,dyck of the ,roman ,school4 ,a contemporary biographer speaks of ,gaetano's portraits as being so conscientious that every hair is painted1 and of his skill in rendering various stuffs2 both these characteristics may be observed in the present picture4 ,in the same paper ,m4 ,cartan identifies the ,cardinal as ,cardinal ,sirleto1 ,librarian of the ,vatican #aegj-aehe1 and tutor of ,s4 ,carlo ,borromeo4 ,there is a bust of ,cardinal ,sirleto in the church of ,san ,lorenzo at ,rome1 and ,m4 ,cartan declares the resemblance between the bust and this portrait to be unmistakable4 ,there is also in the ,corsini ,palace at ,rome a bust portrait of the same personage by ,scipione ,gaetano4 #ajdi4 ,,the ,,crucifixion4 ,unknown 7,german-,westphalian3 #aeth century74 ,a good example of the strength and weakness of this ,german art4 ,what is good are the clothes1 which are very quaint and various4 ,the figures show a ghastly enjoyment of horror and ugliness3 notice especially the crucified thief on the left4 #ajej4 ,a ,,sea ,,view4 ,bakhuizen 7,dutch3 #afca-agjh74 ,see #bjd4 #ajea4 ,,our ,,lord1 ,,st4 ,,thomas1 ,,and ,,st4 ,,anthony4 ,bertucci 7,umbrian3 #afth century74 ,see #bhb4 ,our ,lord extends his hand and foot to the doubting ,st4 ,thomas3 ,reach hither thy finger1 and behold my hands2 444 and be not faithless1 but believing4 ,to the right1 resting his hands on the shoulder of the donor of the picture1 is ,st4 ,anthony of ,padua1 another saint who doubted till--as the legend 7painted by ,murillo7 describes--in his arms1 so it is told1 ,the saint did his dear ,lord enfold1 ,and there appeared a light like gold ,from out the skies of ,padua4 ,this picture appears to be by the same painter as ,no4 #bhb1 and both are now ascribed to ,bertucci4 #ajeb4 ,,portrait ,,of ,a ,,young ,,man4 ,lombard ,school 7#aeth or early #afth century74 #ajec4 ,a ,,church ,,at ,,delft4 ,emanuel de ,witte 7,dutch3 #afjg-afib74 ,room ,x4 ,witte was a native of ,alkmaar1 but settled at ,delft1 where he probably met another architectural painter1 ,dirk van ,delen4 ,an exact knowledge of perspective1 a perfect conception of light and shade1 and a delicacy of execution which reveals every detail without degenerating into dryness1 figures well drawn and sufficiently picturesque 444 are the qualities which distinguish his works 7,havard3 ,the ,dutch ,school1 p4 #bde74 ,the picture before us is not a very favourable specimen of the painter's skill4 ,in the gallery at ,hertford ,house one of his masterpieces may be seen4 ,his style1 says ,mr4 ,phillips in his catalogue of that collection1 is absolutely opposed to that of the somewhat earlier painters of the ,flemish ,school1 ,steenwyck the ,younger and ,pieter ,neeffs the ,elder1 who obtained their chief effects by accuracy of linear perspective1 while ,de ,witte realised his by broad and masterly chiaroscuro4 ,in his treatment of light and colour he shows some affinity to ,pieter de ,hooch4 ,the date of his birth is uncertain2 it should perhaps be #afag4 ,notice the anti-,pauline practice of the worshippers 7,every man praying1 having his head covered1 dishonoureth his head4 ,but every woman that prayeth with her head uncovered1 dishonoureth her head--#a ,corinthians xi4 #d1 #e74 ,here it is the women who are uncovered1 the men who are covered4 #ajed4 ,a ,,view ,,in ,,venice4 ,francesco ,guardi 7,venetian3 #agab-agic74 ,see #baj4 #ajee4 ,a ,,village ,,card ,,party4 ,hendrick ,sorgh 7,dutch3 #afaa-afgj74 ,hendrick ,rokes1 a painter of ,rotterdam1 was the son of ,martin ,rokes1 the master of the passage-boat from ,rotterdam to ,dordrecht4 ,on account of his care and attention to passengers1 ,martin acquired the appellation of ,sorgh1 or ,careful2 the name descended to and was adopted by the son4 ,having shown an early talent for art1 ,hendrick was sent to ,antwerp1 where he was placed under the tuition of the younger ,teniers4 ,his style1 however1 rather recalls that of ,adrian ,brouwer4 ,he painted ,biblical subjects in a familiar manner1 indoor scenes of humble life1 village fairs1 and1 later1 river and sea views4 ,some of his best works are in the ,dresden ,gallery4 ,the game rests with the woman1 who is not going to play1 it would seem1 till the score is settled4 #ajef4 ,a ,,kiss ,,in ,,the ,,cup4 ,hendrick ,sorgh 7,dutch3 #afaa-afgj74 ,drink to me only with thine eyes1 ,and ,i will pledge with mine2 ,or leave a kiss but in the cup ,and ,i'll not look for wine4 ,,ben ,,jonson3 ,to ,celia4 #ajeg4 ,a ,,river ,,scene4 ,claude ,joseph ,vernet 7,french3 #agad-aghi74 ,see #bcf4 #ajeh4 ,,venice3 ,,the ,,canal ,,reggio4 ,canaletto 7,venetian3 #afig-agfh74 ,see #abg4 ,one of the principal waterways1 after the ,grand ,canal1 in ,venice4 ,the picture is a good instance of this painter's method of representing water4 ,he covers the whole space of it with one monotonous ripple1 composed of a coat of well-chosen1 but perfectly opaque and smooth sea-green1 covered with a certain number--,i cannot state the exact average1 but it varies from three hundred and fifty to four hundred and upwards1 according to the extent of canvas to be covered1 of white concave touches1 which are very properly symbolical of ripple#bjg4444 ,if it be but remembered that every one of the surfaces of those multitudinous ripples is in nature a mirror which catches1 according to its position1 either the image of the sky1 or of the silver beaks of the gondolas1 or of their black bodies and scarlet draperies1 or of the white marble1 or the green sea-weed on the low stones1 it cannot but be felt that those waves would have something more of colour upon them than that opaque dead green4444 ,venice is sad and silent now to what she was in his time2 but even yet1 could ,i but place the reader at early morning on the quay below the ,rialto1 when the market-boats1 full-laden1 float into groups of golden colour1 and let him watch the dashing of the water about their glittering steely heads1 and under the shadows of the vine leaves2 and show him the purple of the grapes and the figs1 and the glowing of the scarlet gourds1 carried away in long streams upon the waves2 and among them1 the crimson fish-baskets1 plashing and sparkling and flaming as the morning sun falls on their wet tawny sides2 and above1 the painted sails of the fishing-boats1 orange and white1 scarlet and blue1--he would not be merciful to ,canaletto any more 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 v4 ch4 i4 #ah1 #ai74 #ajei4 ,,venice3 ,,san ,,pietro ,,in ,,castello4 ,canaletto 7,venetian3 #afig-agfh74 ,see #abg4 ,a humble church1 typical of the humble origin of ,venice1 a city founded on the sands by fugitives4 ,the church stands on one of the outermost islets1 where1 in the seventh century1 it is said that ,st4 ,peter appeared in person to the ,bishop of ,heraclea1 and commanded him to found1 in his honour1 a church in that spot4 ,the title of ,bishop of ,castello was first taken in #ajia2 ,st4 ,mark's was not made the cathedral church till #ahjg4444 ,the present church is among the least interesting in ,venice2 a wooden bridge1 something like that of ,battersea on a small scale1 connects its island1 now almost deserted1 with a wretched suburb of the city behind the arsenal2 and a blank level of lifeless grass1 rotted away in places rather than trodden1 is extended before its mildewed faade and solitary tower 7,stones of ,venice1 vol4 i4 ,appendix iv47 #ajfj4 ,,two ,,vedettes ,,on ,,the ,,watch4 ,wouwerman 7,dutch3 #afai-affh74 ,see #hgh4 #ajfa4 ,,delft3 ,,scene ,,of ,,an ,,explosion ,egbert van der ,poel 7,dutch3 #afba-affd74 ,born at ,delft2 in #afej entered as a member of the painter's guild there2 afterwards moved to ,rotterdam1 where he died4 ,although his name recalls fires especially--never did painter burn so many houses and farm cottages as ,van der ,poel--he painted also small scenes in the style of ,ostade1 as we see in his ',rustic ,house' in the ,louvre1 and the ',interior' in the ,museum of ,amsterdam4 ,there are also a few pictures by him representing still life 7,havard3 ,the ,dutch ,school1 p4 #aef74 ,one of the many views painted by this artist of the explosion of a powder mill at ,delft1 ,october #ab1 #afed4 ,one might think the mill exploded specially to be painted1 so neatly and in order is everything represented4 ,in this explosion1 a well-known painter1 ,carel ,fabrizius1 lost his life4 #ajfb4 ,a ,,battle ,,piece ,ferrarese ,school 7early #afth century74 #ajfc4 ,a ,,man',s ,,portrait4 ,flemish ,school 7#aeth-#afth century74 #ajgd4 ,,an ,,oyster ,,supper4 ,dirk ,hals 7,dutch2 #aehi-afef74 ,dirk was the younger brother of ,frans ,hals 7see #ajba71 and was born at ,malines in #aehi4 ,he followed his elder brother to ,haarlem1 where he died in #afef--that is1 ten years before ,frans4 ,dirk was a clever artist1 at least so far as may be judged by his works1 which are extremely rare4 ,his figures are amusing1 graceful in manner1 and especially interesting from their costumes1 which belong to his own time1 and now appear somewhat strange and extravagant 7,havard3 ,the ,dutch ,school1 p4 #aba74 ,dirk confined himself chiefly1 says ,burton1 to the representation of convivial parties1 where cavaliers and ladies are seen enjoying themselves without much reserve at table1 in the dance1 or with music4 ,his light pencil1 his brilliant colour1 laid on thinly over a greyish ground1 and sharply accentuated1 suited the themes and the small scale of his pictures4 ,the picture is signed 7on the architrave above the open door71 and dated #afbf4 #ajge4 ,,virgin ,,and ,,child1 ,,st4 ,,jerome1 ,,and ,,st4 ,,francis4 ,perugino 7,umbrian3 #addf-aebc74 ,see #bhh4 ,a very ,peruginesque example--full1 that is1 of the peculiar sentiment and apparent affectation which caused ,goldsmith to make the admiration of him the test of absurd connoisseurship4#bjh ,but what is commonly thought affected in his design1 says ,ruskin1 is indeed the true remains of the great architectural symmetry which was soon to be lost1 and which makes him the true follower of ,arnolfo and ,brunelleschi1 the great ,florentine builders 7,ariadne ,florentina1 #gb74 ,the picture displays also in perfection that quality of tone in which ,perugino stands unsurpassed2 and the rich and liquid1 but subdued colour is steeped in a transparent atmosphere of pale golden glow 7,burton74 ,the history of this picture affords a good instance of that enrichment of the ,national ,gallery with graceful interludes by ,perugino1 saved from the wreck of ,italian monasteries1 of which ,mr4 ,ruskin speaks in his preface to this work4 ,it was painted by ,perugino in #aejg1 to be placed over an altar in memory of a master-carpenter at ,perugia4 ,it afterwards passed into the possession of the monks who owned the church4 ,they sold it1 with the chapel in which it was placed1 to the ,cecconi family1 from whom it passed by inheritance to the family ,della ,penna4 ,in #ahbb the head of this family removed it to his palace1 leaving a copy of it in its place in the church1 and in #ahgi the picture itself was bought from the ,baron della ,penna for the ,nation4 #ajgg4 ,,altar-,,piece 7dated #aeja74 ,borgognone 7,lombard3 about #adee-aebc74 ,see #bih4 ,a picture of the man of sorrows4 ,on either side of the infant ,christ are shown the scenes of his suffering#bji-- ,in stature grows the ,heavenly ,child1 ,with death before his eyes2 ,a ,lamb unblemished1 meek and mild1 ,prepared for sacrifice4 ,for sacrifice--but also for redemption1 and so above the throne are the angels of ,god1 playing the glad music of death swallowed up in victory4 ,in the right-hand compartment is ,christ bearing his cross2 in the left his agony in the garden4 ,the three disciples are here crouched asleep lower down1 and behind a wall are the ,roman soldiers1 whilst from above an angel brings a cup with a cross1 two spears1 and a crown of thorns in it3 ,father1 if thou be willing1 remove this cup from me3 nevertheless1 not my will1 but thine be done4 ,and there appeared an angel unto him from heaven1 strengthening him 7,luke xxii4 #db1 #dc74 #ajgh4 ,,the ,,deposition ,,from ,,the ,,cross4 #ajgi4 ,,the ,,adoration ,,of ,,the ,,magi4 ,unknown 7,early ,flemish3 #aeth century74 ,see also 7p4 xx7 ,these two pictures closely resemble in style and colouring the large altar-piece in the church of ,st4 ,bavon at ,ghent1 which is attributed to ,gerard van der ,meire4#baj ,that painter flourished at ,ghent about the middle of the fifteenth century2 entering the ,guild of ,st4 ,luke in #adeb1 and becoming sub-dean in #adgd4 ,he is described in a chronicle of the time as a pupil of ,hubert van ,eyck1 but the historian ,van ,mander says he began to paint after the death of ,jan van ,eyck1 a statement which is confirmed by the date of his enrolment in the ,guild4 ,nothing is yet really known about him except the bare fact of his existence1 for no picture has been certainly identified as his4 7#ajgi47 ,it is interesting to compare this representation of the scene1 almost childlike in its simplicity1 alike with the treatment by later painters 7see1 for instance1 ,rembrandt's1 ,no4 #dg71 and with the more decorative and symbolic treatment of the early ,italians 7e4g4 ,botticelli1 ,no4 #ajcd74 ,the picture before us shows no particular felicity of rendering1 no depth or insight2 it carries little conviction of reality1 but it has a homely charm4 ,the painter was thoroughly convinced of the actual truth of what he represented1 and thought only of bringing the same home to everyday experience4 ,in the background he has placed a village1 in which men are discussing what is going on 7,j4 ,e4 ,hodgson1 ,r4,a41 in the ,magazine of ,art1 #ahij1 p4 #db74 #ajhj4 ,,head ,,of ,,john ,,the ,,baptist4 ,unknown 7,school of the ,lower ,rhine3 #aeth century74 ,see also 7p4 xx7 ,the introduction of children's faces--in the character of mourning angels--to so ghastly a subject is very characteristic of the love of horror common to the ,flemish and ,german ,schools4 #ajha4 ,a ,,man ,,at ,,prayer4 ,unknown 7,early ,flemish3 #aeth century74 ,probably a portrait of the donor of an altar-piece1 of which this picture formed one compartment4 #ajhb4 ,,the ,,visit ,,of ,,the ,,madonna ,,to ,,st4 ,,elizabeth4 ,joachim ,patinir 7,early ,flemish3 died #aebd74 ,see #gae4 #ajhc4 ,,christ ,,crowned ,,with ,,thorns4 ,unknown 7,early ,flemish3 #aeth century74 ,see also 7p4 xx7 #ajhd4 ,,the ,,flight ,,into ,,egypt4 ,joachim ,patinir 7,early ,flemish3 died #aebd74 ,see #gae4 #ajhe4 ,,virgin ,,and ,,child4 ,unknown 7,school of the ,lower ,rhine3 #aeth century74 ,see also 7p4 xx7 ,a picture of the same school as #gjf1 but the ,flemish influence is here more discernible4 ,in the background is a church lighted from within4 ,the heads are very ugly 7notice the saint in the left compartment71 but the execution1 especially of the accessories1 is very delicate4 #ajhf4 ,,christ ,,appearing ,,after ,,his ,,resurrection4 ,unknown 7,early ,flemish3 #aeth century74 ,see also 7p4 xx7 ,notice the empty tomb1 visible through the half-opened door in the background--with the ,roman soldier asleep beside1 and an angel above it4 #ajhg4 ,,the ,,mocking ,,of ,,christ4 ,unknown 7,early ,german3 #aeth century74 ,sir ,martin ,conway says of the ,lyversberg ,passion what is equally applicable to this picture1 and indeed to most of the ,german art of the same period 7cf4 e4g4 #ajdi74 ,the ,passion1 as conceived by this painter1 was a scene for the display of brutality rather than the exhibition of heroism4 ,the enduring ,christ is not the subject of the pictures1 but the torturing villains that surround him4 ,the figure of ,christ does not dominate the rest2 the vile element seems always victorious 7,early ,flemish ,artists1 p4 #bjb74 #ajhh4 ,,the ,,crucifixion4 ,unknown 7,german ,school3 #afth century74 ,an altar-piece in three compartments4 ,on the side panels are two figures1 probably the donor and his wife1 kneeling4 #ajhi4 ,,madonna ,,and ,,child ,,with ,,st4 ,,elizabeth4 ,unknown 7,early ,flemish3 #aeth century74 #ajij4 ,,pan ,,and ,,syrinx4 ,franois ,boucher 7,french3 #agjd-aggj74 ,boucher1 the ,anacreon of ,painting1 was the typical painter-decorator of the ,louis-quinze period4 ,he painted 7as ,mr4 ,dobson sings in ,old ,world ,idylls7-- ,rose-water ,raphael1--en couleur de rose1 ,the crowned ,caprice1 whose sceptre1 nowise sainted1 ,swayed the light realm of ballets and bon-mots2 ,ruled the dim boudoir's demi-jour1 or drove ,pink-ribboned flocks through some pink-flowered grove4 ,made of his work a kind of languid ,maying1 ,filled with false gods and muses misbegot2-- ,a ,versailles ,eden of cosmetic youth1 ,wherein most things went naked1 save the ,truth4 ,boucher is represented by no less than #ba canvases at ,hertford ,house1 some of them of considerable historical interest4 ,for ,boucher owed much to the favour of ,madame de ,pompadour1 who purchased in #agec the two fine pictures of ,sunrise and ,sunset now at ,hertford ,house4 ,in the same collection are the idyllic and erotic subjects with which ,boucher decorated the boudoir at the ,htel de l',arsenal in which the ,pompadour was wont to receive her royal lover4 ,he also painted several portraits of the all-powerful favourite1 whom he instructed in the art of etching2 one of these portraits is also at ,hertford ,house4 ,boucher was the son of a designer for embroideries4 ,he spent some years in ,rome1 but returned to ,paris untouched by the great works he had seen4 ,he suited his art to the taste of the time1 and had his reward in reaping considerable wealth by his productions1 which1 including drawings for the engravers1 he poured forth in thousands4 ,in #agee he became inspector of the ,gobelins1 an appointment which he resigned in #agfe on becoming first painter to the king4 ,sir ,joshua ,reynolds describes a visit to ,boucher1 whom he found at work on a very large picture without drawings or models of any kind4 ,sir ,joshua allows1 however1 to some of his earlier works1 grace and beauty and good skill in composition4 ,his easy execution and often dainty colour are also admired4 ,he was the idol of his day1 but his meretricious art was the subject of very pungent criticism from the not very austere ,diderot4#baa ,for another version of the same subject1 see #fei4 #ajjb4 ,,st4 ,,sebastian4 ,zaganelli 7,ferrarese3 about #aejj74 ,the only known work by a master who signs himself ,bernardino 7of7 ,cotignola 7in the ,duchy of ,ferrara74 ,he was a brother of ,francesco ,zaganelli1 and is believed to have worked towards the end of the fifteenth and the beginning of the sixteenth century4 ,this picture formed the chief panel of an altar-piece formerly in the church of the ,carmine at ,pavia1 and thus described by ,bartoli3 ,in the twelfth chapel 7is7 an ancient picture divided into six compartments1 of which the three larger exhibit1 in the centre ,st4 ,sebastian1 and at the sides ,st4 ,nicholas and ,st4 ,catherine of ,alexandria1 while the three smaller which are above represent the body of the ,redeemer supported by two angels in the centre1 and at the sides the ,virgin ,mary and the ,announcing ,angel4 ,this 7altar-piece7 is the work of ,bernardino da ,cotignola1 who has affixed to it his name on a feigned label4 ,for the story of ,st4 ,sebastian1 see under #ffi4 #ajic4 ,,our ,,lady ,,of ,,the ,,rocks4 ,leonardo da ,vinci 7,florentine3 #adeb-aeai74 ,there is no more fascinating and illustrious name in the annals of art than ,leonardo1 of ,vinci1 a town in the ,val d',arno below ,florence4 ,he has been well called1 from the many-sidedness of his efforts1 the ,faust of the ,renaissance4 ,the great public which knows him best by his few pictures and many drawings does not always remember that he was also musician1 critic1 poet1 sculptor1 architect1 mechanist1 mathematician1 philosopher1 and explorer4 ,in a letter addressed to ,ludovico il ,moro1 ,prince of ,milan1 in whose service he lived for sixteen years 7#adhc-adii71 he enumerates as his chief qualification his skill in military engineering1 and throws in his art as an incidental accomplishment4 ,i will also undertake any work in sculpture1 in marble1 in bronze1 or in terra-cotta2 likewise in painting ,i can do what may be done as well as any man1 be he who he may4 ,the range and amount alike of his theoretical discoveries and practical ingenuities were extraordinary4 ,he divined the circulation of the blood4 ,he anticipated ,copernicus in propounding the theory of the earth's movement4 ,he declared that motion was the cause of all life4 ,he forestalled ,lamarck's classification of vertebrate and invertebrate4 ,he takes his place1 in virtue of his researches into rocks and fossils1 with the masters of modern science who have proclaimed the continuity of geological causes4 ,he was the first inventor of screw propulsion4 ,he made paddle-wheels4 ,he attacked the problem of aerial navigation4 ,he invented swimming belts4 ,he anticipated by many years the invention of the camera obscura4 ,he was great alike as a civil and a military engineer4 ,he watered the ,lombard plain by the invention of sluices2 he was one of the first to recommend the use of mines for the destruction of forts1 and he anticipated the inventions of our time in suggesting breech-loading guns and mitrailleuses4 ,he shrank neither from the highest speculations nor from the humblest contrivances4 ,for centuries after his death the burghers of ,milan minced meat for their sausages with machines invented by the painter of ,monna ,lisa4 ,this marvellous curiosity in science and invention could not but profoundly influence ,leonardo's work as an artist4 ,one result is as obvious as it was unfortunate4 ,he paid the penalty of versatility in undertaking more than he could fulfil4 ,his dilatoriness is well known4 ,he went once to ,rome1 but the ,pope1 ,leo ,x41 offended him by exclaiming1 ,ah6 this man will never do anything2 he thinks of the end before the beginning of his work 7,he had made elaborate preparations for varnishing his picture before he began it47 ,many of his works were thus unfinished1 and others1 owing to premature experiments in material1 are ruined--especially his famous ,last ,supper at ,milan1 of which there is an original drawing at the ,royal ,academy4 ,leonardo's oil painting1 says ,ruskin1--not1 however1 without a touch of exaggeration--is all gone black or to nothing4 ,because ,leonardo made models of machines1 dug canals1 built fortifications1 and dissipated half his art-power in capricious ingenuities1 we have many anecdotes of him2--but no picture of importance on canvas1 and only a few withered stains of one upon a wall 7,queen of the ,air1 #aeg74 ,but ,leonardo's curiosity1 his wide outlook1 his sense of the immensities1 added something to his art which otherwise it might not have contained1 and which is intensely characteristic of it4 ,who1 for instance1 has ever penetrated the secret of ,leonardo's smile8--of the ineffable1 mysterious1 plaintive1 and haunting smile that has fascinated and perplexed the world century after century in the portrait of ,la ,gioconda8 ,that unfathomable smile1 with so much of mystery and with something of weirdness in it1 was the reflection of ,leonardo's mind1 which had explored the depths and heights1 and ever came back from the pursuit with the sense of the inscrutable ,mystery beyond4 ,what is that1 he asks1 which does not give itself to human comprehension1 and which1 if it did1 would not exist8 ,it is the infinite1 which1 if it could so give itself1 would be done and ended4 ,in the ,last ,supper1 says ,m4 ,mntz1 he had realised his ideal4 ,leonardo himself would not have said so4 ,his was one of those lofty minds before which an unattainable ideal ever hovers4 ,it is of a truth impossible1 said a friend of the master to him1 to conceive of faces more lovely and gentle than those of ,st4 ,james the ,great and ,st4 ,james the ,less4 ,accept thy misfortune1 therefore1 and leave thy ,christ imperfect as ,he is1 for otherwise1 when compared with the ,apostles1 ,he would not be their ,saviour and ,master4 ,leonardo took the advice1 and never finished the head of ,christ4 ,but he fixed the outward type of ,christ for succeeding generations4 ,apart from the credit due to ,leonardo as an ennobler of style in art1 he stands out further in the history of painting as the first who investigated the laws of light and shade4 ,there are three methods of art1 producing respectively linear designs1 effects of light1 and effects of colour4 ,in preparing to draw any object1 you will find that practically you have to ask yourself1 ,shall ,i aim at the colour of it1 the light of it1 or the lines of it8 ,the best art comes so near nature as in a measure to unite all4 ,but the best art is not1 and cannot be1 as good as nature2 and the mode of its deficiency is that it must lose some of the colour1 some of the light1 or some of the delineation4 ,and in consequence1 there is one great school which says1 ',we will have delineation1 and as much colour and shade as are consistent with it4' ,another1 which says1 ',we will have shade1 and as much colour and delineation as are consistent with it4' ,the third1 ',we will have the colour1 and as much light and delineation as are consistent with it4' ,the second class1 the ,chiaroscurists1 are essentially draughtsmen with chalk1 charcoal1 or single tints4 ,many of them paint1 but always with some effort and pain4 ,leonardo is the type of them 7compressed from ,ariadne ,florentina1 #ah-ba74 ,to his artistic genius and intellectual alertness1 ,leonardo added great personal beauty 7the radiance of his countenance1 which was splendidly beautiful1 brought cheerfulness1 says ,vasari1 to the heart of the most melancholy7 and great physical strength4 ,he could bend a door-knocker1 we are told1 or a horse-shoe as if it were lead4 ,he was left-handed and wrote from right to left4 ,besides his physical strength1 ,vasari mentions his kindness and gentleness1 and tells us how he would frequently buy caged birds from the dealers1 in order to give them back their liberty4 ,scandalous accusations were at one time brought against him1 but researches made in the archives during the last few years have effectually disposed of the charge4 ,one curious trait in the character of ,leonardo remains to be noticed4 ,in his art he created a feminine type of extraordinary and haunting beauty4 ,and yet1 says his latest biographer1 ,leonardo1 like ,donatello1 was one of those exceptionally great artists in whose life the love of woman seems to have played no part4444 ,the delights of the mind sufficed him4 ,he himself proclaimed it in plain terms4 ,cosa bella mortal passa e non arte4' ,fair humanity passes1 but art endures4' ,this extraordinary man was the son of a peasant-mother1 ,caterina1 and was born out of wedlock1 his father being a ,florentine notary2 and amongst ,leonardo's manuscripts is a record of a visit to ,caterina in the hospital1 who soon after his father's death had married in her own station1 and of expenses paid for her funeral4 ,his life has three divisions--thirty years at ,florence1 nearly twenty years at ,milan1 then nineteen years of wandering1 till he sinks to rest under the protection of the ,king of ,france4 7#a7 ,leonardo was the pupil of ,verrocchio 7see #bif71 a master well chosen1 for in his earnest and discursive mind were many points of contact with that of his illustrious pupil4 ,leonardo seems to have retained his connection with ,verrocchio until #adgg1 but the records of his ,florentine period are very scanty4 ,his earliest undoubted work is the unfinished ,adoration in the ,uffizi4 ,to this period also belongs the head of the ,medusa in that collection1 celebrated in ,shelley's verses--a work1 says ,mr4 ,pater1 in which the fascination of corruption penetrates in every touch its exquisitely finished beauty4 7#b7 ,in #adhc ,leonardo removed to ,milan to take service with ,ludovico ,sforza4 ,he served his patron in those multifarious ways for which his talents fitted him1--as musician and improvisatore1 as director of court pageants1 as sculptor1 painter1 and civil and military engineer4 ,to this ,milanese period belong two of the master's most celebrated productions--the present picture and the ,last ,supper1 executed in oil colours on an end wall of the refectory in the ,dominican ,convent of ,s4 ,maria della ,grazia4 ,at ,milan1 ,leonardo founded the famous ,vincian ,academy of ,arts over which he presided1 which attracted so many pupils1 and which may be said to have established a new ,milanese ,school4 ,for his ,academy he made the elaborate notes for a ,treatise on ,painting which were posthumously published47#c7 ,in #aejj1 consequent upon the flight of the ,duke before the ,french army1 ,leonardo left ,milan and returned to ,florence4 ,his stay1 however1 was not long1 for he took service for a time with ,csar ,borgia as architect and military engineer4 ,he was again in ,florence in #aejc1 and was commissioned with ,michelangelo to paint the ,hall of ,council in the ,palace of the ,signory4 ,his subject was the ,battle of ,anghiari4 ,the painting was begun but never completed4 ,the cartoon1 now lost1 remained and excited the greatest admiration1 ,the man who had presented the solemn moment of the ,last ,supper with a dignity and pathos never equalled1 who could portray feminine loveliness with a sweetness and grace peculiar to his pencil1 was no less successful in bringing before the eye the turmoil of battle and the fierce passions inspired by the struggle for victory4 ,one great work of his of this period 7#aejd7 happily survives--the famous portrait of ,monna ,lisa1 known as ,la ,gioconda1 in the ,louvre4 ,for the next ten years 7#aejf-aeaf71 ,leonardo alternated between ,milan1 ,florence1 and ,rome4 ,other works of this period are the ,st4 ,anne and ,st4 ,john1 also in the ,louvre4 ,in #aeaf he accompanied the ,french ,king1 ,francis ,i41 to ,france1 who lodged him and his faithful friend ,melzi in the ,chteau de ,cloux1 near ,amboise4 ,three years later he died1 having made his will 7the text of which has recently been discovered7 a week before the end--considering the certainty of death and the uncertainty of the hour1 of its approach4 ,he was buried1 by his own instructions1 in the church of ,st4 ,florentin at ,amboise4 ,of ,leonardo as a young man1 no authentic portraits exist4 ,in the ,royal ,collection at ,windsor and at ,turin there are portraits of himself in red chalk2 and on the ,sacro ,monte at ,varallo1 one of ,gaudenzio ,ferrari's sculptured figures is a portrait of the great master4 ,leonardo's drawings are very beautiful and numerous--the ,windsor ,collection being the richest2 they show us with what infinite searching the master drew near to his ideals4 ,the picture before us makes upon the spectator the impression of rapid and spontaneous creation2 but the drawings for it show that it was in fact one of the most laborious of ,leonardo's works 7see on this subject ,mntz's ,leonardo da ,vinci1 i4 #afb in the ,english translation4 ,this is the best life of the master4 ,the most penetrative study of ,leonardo remains ,mr4 ,pater's1 in his ,renaissance74 ,this beautiful picture is very characteristic of ,leonardo in its effects of light and shade1 in grace and refinement of delineation1 in felicity of gesture1 and in the curious beauty of the types4 ,leonardo makes out of his subject a charming idyll1 into which the spectator may read his own meanings4 ,in ,st4 ,john the ,baptist1 says ,lomazzo1 writing in #aehd1 we may see the motive of obedience and child like veneration1 as he kneels with joined hands and bends towards ,christ2 in the ,virgin1 the feeling of happy meditation as she beholds this act2 in the angel1 the idea of angelic gladness1 as he ponders the joy that shall come to the world from this mystery2 and in the ,infant ,christ we behold divinity and wisdom4 ,and therefore the ,virgin kneels1 holding ,st4 ,john with her right hand and extending her left1 and the angel likewise supports ,christ1 who1 seated1 regards ,st4 ,john and blesses him4 ,a modern poet1 adding to the picture a beautiful thought of his own1 has suggested that in the valley of the shadow of death the ,virgin brings the soul of a dead child for her son's blessing 7see an interesting discussion of ,the ,louvre ,sonnets of ,rossetti1 by ,w4 ,m4 ,hardinge1 in ,temple ,bar1 ,march #ahia73-- ,mother1 is this the darkness of the end1 ,the ,shadow of ,death8 and is that outer sea ,infinite imminent ,eternity8#bab ,and does the death-pang by man's seed sustain'd ,in ,time's each instant cause thy face to bend ,its silent prayer upon the ,son1 while ,he ,blesses the dead with ,his hand silently ,to ,his long day which hours no more offend8 ,mother of grace1 the pass is difficult1 ,keen as these rocks1 and the bewildered souls ,throng it like echoes1 blindly shuddering through4 ,thy name1 ,o ,lord1 each spirit's voice extols1 ,whose peace abides in the dark avenue ,amid the bitterness of things occult4 ,d4 ,g4 ,,rossetti3 ,sonnets and ,ballads4 ,the landscape from which the picture takes its title is remarkable4 ,leonardo1 a pioneer in so many other things1 was a pioneer also in ,alpine exploration1 and has even been credited with a first ascent in the ,monte ,rosa range4 ,however this may be1 it is clear from his pictures and drawings that his mineralogical and geological studies attracted him to the curious rocks and peaks which he had observed among the mountains of ,north ,italy4#bac ,in him1 says ,mr4 ,pater1 first appears the taste for what is bizarre or recherch in landscape2 hollow places full of the green shadow of bituminous rocks1 ridged reefs of trap-rock which cut the water into quaint sheets of light2 all solemn effects of moving water2 you may follow it springing from its distant source among the rocks on the heath of the ',madonna of the ,balances1' passing as a little fall into the treacherous calm of the ',madonna of the ,lake1' next1 as a goodly river below the cliffs of the ',madonna of the ,rocks1' stealing out in a network of divided streams in ',la ,gioconda' to the sea-shore of the ',st4 ,anne4' ,it is the landscape not of dreams or of fancy1 but of places far withdrawn4 ,notice also the flowers of the foreground4 ,leonardo paints flowers with such curious felicity that different writers have attributed to him a fondness for particular flowers1 as ,clement the cyclamen1 and ,rio the jasmine2 while at ,venice there is a stray leaf from his portfolio dotted all over with studies of violets and the white rose4 ,this work1 says ,ford ,madox ,brown1 seems to have been laid in entirely with ivory black1 which1 as its wont is1 has come through the upper painting to the extent of leaving only to look at a picture in black1 heightened1 in the lights1 with a little faint yellow4 ,so much is true1 and also that the rocks1 from which the picture takes its name1 are of the most singular formations1 such as no modern geologist would care to lecture on1 the herbage being much the same as to its botanical value4 ,but in spite of these and other objections1 such is the intrinsic power of the work in style of drawing and beauty of expression1 that nothing known1 not by the greatest masters1 can do more than hold their own against it4 ,just stand a little way off1 study the heads1 and see what they tell you--most supreme master of the human face divine 7,magazine of ,art1 #ahij1 p4 #ace74 ,there is1 as everyone knows1 a very similar picture to this in the ,louvre2 and during the last few years an ,anglo-,french dispute has raged furiously in artistic circles with regard to the authenticity1 priority1 and relative merits of the two pictures4 ,the pedigree of our picture is singularly complete1 and there can be no doubt that it is a veritable work by the hand of ,leonardo4 ,it agrees minutely with the description given by ,lomazzo 7in #aehd7 of a painting by ,leonardo1 which in his time was in the chapel of the ,conception in the church of ,s4 ,francesco at ,milan4 ,the picture in the ,louvre differs from ,lomazzo's description in the one essential difference between the two pictures4 ,in the ,louvre picture the angel looks towards us and points to ,st4 ,john1 thus connecting the spectator with what is taking place4 ,in our picture1 on the other hand1 there is no such connecting link4 ,the action is complete within itself4 ,the spectator is not invited to participate in what is to him a divine vision4 ,it is clear therefore that our picture is the one which1 in #aehd1 was in ,s4 ,francesco at ,milan1 and which passed for a work by ,leonardo4 ,external evidence has come to light during the last few years proving what had hitherto only been taken for granted1 namely1 that ,leonardo did execute the central composition of the altar-piece for that church4 ,this is a memorial from ,ambrogio di ,predis and ,leonardo da ,vinci to the ,duke of ,milan1 praying him to intervene in a dispute which had arisen between the petitioners and the brotherhood della ,concezione with regard to the price to be paid for certain works of art furnished by them for the chapel of the brotherhood in ,s4 ,francesco4 ,the brotherhood had priced the oil-painting of ,our ,lady executed by ,leonardo at only #be ducats1 whereas it was worth #ajj ducats1 as shown by the account and proved by the fact that certain persons were found willing to purchase it at that price4 ,no evidence is forthcoming as to the settlement of the dispute4 ,we have then these facts3 that ,leonardo painted a picture of ,our ,lady for ,s4 ,francesco1 that such a picture was in the church in #aehd1 and that our picture precisely agrees with ,lomazzo's description of it4 ,the picture remained in the chapel until some time between #agea and #aghg4 ,in the latter year ,bianconi1 in a guide-book to ,milan1 states that the two side panels 7#affa1 #affb7 were still there1 but that the picture by the hand of ,leonardo had been removed4 ,in #aggg our picture was brought to ,england by ,gavin ,hamilton1 and sold by him to the ,marquis of ,lansdowne1 from whom it afterwards passed by exchange into the collection of the ,earl of ,suffolk at ,charlton ,park4 ,from ,lord ,suffolk it was bought in #ahhj for the ,national ,gallery1 the price being #ijjj4 ,it will thus be seen that the external evidence in favour of this picture being a veritable work by ,leonardo is unusually strong4 ,internal evidence is more difficult to bring to the test1 resting as it does on sthetic considerations1 the force of which depends on the authority of the witness and the competence of the court to which he appeals4 ,several critics1 it may be explained1 had convinced themselves long ago that the ,louvre picture was the original and ours a copy4 ,the discovery of the new document above referred to seemed at first to strengthen the authenticity of our picture4 ,but the point was ingeniously turned by the following gratuitous and entirely unsupported theory4 ,leonardo1 says ,dr4 ,richter1 must have sold the original to the ,french king1 and let the church have a copy at the low price agreed upon4 ,supporting this theory in turn by internal evidence1 the enemies of our picture declare it to be an entirely wretched performance 7,richter72 superficial1 insipid1 heavy1 woolly1 lacking in elevation1 feeble1 in short1 a work in which we do not feel the real presence of the master 7,mntz74 ,those who thus disparage our picture suppose it to be a copy by ,ambrogio di ,predis4 ,to this theory1 an effective retort has been given by the purchase for the ,gallery of the two wings that used to flank the central picture4 ,it is impossible to suppose that the painter of ,no4 #affb was capable of producing our picture1 of which the skilful delineation and mysterious beauty delight all spectators who have no preconceived theory in the matter4 ,it should be stated that some of the faults found with our picture are admitted by the authorities of the ,gallery4 ,the ill-drawn gilt nimbi over the heads of the three principal figures1 as well as the clumsy reed cross which rests on ,st4 ,john's shoulder1 are additions of a comparatively late period1 probably of the #agth century4 ,again1 the hand of the ,virgin resting on ,st4 ,john's shoulder is obviously the mere daub of a picture restorer4 ,those who support the authenticity of our picture do not feel called upon to carry the war into the enemy's camp1 though both ,sir ,frederick ,burton and ,sir ,edward ,poynter notice various defects and repaintings in the ,louvre picture1 and the former points out that its pedigree does not extend back beyond #afdb4 ,the fact seems to be that neither picture can properly be called a copy of the other4 ,the most striking difference--that in the attitude of the angel--is fundamental1 and not such as a copyist would venture to make4 ,there are many other differences2 indeed no single part of the groups is really alike2 and those differences 7as ,sir ,edward ,poynter shows7 are such as an artist would make in working from different studies4 ,studies for portions of both pictures exist4 ,a further question in dispute is which of the two versions is the earlier4 ,to ,sir ,edward ,poynter it seems that our picture shows traces of ,leonardo's training in the school of ,verrocchio1 and that it is the ,louvre picture which has more of the idealised refinement of type on which ,luini formed his style4 ,to ,mr4 ,claude ,phillips1 on the other hand1 the angel of the ,louvre looking straight out of the picture seems to be essentially ,florentine1 and to belong specifically to the school of ,verrocchio 7see #bif in our ,gallery74 ,the variation in the angel's attitude1 as given in our version1 is in conception a distinct improvement3 it makes the picture more self-contained4 ,one can imagine1 says ,mr4 ,mac,coll1 ,leonardo1 on second thoughts1 judging that the ,louvre angel drew too much attention to himself by his pointing hand1 and was better within the picture with downcast eyes than when inviting the attention of the spectator by his regard4 7,the very interesting discussion summarised above is contained in the following ,english publications3 ,dr4 ,richter1 in the ,art ,journal for ,june #ahid2 replied to by ,sir ,edward ,poynter in the same magazine for ,august1 and by ,sir ,f4 ,burton in the ,nineteenth ,century for ,july #ahid4 ,see also ,eugene ,mntz's ,leonardo da ,vinci1 vol4 i4 ch4 vi42 the ,catalogue of ,milanese ,pictures at the ,burlington ,fine ,arts ,club1 #ahih1 pp4 li4-lvi42 ,mr4 ,claude ,phillips in the ,national ,review1 ,dec4 #ahid2 and ,d4 ,s4 ,m4 in the ,saturday ,review1 ,may #bh1 #ahih1 and ,feb4 #ah1 #ahii4 ,the ,english articles contain references to the articles on ,dr4 ,richter's side by ,motta1 ,frizzoni1 and others47 #ajid4 ,,portrait ,,of ,a ,,man4 ,ascribed to ,sir ,antonio ,more 7,flemish3 #aeab-aegh74 ,antonij ,mor 7commonly known in this country as ,sir ,antonio ,more1 though when and by whom he was knighted does not appear7 succeeded ,holbein as the principal portrait-painter settled in ,england4 ,mor's style1 it has been said1 so much resembles that of ,holbein as to frequently create a doubt to which of them a portrait is to be attributed2 but he is not so clear and delicate in his colouring1 perhaps from having painted so much in ,spain1 as that master4 ,he was born at ,antwerp and studied under ,schorel 7see #gbj74 ,an example of his earlier manner1 dated #aedd1 is in the ,berlin ,museum4 ,mor afterwards travelled in ,italy1 and quickly emancipated himself from the dry manner of ,schorel1 as his portrait of ,cardinal ,granvelle at ,vienna1 done in #aedi1 shows4 ,his portraits from this time forward are remarkable for their unpretentious dignity4 ,cardinal ,granvelle introduced him to the service of ,charles ,v41 by whom he was sent to ,portugal to paint some of the royal family4 ,he was in the service of ,queen ,mary from #aeed to #aeeh4 ,she presented him with a hundred pounds and a gold chain1 and allowed him a hundred pounds a quarter4 ,he was also largely employed by the ,howards and the ,russells and others1 grandees of the court4 ,one of his portraits of the ,queen is in the ,duke of ,wellington's ,collection at ,apsley ,house4 ,when ,philip went to ,spain to take possession of the throne1 ,mor accompanied him1 and for some time basked in the full sunshine of royal favour4 ,suddenly he withdrew to ,brussels1 for some cause which has never been satisfactorily explained4 ,according to one story1 the king1 visiting ,mor's studio1 laid his hand upon his shoulder as he stood at the easel--a familiarity which the artist returned by rudely rapping the royal knuckles with his maulstick1 or daubing them with carmine4 ,the officers of the ,inquisition took advantage of this incident1 it is said1 to vent their jealous wrath against the painter4 ,he finally established himself at ,antwerp1 his declining years being spent in ease and opulence--the fruits of successful industry at the courts of ,england1 ,portugal1 and ,spain4 ,he is described to us as very much the courtier1 and a gentleman of grave and majestic manners--a description borne out by the fine portrait of himself at ,althorp4 #ajie4 ,,portrait ,,of ,,anna ,,maria ,,schurmann4 ,jan ,lievens 7,dutch3 #afjg-afgd74 ,lievens1 painter and engraver1 was a comrade of ,rembrandt1 but conceived a strong admiration for ,van ,dyck1 traces of which are to be found in his portraits 7,havard3 ,the ,dutch ,school1 p4 #aae74 ,from #afca to #afce he was in ,england1 where he painted the portraits of ,charles ,i4 and his ,queen1 and of several of the nobility4 ,he afterwards worked at ,antwerp1 ,leyden1 and ,amsterdam4 ,this lady 7born at ,cologne in #afjg7 was one of the most remarkable personages of her time4 ,so great was the renown of her learning that ,queen ,christina of ,sweden went to visit her4 ,she was familiar with ,german1 ,dutch1 ,french1 ,italian1 and ,english2 and was a good scholar in ,latin1 ,greek1 ,hebrew1 ,syriac1 ,arabic1 and ,ethiopic4 ,she corresponded with some of the most erudite men of the day1 and excelled in many of the fine arts4 ,late in life she fell under the influence of the noted ,pietist leader1 ,jean de la ,badie1 whose cause she persuaded the ,princess ,palatine ,elizabeth to espouse4 ,after his death 7in #afgd7 she collected his disciples at ,wierwerd1 where she herself died four years later in complete destitution4 #ajif4 ,a ,,hunting ,,scene4 ,jan ,baptist ,weenix 7,dutch3 #afba-affj74 ,weenix1 born at ,amsterdam1 was the son of an architect4 ,his master in painting was ,abraham ,bloemaert4 ,early in life he married the daughter of ,gilles de ,hondecoeter2 his nephew ,melchior ,hondecoeter 7,no4 #bjb7 was afterwards his pupil4 ,in #afdb his desire to see ,italy caused him to leave his young wife and to carry his palette and brushes beyond the ,alps4 ,he promised to be absent only four months4 ,he remained in ,italy four years4 ,while there he studied the coast-scenes1 the people1 and the architecture2 the result of his observations being the stately scenes1 half real1 half conventional1 of which good examples are to be found in the ,wallace ,collection4 ,on his return to ,holland1 ,weenix was largely employed1 first at ,amsterdam1 and afterwards at ,utrecht4 ,in this country his name is chiefly associated with pictures of dead game1 but subjects of this class--in which his son 7#bch7 also excelled--were only the predilection of his later years4 #ajih4 ,,virgin ,,and ,,child4 ,montagna 7,venetian3 about #adej-aebc74 ,see #hjb4 ,the ,child lies asleep on a window-sill4 ,the ,mother stands in an attitude of devotion4 ,a picture of fine feeling1 and characteristic of the artist's exalted naturalism4 #aajj4 ,a ,,scene ,,in ,a ,,play4 ,pietro ,longhi 7,venetian3 #agjb-agfb74 ,pietro ,longhi1 who studied in ,bologna1 but afterwards settled in his native ,venice1 was one of the four masters who made a partial revival of ,venetian painting in the eighteenth century--the other three being ,tiepolo 7#afib-agfi1 see #aaib71 ,canaletto 7#afig-agfh1 see #abg71 and ,guardi 7#agab-agic1 see #baj74 ,longhi represented the ,vanity ,fair of ,venice at his epoch with fidelity and kindly feeling4 ,he has been called the ,italian ,hogarth1 but he is greatly inferior in every respect to that painter4 ,moreover he was not a satirist like ,hogarth1 and there is more truth in the description of him as the ,goldoni of painters--,goldoni1 the popular playwright1 with whom ,longhi was nearly contemporary1 and who1 like him1 just reflects the shade and shine of common life1 nor renders as it rolls grandeur and gloom4 ,longhi used to tell ,goldoni that they were brethren in art4 ,longhi surveyed human life with the same kindly glance and the same absence of gravity or depth of intuition as ,goldoni4 ,they both studied nature1 but nature only in her genial moods4 ,they both sincerely aimed at truth1 but avoided truths which were sinister or painful 7,j4 ,a4 ,symonds1 in the ,century ,guild ,hobby ,horse1 ,april #ahhi74 ,longhi was the son of a goldsmith1 and as a lad showed unusual skill in designs for ornamental plate3 hence the affectionate partiality in his pictures for the minutest details of decorative furniture1 dress1 and articles of luxury4 ,the engraved portrait on the wall is inscribed ,gerardo ,sagredo di ,morei1 and perhaps the picture is a group of the ,sagredo family1 for whose palace in ,venice ,longhi painted some frescoes in #agcd4 ,the family preferred1 perhaps1 to be taken in the characters of a scene in a play of ,goldoni's or some other popular writer--just as in the ,vicar of ,wakefield they resolved to be drawn together1 in one large historical piece4 ,this would be cheaper1 since one frame would serve for all1 and it would be infinitely more genteel2 for all families of any taste were now drawn in the same manner4 #aaja4 ,,masked ,,visitors ,,at ,a ,,menagerie4 ,pietro ,longhi 7,venetian3 #agjb-agfb74 ,see #aajj4 ,a characteristic glimpse of ,venetian life a hundred years ago4 ,at that time1 it has been said1 perhaps people did not amuse themselves more at ,venice than elsewhere1 but they amused themselves differently4 ,it is this seizing on peculiarities1 on local and characteristic details1 that makes ,longhi's little canvases so curious4 ,here he shows us two ladies in dominoes1 escorted by a cavalier1 at a menagerie4 ,the trainer exhibits a rhinoceros to them4 #aajb4 ,,the ,,chevalier ,,andrea ,,tron4 ,pietro ,longhi 7,venetian3 #agjb-agfb74 ,see #aajj4 ,the portrait of a procurator of ,st4 ,mark's1 a dignity in the ,venetian ,state second only to that of ,doge4 ,the procurators were charged with the legal administration of all the affairs of ,st4 ,mark's1 and their official palaces 7the ,procuratie7 adjoined the church4 ,they were further charged with the care of orphans1 and with the administration of others who cared to put themselves in chancery4 ,the office was thus not unlike that of an ,english ,lord ,chancellor1 and there is a grandmotherliness about this procurator that makes one think he must have discharged some of his duties well4 ,the broad golden stole over his shoulder shows him to have been also a knight of the order of the ,stola d',oro1 as the ,procurator's stole was of crimson velvet4 ,the picture is in its original frame1 surmounted by the armorial bearings of the ,tron family4 #aajc4 ,,virgin ,,and ,,child1 ,,with ,,saints4 ,fiorenzo di ,lorenzo 7,umbrian3 #adgb-aeba74 ,these are the dates not of his birth and death 7which are unknown71 but of the earliest and latest events recorded of him4 ,in #adgb he was commissioned to paint an altar-piece1 the principal parts of which may now be seen in the ,pinacoteca of ,perugia1 and he was elected a member of the ,town ,council of ,perugia4 ,in #aeba he was commissioned to value some works by another painter4 ,the resemblance of his style to that of ,benozzo ,gozzoli may be seen by comparing ,no4 #bhc4 ,fiorenzo's work is best seen in ,perugia1 where he reveals himself as an artist of great feeling and ability4 ,especially remarkable is the series of scenes from the life of ,bernardino 7some reproduced by the ,arundel ,society74 7,see for notices of this painter ,morelli's ,german ,galleries1 p4 #bfc1 and ,s4 ,brinton's ,renaissance in ,italian ,art1 pt4 iii4 pp4 #ajh1 #ada74 ,the accompanying figures are--in front of the throne1 ,st4 ,francis 7on the right of the ,child71 ,st ,bernardino1 a saint of ,siena 7on the left71 and in smaller size the donor of the altar-piece4 ,this is one of the earliest examples in the ,gallery of the introduction of portraits in this way4 ,in the left-hand compartment ,st4 ,john the ,baptist2 and in the right-hand one ,st4 ,bartholomew1 carrying his familiar attribute--a blood-stained knife1 the instrument of his martyrdom4 ,the compartments containing the figures of ,st4 ,john the ,baptist and ,st4 ,bartholomew were originally at one side of the central panel1 but have been placed on each side for symmetry1 the corresponding twin panels being lost4 ,notice the beautiful pattern engraved on the gold background4 #aajd4 ,,the ,,annunciation4 ,giannicola ,manni 7,umbrian3 #adge-aedd74 ,born at ,citt della ,pieve1 the native town of ,perugino1 whose pupil and assistant he became4 ,several of his works may be seen in the ,pinacoteca at ,perugia1 of which town he was a magistrate4 ,he also executed the frescoes in the chapel attached to the ,sala del ,cambio4 ,notice the quaint arabesques on the ,virgin's prie-dieu1 or praying-stool2 they are characteristic of this painter4 #aaje4 ,,the ,,prothonotary-,,apostolic1 ,,juliano4 ,lorenzo ,lotto 7,venetian3 #adhj-aeee74 ,see #fii4 ,see for the subject under #ajbd4 ,a smooth-shaven old man with a face that one would not be in the least surprised to see to-day anywhere1 and least of all in ,england4 ,as a portrait1 it is the quietest of all those by ,lotto known to me1 and--if ,i may be allowed the word--the most 'gentlemanly' 7,berenson3 ,lorenzo ,lotto1 p4 #ahi74 #aajf4 ,,the ,,resurrection4 ,francesco ,mantegna 7,paduan3 about #adgj-aeag74 ,see #fci4 ,notice the classical sarcophagus of marble4 ,the resurrection banner is affixed to a tall rod surmounted by a cross composed of golden balls4 #aajg4 ,,the ,,crucifixion4 ,niccol da ,foligno 7,umbrian3 #adcj-adib74 ,the pietism1 characteristic of the ,umbrian ,school generally1 is conspicuous in ,niccol1 of whom ,vasari remarks that the expression of grief in his angels1 and the tears they shed1 are so natural that ,i do not believe any artist1 however excellent he might be1 could have done it much better4 ,but he often overstrained this expression into grimace4 ,he shows1 says ,morelli1 the tendency to exaggeration which marks the inhabitant of a small provincial town4 ,he was capable1 however1 of giving grace and beauty to his female heads and heads of angels4 ,examples may be seen in the ,brera at ,milan1 and in the ,vatican ,gallery4 ,it is probable that ,niccol owed a good deal to ,benozzo ,gozzoli1 who from #adeb to #adeg was working not far from ,foligno 7see ,morelli's ,german ,galleries1 p4 #beh74 ,niccol is often called ,niccol ,alunno4 ,the origin of this mistake1 made first by ,vasari1 is that on one of his pictures he is described as ,nicholaus alumnus ,flogging 7,niccol1 a native1 or alumnus1 of ,foligno74 ,in this picture the artist seems to revel in the depiction of emotion1 and 7as it were7 in piling up the agony4 ,there is the same pleasure here in the use of a new gift--that of expressing emotion--as in #ehc1 in that of expressing perspective4 ,the central scene of the ,crucifixion is surrounded by the ,agony in the ,garden1 ,christ bearing his ,cross1 the ,descent from the ,cross1 and the ,resurrection4 ,note as characteristic of the genius loci in the ,umbrian ,school that ,st4 ,francis of ,assisi is kneeling at the foot of the cross4 ,the acquisition of this picture by the ,national ,gallery 7in #ahha7 had a curious history4 ,it was formerly in the convent of ,santa ,chiara at ,aquila1 and on the suppression of the convent became the property of the ,state4 ,but by the ,archbishop's orders it was successfully secreted4 ,on his death1 some years later1 it was conveyed to the house of one of the canons of the cathedral1 by whom it was sold to a dealer in ,rome4 ,the dealer made a good thing out of it2 he bought it for #bfj1 and sold it 7with another small picture7 to our ,national ,gallery for #abjj4 ,the ,italian ,government instituted a prosecution for theft1 which1 however1 was subsequently dropped for civil proceedings for damages against all the persons concerned1 except the ,englishman who1 it is believed1 bought the picture in good faith4 #aajh4 ,,the ,,virgin ,,enthroned4 ,unknown 7,sienese ,school3 late #aeth century74 #aaji4 ,,the ,,marriage ,,of ,,the ,,virgin4 ,niccol di ,buonaccorso 7,sienese3 died #achh74 ,of this painter1 who worked and held several offices at ,siena1 none of the works is traceable except this signed picture and some fragments 7also signed1 and dated #achg7 in a little village church near ,siena4 ,remarkable1 amongst other things1 for the wonderful elaboration of the gold ornaments on the dresses1 and the attempt to give an ,oriental character to the scene by the introduction of the palm-tree1 the carpet1 and the dark-faced player on the kettledrums4 ,it is interesting also for its notes from real life in the figure of the child1 the faces of some of the spectators in the background1 the window-openings with their poles1 the figures on the right under the blind1 and the flower-pot on the sill on the left 7,monkhouse3 ,the ,italian ,pre-,raphaelites1 p4 #ag74 ,for some remarks on the subject1 see under #acag4 #aaji;a4 ,,virgin ,,and ,,child4 ,a4 ,r4 ,mengs 7,german3 #agbh-aggi74 ,see also 7p4 xx7 ,anton ,raphael ,mengs1 the son of a court painter at ,dresden--a post to which the boy afterwards succeeded--was taken when a boy to ,rome and set to study the works of the great masters4 ,he became the most celebrated representative of the ,eclectic ,school of painting in the eighteenth century1 and played a great part in the early days of the classic revival of that period4 ,in his writings1 in ,spanish1 ,italian1 and ,german1 he elaborated his eclectic theory--the attainment of perfection by the combination of diverse excellences1 ,greek designs with the expression of ,raphael1 the chiaroscuro of ,correggio1 and the colour of ,titian4 ,he was an intimate friend of ,winckelmann1 who constantly wrote at his dictation4 ,his work was eagerly sought after1 both at ,rome and at the courts of ,dresden and ,madrid1 and his books enjoyed a very wide circulation4 ,a cartoon1 executed in black chalk4 #aaac4 ,a ,,legendary ,,subject4 ,pietro ,lorenzetti 7,sienese3 died #acdh74 ,this painter was the elder brother of ,ambrogio ,lorenzetti 7#aadg71 and first appears as an artist in #acje4 ,many of his works1 or fragments of them1 may still be seen in and around ,siena4 ,among the best is a triptych in the sacristy of the ,cathedral representing the birth of the ,virgin4 ,a long series of frescoes1 representing different incidents in the ,passion1 have recently been rescued from whitewash in the church of ,s4 ,francesco4 ,they are remarkable for their vigour and harmony1 and show ,pietro to have possessed great talents both as a colourist and as a draughtsman 7,bryan's ,dictionary74 ,probably illustrative of some incident in the life of a saint--of ,bishop ,sansovino1 perhaps1 the patron saint of ,siena--in which the forces of the ,christian and pagan religions were opposed4 ,on one side is a pagan priest bearing a statue1 supposed1 from the apple in its hand1 to be that of ,venus4 ,on the other is a ,christian bishop engaged in some ecclesiastical function4 #aaad-aaah4 ,,the ,,five ,,senses4 ,coques 7,flemish3 #afah-afhd74 ,see #hba4 ,coques pays a pretty compliment to one of his fellow-artists ,robert van ,hoecke 7who1 like a greater man1 ,leonardo1 was an authority on fortifications as well as a painter71 in painting his portrait as typical of ,sight4 ,the figures in the rest of the series1 if portraits1 have not been identified4 #aaai4 ,,madonna ,,and ,,child ,,with ,,saints4 ,ercole di ,giulio ,grandi 7,ferrarese3 died #aeca74 ,of this painter1 one of the best of the ,ferrarese school1 very little is known1 beyond the fact that he was in the service of the ducal house at ,este4 ,the identification of his works is also very uncertain1 for ,vasari1 unaware that two painters of the ,grandi family had borne the name of ,ercole 7see #aabg71 classed the works of both under the same head4 ,the present picture is not signed1 and was first identified as the younger ,ercole's by ,morelli4 ,this ,ercole1 son of ,giulio ,cesare de' ,grandi1 studied under ,francia and ,lorenzo ,costa1 to the latter of whom1 indeed1 this picture was attributed in the foundling hospital of ,ferrara1 from which it comes4 ,like ,francia1 ,ercole combined the practice of other arts with that of painting--being a gold-beater and modeller1 as well as a painter--a conjunction which is seen in this picture1 with its wealth of decorative accessories4 ,he disputes with ,garofalo the title of the ,raphael of ,ferrara1 a description which this splendid picture goes some way to justify4 ,a picture notable alike for its central idea and for its wealth of decorative detail4 ,in the group of the infant ,saviour 7a very finely drawn figure7 standing on the ,virgin's knees in the act of benediction1 with ,st4 ,william on the right of the throne and on the left ,st4 ,john the ,baptist1 is an imaginative representation of ,christianity--the soldier of ,christ1 with his armour on him1 but bareheaded1 and with his hand on the sword1 on one side2 the saint1 with the ,cross and the ,book1 on the other4 ,the accessories are full of decorative inventiveness1 but every detail is full of thought2 they are an epitome1 as it were1 of all the decorative arts of the time4 ,note first1 in the walnut wood pedestal of the throne1 that the frieze at the top is a graceful arrangement of dolphins1 emblems of love and affection1 and the base1 of stags and swans 7,as pants the hart for cooling streams1 so pants my soul for thee1 ,o ,god74 ,in its central panel is an alto-relievo in ivory1 with ,adam and ,eve on either side of the ,tree of ,knowledge4 ,on each of the receding panels is a white marble medallion of the turbaned head of a prophet4 ,on the predella below there are1 7#a7 beginning on the spectator's right1 the ,nativity1 7#b7 the ,presentation in the ,temple1 7#c7 the ,massacre of the ,innocents1 7#d7 the ,flight into ,egypt1 and 7#e7 ,christ disputing with the ,doctors4 ,the ornamental details of the marble baldacchino 7or canopy71 like those of the throne1 are all symbolic2 thus the archivolt is composed of choiring cherubim separated by pots of lilies1 and the spandrils of the arch are occupied by medallions of the angel ,gabriel and the ,virgin 7,g4 ,t4 ,robinson in ,art ,journal1 ,may #ahhf1 p4 #aej74 #aabj4 ,,st4 ,,jerome ,,in ,,the ,,desert4 ,cima da ,conegliano 7,venetian3 #adfj-aeah74 ,see #cjj4 ,another of the numerous ,st4 ,jerome pictures3 see under #fid and #bbg4 ,the saint has his usual company of animals4 ,his lion is frowning1 somewhat with the same expression as in #bbg--;as if to deprecate the penance which his master is about to inflict on himself4 ,on the branch of the tree above is a hawk1 looking on with the expression of a superior person--one quite too sagacious to countenance such madness4 ,notice also the serpent which crawls from beneath the rock on which the ,cross is placed4 ,the picture1 says ,mr4 ,gilbert1 is rich1 even brilliant1 in colouring1 and if there is a touch of oddity in the house perched upon a crag1 there is loveliness in the mountain range1 and in the amber and lemon tints that streak the evening sky 7,landscape in ,art1 p4 #cdj74 #aaba4 ,,portrait ,,of ,a ,,young ,,man4 ,unknown 7,venetian3 time of ,bellini74 ,see also 7p4 xx7 ,this portrait1 when it hung in ,hamilton ,palace1 used to be called a ,leonardo4 ,sir ,w4 ,armstrong 7,notes on the ,national ,gallery1 p4 #bd7 gives it unhesitatingly to ,basaiti 7see #eii74 #aabb4 ,,st4 ,,jerome4 ,domenico ,theotocopuli 7,spanish3 #aedh-afbe74 ,this artist1 called ,il ,greco1 was of ,greek descent and is supposed to have studied in ,venice4 ,he was said to have been a pupil of ,titian1 but his impetuous style seems rather to have been modelled on that of ,tintoretto4 ,he settled at ,toledo in #aege1 and there acquired a great reputation4 ,his picture of ,the ,parting of ,our ,lord's ,raiment1 which still adorns the sacristy of the cathedral at ,toledo1 is1 says ,stirling-,maxwell1 truly admirable in drawing and composition2 and the colouring is on the whole rich and effective1 although it is here and there laid on in that spotted1 streaky manner which afterwards became the great and prominent defect of ,el ,greco's style4 ,the picture in our ,gallery ,no4 #adeg in its energetic action but faulty drawing is characteristic of him4 ,the exaggerated elongation of his figures is one of his common weaknesses4 ,the ,st4 ,maurice with his ,theban ,legion1 which he painted for ,philip ,,ii4 in the ,escorial is little less extravagant and atrocious than the massacre which it recorded2 this was painted in #aehj4 ,a year or two later he executed the ,burial of the ,count of ,orgaz in the church of ,st4 ,tom at ,toledo4 ,this is usually esteemed his masterpiece4 ,the artist or lover of art who has once beheld it will never1 as he rambles among the winding streets of the ancient city1 pass the pretty brick belfry of that church without turning aside to gaze upon its superb picture once more4 ,theotocopuli has been described as an artist who alternated between reason and delirium1 and displayed his great genius only at lucid intervals4 ,his portraits1 of which there are several in the ,royal ,gallery at ,madrid1 are often mannered2 but occasionally very fine4 ,into the portrait of his daughter 7now at ,keir7 he put all his skill2 her face1 with markedly ,greek features1 is one of the most beautiful that death ever dimmed and that the pencil ever rescued from the grave4 ,il ,greco was much employed both as sculptor and architect4 ,he was a man of wit and learning1 and is said to have written on the three arts which he professed 7,annals of the ,artists of ,spain1 ch4 v474 ,this picture passed when in the ,hamilton ,collection for the work of ,titian4 ,the inscription on the book1 ,cornaro aet suae #ajj-aeff1 is interpolated4 ,the picture appears to be one of those realistic representations of ,st4 ,jerome of which there are other examples by ,theotocopuli4 #aabc4 ,,venus1 ,,adonis1 ,,and ,,myrrha4 ,school of ,giorgione 7,venetian3 #afth century74 ,see #bfi4 ,a picture of the golden age1 entirely in the ,giorgionesque spirit1 and often attributed to ,giorgione himself#bad--;a vision of a land bathed in perpetual light and sparkling with golden sunshine4 ,the legendary subject which forms the theme of this characteristic pastoral is the story of ,myrrha1 which may be read in ,dryden's translations from ,ovid's ,metamorphoses4 ,the principal group is ,venus and her favourite ,adonis 7see under #cd74 ,he was the son of ,myrrha1 whose legend is the subject of several small groups4 ,on the right is a woman fleeing from a man who pursues her1 sword in hand2 these represent ,myrrha and her father ,cinyras4 ,farther on the woman is on her knees2 here ,myrrha is praying to the gods to transform her-- 444 ,since my life the living will profane ,and since my death the happy dead will stain1 ,some other form to wretched ,myrrha give1 ,nor let her wholly die1 nor wholly live4 ,a third group shows the answer to her prayer3 she is transferred into the myrrh tree1 whose precious drops her name retain1 while the wood-nymphs receive her new-born babe1 ,adonis4 ,in the background on the left is represented the death of ,adonis2 ,venus is lamenting over his body and changing his blood into the anemone4 ,the group in the clouds may represent ,cupid accidentally wounding his mother4 #aabd4 ,,the ,,adoration ,,of ,,the ,,magi4 ,filippino ,lippi 7,florentine3 #adeg-aejd74 ,see #bic4 ,see also 7p4 xx7 ,by some ascribed to ,botticelli4#bae ,there is an unmistakable drawing for it in the ,uffizi ,collection 7,no4 #baj71 which is there ascribed to ,botticelli1 and which ,i1 for one1 am not at all inclined to take away from him4 ,my own opinion is that there was no painter of the time who could have given so poetically conceived a background as we have in ,no4 #aabd2 the drawing of some of the figures also speaks of itself 7,mr4 ,maurice ,hewlett in the ,academy1 ,january #i1 #ahib74 ,for two other more highly-finished pictures of the same subject also ascribed to this master see #eib and #ajcc4 ,this picture1 with others from the ,hamilton ,collection1 was in the ,old ,masters ,exhibition of #ahgc4 ,the ',adoration of the ,magi1' wrote ,ruskin to ,mr4 ,fairfax ,murray1 had prettiness in it1 but was poor stuff4 #aabe4 ,,summer ,,and ,,autumn4 ,andrea ,mantegna#baf 7,paduan3 #adca-aejf74 ,see #bgd4 ,summer holds a sieve for sifting the corn which she ripens4 ,autumn raises a goblet of wine to her lips4 #aabf4 ,,the ,,assumption ,,of ,,the ,,virgin4 ,botticelli 7,florentine3 #addg-aeaj74 ,see #ajcd4 ,see also 7p4 xx7 ,a picture with an interesting history4 ,it was painted by ,botticelli#bag when he was a young man1 for ,matteo ,palmieri 7a prominent ,florentine citizen74 ,this ,matteo and his wife are here represented on either side of the tomb in the foreground4 ,the patron assisted ,botticelli in working out the design2 and between them they made some modifications in theology1 which brought them into trouble--so early did ,sandro's reforming work begin4 ,the story is thus told1 and the picture described1 by ,vasari3-- ,in the church of ,san ,pietro 7,florence7 the master painted a picture for ,matteo ,palmieri with a very large number of figures4 ,the subject of this work1 which is near the side-door1 is the ,assumption of ,our ,lady1 and the zones or circles of heaven are there painted in their order4 ,the ,patriarchs1 the ,prophets1 the ,apostles1 the ,evangelists1 the ,martyrs1 the ,confessors1 the ,doctors1 the ,virgins1 and the ,hierarchies2 all which was executed by ,sandro according to the design furnished to him by ,matteo1 who was a very learned and able man4 ,the whole work was conducted and finished with the most admirable skill and care2 at the foot of it was the portrait of ,matteo kneeling1 with that of his wife4 ,but although the picture is exceedingly beautiful and ought to have put envy to shame1 yet there were found certain malevolent and censorious persons who1 not being able to affix any other blame to the work1 declared that ,matteo and ,sandro had erred gravely in that matter1 and had fallen into grievous heresy4 ,now1 whether this be true or not1 let none expect the judgment of that question from me2 it shall suffice me to note that the figures executed by ,sandro in that work are entirely worthy of praise1 and that the pains he took in depicting those circles of the heavens must have been very great1 to say nothing of the angels mingled with the other figures1 or of the various foreshortenings1 all which are designed in a very good manner 7ii4 #bcc74 ,matteo ,palmieri was the author of a poem called ,the ,city of ,life1#bah in which he adopted ,origen's thesis that the human race was an incarnation of those angels who in the revolt of ,lucifer were neither for ,god nor for his enemies1 and explained how the soul of man could work its way back through the spheres to the very seat of deity4 ,this heresy interprets 7says ,mr4 ,pater7 much of the peculiar sentiment with which ,botticelli infuses his profane and sacred persons1--neither all human1 nor all divine 7see above under #bge74 ,it was ingeniously suggested1 as we shall see1 in this picture1 and was entirely in accord with those ,neo-,platonic ideas in which ,botticelli1 as a member of the ,medici circle1 was well versed4 ,matteo seems to have been afraid that his poem might bring him into trouble owing to its heretical views on the nature of angels1 for he presented his ,,ms4 to the ,art of the ,notaries in ,florence1 sealed and under the express condition that it should not be opened1 so long as he lived imprisoned in this body4 ,he died in #adgh1 and his poem fell under the expected censure4 ,botticelli's picture1 as ,vasari says1 shared this fate4 ,the painting bears evidence of intentional injury1 the faces of the donor and his wife having been scored through2 nor did some of the apostles escape the wrath of these iconoclasts4 ,attempts at restoration were made at some subsequent period4 ,as the portrait of a heretic might not be exhibited in a ,roman ,catholic church1 the picture was covered up1 and the chapel in which it stood was closed to public worship4 ,ultimately the book was declared innocuous1 and the chapel was re-opened4 ,the picture1 however1 had already been1 or was afterwards1 removed from the family chapel of the ,palmieri to their villa4 ,on the death of the last heir1 it passed into the hands of a ,florentine dealer who sold it to the #aath ,duke of ,hamilton4 ,at the disposal of the ,hamilton ,collection in #ahhb it was bought for the ,national ,gallery4 ,the picture was doubtless designed as an illustration of the closing canto of ,the ,city of ,life1 in which ,matteo supposes himself conducted by the ,cuman ,sibyl through the ,elysian ,fields to ,heaven4 ,the ostensible subject is the ,assumption into ,heaven of the ,virgin4 ,on earth the apostles are represented gathered around the ,virgin's tomb1 from which annunciation lilies are growing2 while she is in heaven kneeling in adoration before the ,saviour1 who has an open book inscribed with the mystic letters and 3 ,i am ,alpha and ,omega1 the beginning and the end4 ,around the ,virgin and ,christ are all the hierarchies of heaven1 arranged1 according to the scheme of the theologians1 in three separate tiers4 ,nearest to ,christ are the seraphs 7red71 cherubs 7blue71 and thrones 7gold72 these are conceived as absorbed in perpetual love and adoration round the throne of ,god1 and are represented therefore as with heads only 7the attribute of spirit7 and wings 7swift as thought74 ,in relation with mankind come the remaining orders--the dominations1 virtues1 powers 7these last with sceptres in their hands71 and in the lowest of the three1 tiers1 archangels1 princedoms1 and angels 7with their wands74 ,the black vases with golden borders in the hands of some of the angels are probably meant for the 'golden vials full of the wrath of ,god' 7,revelations xv4 #g74 ,near them there are other angels1 who in the attitude of expectation point upward with their sticks2 while those in the lowest circle point down1 and at the same time seem to invite those who hold vials to pour them out upon the city of ,florence 7,richter's ,italian ,art in the ,national ,gallery1 p4 #bh74 ,everywhere amongst the angelic host are the blessed dead1 and it is here that the views of ,matteo's poem found expression4 ,we have seen in ,botticelli's ,nativity 7#ajcd7 the same intercourse of men and angels1 with reference there to the reconciling power of the ,logos4 ,among the cherubs1 we may decipher ,st4 ,james with the pilgrim staff1 ,st4 ,andrew with his cross1 ,st4 ,peter with the key1 and ,st4 ,mary ,magdalen with the casket4 ,it is interesting to note ,botticelli's estimate of degrees in the scale of spiritual excellence4 ,for instance1 ,st4 ,catherine of ,siena is in the lowest ring among the ,angels1 but ,st4 ,bernard is in the third with ,principalities2 ,moses is among ,powers1 so are ,st4 ,lawrence1 ,st4 ,stephen1 and ,st4 ,catherine of ,alexandria2 ,virtues hold ,st4 ,bonaventura1 ,st4 ,dominic1 and ,st4 ,paul2 ,st4 ,francis with the ,evangelists is higher1 in ,dominations2 in the highest ,triplicitie1 as ,spenser puts it1 there are men--including the ,baptist--mingled with the ,cherubim4 ,the angels are represented throughout as ministering spirits2 and nothing in the picture is prettier than the way in which the angels are calling upon the saints to enter into the joy of their ,lord2 note1 for instance1 the white angel on the right in the lowest tier1 and the saint in black and red4 ,she will teach to him ,the songs ,i sing here2 which his voice ,shall pause in1 hushed and slow1 ,and find some knowledge at each pause1 ,or some new thing to know4 ,d4 ,g4 ,,rossetti3 ,the ,blessed ,damozel4 ,there are many charming single figures2 note1 for instance1 two angels in the lower tier in the centre2 and all are characteristic of the new type of angels which ,botticelli introduced--forsaking entirely the conventional idealism of earlier religious art1 and substituting the waving garments and flowing hair 7suggestive of atmosphere and swiftness of motion7 which we see in ,perugino and ,raphael4 ,finally1 the picture is of topographical interest for the beautiful view of ,florence and the ,val d' ,arno in the background-- ,the valley beneath where1 white and wide ,and washed by the morning water-gold1 ,florence lay out on the mountain-side4 ,,browning3 ,old ,pictures in ,florence4 ,the precise point of view has been identified by ,miss ,margaret ,stokes in her ,six ,months in the ,apennines1 pp4 #bfa-bfd4 ,turning off the high road1 on the descent from the hill of ,fiesole-- ,i got among the lanes on ,monte ,rinaldi near ,la ,lastra1 on the ,via ,bolognese1 and soon found myself among the ruined terraces of an ancient garden1 where cactus and aloe grew side by side with brambles1 periwinkles1 and ivy4 ,having reached an open in the thicket into which ,i had strayed1 ,i was startled to see the very scene represented by ,botticelli about the year #adee lying at my feet--the wide horizon reaching from ,san ,domenico1 and the ,apennines beyond ,monte ,moro1 ,scala1 and ,monte ,maggio1 round the whole ,val d' ,arno1 to ,san ,lorenzo and the northern boundary of ,florence4 ,seated on the same mountain side1 where the great painter must have sat four hundred and thirty years ago1 and holding my little copy of his landscape in my hand1 it was intensely interesting to trace the objects still remaining on which his eye had rested1 and which his conscientious pencil had outlined1 and to note the changes wrought by time in the aspect of the scene4 ,miss ,stokes prints side by side with her copy of ,botticelli's background a topographical plan of the present scene4 ,the house on the hill above the ,mugnone beyond the bridge is the ,villa ,palmieri1 where ,queen ,victoria stayed in #ahhh4 ,boccaccio selected it for one of the homes of his fair storytellers in the ,decameron4 ,matteo ,palmieri bought it in #adej4 ,there1 no doubt1 ,botticelli was often a guest1 and there the two friends may have planned this great altar-piece4 ,it is perfectly in keeping with the poetic instincts of sacred painters of the time that this great vision of ,heaven should be represented as bursting on the poet in his own very home4 ,gazing upwards from his cypress groves into the unfathomable blue above1 it is as if the sky had slowly opened1 and the interior of a vast dome were revealed1 rising above three iridescent bands of light1 peopled with nine successive zones of sacred forms1 all gazing in absorbed ecstasy on the figure of the ,divine ,mother1 lowliest of women1 kneeling at the feet of the ,redeemer 7pp4 #bfa-bfd74 #aabg4 ,,the ,,last ,,supper4 ,ercole ,roberti de' ,grandi 7,ferrarese3 #adej-adif74 ,this ,ercole is not to be confused with the younger painter of the same family 7see #aaai74 ,ercole ,roberti was the son of ,antonio ,grandi1 also a painter4 ,a drawing attributed to him in the ,louvre1 representing the ,massacre of the ,innocents1 in which he nearly approaches the grandeur of conception and masterly execution of ,mantegna1 seems to show that he had either studied under that great painter1 or had experienced his influence4 ,mantua1 where ,mantegna lived after #adfh1 is at no great distance from ,ferrara4 ,ercole was employed at the latter place by the dukes1 from whom he received a regular salary4 ,pictures by him are rare1 and none is authenticated by his genuine signature4 ,in the ,dresden ,gallery are two compartments of a predella by him1 another being in the ,royal ,institution at ,liverpool4 ,in these and a few other works1 including those in our ,gallery1 ,ercole reveals himself as a thorough ,ferrarese1 in his energetic rendering of life and character1 and in his careful study of details 7,layard's edition of ,kugler1 ii4 #cea1 and ,morelli's ,german ,galleries1 pp4 #aji-aac74 ,a very dainty little work4 ,notice especially the painting of the bas-reliefs and of the decanters4 ,the attitudes of the disciples betoken respect or veneration1 except that of the nearest figure1 ,judas1 who turns away his head4 #aabh4 ,,the ,,circumcision ,,of ,,christ4 ,luca ,signorelli 7,cortona3 #adda-aebc74 ,signorelli was born at ,cortona1 on the boundary of ,umbria and ,tuscany4 ,by early teaching he is an ,umbrian1 but in style a ,florentine4 ,indeed1 his position in the history of art is that of forerunner of ,michael ,angelo4 ,he was a pupil of ,piero della ,francesca1 with whom1 no doubt1 he acquired a knowledge of the figure from anatomical study of the nude4 ,his chief works1 the frescoes in the cathedral of ,orvieto1#bai--;executed by the artist after his sixtieth year1--were ten years earlier than the ceiling of the ,sistine ,chapel by ,michael ,angelo1 who was largely influenced by ,signorelli's example4 ,like ,michael ,angelo1 ,signorelli is intensely dramatic1 and in pictures which do not allow of the violent action to be found in his frescoes1 his figures seem to be instinct with suppressed action4 ,to no other contemporary painter1 says ,morelli1 was it given to endow the human frame with the like degree of passion1 vehemence1 and strength 7,roman ,galleries1 p4 #ib74 ,to this we may add1 says another critic1 that no other painter has ever conceived humanity with the same stately grandeur and in the same broad spirit4 ,the confident strength of youth1 the stern austerity of middle life1 the resolute solemnity of old age--these are his themes4 ,signorelli is1 before all1 the painter of the dignity of human life 7,maud ,cruttwell1 ,luca ,signorelli1 p4 #ca47 ,he is a representative also of the literary and classical ,renaissance4 ,he is fond of architectural adornments in the style of his time--as in the present picture1 where the ceremony takes place in a hall or porch enriched with bas-reliefs in circular panels and paved with square slabs of coloured marbles4 ,he painted the usual religious pictures1 but did not adhere to the traditional modes1 and often introduced a classical element 7see #aacc74 ,it is interesting to note that in his picture of some nude ,greek gods 7at ,berlin7 the composition is the same as in his regulation church pictures of the ,madonna and ,saints4 ,of ,signorelli's personal life there is a pleasant account in ,vasari1 whose kinsman he was4 ,he was a person of consequence in his native city1 going hither and thither to paint commissions1 and then returning to the discharge of his civic duties4 ,he lived splendidly1 in the manner1 says ,vasari1 rather of a noble and a gentleman than in that of a painter4 ,not that he despised his profession1 for he expressly advised that his little kinsman should by all means learn to draw1 that he may not degenerate1 for even though he should hereafter devote himself to learning1 yet the knowledge of design1 if not profitable1 cannot fail to be honourable and advantageous4 ,of ,signorelli's own devotion to his art ,vasari tells another story1 which has thus been versified-- ,vasari tells that ,luca ,signorelli1 ,the morning star of ,michael ,angelo1 ,had but one son1 a youth of seventeen summers1 ,who died4444 ,still ,luca spoke and groaned not2 but he raised ,the wonderful dead youth1 and smoothed his hair1 ,washed his red wounds1 and laid him on a bed4444 ,naked and beautiful4444 ,then ,luca seized his palette3 hour by hour ,silence was in the room2 none durst approach3 ,morn wore to noon1 and noon to eve1 when shyly ,a little maid peeped in and saw the painter ,painting his dead son with unerring hand-stroke1 ,firm and dry-eyed before the lordly canvas4 ,,symonds1 ,renaissance1 iii4 #bha4 ,our picture is thus described by ,vasari1--for the fact that he calls it a fresco is no argument against the identification1 since he often makes such mistakes3 ,in the church of ,san ,francesco1 in ,volterra1 this master painted a fresco1 representing the ,circumcision of ,christ4 ,this also is considered a wonderfully beautiful picture1 but the ,child having been injured by the damp1 was repaired by ,sodoma1 whereby the beauty was much diminished4 ,and1 of a truth1 it would often be much better to retain the works of excellent masters1 though half-spoiled1 than suffer them to be retouched by less capable artists4 ,vasari1 however1 seems to have been anxious to place ,sodoma in a bad light whenever he could4 ,damp was in all probability not the cause of the restoration of the infant ,christ4 ,it was very likely repainted because the public of ,volterra disliked the realism with which ,signorelli seems to have treated the subject 7,richter1 p4 #dh74 ,signorelli's children are curiously ugly3 it seems as if he had no sympathy except in the painting of figures of powerful maturity4 ,of the fact of the repainting recorded by ,vasari there is no doubt2 for the position of the legs has been altered1 their original action being distinctly shown by the incised outline still visible through the deep blue colour of the ,virgin's robe4 ,the painting of the other figures is bold and resolute1 the draperies sweep in broad folds round them4 ,the attitude of the standing woman to the right is grand1 and the earnest concentration of the faces on the ceremony1 and the absence of any connecting link between them and us1 give dramatic reality to the scene 7,cruttwell1 p4 #dj74 ,it is interesting to note that the figure of the operator is like the portrait of himself which ,signorelli introduced into his frescoes of the ,preaching of ,anti-,christ at ,orvieto3 the figure is1 moreover1 clothed in the dress of the period and of the rich materials in which1 ,vasari says1 the artist took much pleasure in dressing himself4 ,behind the central group is the aged ,simeon1 who blessed ,god and said1 ,lord1 now lettest thou thy servant depart in peace1 according to thy word4 #aabi4 ,,king ,,philip ,,iv4 ,,of ,,spain4 ,velazquez 7,spanish3 #aeii-affj74 ,see #aig4 ,the king is younger here than in #gde2 hanging from his chain is the order of the ,golden ,fleece4 ,notice also that the head is not so minutely painted here as in #gde2 that being a bust portrait would be seen near1 this being a full-length would naturally be placed above the level of the eye4 ,the smaller picture might be called1 in the art-slang of to-day1 a harmony in black and gold2 this1 from the shimmer on its lace and the flashing on the rapier hilt1 a harmony in black and silver4 ,strange lot1 exclaims a biographer of ,velazquez1 with reference to the painter's portraits of the king1 to be the ,apelles of this inactive ,alexander4 ,for thirty-seven long years always painting the same effigy6 ,for throughout all these years ,philip's features preserved a marvellous1 a startling uniformity4 ,in the black silk court dress1 in the hunting suit1 in the military uniform1 in the white satin robe of state1 in the gilded steel armour1 in the festive religious attire--kneeling1 standing1 mounted--the same stereotyped head is still there with its everlasting steadfast gaze4 ,it may change from lean to full1 from the fresh smooth features of youth and those of manhood1 marked by the lines of passion1 to the leaden1 swollen1 and rigid lineaments of age2 but even at a distance it is still instantly recognised4 ,who can mistake the long oval1 with its pale whitish complexion1 and cold phlegmatic glance of the great blue eyes under the high forehead1 and light stiffly-curled hair1 strong flat lips and massive chin1 the whole overcast with an expression of pride that repels all advances and suppresses all outward show of feeling8 ,he is said to have laughed but thrice in his life2 and although the statement might be questioned1 it was still good enough to point a sally in one of ,calderon's plays 7,justi's ,velazquez and his ,times1 pp4 #ajg1 #ajh74 #aacj4 ,,christ ,,washing ,,his ,,disciples' ,,feet4 ,tintoretto 7,venetian3 #aeah-aehd74 ,see #af4 ,some remarks made by ,ruskin on another version by ,tintoret of the same subject are not inappropriate to this dark and probably faded picture4#bbj ,one circumstance is noticeable as in a considerable degree detracting from the interest of most of ,tintoret's representations of our ,saviour with his disciples4 ,he never loses sight of the fact that all were poor1 and the latter ignorant2 and while he never paints a senator or a saint1 once thoroughly canonised1 except as a gentleman1 he is very careful to paint the ,apostles in their living intercourse with the ,saviour in such a manner that the spectator may see in an instant1 as the ,pharisee did of old1 that they were unlearned and ignorant men2 and1 whenever we find them in a room1 it is always such a one as would be inhabited by the lower classes4444 ,we are quickly reminded that the guests' chamber or upper room ready prepared was not likely to have been in a palace1 by the humble furniture upon the floor 7,stones of ,venice1 ,venetian ,index1 under ,mois1 ,church of ,st47 ,in front is ,st4 ,peter1 placing his foot in a brazen basin and bending forward with a deprecating action--in contrast to which is the look of cheerful and almost amused alacrity on the part of ,him who came not to be ministered unto1 but to minister4 ,behind are other disciples pressing forward with reverent curiosity4 ,another1 in the right-hand corner of the foreground1 has raised his foot on a bench and is drying it with a cloth4 ,to the left a female attendant holds a taper1 whilst in the background are other figures1 one of whom reclines before a fire4 #aaca4 ,,joseph ,,and ,,his ,,kindred ,,in ,,egypt4 ,jacopo ,carucci da ,pontormo 7,florentine3 #adid-aeeg74 ,jacopo ,carucci1 commonly called ,pontormo1 from his birthplace of that name 7a town on the road from ,pisa to ,florence71 was a scholar of ,andrea del ,sarto1 and was employed with his master in decorating the outer court of the ,,ss4 ,annunziata at ,florence4 ,his fresco there of the ,visitation is1 for the grandeur of the figures and beauty of the colouring1 worthy of ,andrea himself4 ,pontormo was one of the most original characters among those described by ,vasari4 ,his pictures were much sought after1 but he would never work but at such moments as he pleased1 and for such persons as chanced to be agreeable to him1 insomuch that he was frequently sought by gentlemen who desired to possess some work from his hand1 but for whom he would do nothing2 yet at that very time he would probably be employing himself zealously for some inferior and plebeian person4 ,one of the ,medici had been greatly pleased with a picture by ,pontormo1 and said that in reward for it he might ask whatever he pleased and should have his wish granted4 ,but such was1 ,i know not whether to say the timidity1 or the too great respect and modesty of this man1 that he asked nothing better than just so much money as would enable him to redeem a cloak which he had hastily pledged4 ,many other interesting tales of ,pontormo will be found in ,vasari--of his love of secrecy1 his curious manner of life1 and the dead bodies he kept in troughs of water1 so to paint more realistically the victims of the ,deluge4 ,this last tale is characteristic of ,pontormo's place in the history of art1 which for the most part was that of an exaggerated mannerist after ,michael ,angelo4 ,in the ,national ,gallery we see him at his best4 ,his portraits are uniformly excellent1 and his ,joseph in ,egypt is mentioned by ,vasari as his most successful work--whether as regards the power of invention displayed1 the grouping of the figures1 the animation of the heads1 or the variety and beauty of the attitudes4 ,this crowded and fantastic composition contains a drama in five acts describing incidents in the life of ,joseph in ,egypt 7see ,genesis xlvii4 #a-f1 #ac-bf2 xlviii4 #a-ad74 7#a7 ,on the left ,pharaoh1 in a white turban1 and surrounded by attendants1 is met by ,joseph and his brethren1 who stand before him in attitudes of supplication4 ,the youth sitting on the steps with a basket in his hand is a portrait 7,vasari tells us7 of the painter's pupil1 ,bronzino4 7#b7 ,on the right of the foreground ,joseph1 seated on a triumphal car drawn by naked children1 stoops forward towards a man who kneels and presents a petition4 7#c7 ,in the middle distance there is an animated group of men 7,wherefore shall we die before thine eyes1 both we and our land874 7#d7 ,on the steps leading up to the circular building on the right1 ,joseph is leading one of his sons to see the dying ,jacob2 he is followed by the steward of the house1 a conspicuous figure in a long crimson robe4 ,the other boy appears at the top of the steps and is embraced by his mother4 7#e7 ,inside the room ,jacob is represented as giving his blessing to the two boys1 ,ephraim and ,manasseh1 who are presented to him by their father4 ,the antique statues which adorn the building were often given by medival artists as characteristic of ,egypt1 from which the art of ,greece was believed to have been derived 7see ,richter's ,italian ,art in the ,national ,gallery1 pp4 #cf-dj74 ,the removal of this picture has been blasted by a woman's curse4 ,it was painted for a ,florentine noble1 named ,borgherini2 and when he was exiled1 the civic authorities sent to his house to buy up all its works of art1 which were to be sent as a present to the ,king of ,france4 ,but ,borgherini's wife received the official with reproaches of intolerable bitterness1 says ,vasari1 such as had never before been hurled at living man3 ',how then6 ,dost thou1 vile broker of frippery1 miserable huckster of twopences1 dost thou presume to come hither with intent to lay thy fingers on the ornaments which belong to the chambers of gentlemen8 despoiling1 as thou hast long done1 and as thou art for ever doing1 this our city of her fairest ornaments to embellish strange lands therewith8 ,depart from this house1 thou and thy myrmidons4' ,the lady's anger preserved the picture--only to be afterwards seduced away1 by ,english gold1 into the ,duke of ,hamilton's ,collection1 from which it was bought for the ,national ,gallery in #ahhb4 ,borgherini's commission for the works in question is thus described by ,vasari3-- ,it chanced that ,pier ,francesco ,borgherini had at that time caused rich carvings in wood to be executed by ,baccio d' ,agnolo for the decoration of coffers1 backs of chairs1 seats of different forms1 with a bedstead in walnut wood1 all of great beauty1 and intended for the furnishing forth of an apartment4 ,he therefore desired that the paintings thereof should be equal to the rest of the ornaments4 ,to that end he commissioned ,andrea del ,sarto to paint the history of ,joseph in figures of no great size1 and these our artist was to execute in competition with other artists1--,ubertino and ,pontormo among the number 7,vasari1 iii4 #bja1 iv4 #cec74 ,ubertino's paintings for this sumptuous bedroom as well as that of ,pontormo have now found their way into our ,gallery 7see #abah1 #abai74 #aacb4 ,,the ,,vestibule ,,of ,a ,,library4 ,hendrick ,steenwyck1 the younger 7,flemish3 #aehj-afdi74 ,the elder painter of this name was one of the first to give us those architectural interiors1 which later became a specialty among various painters 7see ,havard's ,dutch ,school1 p4 #ec74 ,his son1 the younger ,steenwyck1 adopted the same line of art4 ,he came to ,london before #afbi1 and was much employed in supplying architectural backgrounds to the royal portraits by ,van ,dyck and to other pictures4 ,he died in ,london after #afdi4 ,a picture for architects to look at4 ,it is the interior of a vestibule giving access to a library1 and is full of inventiveness4 ,notice1 too1 how beautifully the accessories--the tablecloth1 the vase of flowers1 etc41 are painted4 #aacc4 ,,the ,,nativity4 ,luca ,signorelli 7,cortona3 #adda-aebc74 ,see #aabh4 ,a dramatic representation in one canvas of the ,gospel story told in ,luke ii4 #a-ag4 ,scene #a4 ,and it came to pass in those days1 that there went out a decree from ,csar ,augustus1 that all the world should be enrolled4 ,this is represented by the ,roman portico behind the central group1 under which1 at a long table1 is seated a row of scribes1 who are entering the names of the people4 ,scene #b4 ,and ,joseph went up 444 to be taxed with ,mary his espoused wife 444 and she brought forth her first-born son1 and wrapped him in swaddling clothes1 and laid him in the manger4 ,this is the subject of the central scene4 ,but the artist1 no longer bound by conventional rules1 treats his text freely4 ,there is no manger1 but the stable is suggested by the heads of the ox and the ass at the side2 and instead of the ,babe being found wrapped in swaddling clothes1 it is naked4 ,joseph1 in orange and crimson robes1 is full of benevolence4 ,the shepherds on the left are in deep reverence4 ,the ,virgin is robed in deep blue and green1 typical of the depth and mystery of her divine love4 ,in the interstices of the central group are three angels with golden hair and rainbow-hued wings--calm shining sons of morn4 ,scene #c4 ,on the left is a group of shepherds3 ,and there were in the same country shepherds abiding in the field1 keeping watch over their flock by night4 ,the angel of the ,lord is appearing unto them from heaven1 and they are sore afraid1 shielding their eyes from the heavenly light4 ,scene #d4 ,on the right of the spectator1 and seen through an arch of natural rock1 is a shepherd playing on the pipe4 ,this figure suggests the antique2 he is crowned with ivy leaves and might almost be ,orpheus4 ,thus1 instead of representing the ,glory to ,god in the highest being sung by a multitude of the heavenly host1 ,signorelli gives us a ,greek singer--a variation thoroughly characteristic of the classical revival of his time4 ,the landscape is also thoroughly characteristic of the medival mind1 which loved the fields but dreaded the mountains4 ,see here1 for instance1 how lovingly the flowers in the foreground are painted1 and note the trailing ivy in the centre of the picture1 as well as the flowers and ferns2 whereas the rocks upon which these latter grow are altogether impossible in form and position 7see ,modern ,painters1 vol4 iii4 pt4 iv4 chs4 xiv4 and xv41 where the landscape of ,dante1 of whom ,signorelli was a close student1 is analysed74 ,the artist's signature is inscribed on the frieze of the portico4 ,some1 however1 have questioned its authenticity and declare the picture to be a weak imitation of the master4 #aacd4 ,,madonna ,,and ,,child4 ,liberale da ,verona 7,veronese3 #adea-aece74 ,liberale di ,giacomo1 of ,verona1 was brought up as a miniaturist1 and his works in that sort1 executed before he was out of his teens1 are much admired for their fancy and sumptuous colour4 ,the choral books which he executed for ,monte ,oliveto are now in the cathedral of ,chiusi4 ,returning to ,verona1 ,liberale took to painting on a large scale1 and became one of the most esteemed artists of the ,veronese ,school4 ,one of his best works is the ,martyrdom of ,st4 ,sebastian in the ,brera1 in which he has introduced an interesting architectural background with ,venetian palaces on a canal1 designed with much spirit and minuteness4 ,in consequence of his bold and vigorous style his works are occasionally attributed to ,mantegna 7,kugler74 ,many of his pictures are still at ,verona4 ,one of the small spiritless ,madonna pictures which he produced carelessly and hastily in his old age1 and supplied for niggardly pay to the citizens of ,verona4 ,they served as wedding presents1 and ,liberale has only himself to thank if this degenerate practice should have spoilt his reputation 7,dr4 ,richter in the ,art ,journal1 ,feb4 #ahie74 #aace1 #aacf4 ,,the ,,clemency ,,of ,,trajan4 ,unknown 7,veronese ,school3 #aeth century74 ,these two panels1 which clearly formed two sides of an ornamental box1 represent a favourite subject with ,italian painters of the period4 ,the story is that an ancient widow of ,rome stopped the ,emperor ,trajan as he was about to proceed on one of his foreign expeditions1 and asked for justice against the murderers of her son1 who is here seen lying dead on the roadway4 ,trajan suggested that she should wait till his return4 ,she replied that the emperor might be killed in battle4 ,then1 said ,trajan1 my successor will attend to the business4 ,but why1 she urged1 not decide the case at once8 ,the emperor on second thoughts did so1 and the second panel shows him on the judgment seat4 ,he called the culprits before him1 spared their lives1 but made them pay heavy damages to the widow4 ,this incident was engraved1 together with the record of his victories1 on ,trajan's column4 #aacg4 ,,portrait ,,of ,a ,,boy4 ,jacob van ,oost the ,elder 7,flemish3 #afjj-afga74 ,this painter was born at ,bruges1 and his pictures are very numerous in his native town4 ,he painted principally religious subjects in the style of the ,carracci1 whose works he had studied in ,italy4 ,of his portraits1 this work--signed with his monogram1#bba and dated #afej--;is the best4 ,a boy of eleven--so the inscription on the right-hand corner states--,mr4 ,pater's ,sebastian van ,storck1 it might be4 ,it was a winter scene1 by ,adrian van de ,velde1 or by ,isaac van ,ostade4444 ,sebastian van ,storck1 confessedly the most graceful performer in all the skating multitude moving in endless maze over the vast surface of the frozen water-meadow1 liked best this season of the year for its expression of a perfect impassivity1 or at least of a perfect repose4 ,the earth was1 or seemed to be1 at rest1 with a breathlessness of slumber which suited the young man's peculiar temper4444 ,yet with all his appreciation of the national winter1 ,sebastian was not altogether a ,hollander4 ,his mother1 of ,spanish descent and ,catholic1 had given a richness of tone and form to the healthy freshness of the ,dutch physiognomy1 apt to preserve its youthfulness of aspect far beyond the period of life usual with other peoples4 ,this mixed expression charmed the eyes of ,isaac van ,ostade1 who had painted his portrait at one of those skating parties1 with his plume and squirrel's tail and fur muff1 in all the modest pleasantness of boyhood 7,imaginary ,portraits1 p4 #ib74 #aach4 ,,the ,,crucifixion4 ,andrea del ,castagno 7,florentine3 #acij-adeg74 ,there is a rough vigour in this picture which agrees well with what we know of the painter4 ,his father was a labouring man4 ,left an orphan in his boyhood1 ,andrea herded the cattle of an uncle at the hamlet of ,castagno 7whence the painter's name74 ,he was first stimulated to study art by chancing to come across an itinerant painter at work on a rustic tabernacle4 ,he began to draw upon the walls with charcoal or his knife1 and showed therein so much ability that he attracted the notice of ,benedetto de' ,medici1 who took the youth to ,florence and placed him under proper tuition4 ,such is ,vasari's story4 ,but ,benedetto's patronage did not save ,andrea from a hard struggle with adversity4 ,at the age of forty he is found declaring that he had neither bed1 board1 nor lodging in ,florence1 and was so poor that in illness he had to take shelter in a public hospital4 ,these declarations were made1 however1 in a taxing return4 ,subsequently ,andrea received various commissions in the palaces and churches of ,florence1 and from the ,government4 ,for the latter he painted on the wall of the palace of the ,podest the gibbeted bodies of those who were declared rebels on the recall from banishment of ,cosimo de' ,medici4 ,most of ,andrea's works have perished2 the few that remain in ,florence display a rude and coarse energy and an independent and original spirit1 but are seldom attractive1 either in form or colour 7,kugler74 ,he is said to have painted in oil1 but no work by him in that medium exists4 ,vasari's story in this connection1 that he assassinated ,domenico ,veneziano1 is demonstrably false 7see under #gff74 ,this picture is impressive in its solemn gloom4 ,the impenitent thief writhes in agony1 the suffering ,christ casts his last glance at his mother1 who1 with ,st4 ,john the beloved disciple1 stands below in speechless grief4 ,the most beautiful in colour of all early works 7,ford ,madox ,brown in ,magazine of ,art1 #ahij1 p4 #acd74 ,andrea's treatment of the subject1 as also ,antonello's 7#aaff71 is remarkable for simplicity and realism4 ,in most representations of the ,crucifixion the central tragedy is partially lost in the large groups of bystanders 7e4g4 #gah1 #ajdh1 #ajhh71 and various symbolical figures are introduced--as1 for instance1 flying angels around the cross4 ,even in ,giotto's fresco at ,padua this feature is introduced4 ,indeed in all the pictures of the ,crucifixion by the great masters1 with the single exception perhaps of that by ,tintoret in the church of ,san ,cassiano at ,venice1 there is a tendency to treat the painting as a symmetrical image1 or collective symbol of sacred mysteries1 rather than as a dramatic representation 7,ruskin's ,giotto1 p4 #adi74 ,for an example of a symbolic representation1 in contrast to the severe simplicity of the picture before us1 see ,no4 #adgh4 #aaci4 ,,the ,,annunciation4 ,duccio 7,sienese3 about #abfj-acdj74 ,see #eff4 ,this picture shows us the side of ,duccio on which the early ,school of ,siena still adhered to the traditions of ,byzantine art4 ,for instance1 the ,greek method of symbolising light on drapery is seen in the gold lines of ,mary's dress1 a decorative method which ,duccio was the last to use4 ,so1 too1 in the gold background1 which was universal in ,byzantine mosaics4 ,this survival may be seen in all the early ,sienese pictures in the ,gallery4 ,in #aahh1 for instance1 all the landscape background is gold2 so in #aadj are all the spaces between the houses2 whilst #aaac resembles a brilliant mosaic with gold for its groundwork4 ,we have here the earliest representation in our ,gallery of one of the most frequent subjects in medival art1 and a few remarks on its development may be interesting4 ,the subjects which artists had at their disposal in those days were prescribed to them by religious uses and religious conventions4 ,not in novelty of subject1 but in individuality of treatment1 was scope for the artist's ingenuity to be found4 ,hence a comparison of pictures of the same subject by different artists and different schools affords a suggestive study in the evolution of art4 ,one may trace by such comparisons something of the same process of descent with modification that ,darwin has exhibited in the case of fish and insect1 fern and flower4#bbb ,thus we may compare the present picture--the earliest and simplest ,annunciation in our ,gallery--with ,crivelli's 7#gci71 which is the most ornate1 and which was painted #bjj years later4 ,two pictures of the same subject could hardly be more unlike4 ,duccio's is severe and simple2 ,crivelli's1 florid and picturesque4 ,the one is rigidly confined to the main matter in hand2 the other is crowded from corner to corner with dainty detail and lively incident4 ,halfway1 as it were1 between the two stands ,lippi's ,annunciation 7#fff72 there also there is much lovely detail1 but we see in a moment that in the ,florentine1 the detail is there for the sake of the picture2 in the ,venetian1 the picture is there for the sake of the detail4 ,crivelli's picture shows us the furthest point of departure from the original type4 ,yet observe how much of the original survives4 ,first1 and this point is absolutely fixed in all medival representations of the subject1 the angel ,gabriel occupies the left-hand side1 and the ,blessed ,virgin the right-hand side of the picture4 ,often 7as in ,giotto's frescoes in the ,arena at ,padua7 the subject is divided into two halves by the intervention of the choir arch4 ,in ,italy1 the ,annunciation was always the subject employed for the decoration of the main entrance of church4 ,for this purpose1 the convenient architectural arrangement was to place a relief of the angel on one side1 a relief of the ,madonna on the other1 and the doorway between them4#bbc ,similarly inside1 the ,annunciation was constantly employed to decorate the blank space beside an archway1 and hence arose the custom of dividing the treatment4 ,we may see examples in our ,gallery in the wings 7interior side7 of the ,coronation by ,justus of ,padua 7#gja71 and in the terminal panels of ,landini's altar-piece 7#ehj;,a74 ,to this peculiarity is perhaps due the wall1 barrier1 or column which so often marks off the figure of the ,virgin from that of the angel4 ,we find it here in the ,duccio2 also in ,fra ,angelico's picture 7#adjf71 and again in ,crivelli's4 ,sometimes1 however1 there is no such division4 ,see1 for instance1 ,lippi's picture 7#fff71 and ,manni's 7#aajd74 ,there is a reason for this difference4 ,lippi's1 no doubt1 was painted to fill the space over a doorway2 ,manni's was the apex of an altar-piece4 ,the decorative function of the pictures governed their composition4 ,returning to the ,duccio1 we may notice as a third and nearly constant element1 the angel's lilies--,annunciation lilies1 as the ,italians call them4 ,sometimes they are in a vase as here2 sometimes 7as in the ,crivelli71 the angel bears a lily in his hand4 ,next1 it is noticeable that the action almost invariably takes place in a loggia--an arcade or cloister4 ,the lectern or prie-dieu1 which in ,crivelli's picture and in very many others of the subject stands beside the ,madonna1 is a refinement on the earliest type as seen in ,duccio and ,fra ,angelico4 ,but whether with lectern or without1 the ,virgin is always represented with a book engaged in her devotions4 ,visitors who desire to trace the evolution of this subject should conclude their studies at the ,tate ,gallery1 where1 in ,rossetti's ,ecce ,ancilla ,domini and ,mr4 ,hacker's ,annunciation1 modern versions of the old subject are given4 ,rossetti's is one of the most imaginative in the whole range of art 7see ,ruskin's analysis cited in vol4 ii4 of this handbook1 ,no4 #abaj74 #aadj4 ,,christ ,,healing ,,the ,,blind4 ,duccio 7,sienese3 about #abfj-acdj74 ,see #eff4 ,the departure from conventional forms1 which was characteristic of ,duccio1 is conspicuous in this picture4 ,each of the disciples has an individual character1 the entire group representing not conventional forms but living types of men4 ,there is a piece of symbolism in the blind man who has already been healed which should not escape notice4 ,duccio is not content to represent the bare act of healing1 but insists further upon the efficacy of the touch of ,him who was the ,light of the ,world1 by making the blind man drop the staff of which he has no longer need4 ,there is another piece of symbolism in the gradated scale by which he draws attention to the respective dignities of his characters--,christ being the tallest in the picture1 the blind man the shortest 7,a4 ,h4 ,macmurdo in ,century ,guild ,hobby ,horse1 #ahhf1 p4 #aai74 #aada4 ,,supposed ,,portrait ,,of ,,the ,,artist4 ,antonello da ,messina 7,venetian3 #addd-adic74 ,see #fgc4 ,a portrait in ,antonello's second or ,venetian manner4 ,the portrait is the more interesting from the probability that it is of the painter himself4 ,the inscription which so stated is said to have been sawn off by a former owner to fit the picture into a frame4#bbd ,it is the likeness of a man who is entirely self-possessed1 nowise an idealist1 yet one who would never be prompted to impetuous action4 ,he has plenty of intelligence2 nothing would escape those clear gray eyes2--scarcely1 however1 do they seem as if they would penetrate below the outward show of things4 ,considered from a technical point of view1 the same subdued feeling is apparent4 ,in the ,louvre masterpiece 7which this picture at once recalls71 ,antonello evidently braced himself for a supreme effort2 in the ,national ,gallery portrait we have an excellent example of his powers at his best period 7,times1 ,may #ca1 #ahhc74 #aadc4 ,,the ,,procession ,,to ,,calvary4 ,ridolfo ,ghirlandajo 7,florentine3 #adhc-aefa74 ,ridolfo ,bigordi1 called ,ghirlandajo1 was the son of ,domenico ,ghirlandajo 7see #abcj71 who gave him his first instruction in art4 ,on the death of ,domenico1 ,ridolfo was taken charge of by his uncle ,david1 and perhaps received instruction also from ,domenico's favourite pupil1 ,granacci4 ,in #aejc ,leonardo da ,vinci came to ,florence1 and seems to have exercised a strong influence on the young ,ridolfo4 ,to this ,leonardine period of our artist1 the present picture1 executed in #aeje1 belongs3 some of the heads 7which are of great force and beauty7 seem to have been copied or imitated from ,leonardo4 ,to the same period and influence ,morelli ascribes the ,annunciation1 ,no4 #abhh in the ,uffizi1 there attributed to ,leonardo himself1 and the ,portrait of a ,goldsmith1 similarly attributed in the ,pitti4 ,in ,ridolfo's works after #aejf the influence of ,raphael is discernible4 ,raphael was his fellow-student and contemporary1 and between the two congenial youths an ardent friendship1 ,vasari tells us1 sprang up4 ,raphael employed ,ridolfo to fill in part of the blue drapery of the ,belle ,jardinire1 and invited him to ,rome2 but ,ridolfo1 who had never1 as the saying is1 'lost sight of the cupola' 7of the ,duomo71 and could in no wise resolve on living out of ,florence1 would accept no proposal which might compel him to abandon his abode in his native place4 ,at ,florence ,ridolfo found ample and congenial employment1 not only in the production of pictures1 but in artistic catering for the pageants of the ,republic1 and in the service of the ,medici4 ,he did not disdain1 says ,vasari1 to paint banners1 standards1 and matters of similar kind4 ,he was an exceedingly prompt and rapid painter in many kinds of work1 more particularly in the preparations for festivals2 when the ,emperor ,charles ,v4 arrived in ,florence1 he constructed a triumphal arch in ten days1 and another arch at the gate of ,prato was erected by this artist in a very short space of time1 this work being constructed for the marriage of the most ,illustrious ,lady the ,duchess ,leonora4 ,among his pictures1 the ,st4 ,zenobio restoring a boy to life and the burial of the same saint1 in the ,uffizi1 are considered ,ridolfo's masterpieces2 they are remarkable for force of colour1 and fine modelling in the heads4 ,ridolfo employed a number of young painters1 and from this workshop issued many pictures which were sold to ,england1 ,germany1 and ,spain4 ,he lived to be nearly eighty years old2 and though heavily afflicted with the gout1 he still bore much love1 says ,vasari1 to all connected with art1 and liked to hear of1 and when he could to see1 whatever was most commended in the way of buildings1 pictures1 and other works4 ,he was buried with his forefathers in ,s4 ,maria ,novella4 ,one of the pictures in the ,gallery which are additionally interesting from being mentioned and praised by ,vasari--who1 by the way1 was himself a friend of ,ridolfo3 ,in the ,church of ,s4 ,gallo he depicted our ,saviour ,christ1 bearing his ,cross and accompanied by a large body of soldiers2 the ,madonna and the other ,maries1 weeping in bitter grief1 are also represented1 with ,san ,giovanni and ,santa ,veronica1 who presents the handkerchief to our ,saviour2 all these figures are delineated with infinite force and animation4#bbe ,this work1 in which there are many beautiful portraits from the life1 and which is executed with much love and care1 caused ,ridolfo to acquire a great name2 the portrait of his father is among the heads1 as are those of certain among his disciples1 and of some of his friends--,poggino1 ,scheggia1 and ,nunziata1 for example1 the head of the latter being one of extraordinary beauty 7v4 #e74 ,it is interesting in this connection to notice that the procession to ,calvary was one of the regulation subjects with medival painters 7see for a picture of it1 some two hundred years earlier1 #aahi71 and familiarity bred contempt for the pathos of the scene2 it became a mere opportunity for variegated compositions1 and curiously enough two of the brightest pictures in the ,gallery 7this and #hjf7 are of this subject4 ,for the story of ,st4 ,veronica see #fhg4 #aadd4 ,,madonna ,,and ,,child4 ,bazzi1 called ,il ,sodoma 7,lombard3 #adgg-aedi74 ,the confusion in the use of the word school is illustrated in the case of ,giovanni ,antonio ,bazzi 7sometimes wrongly given as ,razzi71 called also ,il ,sodoma4 ,he spent most of his life at ,siena1 and is often grouped therefore with the ,sienese ,school4 ,but he was born at ,vercelli1 in ,piedmont--being the son of a shoemaker--and ripened into an artist during the two years he spent at ,milan with ,leonardo da ,vinci 7#adih-aejj74 ,sodoma is therefore1 says ,morelli 7,german ,galleries1 p4 #dbh71 to be reckoned as one of the ,milanese-,lombard ,school4 ,nay1 ,i believe ,i should not be far wrong were ,i to maintain that the majority of the better works ascribed to ,leonardo in private collections are by him4444 ,young ,bazzi while at ,milan seems to have taken ,leonardo for his model1 not only in art1 but even in personal appearance and fancies4 ,all his life he loved to play the cavalier1 and1 like ,leonardo1 always kept saddle-horses in his stable1 and all kinds of queer animals in his house4#bbf ,vasari gives an amusing1 though probably apocryphal1 account of his excesses1 and represents him as a lewd fellow of the baser sort1 with whom no respectable person would have anything to do4 ,but ,raphael so respected ,bazzi and his work that he introduced his portrait 7erroneously called ,perugino's7 by the side of his own in his celebrated fresco of the ,school of ,athens4 ,but at any rate ,sodoma was a careless1 jovial fellow--dividing his time between the studio and the stable2 and when cash ran short or a horse ran wrong1 he would meet his liabilities with a hastily dashed-off picture4 ,this very ,madonna may perhaps have paid off a racing debt4 ,sodoma1 says a distinguished ,german critic1 had a poetic soul1 full of glowing and deep feeling1 a richly endowed creative mind1 but no inclination for severe earnest work 7,jansen74 ,his execution is unequal1 but at his best he is one of the most attractive of all the ,italian painters4 ,no one will deny this who recalls the fresco1 in the upper floor of the ,farnesina ,palace1 of ,the ,marriage of ,alexander and ,roxana--one of the most enchanting pictures of the whole ,renaissance1 or who has studied the painter's work in the churches1 the ,gallery1 and the ,palazzo ,publico of ,siena4 ,the figure of ,st4 ,ansano in the latter place may be taken as an example of the dignity which ,sodoma was capable of imparting to his types4 ,the ,christ bound to the ,column in the ,siena gallery is a fine example of his power as a colourist and his command of pathetic expression2 while in the figure of ,eve in the ,limbo in the same gallery1 and in more than one ,holy ,family1 we may see his innate sense of feminine beauty and grace4 ,it is supposed that ,sodoma went as a young man to ,milan and there imbibed the influence of ,leonardo da ,vinci1 but this theory 7maintained by ,morelli7 of a close connection between ,leonardo and ,sodoma is not accepted by all critics4 ,in #aeja he went to ,siena1 where1 in the stagnation of the local school1 he found ample openings for his abilities4 ,to this period belong the series of frescoes representing the history of ,st4 ,benedict in the ,convent of ,monte ,oliveto4 ,in #aejg ,sodoma was taken by the ,sienese merchant1 ,agostino ,chigi1 to ,rome4 ,he began to decorate the ,camera della ,segnatura in the ,vatican1 but the ,pope transferred the commission to ,raphael4 ,sodoma was again in ,rome in #aead1 when he painted for ,chigi the frescoes already referred to4 ,in the interval he had returned to ,siena1 where he married the daughter of an innkeeper4 ,from #aeae onwards he made ,siena his headquarters4 ,copies of some of the works mentioned above may be seen in the ,arundel ,society's ,collection4 ,this picture1 which is hardly a satisfactory example of the painter1 is one of those supposed by some critics to have been painted in the years #aeah-bj1 during which he is believed to have revisited ,milan4 ,others place it later in the artist's career4 ,probably one of his late 'pot-boilers4' ,it was originally in the ,rossini ,collection at ,pisa1 and may have been painted there during the last years of the artist's life1 while he was working at the choir decorations in the cathedral 7,sodoma1 by the ,contessa ,priuli ,bon1 #aijj1 p4 #ib74 #aade4 ,,samson ,,and ,,delilah4 ,andrea ,mantegna 7,paduan3 #adca-aejf74 ,see #bgd4 ,samson1 whose giant's strength lay in his hair1 fell into the toils of ,delilah 7,judges xvi471 who delivered him to his enemies by cutting off his hair as he lay asleep4 ,on the trunk of the olive tree behind1 ,mantegna has carved the moral he drew from the tale3 ,foemina diabolo tribus assibus est mala peior 7woman is a worse evil than the devil by the three pennies which bind you to her74#bbg ,but though ,mantegna has taken his subject from the ,bible1 his treatment of it is in the classical spirit4 ,apart from the fact that her attention is directed to the mechanical operation1 ,delilah's expression is one of absolute and entire unconcern4 ,look of cunning1 or of deceit1 or of triumph there is none4 ,mantegna was not the man to shirk expression when he deemed the subject required it2 probably1 therefore1 he left the features impassive in obedience to the formula of a certain school of antique sculpture1 that all violent emotion should be avoided 7see ,times1 ,june #ah1 #ahhc74 #aadg4 ,,heads ,,of ,,nuns4 ,ambrogio ,lorenzetti 7,sienese3 died about #acdh74 ,ambrogio1 the younger brother of ,pietro ,lorenzetti 7see #aaac71 was the greatest of the early ,sienese painters4 ,his series of frescoes in the ,sala della ,pace in the ,palazzo ,publico of ,siena1 typifying good and bad government1 are known to every traveller4 ,they are full both of artistic beauty and historical interest 7see the description by ,symonds in his ,sketches and ,studies1 iii4 #dc74 ,the heads of many of ,ambrogio's allegorical figures are of great beauty and grandeur--especially that of ,peace1 which is of classical dignity and may possibly have been modelled on the lines of some antique sculpture4 ,the work before us is a mere shattered fragment of fresco 7from a church in ,siena71 but it is enough to show the artist's feeling for the true portraiture that identifies character with likeness4 ,the nuns' faces are typical of the strong yet tender qualities developed in a life of seclusion and self-sacrifice4 #aadh4 ,,christ ,,at ,,the ,,column4 ,velazquez 7,spanish2 #aeii-affj74 ,see #aig4 ,an intensely dramatic rendering of the central lesson of ,christianity4 ,the scene depicted is an episode from the ,passion between the scourging and the crowning with thorns--a scene not given in the ,gospels1 and invented to produce a more vivid effect than representations of familiar scenes4 ,the absence of all decorative accessories concentrates the attention at once on the figure of the ,divine sufferer--bound by the wrists to the column4 ,his hands are swollen and blackened by the cords2 the blood has trickled down the shoulder--so terrible was the punishment--and the scourges and rod have been flung contemptuously at his feet4 ,yet abnegation of self and ,divine compassion are stamped indelibly on his countenance1 as he turns his head to the child who is kneeling in adoration4 ,the guardian angel behind bids the child approach the ,redeemer in prayer 7hence the alternative title that has been given to the picture1 ,the ,institution of ,prayer74 ,from the wise and prudent the lessons of ,christianity are often hidden1 but ,christ himself here reveals them unto babes4 ,he was wounded for our transgressions1 he was bruised for our iniquities3 the chastisement of our peace was upon him2 and with his stripes we are healed4 ,a thin white line1 a ray1 reaches from the position of the heart to the ,saviour's ear-- ,to see sad sights moves more than hear them told1 ,for then the heart interprets to the ear ,the heavy motion that it doth behold4 ,the angel is a portrait 7a preparatory study from a model is included amongst the collection of drawings made by ,cean ,bermudez74 ,the downcast eye1 the slightly pouting lips1 as if about to weep1 betray the harrowing expression of the moment4 ,this expression shows fine invention1 for it might have been more natural for the eye to follow the hand directing the child's attention to the figure4 ,but the angel fears himself to look1 lest he be overcome with grief4 ,the tone of the picture is in keeping with its theme4 ,there probably exists no other painting executed in such a decidedly gray1 blackish-gray tone1 although it is by no means colourless1 as seen in the orange-brown and dull crimson of the angel's costume1 which are peculiar to ,velazquez4 ,it is as if1 after the terrible event that has here taken place1 mourning ,nature had strewn the scene with a fine shower of ashes1 as after some tremendous volcanic outburst 7,justi's ,velazquez and his ,times1 pp4 #bda-bdh74 #aadi4 ,,madonna ,,and ,,child4 ,marco d',oggionno 7,lombard3 about #adgj-aecj74 ,marco1 called ,oggionno from the village near ,milan in which he was born1 was one of the pupils and imitators of ,leonardo4 ,he made several copies of the master's ,last ,supper1 one of which is in the collection of the ,royal ,academy4 ,his best original work on a large scale is the ,triumph of the ,three ,archangels over ,satan1 in the ,brera4 ,among his smaller works1 the ,infant ,christ caressing ,st4 ,john1 at ,hampton ,court1 is more successful than most4 ,his works1 says ,m4 ,mntz1 are wanting in vivacity of feeling and purity of drawing1 and intensity of colour does duty for intensity of sentiment4 ,this is a characteristic example of the painter's work4 ,he succeeded in catching a little of ,leonardo's smile1 chilled as it were on the way 7,logan74 ,the study in chalk for the ,virgin's head is in the ,dyce ,collection in the ,south ,kensington ,museum4 #aaej4 ,,portrait ,,of ,a ,,man4 ,ascribed to ,pontormo 7,florentine3 #adid-aeeg74 ,see #aaca4 #aaea4 ,,the ,,entombment4 ,unknown 7,german3 #aeth ,century74 ,a copy1 in colour1 of an engraving by ,martin ,schongauer 7see #feh74 #aaeb4 ,,st4 ,,john ,,the ,,baptist4 ,martino ,piazza 7,lombard3 early #afth ,century74 ,martino and his brother ,albertino were painters at ,lodi1 where they worked both together and separately2 there are many altar-pieces in the churches of that place by them4 ,this picture is a signed work of ,martino alone4 ,the brothers belonged to the school which was established in ,milan and its neighbourhood before the arrival of ,leonardo2 but in many of ,martino's work the new influence is discernible4 ,the curly hair1 his high finish and chiaroscuro1 derived from a study of ,leonardo1 are distinctive traits 7,catalogue of the ,burlington ,fine ,arts ,club's ,exhibition1 #ahih1 p4 lxxvi474 ,compare the type of countenance and form of the rocks with those in ,leonardo's picture1 #ajic4 ,for the subject of this picture see under #be4 #aaed4 ,,girl ,,with ,a ,,lamb4 ,greuze 7,french3 #agbe-ahje74 ,see #bjf4 ,an unfinished study--characteristic of the touch of affectation often visible in ,greuze's pictures of simplicity4 ,children fondling pet lambs are a favourite motive in art1 but its treatment is seldom free from affectation4 ,see1 for instance1 ,murillo's ,st4 ,john1 #agf4 #aaee4 ,,the ,,assumption ,,of ,,the ,,virgin4 ,matteo di ,giovanni 7,sienese3 #adce-adie74 ,matteo1 the son of ,giovanni di ,bartolo 7a mercer71--called also ,matteo di ,siena--was the best ,sienese painter of his time1 and in this picture1 which is perhaps his masterpiece1 we have an epitome of all the most characteristic qualities of the earlier ,sienese school--its warm1 delicate1 and transparent colouring1 its graceful outline1 its religious sentiment1 and its somewhat miniature-like execution4 ,matteo was the last of the series of painters who developed the art of ,duccio1 adhering to the traditions of the school of which that great master was the founder 7,layard74 ,in the expression of passion and dramatic action that school was never successful1 struggling to disguise weakness by overstraining expression4 ,this weakness is conspicuous in ,matteo's pictures of the ,massacre of the ,innocents 7in ,s4 ,agostino and ,s4 ,maria de' ,servi in ,siena71 and is not absent from his ,ecce ,homo and ,st4 ,stephen in this ,gallery 7#bdg and #adfa74 ,his best pictures at ,siena are the ,madonna della ,neve in the chapel of that name1 and the ,coronation of ,s4 ,barbara in ,s4 ,domenico4 ,he also designed one of the ,sibyls 7the ,samian7 on the marble pavement of the ,duomo4 ,a picture in which the artist concentrates all he could command of gaiety and joyousness in colour1 expression1 action1 and sentiment2 and thus typical of the personal feeling1 approximating to that of a lover to his mistress1 which entered into ,madonna worship4 ,these pictures of coronations and assumptions of the ,virgin are not merely tributes of devotion to the mother of ,god1 but are poetic renderings of the recognition of women's queenship1 of her rule not by force of law but by tenderness and sacrifice-- ,for lo6 thy law is pass'd ,that this my love should manifestly be ,to serve and honour thee3 ,and so ,i do3 and my delight is full1 ,accepted for the servant of thy rule4 ,one may read the same spirit1 perhaps1 in the legend of ,st4 ,thomas and the ,madonna1 introduced in this picture--of ,st4 ,thomas1 who ever doubted1 but whose faith was confirmed by a woman's girdle4 ,for the story is that the ,virgin1 taking pity on his unbelief1 threw down to him her girdle1 which he is here raising his hands to catch1 as it falls from her throne1 in order that this tangible proof remaining with him might remove all doubts for ever from his mind-- ,lady1 since ,i conceived ,thy pleasurable aspect in my heart1 ,my life has been apart ,in shining brightness and the place of truth2 ,which till that time1 good sooth1 ,groped among shadows in a darken'd place4 ,d4 ,g4 ,,rossetti3 ,early ,italian ,poets4 #aaeg4 ,,the ,,nativity4 ,bernardo ,cavallino 7,neapolitan3 #afbb-afed74 ,this painter was a pupil of ,massimo ,stanzioni 7a rival of ,spagnoletto71 and showed such ability that at first he created a jealous feeling in ,massimo himself4 ,finding afterwards that his talent lay more in small figures than in large1 he pursued that department and became very celebrated in his school4 ,in the galleries of the ,neapolitan nobility are to be seen by him1 on canvas and copper1 subjects both sacred and profane4 ,life was alone wanting to him1 which he unfortunately shortened by his irregularities 7,lanzi1 ii4 #da74 ,a characteristic work in the naturalistic manner4 #aaei4 ,,the ,,calling ,,of ,,abraham4 ,gaspard ,poussin 7,french3 #afac-afge74 ,see #ca4 ,a very impressive picture in spite of the somewhat grotesque angel who accosts ,abraham and points him to the ,almighty seated in the clouds above 7,genesis xii474 ,and indeed it is in his skies that ,gaspard points us to the ,infinite--in the open sky1 stretching far away into that yellow horizon4 ,to what does this strange distant space owe its attractive power8 ,there is one thing that it has1 or suggests1 which no other object of sight suggests in equal degree1 and that is--,infinity4444 ,for the sky of night1 though we may know it boundless1 is dark2 it is a studded vault1 a roof that seems to shut us in and down2 but the bright distance has no limit--we feel its infinity1 as we rejoice in its purity of light4444 ,of the value of this mode of treatment 7i4e4 the rendering of open sky7 there is a farther and more convincing proof than its adoption either by the innocence of the ,florentine or the ardour of the ,venetian1 namely1 that when retained or imitated from them by the landscape painters of the seventeenth century1 when appearing in isolation from all other good1 among the weaknesses and paltrinesses of ,claude1 the mannerisms of ,gaspar1 and the caricatures and brutalities of ,salvator1 it yet redeems and upholds all three1 conquers all foulness by its purity1 vindicates all folly by its dignity1 and puts an uncomprehended power of permanent address to the human heart upon the lips of the senseless and the profane#bbh 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 i4 ch4 v4 #e1 #ab74 #aafj4 ,,the ,,adoration ,,of ,,the ,,magi4 ,school of ,giorgione 7,venetian3 early #afth century74 ,see #bfi4 ,see also 7p4 xx7 ,this picture--ascribed by ,morelli and others to ,catena 7see #bcd7--;is by some connected with the name of ,giorgione4 ,it displays1 says ,sir ,edward ,poynter1 the qualities which we should expect to find in a picture by ,giorgione1 and does not seem so far removed from the only absolutely authenticated work by him--the altar-piece at ,castelfranco--as to make it impossible to attribute it to his hand4 ,in qualities of drawing and composition it is superior to what we know of the work of ,catena 7,the ,national ,gallery1 i4 #bc74 ,the figures are ,bellinesque1 yet with that added touch of delicacy and refinement which ,giorgione always knows how to impart4 ,the richness of colouring1 the depth of tone1 the glamour of the whole1 is far superior to anything we can point to with certainty as ,catena's work2 and no finer example of his ',giorgionesque' phase is to be found than the sumptuous ',warrior adoring the ,infant ,christ' 7#bcd7 which hangs close by4 ,catena's work seems cold and studied beside the warmth and spontaneity of ,giorgione's little panel 7,herbert ,cook's ,giorgione1 p4 #ed74 ,whoever painted it1 it is worth many much larger canvases4 ,the simple1 flowing cast of the drapery1 the general scheme of colour1 and the quality of individual tints1 such as the mellow yellow shaded with red1 and the greenish-blue of the ,virgin's mantle1 are not like what ,i know of ,catena4 ,the lively1 well-drawn child1 with its supple limbs2 the faces of the women1 with full faces1 short noses1 and square jaws2 the straight-necked horses1 and many other things in this charming picture1--seem to me to proclaim a distinct1 if unknown1 master4 ,above all things distinct1 perhaps1 is the particular tone of reverence--nave1 quiet1 but deep--that pervades the picture1 a feeling which can scarcely have been imitated1 but must have proceeded from the very character of the painter himself 7,monkhouse1 ,in the ,national ,gallery1 p4 #bbd74 #aafe4 ,,st4 ,,hippolytus ,,and ,,st4 ,,catherine4 ,il ,moretto 7,brescian3 #adih-aeee74 ,see #bii4 ,two saints who were not divided in the manner of their martyrdom1 and who are united therefore on the painter's canvas4 ,each holds the martyr's palm4 ,st4 ,catherine places her left hand on the hilt of a sword--the instrument by which she was ultimately beheaded1 whilst her foot rests upon the wheel on which she was to have been torn to death1 had not an angel from heaven broken it4 ,st4 ,hippolytus's death was not unlike that which had been devised for ,st4 ,catherine4 ,he is clad in armour1 for he was the soldier stationed as guard over ,st4 ,lawrence 7see #gdg71 but he is represented as bareheaded1 and with his face upturned in reverence1 for that he was so moved by that illustrious martyr's invincible courage and affectionate exhortations that he became a ,christian with all his family4 ,wherefore he was tied to the tails of wild horses and torn to death4 ,on the fragment of stone in the foreground is an inscription in ,latin1 telling by what death the two saints glorified ,god--,membris dissolvi voluerunt ne vinculis divellerentur aeternis3 they chose to be torn limb by limb rather than by renouncing their faith to be thus torn hereafter by eternal chains4 ,the members of the body are the chains of the soul1 and the martyrs freed themselves from temporary fetters rather than submit to the fetters of everlasting punishment4 #aaff4 ,,the ,,crucifixion4 ,antonello da ,messina 7,venetian3 #addd-adic74 ,see #fgc4 ,signed1 and dated #adgg1 two years later than the very similar picture at ,antwerp4 ,notice the harmonious colouring1 and the expression of abandon and lassitude1 following more poignant grief1 in the ,virgin's attitude1 with her arms falling down on each knee4 ,the subject was never more truly felt1 and the little figure of the ,virgin at the foot of the cross contains in it an expression of concentrated grief ,i never saw equalled4 ,the eyes are shut1 the hands simply rest on the knees1 but this very simplicity gives it a truth which far surpasses the extravagant attitudes of the later painters 7from a letter by ,louisa1 ,lady ,waterford1 from whom the picture was purchased in #ahhd2 see ,hare's ,the ,story of ,two ,noble ,lives1 iii4 #gg74 ,this picture shows1 says ,mr4 ,gilbert1 the dawning loveliness of ,venetian colour1 as distinguished from the vivid beauty of the early ,flemish4 ,instead of the minute definition of every object characteristic of the ,van ,eyck ,school1 we find1 spread over a scene of the utmost simplicity1 a delicious silvery haze1 melting into the warm tones of a shadowless foreground4 ,in this small picture we may see already what ,venice owed to ,flanders--how ,venice would enrich the gift 7,landscape in ,art1 p4 #caa74 #aafh4 ,,portrait ,,of ,a ,,jesuit4 ,willem van der ,vliet 7,dutch3 #aehd-afdb74 ,works by this artist are rare and very little known4 ,he belonged to ,delft--a town as active in painting as in pottery4 ,this picture is signed and dated #afca4 ,an admirable portrait4 ,the ,jesuit father1 here depicted with so much quiet truth and skill1 is a good representative of the great order which had at that time saved the ,papacy4 ,he is a student1 but the crucifix is ever on his books4 ,the ,jesuits appear1 says ,macaulay1 to have discovered the precise point to which intellectual culture can be carried without risk of intellectual emancipation4 ,but he turns round from his book and looks with a smile of tender sadness on the spectator--he is ready to read your heart and to give you sympathy in return for confidences4 #aafi4 ,,mrs4 ,,robert ,,hollond4 ,ary ,scheffer 7,french-,dutch3 #agie-aheh74 ,an artist who once enjoyed a great vogue 7a version of this picture was bought in #ahde by the ex-,queen of the ,french for #ajjj71 and whose pictures are historically interesting for their extraordinary absence of the colour-sense4 ,ary ,scheffer's pictures1 says ,ruskin 7,academy ,notes1 #aheh1 p4 #dj71 are designed on the assumption that the noblest ideal of colour is to be found in dust1 and what he said in #ahdf of the ,german ,school is equally true of ,ary ,scheffer3#bbi ,brightness of colour is altogether inadmissible without purity and harmony2 and the sacred painters must not be followed in their frankness of unshadowed colour1 unless we can also follow them in its clearness4 ,as far as ,i am acquainted with the modern schools of ,germany1 they seem to be entirely ignorant of the value of colour as an assistant of feeling1 and to think that hardness1 dryness1 and opacity are its virtues as employed in religious art2 whereas ,i hesitate not to affirm that in such art1 more than in any other1 clearness1 luminousness1 and intensity of hue are essential to right impression 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 ii4 ch4 v4 #ae74 ,ary ,scheffer1 whose father was court painter at ,amsterdam1 was born at ,dordrecht4 ,on the death of his father in #ahji his mother removed to ,paris1 and he became a pupil of ,pierre ,gurin4 ,in #ahbf he became drawing master in the ,orleans family1 and for the rest of his life he was attached to them4 ,in #ahcj1 in company with ,thiers1 he brought ,louis ,philippe1 ,duke of ,orleans1 to ,paris2 in #ahdh he helped the king to fly1 and went with him to ,brussels4 ,the events of the next few years shocked him so much that for a time he could neither paint1 eat1 nor sleep1 and he ceased altogether to exhibit4 ,his best known works are ,paolo and ,francesca 7#ahbb71 and ,dante and ,beatrice 7#ahci74 ,the former of these sold in #ahdb for over #bjjj2 but at the posthumous exhibition of his works1 held shortly after his death1 his reputation suffered greatly1 and at subsequent sales the prices paid for his pictures went down with a rush4 ,their sentimentality made them popular for a while1 but it could not save them from the condemnation due to their commonness of thought and poverty of colour4 ,a portrait of the lady--an ,english resident in ,paris1 and a friend of ,ary ,scheffer--who sat to him for ,st4 ,monica4 ,the two pictures were bequeathed to the ,gallery by her husband4 #aagj4 ,,st4 ,,augustine ,,and ,,st4 ,,monica4 ,ary ,scheffer 7,french-,dutch3 #agie-aheh74 ,to illustrate the popularity which ,ary ,scheffer enjoyed forty years ago1 it may be interesting to cite what ,mrs4 ,jameson said of this picture3 ,i saw in the atelier of the painter1 ,ary ,scheffer1 in #ahde1 an admirable picture of ,st4 ,augustine and his mother ,monica4 ,the two figures1 not quite full-length1 are seated2 she holds his hand in both hers1 looking up to heaven with an expression of enthusiastic undoubting faith2--'the son of so many tears cannot be cast away6' ,he also is looking up with an ardent1 eager1 but anxious1 doubtful expression1 which seems to say1 ',help thou my unbelief4' ,for profound and truthful feeling and significance1 ,i know few things in the compass of modern art that can be compared to this picture 7,sacred and ,legendary ,art1 #ahej1 p4 #ahf74 #aaga4 ,,the ,,ansidei ,,madonna4 ,raphael 7,urbino3 #adhc-aebj74 ,the genius of ,raphael ,santi 7or ,raffaello ,sanzio1 as the modern ,italians write his name7 is an example of the force alike of hereditary transmission of gifts and of surrounding circumstances4 ,he was the second son 7born ,april #f7 of ,giovanni ,santi 7see #gea71 a painter and poet of ,urbino4 ,the son inherited the father's aptitude for painting2 but as ,giovanni died when ,raphael was only eleven1 the boy's actual teacher was ,timoteo ,viti1 of whom there is a portrait in chalks by ,raphael in the ,british ,museum4 ,the young ,raphael's hereditary gifts were nurtured by the artistic atmosphere in which he lived4 ,urbino1 the ,athens of ,umbria1 was at this time one of the chief centres of artistic and intellectual life in ,italy2 the ducal palace contained a fine collection of pictures both by ,italian and ,flemish painters4 ,amongst the latter were some by ,van ,eyck1 and it is perhaps to this influence that we may attribute the miniature-like care of ,raphael's earliest work1 which is conspicuous in the ,vision of a ,knight1 and may be seen again in the jewel painting here4 ,an intense power of assimilation--of learning all things from all men--characterised ,raphael throughout his life1 and is one of the main causes of the width of range and catholicity of taste to which he owes his universal popularity4 ,thus when he went 7probably not before #aejj7 to study under ,perugino1 he so quickly assimilated the style of that master that he has been credited with some of the design and even of the work in ,perugino's masterpiece1 just as some of his pictures were1 says ,vasari1 mistaken for ,perugino's4 ,in #aejd he went to ,florence1 which was his headquarters for the next four years4 ,he at once took a leading part in the artistic fraternity there1 and put one great artist after another under contribution for some special power of drawing1 beauty of colour1 or grace of composition4 ,thus from ,signorelli and ,michelangelo he learnt to study the human form2 it was at ,florence1 says ,vasari1 that ,raphael began to study the nude and to make anatomical drawings from dissected corpses4 ,from ,leonardo da ,vinci 7sketches from whom by ,raphael may be seen at ,oxford7 he learnt soft beauty of expression1 and it is to this master's influence perhaps that the smile of his ,madonnas may be traced4 ,in #aejh ,raphael was invited by the ,pope ,julius ,,ii4 to ,rome1 and there he spent the greater part of his life--painting1 besides innumerable altar-pieces and cabinet pictures1 his famous cartoons and frescoes4 ,and yet he was only thirty-seven when he died4 ,his time was partly occupied too with portraiture1 in which he excelled4 ,in #aead he accepted the responsible office of architect of ,st4 ,peter's1 left vacant by the death of his friend ,bramante4 ,a year later he was installed as director of the excavations then in progress among the ruins of ancient ,rome1 and flung himself into the work with devoted ardour4 ,in the heavy and multifarious work thus crowded upon him1 ,raphael employed many assistants1 among whom were ,giulio ,romano1 ,giovanni da ,udine1 and ,perino del ,vaga1 and in some of the pictures of his ,roman period the master's own hand executed little more than the finishing touches4 ,all that we know of ,raphael's private life and character reflects that innate love of beauty which fused all he borrowed into something of his own4 ,all were surpassed by him1 says ,vasari1 in friendly courtesy as well as in art2 all confessed the influence of his sweet and gracious disposition1 which was so replete with excellence and so perfect in all the charities1 that not only was he honoured by men but even by the very animals1 who would constantly follow his steps and always loved him4 ,in morals he was pure1 and might indeed be called almost immaculate1 judged by the lax standard of his age4 ,the ,cardinal ,bibiena designed his niece for ,raphael1 but-- ,rafael made a century of sonnets1 ,made and wrote them in a certain volume ,dinted with the silver-pointed pencil ,else he only used to draw ,madonnas3 ,these1 the world might view--but one1 the volume4 ,who that one1 you ask8 ,your heart instructs you4 ,he lived a painter among princes--a model1 says ,vasari1 of how we should comport ourselves towards great men1 but also a prince among painters--jealous of none1 kindly to all4 ,whenever any other painter1 whether known to him or not1 requested any assistance1 he would invariably leave his work to do him service2 and his school--consisting of some fifty painters1 all men of ability and distinction--continued in such unity and concord that all harsh feelings and evil dispositions became subdued and disappeared at the sight of him4 ,and so when he died--having impaired his constitution by a life of ceaseless toil--,rome went into a paroxysm of grief1 and flocked1 as he lay in state1 to catch a last sight of the divine painter4 ,he died on his birthday1 ,april #f1 and was buried in the ,pantheon with great solemnities4 ,with regard to ,raphael's position in the history of art1 it is important to distinguish between his different periods1 which correspond1 as will be seen1 with the divisions of his life4 ,the ,national ,gallery is fortunate in having specimens of all the periods1 and the importance of the pictures from this point of view is noted under the several numbers1 but it may be convenient to summarise the matter briefly here4 7#a7 ,first1 or ,perugian period1 down to #aejd--which again may perhaps be subdivided as explained under #bac4 ,during this period his works closely resemble ,perugino's--the most typical of them are the ,sposalizio1 at ,milan1 copied from ,perugino's painting of the same subject1 now at ,caen2 and the ,crucifixion1 in ,mr4 ,l4 ,mond's ,collection1 of which ,vasari says3 ,if it were not for the name of ,raphael written upon it1 it would be supposed by every one to be a work of ,pietro ,perugino4 7#b7 ,second1 or ,florentine period3 #aejd-aejh4 ,to this period belong the ,madonna del ,granduca at ,florence1 ,la ,belle ,jardinire at the ,louvre1 and in this country the ,madonna at ,lord ,cowper's 7,panshanger71 the ,bridgewater ,madonna 7#ibi71 the ,st4 ,catherine 7#afh71 and this ,ansidei ,madonna4 ,the importance of this picture in the history of art is that it shows the transition from the first to the second period1 being dated 7on the border of the ,virgin's robe below her left arm7 ,,mdvi1 #aejf4 ,a glance at the ,perugino ,no4 #bhh will show how much of that master's influence remains4 ,to his earlier ,perugian manner we ascribe1 says ,waagen 7,treasures of ,art in ,great ,britain1 iii4 #abh71 the head of the ,virgin1 which1 however1 is the most beautiful and noble development of this whole style1 the rather too round body of the otherwise very lovely child1 the expression of ardent yearning in ,st4 ,john1 as well as the position of his feet1 resembling that of ,st4 ,joseph in the ',sposalizio1' the cast of the draperies of the ,virgin and ,st4 ,nicholas1 the use of several colours which have turned very dark1 such as the blue in the robe of the ,virgin1 the green in the canopy1 in the upper garment of ,st4 ,nicholas1 and in the landscape1 and the use of gold in the hems1 in the glories1 in the two ,greek borders1 and in the inscription ,,salve ,,mater ,,christi on the wooden throne4 ,another point of special value in this picture is that1 like the ,sistine ,madonna1 it is entirely by ,raphael's own hand1 no pupil or assistant having touched it4 7#c7 ,third1 or ,roman period1 #aejh-aebj4 ,the chief works of this period are the frescoes in the ,vatican4 ,but in this country there are the famous cartoons 7at ,south ,kensington71 and in the ,national ,gallery the portrait of ,julius ,,ii4 7#bg71 and the ,garvagh ,madonna 7#gdd74 ,the characteristics of this period are1 besides the perfection of executive power1 the substitution of classical for religious motive1 and the straining after dramatic effect4 ,from the technical point of view1 this division into three 7or four7 periods is instructive1 but from the point of view of motive a better division is that between his earlier and his later work1 the turning-point being his arrival in ,rome4 ,in his twenty-fifth year1 says ,ruskin 7,edinburgh ,lectures on ,architecture and ,painting1 p4 #bac71 one half-year only past the precise centre of his available life1 he was sent for to ,rome1 to decorate the ,vatican for ,pope ,julius ,,ii41 and having until that time worked exclusively in the ancient and stern medival manner1 he1 in the first chamber which he decorated in that palace1 wrote upon its walls the ,mene1 ,tekel1 ,upharsin of the arts of ,christianity4 ,and he wrote it thus3 ,on one wall of that chamber he placed a picture of the ,world or ,kingdom of ,theology1 presided over by ,christ4 ,and on the side wall of that same chamber he placed the ,world or ,kingdom of ,poetry1 presided over by ,apollo4 ,and from that spot1 and from that hour1 the intellect and the art of ,italy date their degradation4444 ,and it was brought about in great part by the very excellences of the man who had thus marked the commencement of decline4 ,the perfection of execution and the beauty of feature which were attained in his works1 and in those of his greatest contemporaries1 rendered finish of execution and beauty of form the chief objects of all artists2 and thenceforward execution was looked for rather than thought1 and beauty rather than veracity4444 ,the medival principles led up to ,raphael1 and the modern principles lead down from him4 ,the position of ,raphael in the history of art is thus closely parallel to that of his great contemporary ,michael ,angelo 7see #gij74 ,in ,michael ,angelo the art of ,florence reached its culmination and fell rapidly to ,giulio ,romano and ,venusti4 ,in ,raphael the art of ,umbria was perfected and led down to the conventional sentimentalities against which the ,pre-,raphaelites have in modern times revolted4 ,the ,ansidei ,madonna1 so called from having been painted for the ,ansidei family at ,perugia1#bcj was bought from the ,duke of ,marlborough by the nation for #gj1jjj--more than three times the highest price ever before paid for a picture1 and equal to more than #ad per square inch4 ,the importance of the picture to the student has been partly described above2 but to this must be added its unusual size and excellent state of preservation1 and the fact that whilst on the one hand the ,national ,gallery had before no chef d'oeuvre of ,raphael1 the number of such works not already placed in foreign galleries was very small4#bca ,on its own merits the ,ansidei ,madonna is by common consent one of the most perfect pictures in the world4 ,it has all the essentials of the greatest art4 ,first it is wrought in entirely consistent and permanent materials4 ,the gold is represented by painting1 not laid on with real gold1 and the painting is so secure that nearly four hundred years have produced in it no harmful change4 ,the exquisite purity of the colour and the silvery and luminous quality of its tones#bcb are as remarkable to-day as they must have been when the panel left the painter's easel4 ,secondly1 the figures are in perfect peace4 ,those are the two first attributes of the best art4 ,faultless workmanship and perfect serenity2 a continuous1 not momentary1 action1 or entire inaction2 you are to be interested1 in the living creatures1 not in what is happening to them4 ,then the third attribute of the best art is that it compels you to think of the spirit of the creature1 and therefore of its face1 more than of its body4 ,and the fourth is that in the face you shall be led to see only beauty or joy--never vileness1 vice1 or pain 7,relation between ,michael ,angelo and ,tintoret1 pp4 #ad1 #ae74 ,in fulfilling these essentials of the highest art1 the picture becomes also one of the noblest embodiments of ,christianity4 ,raphael is above all the painter of motherhood and childhood--of the self-forgetting love of the one1 and the fearless faith of the other--the human relationship which of all others is the most divine4 ,on either side are two saints--types both of them of the peace of ,christianity4 ,in the figure of ,st4 ,john the ,baptist on the left--with his rough camel skin upon him1 and an expression of ecstatic contemplation on his face--the joy that comes from a life of self-sacrifice is made manifest2 in that of the good ,bishop ,nicholas of ,bari1 the peace that comes from knowledge4 ,the three balls at his feet are a favourite emblem of the saint2 typical partly of the mystery of the ,trinity1 but referring also to the three purses of gold which he is said to have thrown into a poor man's window that his daughters might not be portionless4 ,further we may notice how the same impression of infinite peace is conveyed by the landscape1 and especially by the open sky visible on either side of the throne4 ,this open sky is of all visible things the least material1 the least finite1 the farthest withdrawn from the earth prison-house1 the most typical of the nature of ,god1 the most suggestive of the glory of ,his dwelling-place4 ,for the sky of night1 though we may know it boundless1 is dark2 it is a studded vault1 a roof that seems to shut us in and down2 but the bright distance has no limit3 we feel its infinity1 as we rejoice in its purity of light 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 i4 ch4 v4 #e74bcc ,it has been said above that the ,ansidei ,madonna is by common consent one of the most perfect pictures in the world4 ,criticisms which have been published since its acquisition by the ,national ,gallery require that statement to be modified4 ,thus1 ,mr4 ,g4 ,a4 ,storey1 ,r4,a41 in the course of a public lecture1 has remarked that as compared with ,raphael's other works1 the ,ansidei ,madonna lacked the touch of nature1 the play and harmony that were characteristic of the master4 ,all the heads were looking in the same direction1 and the figure of the ,virgin was scarcely graceful4 ,nor was there the unity necessary to a complete composition1 for each figure seemed unconnected with the rest1 and1 indeed1 they seemed to be almost unconscious of each other's existence4 ,mr4 ,ford ,madox ,brown 7,magazine of ,art1 ,feb4 #ahij7 is more severe still4 ,the ,bishop saint of ,bari1 he says1 is certainly a fine figure1 worthy of the master it is attributed to4 ,the ,virgin and ,child1 however1 are for sentiment just like two wax doll lay figures1 making it hard to conceive how the same mighty hand can have produced anything so tame2 while the figure of the ,baptist1 with ill-drawn legs1 is positively repulsive both for pose and for expression of countenance4 ,surely ,raphael could have had no hand in it4 ,mr4 ,pater1 on the other hand1 commends the ,ansidei ,madonna to students of ,raphael as more worthy of admiration than any other work of the master3 ,i find there1 at first sight1 with something of the pleasure one has in a proposition of ,euclid1 a sense of the power of the understanding1 in the economy with which he has reduced his material to the simplest terms4 ,he is painting in ,florence1 but for ,perugia1 and sends it a specimen of its own old art--,mary and the babe enthroned1 with ,st4 ,nicholas and the ,baptist in attendance on either side4 ,the kind of thing people there had already seen so many times1 but done better1 in a sense not to be measured by degrees1 with a wholly original freedom and life and grace1 though he perhaps is unaware1 done better as a whole1 because better in every minute particular1 than ever before4 ,the scrupulous scholar1 aged twenty-three1 is now indeed a master1 but still goes carefully4 ,note1 therefore1 how much mere exclusion counts for in the positive effect of his work4 ,there is a saying that the true artist is known best by what he omits4 ,yes1 because the whole question of good taste is involved precisely in such jealous omission4 ,note this1 for instance1 in the familiar ,apennine background1 with its blue hills and brown towns1 faultless1 for once--for once only--and observe1 in the ,umbrian pictures around1 how often such background is marred by grotesque natural1 or architectural detail1 by incongruous or childish incident4 ,in this cool1 pearl-gray1 quiet place1 where colour tells for double1--the jewelled cope1 the painted book in the hand of ,mary1 the chaplet of red coral1--one is reminded that among all classical writers ,raphael's preference was for the faultless ,virgil4 ,how orderly1 how divinely clean and sweet the flesh1 the vesture1 the floor1 the earth and sky6 ,ah1 say rather the hand1 the method of the painter6 ,there is an unmistakable pledge of strength1 of movement and animation in the cast of the ,baptist's countenance1 but reserved1 repressed4 ,strange1 ,raphael has given him a staff of transparent crystal4 ,keep1 then1 to that picture as the embodied formula of ,raphael's genius4 ,amid all he has here already achieved1 full1 we may think1 of the quiet assurance of what is to come1 his attitude is still that of the scholar2 he seems still to be saying1 before all things1 from first to last1 ',i am utterly purposed that ,i will not offend' 7,miscellaneous ,studies1 p4 #ec74 #aagb4 ,,charles ,,the ,,first4 ,van ,dyck 7,flemish3 #aeii-afda74 ,see #di4 ,this famous picture was one of many equestrian portraits of ,charles ,i4 which ,van ,dyck painted at his court4 ,it is1 however1 unique among them4 ,in all the others1--the ,windsor picture1 the replica at ,hampton ,court1 and the pictures in the ,earl of ,warwick's and the ,marquis of ,lothian's ,collections1 the king faces the spectator1 and rides1 as it were1 straight out of the picture1 the horse being white4 ,the size1 proportions1 and composition of this picture are different4 ,the horse is dun-coloured1 and the king is seen in profile4 ,a small picture at ,buckingham ,palace was probably the original design or sketch of it4 ,it was sold after ,charles's death for #aej by the ,parliament1 and in #ahhe was bought by another ,parliament--from the ,duke of ,marlborough--for the great price of #ag1ejj 7see under #aaga74 ,it is a courtier's portrait of the idol of the cavaliers--a portrait of the good side of a bad king4 ,notice first the prominence given to the noble horse 7cf4 under #aef71 almost to the point of clumsiness4 ,then in ,charles himself1 note the stately bearing1 the personal dignity1 the almost feminine refinement4 ,it is a portrait of personal courage--with no suspicion of any fatal want of presence of mind2 of dignity--with the obstinacy1 which was its reverse side1 left out4 ,in such a portrait of a ,cavalier by a ,cavalier ,van ,dyck's work is invested with an enduring pathos for all ,englishmen4 ,one remembers only1 in looking upon this picture of him1 ,charles's graces1 not his faults4 ,one thinks of him as the man who nothing common did1 nor mean1 upon that memorable scene4 ,and so considered1 how eloquent becomes the isolation in which the painter has here left him4 ,with him1 indeed1 is ,sir ,thomas ,morton1 his equerry1 but the king does not see him4 ,bareheaded he sits1 gazing into futurity4 #aagc4 ,,an ,,unknown ,,subject4 ,school of ,giorgione 7,venetian3 #afth ,century74 ,see #bfi4 ,another picture of the golden age 7cf4 #aabc7 such as ,giorgione1 we are told1 loved to paint1--men and women enjoying the golden tranquillity2 here is seen the haughty lion1 there the humble lamb2 in another part we behold the swift flying hart1 with many other terrestrial animals4 ,the picture before us precisely agrees with this general description1 but the particular subject of it is unknown4#bcd ,a child1 it would seem1 is being initiated into some order of the golden age--he is being dedicated1 perhaps1 to a life of song1 for the stately personage on the throne wears the poet's crown of wild olive1 whilst the young man on the steps below him lightly touches a lute1 and has books by his side4 ,the page bears a rich dish of fruits and herbs1 for the golden age is vegetarian2 whilst fawns and a leopard1 with a peacock and other birds1 attend the court of the king of song4 ,when in the ,bohn ,collection1 this picture was ascribed to ,giorgione4 ,for some interesting remarks on its possible authorship and subject1 see the ,times1 ,december #bb1 #ahhe1 where resemblances in this picture to pictures of ,carpaccio and ,pordenone1 as well as of ,giorgione1 are pointed out4 ,sir ,edward ,poynter says that the picture has considerable affinity with the two pictures attributed to ,giorgione in the ,uffizzi ,gallery at ,florence1 but is weaker in execution and effect1 especially in the landscape 7,the ,national ,gallery1 i4 #bf74 ,true1 says ,mr4 ,herbert ,cook1 the landscape has been renovated2 true1 the ,giorgionesque depth and richness is gone1 the mellow glow of the ',epiphany' 7#aafj7 is sadly wanting2 but who can deny the charm of the picturesque scenery1 which vividly recalls the landscape background elsewhere in the master's own work8 who can fail to admire the natural and unstudied grouping of the figures1 the artlessness of the whole1 the loving simplicity with which the painter has done his work8 ,sincerity and navet are too apparent for this to be the work of any but a quite young artist1 and one whose style is so thoroughly ',giorgionesque' as to be none other than the young ,giorgione himself4 ,in my opinion1 this is one of his earliest essays into the region of romance1 painted probably before his twenty-first year 7,giorgione1 p4 #ib74 #aahh4 ,,the ,,betrayal ,,of ,,christ4 #aahi4 ,,the ,,procession ,,to ,,calvary4 ,ugolino 7,sienese3 died #acci74 ,ugolino was one of the founders of the ,sienese ,school4 ,so great was his reputation that he was unanimously chosen by the ,florentines1 in preference to their own artists1 to paint the altar-pieces of their two great churches2 whilst another picture that he painted for them was credited with miraculous powers4 ,these little pictures are portions of the one painted by him for the high altar of ,sta4 ,croce4 ,he always adhered1 says ,vasari 7i4 #ach71 in great part to the ,greek manner1 as one who1 having grown old in that method1 was induced by a sort of obstinacy to follow the manner of ,cimabue1 rather than that of ,giotto4 ,the points which have been already noticed as characteristic of his contemporary1 ,duccio 7see #eff71 may be traced equally in ,ugolino4 ,notice in #aahh that the disciples are not mere conventional types1 but that an attempt is made to give them each an individuality1 and to express their characters on their faces4 ,the same expressions may be noticed again in #aahi4 ,it is interesting1 too1 to observe how the first attempts of painting 7as of poetry7 to express action were epic1 rather than dramatic4 ,the painter tries to tell the whole story at once2 here is ,judas giving the traitor's kiss1 there is ,peter cutting off the ear of the high priest's servant1 and beside them are all the other characters of the story 7cf4 under #egi74 ,as art advances1 it becomes on the other hand dramatic2 the painter seizes on the essential point and makes his picture out of that4 ,the difference may be seen by contrasting ,ugolino's picture with one of the same subject at ,florence by ,giotto1 which ,ruskin thus describes3 ,see what choice ,giotto made of his moments4 ,plenty of choice for him--in pain4 ,the ,flagellation--the ,mocking--the ,bearing the ,cross2 all habitually given by the ,margheritones1 and their school1 as extremes of pain4 ',no1' thinks ,giotto4 ',there was worse than all that4 ,many a good man has been mocked1 spitefully entreated1 spitted on1 slain4 ,but who was ever so betrayed8' 444 ,he paints the laying hands on him in the garden1 but with only two principal figures--,judas and ,peter1 of course3 ,judas and ,peter were always principal in the old ,byzantine composition1--,judas giving the kiss1 ,peter cutting off the servant's ear4 ,but the two are here not merely principal1 but almost alone in sight1 all the other figures thrown back2 and ,peter is not at all concerned about the servant1 or his struggle with him4 ,he has got him down1 but looks back suddenly at ,judas giving the kiss4 ',what6--you are the traitor1 then--you6' ',yes1' says ,giotto2 'and you1 also1 in an hour more' 7,mornings in ,florence1 ii4 #da74 #aaij4 ,a ,,boy',s ,,portrait4 ,ascribed to ,clouet 7,french3 about #aeaj-aegb74 ,see #ffj4 ,this picture was presented to the ,gallery by ,mr4 ,g4 ,f4 ,watts1 ,r4,a41 and it is interesting to note the sage-green background which ,mr4 ,watts has himself sometimes employed4 #aaib1 #aaic4 ,,sketches ,,for ,,altar-,,pieces ,giovanni ,battista ,tiepolo 7,venetian3 #afib-agfi74 ,tiepolo1 one of the leaders in the revival of ,venetian art 7see under #aajj71 was the ,paul ,veronese of the eighteenth century4 ,living1 says ,sir ,f4 ,burton1 in the era of periwig in art as a dress1 he was at a sore disadvantage as compared with his great prototype of the sixteenth century2 but he steered a pretty clear course between vapid classicality and buckram fashion4 ,gifted with a brilliant fancy1 and master of all the resources of his art1 ,tiepolo formed a style which1 whatever its shortcomings1 is splendidly decorative4 ,in his easel pictures1 he is at his very best4 ,here he was not tempted by vast surfaces into that looseness of composition and hastiness of execution that often lessen the value of his frescoes2 here1 therefore1 he could indulge his feeling for compact architectonic arrangement1 display force of harmonious colour1 and exercise a brilliant method of handling akin to that of ,paul ,veronese4 ,tiepolo worked for most of his life at ,venice2 but went also to execute commissions at ,milan1 ,wurzburg 7where his paintings in the ,archbishop's ,palace may still be seen71 and ,madrid1 in which latter city he died4 ,of his frescoes at ,venice the finest are those of ,antony and ,cleopatra in the ,palazzo ,labia4 ,copies of these are in the ,arundel ,society's ,collection4 ,touched in with all the brilliant1 flashing1 dexterous bravura of the last of the rear-guard of the ,venetians4 ,the pictorial art of ,venice finished with ,tiepolo1 and it seemed as if he was resolved that it should not die ignominiously1 for in spirit and gaiety he was little inferior to ,veronese himself4 ,he had not the stronger qualities of his model2 ,veronese's grasp of character1 his air of nobility1 his profound and imaginative harmonies of colour1 are wanting in the eighteenth century painter 7,times1 ,december #bb1 #ahhe74 #aaid4 ,,christ ,,driving ,,out ,,the ,,traders4 ,marcello ,venusti 7,florentine3 #aeae-aegi74 ,venusti1 a native of ,como1 was a pupil of ,perino del ,vaga1 but best known as assistant to ,michelangelo1 of whose works he supplied copies with variations to suit different patrons4 ,in the oil copy of ,the ,last ,judgment1 now at ,naples1 he introduced in the left-hand corner a portrait of the master himself4 ,he was also employed to put into colour designs made by ,michelangelo4 ,there are drawings by ,michelangelo in the ,british ,museum for the figures in this composition4 ,notice how everything is sacrificed to violent action and contorted position--the money-changers whom ,christ is driving out of the ,temple are composed as it were for a ballet of limbs4 ,notice also the debased architectural background--the absurdly distorted pillars with their puerile capitals4 #aaie4 ,,the ,,birth ,,of ,,venus4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,a finished study for a salver which was executed in silver for ,charles ,i4 ,the central oval shows a goddess borne along and attended on the surface of the waves by nymphs and tritons2 sea gods and goddesses1 riding on aquatic monsters1 disport themselves in the broad flat border surrounding the central panel4 ,rubens may be said to have here surpassed himself in those qualities of movement and brilliant execution in which he was unrivalled4 ,his form1 often florid in contour1 although always supple1 has here a grace and beauty entirely in harmony with the classic theme1 and the personages are inspired with that immortal gaiety which has so rarely found expression1 save in the work of the master's contemporary1 our national poet1 since it vanished at the final decay of ,greek art and literature4 ,of a piece with the delightful imaginative qualities so prodigally lavished on the present panel is the truly marvellous execution4 ,the hand has played over the surface with a lightness and delicacy surprising even to those familiar with the touch of the master in his first sketches for important compositions4 ,the method employed is simple and direct2 the figures have been outlined in pen and ink1 then a general glaze has been spread over the entire surface1 on which the forms were modelled in white and gray1 the ultimate result being a warm silvery tone 7,times1 ,december #bb1 #ahhe74 ,this design1 which was sold at the ,hamilton sale 7#ahhb7 for #afhj1 was bought for the nation three years later at the ,beckett ,denison sale for #fgb4 #aaif4 ,a ,,combat ,,between ,,love ,,and ,,chastity4 ,unknown 7,florentine ,school2 #aeth ,century74 ,probably by some unknown disciple of ,botticelli4 ,formerly ascribed to ,botticelli himself--an ascription which1 owing to the absence of that master's predominating facial type1 as well as to the accuracy of landscape such as he never attempted1 has now been abandoned4 ,but the exquisite workmanship--visible only in a good light--of the shield and the quiver indicates the hand of one of the goldsmith painters1 whilst the allegorical invention and the atmosphere of imaginative poetry have the true ,botticellian ring 7see ,times1 ,december #bb1 #ahhe2 see also ,morelli's ,borghese ,gallery1 p4 #hg n474 ,the picture is one of a series which were probably painted for furniture-panels4 ,the one giving the sequel to our story1 and representing ,chastity on a triumphal car1 with ,love sitting bound in front1 is in the ,turin ,gallery4 ,chastity clothed only in white innocence is assailed by ,love4 ,she receives his arrows on a shield of polished steel2 the points of the arrows break and burst forth into tiny golden flames--each temptation only causing the sacred fire of ,chastity to burn more brightly4 ,the scene is laid in a romantic landscape where everything is pure and beautiful4 ,the field is enamelled with flowers-- ,where the virgins are soft as the roses they twine2 ,and all1 save the spirit of man1 is divine4 ,beyond1 in the bend of a river1 two swans float on its tranquil surface3 a tall oak sapling rises straight and firm1 and over all rests a clear blue sky4 ,the picture recalls the scene in ,milton's ,comus-- ,my sister is not so defenceless left ,as you may imagine2 she has a hidden strength1 ,which you remember not4 ,second ,brother4 ,what hidden strength1 ,unless the strength of ,heaven1 if you mean that8 ,first ,brother4 ,i mean that too1 but yet a hidden strength ,which1 if ,heaven gave it1 may be term'd her own4 ',tis ,chastity1 my brother1 ,chastity2 ,she that has that1 is clad in complete steel4 #aaii4 ,,madonna ,,and ,,child4 ,unknown 7,florentine3 #aeth ,century74 ,see also 7p4 xxi7 ,on the right is ,st4 ,john2 on the left an angel crowned with a chaplet of roses and bearing the annunciation lily4 ,notice that the frame ornamented with modelled stucco forms part of the picture1 and is indeed part of the same panel4 #abjj1 #abja4 ,,groups ,,of ,,saints4 ,macrino d',alba 7,lombard3 about #adgj-aebh74 ,macrino was born at ,alba in ,piedmont4 ,there is no foundation for the belief that his name was ,giangiacomo ,fava4 ,his early ,lombard training was considerably modified by a visit to ,rome1 and a study of the ,florentine masters and ,ghirlandajo's influence is to be seen in his work4 ,his pictures are easily recognisable from the frequent recurrence of similar types and attitudes 7,catalogue of the ,burlington ,fine ,arts ,club's ,exhibition1 #ahih1 p4 lxxvii474 ,the dates on his works range from #adif to #aejh4 ,they are to be found in the ,certosa of ,pavia1 at ,alba1 and in the ,turin ,gallery4 ,he belongs to the pre-,leonardo school of ,lombardy1 and was perhaps a pupil of ,vincenzo ,foppa 7#gbi74 ,in the first group 7#abjj7 are ,st4 ,peter ,martyr 7for whom see #hab71 with the knife and plenty of blood on his head1 and a bishop in full robes4 ,in the second 7#abja71 ,st4 ,thomas ,aquinas looking with an almost comic squint at a crucifix1 and ,john the ,baptist4 ,on the pages of ,st4 ,thomas's book are the words in ,latin1 ,i have kept the commandments of my father2 on those of ,st ,john the ,baptist1 ,behold the ,lamb of ,god1 that taketh away the sin of the world4 #abjb4 ,,madonna ,,and ,,child1 ,,with ,,saints4 ,bonifazio1 the elder 7,veronese3 about #adij-aedj74 ,morelli disentangles from the confusions of art-historians and critics three different painters of this name1 whom he calls respectively ,bonifazio ,veronese ,i41 ,bonifazio ,veronese ,,ii41 and ,bonifazio ,veneziano 7see ,german ,galleries1 pp4 #ahd-aid74 ,the elder ,bonifazio ,veronese1 the painter of this picture1 was a pupil of ,palma ,vecchio1 and one of the most brilliant of the later ,venetian painters4 ,his bright conception1 says ,morelli1 and the light gracefulness of his figures seem to me never to belie his native home1 ,verona2 yet1 as a technician1 he is an out-and-out ,venetian4 ,while the chords of his colouring are neither so delicate and startling as in ,giorgione1 nor so profound and powerful as in ,palma and ,titian1 nor so ingenious as in ,lotto1 yet they wield a peculiar charm over the eye of the spectator by their bright1 cheerful1 and harmonious lustre4 ,bonifazio's earlier works have been frequently ascribed to ,palma4 ,such was the case with the present picture1 a work of gorgeous colour and in admirable preservation4 ,in his later works the influence of ,giorgione makes itself felt4 ,a much-damaged picture by ,bonifazio at ,hampton ,court1 ,diana and ,acton1 was long ascribed to ,giorgione4 ,venice possesses many works of this ,god-made painter1 as ,ruskin calls him4 ,none is finer than the ,dives and ,lazarus in the ,accademia1 a picture of sumptuous colour and exquisitely poetical sentiment4 ,in the ,brera at ,milan is another splendid work by ,bonifazio1 long attributed to ,giorgione--the ,finding of ,moses1 a subject of which he was fond1 and into which he introduced numerous figures in the gorgeous ,venetian costumes of his day4 ,a composition belonging to a class which ,palma ,vecchio brought into favour1 and which the ,italians call ,sante ,conversazioni--groups1 in restful attitudes1 framed in sunny landscapes1 with blue mountain distances4 ,bonifazio's landscape backgrounds are very fine1 and he was fond1 like ,titian1 of introducing into them the scenery of the ,dolomite mountains4 ,on the right is ,st4 ,catherine holding a fragment of her wheel1 while the youthful ,st4 ,john the ,baptist1 standing on another fragment1 stoops to kiss the infant ,christ's foot--an action symbolical of the kingship of the ,saviour 7,thou hast put all things under him74 ,on the left is ,st4 ,james--with his staff1 borne always by him as the first of the apostles who departed to fulfil the ,gospel mission1 and dressed as a pilgrim--,campostella1 where his body was reputed to be1 being in the middle ages a favourite place of pilgrimage4 ,behind ,st4 ,james is ,st4 ,jerome4 ,notice the significance of the incident in the middle distance--a shepherd asleep1 while a wolf is devouring a sheep 7,but the ,good ,shepherd giveth his life for the sheep74 #abjc4 ,,madonna ,,and ,,child4 ,cariani 7,bergamese3 about #adhj-aeda74 ,of ,giovanni ,busi1 called ,cariani1 no personal details are known4 ,he was born near ,bergamo1 and many works by this fine colourist are in the galleries of that town4 ,others may be seen at the ,brera in ,milan4 ,cariani1 who seems to have resided at ,venice1 is supposed to have been a pupil of his fellow-countryman1 ,palma ,vecchio4 ,morelli thus distinguishes ,cariani's style from that of ,bonifazio ,veronese 7see #abjb71 who was also a pupil of ,palma3 ,the type of the ,madonna in ,cariani is rustic1 but more energetic and serious1 less worldly than in ,bonifazio1 whose holy virgins and female martyrs1 with their soft1 sweet expression and gentle grace1 often border on the sentimental4 ,these masters also differ in the harmony of their colours3 the ,bergamese is pithy and powerful1 but often heavy and dull2 the ,veronese1 clear1 lovely1 and brilliant2 ,bonifazio's landscapes are the lightest among those of the ,venetians1 those in ,cariani's pictures are brownish1 and the lines far from beautiful 7,italian ,masters in ,german ,galleries1 #ahhc1 p4 #aic74 ,notice the rustic type of the ,madonna2 she is a daughter of the mountains--the mountains above ,bergamo1 from which the painter came1 and which figure in the background4 ,the picture is a characteristic piece of provincial art2 the expression of a simple1 sturdy1 energetic mountain-folk who do not always know how to unite refinement and grace with their inbred strength and vigour 7,morelli1 ibid4 p4 #d74 ,the picture is interesting mainly1 says ,mr4 ,monkhouse1 for its costumes1 its light-heartedness and florid colour1 and as another of those ,sante ,conversazioni of which his master1 ,palma1 was the inventor1 and which took the place of the more holy ',holy ,families' of an earlier art1--pictures in which the ,virgin became a simple woman of a wholly mundane beauty1 and the saints but her friends in rich costumes1 enjoying themselves somewhat sadly in the open air 7,in the ,national ,gallery1 p4 #bdh74 #abjf4 ,,landscape ,,and ,,figures4 ,salvator ,rosa 7,neapolitan3 #afae-afgc74 ,see #hd4 ,a good example of ,salvator's scenic effects in landscape4 ,the sense of power in the painting1 the vigorous imagination1 the dexterous and clever composition of ,salvator are well shown2 but all are rendered valueless by coarseness of feeling1 and habitual non-reference to nature4 7,see for further examination of ,salvator's deficiencies in this respect ,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #e1 sec4 iii4 ch4 iii4 #g1 sec4 vi4 ch4 i4 #aa2 vol4 ii4 pt4 iii4 sec4 ii4 ch4 ii4 #ai47 #abaa1 #abab4 ,,scenes ,,at ,a ,,tournament4 ,domenico ,morone 7,veronese3 #addb-aejh87 ,domenico ,morone was in #adic called upon by the ,veronese authorities in conjunction with ,liberale 7#aacd7 to adjudicate upon an artistic dispute4 ,it seems1 therefore1 that he was recognised as a leading painter of the day4 ,this also is ,vasari's estimate3 ,domenico1 he says1 was in higher repute than any other painter of ,verona1 ,liberale alone excepted4 ,little1 however1 is known to us about ,domenico4 ,only two pictures are known to bear his signature2 one of these1 a ,madonna and ,child1 is in the ,berlin ,gallery4 ,he was the father of the better known ,francesco ,morone 7#bhe74 ,possibly scenes from the ftes at the marriage of ,isabella d',este and ,francesco ,gonzaga1 ,marquis of ,mantua4#bce ,domenico ,morone1 called ,pellacane1 the dog-skinner1 from his father's occupation1 may have been present at the marriage ceremony1 which took place in #adij2 but at any rate these little pictures are of historical interest as contemporary illustrations4 ,the scene in both is a tilt court1 with its seat of honour in the middle4 ,in the first the knights are tilting1 the marquis being on his throne and the seats filled with ladies4 ,in the second the tilting is over1 courtiers and ladies are dancing in the side compartments2 whilst in the centre a knight in full armour1 but bareheaded1 awaits his award of victory from ,isabella and her husband1 who are standing on the dais4 ,there is much artistic merit in the sprightly way in which such momentary actions as that of the page going to spring over the partition in #abab are rendered 7see ,times1 ,july #bd1 #ahhf74 #abac4 ,,portrait ,,of ,a ,,professor4 ,gentile ,bellini 7,venetian3 #adbg-aejg74 ,gentile was the elder brother of ,giovanni 7#ahi71 and was named after ,gentile da ,fabriano under whom his father had studied4 ,in #adfd1 after severe training in his father's school1 he moved from ,padua to ,venice1 and was employed by the ,state4 ,his high reputation is shown by the fact that1 when in #adgi the ,sultan ,mahomet ,,ii4 applied to the ,venetians to send him a good painter1 he was deputed by them to go to ,constantinople4 ,his visit there was marked by a well-known incident4 ,he showed the ,sultan a picture of ,herodias's daughter with the head of ,john the ,baptist4 ,the ,sultan objected to the bleeding head as untrue to nature1 and to prove his point ordered a slave to be beheaded in ,bellini's presence4 ,the painter fled from the scene of such experiments1 but the influence of his visit is to be seen in the oriental costumes which he was fond of introducing into his pictures 7as in the studies in the ,british ,museum and the library of ,windsor ,castle74 ,the portrait of the great ,ottoman conqueror acquired by the late ,sir ,henry ,layard is an autograph replica of the work painted by ,gentile at ,constantinople4 ,on his return to ,venice he was taken into the permanent employment of the ,state1 and executed many works in the ,ducal ,palace and elsewhere2 some were destroyed in the fire of #aegg1 others remain4 ,in #adhf ,titian1 then a boy of nine1 entered ,gentile's studio4 ,easel pictures by him are very scarce4 ,his principal works are at ,venice1 and are the most valuable record extant of the city as it was in his time4 ,they are described and highly praised by ,ruskin in his ,guide to the ,academy at ,venice4 ,in the same style is the ,st4 ,mark preaching at ,alexandria1 now in the ,brera at ,milan4 ,this work1 left unfinished when ,gentile died1 was completed1 as his will enjoined1 by ,giovanni4 ,supposed to be a portrait of ,girolamo ,malatini1 ,professor of ,mathematics in ,venice 7notice his brass compasses71 who is said to have taught ,gentile and his brother ,giovanni the rules of perspective4 ,the portrait fully justifies the fame that ,gentile had acquired as a painter of portraits1 and shows him the forerunner of ,titian 7,layard's edition of ,kugler1 i4 #cjf74 ,the prominence given in this picture to the sitter's hands should be noticed4 ,the older tradition strictly limited portraiture to the representation of the head only1 or at most to the bust4 ,afterwards the expressiveness of the human hand per se came to be recognised 7see ,mr4 ,herbert ,cook's ,giorgione1 p4 #ai1 and compare the portraits ,nos4 #hjh and #addj74 #abad4 ,,coriolanus1 ,,volumnia1 ,,and ,,veturia4 ,michele da ,verona 7,veronese3 #adgj-aebc87 ,michele1 a pupil of ,domenico ,morone 7#abaa71 was a contemporary and sometimes an assistant of ,cavazzola 7#gce74 ,the works of the two are easily distinguishable4 ,michele1 says ,morelli1 is more pointed in the foldings of his draperies1 as well as in the fingers of his hands1 which are always rather stumpy in ,cavazzola4 ,in conception1 however1 ,cavazzola is far above ,michele1 and also more elegant and noble in his drawing 7,german ,galleries1 p4 #ed74 ,many of ,michele's works are to be seen at ,verona4 ,his landscape backgrounds1 as in the present picture1 are interesting4 ,coriolanus1 a noble ,roman1 so called from ,corioli1 a city of the ,volscians he had taken1 bore himself haughtily1 and was banished4 ,nursing his revenge1 he threw himself into the arms of the ,volscians1 determined henceforth to bear himself ,as if a man were author of himself1 ,and knew no other kin1 and advanced at their head upon ,rome4 ,the ,romans1 in terror1 endeavoured in vain to appease him1 and at last sent out his wife1 ,volumnia1 with her child1 here kneeling before him1 and his mother1 ,veturia 7,volumnia in ,shakespeare's play71 to intercede4 ,in their presence the strong man gave way2 he throws himself on his knee1 and is restored once more to human love-- ,like a dull actor now1 ,i have forgot my part 444 ,o1 a kiss ,long as my exile1 sweet as my revenge6 ,now1 by the jealous queen of heaven1 that kiss ,i carried from thee1 dear2 and my true lip ,hath virgin'd it e'er since4 ,ye gods6 ,i prate1 ,and the most noble mother of the world ,leave unsaluted3 sink1 my knee1 i' the earth4 ,,shakespeare3 ,coriolanus1 ,act v4 ,sc4 #c4 #abae4 ,,madonna ,,and ,,child4 ,domenico ,veneziano 7died #adfa74 ,see #gff4 ,for the history of this picture 7now withdrawn from exhibition7 see under #gff4 ,the restorations of #ahea there referred to were in great part removed after the acquisition of the picture by the ,national ,gallery4 ,but it was found1 late in #aijd1 that its state threatened its immediate destruction1 and it was hoped that the mischief might be arrested by re-lining4 ,the pigment was1 however1 found to be falling from the plaster ground in such a way that re-lining1 which would affect only the adherence of the ground to the canvas backing1 was useless1 and very reluctant recourse was had to the process of transferring the picture itself to canvas4 ,this transfer resulted in such a loss to the picture that it has been withdrawn from public exhibition1 and1 for the present1 it is thought better to leave it as a genuine picture1 of interest to connoisseurs1 rather than subject it to the extensive repainting without which it would hardly be intelligible to the ordinary visitor 7,director's ,report1 #aije74 ,a small copy of the picture is exhibited among the ,arundel ,society's ,collection4 #abaf1 #abaf a b4 ,,the ,,fall ,,of ,,the ,,rebel ,,angels4 ,spinello ,aretino 7,tuscan3 about #accc-adaj74 ,see #eha4 ,these fragments of a fresco1 now transferred to canvas1 are of particular interest from the following mention of it by ,vasari4 ,he relates how ,spinello ,aretino1 after executing important works in various cities of ,italy1 returned to his native city1 ,arezzo1 and very shortly settled down to decorate the church of ,s4 ,maria degli ,angeli4 ,the subject chosen was certain stories from the life of ,st4 ,michael4 ,at the high altar1 says ,vasari1 he represented ,lucifer fixing his seat in the ,north1 with the fall of the angels1 who are changed into devils as they descend to the earth4 ,in the air appears ,st4 ,michael in combat with the old serpent of seven heads and ten horns1 while beneath and in the centre of the picture is ,lucifer1 already changed into a most hideous beast4 ,and so anxious was the artist to make him frightful and horrible that it is said--such is sometimes the power of imagination--that the figure he had painted appeared to him in his sleep1 demanding to know where the painter had seen him looking so ugly as that1 and wherefore he permitted his pencils to offer him1 the said ,lucifer1 so mortifying an affront4 ,vasari attributes a fatal result to this vision4 ,the artist awoke1 he says1 in such extremity of terror that he was unable to cry out1 but shook and trembled so violently that his wife1 awakening1 hastened to his assistance4 ,but the shock was so great that he was on the point of expiring suddenly from this accident1 and did not in fact survive it beyond a very short time1 during which he remained in a dispirited condition1 with eyes from which all intelligence had departed 7i4 #bfi74 ,in fact1 however1 ,spinello lived many years and executed several important works after the date in question4 ,some years ago the church of the ,angeli was dismantled1 and the greater portion of the frescoes perished4 ,sir ,a4 ,h4 ,layard1 who was passing ,arezzo at the time1 was fortunately able to secure a large piece of the principal fresco4 ,the fragment is from the centre of the composition1 and contains a portion of the figure of ,michael and six of the angels following him4 ,the archangel1 with raised sword1 is striking at the dragon2 his attendants1 armed with spears and swords1 thrust down the demons4 ,besides these figures1 ,sir ,a4 ,h4 ,layard was able to save a portion of the decorated border of the fresco 7#abaf ,a ,b74 ,these he presented to the nation in #ahhf4 #abag4 ,,the ,,israelites ,,gathering ,,manna4 ,ercole ,roberti de' ,grandi 7,ferrarese3 #adej-adif74 ,see #aabg4 ,the lithe and sinewy form in the nude figure of the young man1 the accurate draughtsmanship1 the firm modelling1 the care and study bestowed even on the tiny figures in the background1 the dramatic intention and impression of vitality1 indicate a familiarity with the works of ,mantegna 7,times1 ,july #bd1 #ahhf74 ,the artist exhibits1 adds ,sir ,f4 ,burton1 no less appreciation of natural grace in the female figures than of dignity in the principal male personages4 #abah1 #abai4 ,,joseph ,,and ,,his ,,brethren4 ,francesco ,ubertini 7,florentine3 #adid-aeeg74 ,francesco1 the son of ,ubertino1 a goldsmith1 called ,il ,bacchiacca1 studied first under ,perugino1 and afterwards with ,franciabigio and ,andrea del ,sarto4 ,he was also at one time in ,rome1 where he lived on terms of intimacy with ,giulio ,romano and ,benvenuto ,cellini2 he is mentioned in ,cellini's ,autobiography4 ,he was more particularly successful1 says ,vasari1 in the execution of small figures1 which he executed to perfection and with infinite patience4 ,ultimately ,bacchiacca was received into the service of the ,duke ,cosimo1 seeing that he was excellent in the delineation of all kinds of animals1 and was therefore employed to decorate a study for his ,excellency1 which he did with great ability1 covering the same with birds of various kinds1 together with rare plants and foliage4 ,at a later period he painted in fresco the grotto of a fountain which is in the garden of the ,pitti ,palace1 and also prepared the designs for hangings of a bed to be richly embroidered all over with stories in small figures1 this being considered the most gorgeous decoration of the kind that has ever been executed in similar work1 seeing that the designs of ,francesco have been worked in embroidery1 thickly mingled with pearls and other costly material1 by ,antonio1 the brother of ,francesco1 who is an excellent master in embroidery 7iv4 #dib74 ,it would appear from ,vasari's account that ,francesco's works consisted of predelle for altar-pieces1 and pictorial adornments for wedding chests1 and other pieces of art furniture4#bcf ,morelli1 however1 in an interesting chapter on ,bacchiacca 7,roman ,galleries1 pp4 #ajc-aac71 claims for him a much more important position1 ascribing to him among other works the charming and celebrated ,portrait of a ,boy in the ,louvre1 commonly attributed to ,raphael4 ,the present panels decorated the room in the house at ,florence1 from which ,pontormo's picture of ,joseph also comes 7see under #aaca72 they were doubtless painted for cassoni1 or large chests which were used by the ,italians of the fourteenth1 fifteenth1 and sixteenth centuries as wardrobes4 ,in those palmy days art was welcomed everywhere in ,italy1 and had a share in all the concerns of men1 and in all the events and festivities of daily life4 ,the nobles took a delight in enriching their palaces1 their country houses1 and the chapels in their churches1 with paintings and sculpture1 and even required that their household furniture should1 whilst useful1 be graceful and beautiful4 ,our panels were purchased many years ago from the heirs of the ,borgherini4 ,several incidents occur in each of the two pictures1 but the main figures constantly recur1 and we recognise them by their dress and look4 7#abah74 ,on the left1 in this picture1 are ,joseph's brethren travelling in search of corn towards the land of ,egypt1 quaint figures in fantastic dresses1 with little ,benjamin1 a child in a blue frock1 and ,reuben weeping1 and another brother trying in vain to console him4 ,and the famine was sore in the land4444 ,and the men took 444 ,benjamin2 and rose up1 and went down to ,egypt 7,genesis xliii4 #a1 #ae74 ,on the right in the same picture is ,joseph welcoming his brothers in the portico of the palace1 ,pharaoh's armed guard outside looking rather grimly and inhospitably on the intruders4 ,the landscape is green and picturesque4 ,it is noticeable that blue 7the colour of hope7 is here made sacred to ,joseph and ,benjamin1 the children of promise1 who are in every instance dressed alike4 7#abai74 ,in the companion panel the further history of ,joseph and his brethren is depicted in three scenes or compartments1 divided by pillars4 ,on the left are the brothers unloading the donkey of the empty meal-jars1 now to be filled through ,joseph's kindness4 ,in the centre is ,joseph making himself known to his eleven brethren4 ,he is gazing tenderly on little ,benjamin1 who advances towards him in the foreground4 ,and ,joseph said unto his brethren1 ,i am ,joseph3 doth my father yet live8 7,genesis xlv4 #c74 ,on the right are seen the brethren departing homeward1 and the mule laden with ,benjamin and the filled meal-bags is being driven off4 #abbj4 ,,the ,,virgin ,,and ,,child ,l' ,ingegno 7,umbrian3 painted #adhd-aeaa74 ,this is the only picture1 says the ,official ,catalogue1 which can be authenticated with something like certainty as the work of ,andrea di ,luigi1 of ,assisi4 ,his name occurs in receipts and registers from #aeje to #aeaa1 in the capacity of procurator1 arbitrator1 auditor to the magistracy1 and finally of papal cashier at ,assisi4 ,it was perhaps this talent for affairs that won him the name of ,l' ,ingegno4 ,vasari says he was the most promising disciple of ,perugino1 and the resemblance to that artist in this picture is strong4 ,compare for instance even so small a thing as the dress patterns here with those in #bhh1 as also the close resemblance to the purist landscape there described4 #abba4 ,,darby ,,and ,,joan4 ,abraham de ,pape 7,dutch3 died #afff74 ,this painter1 a friend and pupil of ,gerard ,dou1 was a well-to-do citizen of ,leyden4 ,he was twice ,dean of the ,painters' ,guild in that place4 ,this picture 7formerly in the ,blenheim ,collection7 is considered one of the best of his works4 ,the painter's name is inscribed on the wooden cupboard on the wall above the spinning-wheel4 #abbb4 ,a ,,study ,,of ,,foliage1 ,,birds1 ,,etc4 ,melchior de ,hondecoeter 7,dutch3 #afcf-afie74 ,see #bjb4 ,formerly ascribed to ,otto ,marseus2 but the defaced part of the signature has recently been deciphered as being that of ,hondecoeter1 dated #affh4 #abbg4 ,,virgin ,,and ,,child ,marcello ,venusti 7,florentine3 #aeae-aegi74 ,see #aaid4 ,also ,st4 ,joseph and ,st4 ,john the ,baptist1 with the skin of a wild beast quaintly treated as a head-dress4 ,a picture from a composition by ,michael ,angelo1 known as ,il ,silenzio4 #abbi4 ,,virgin ,,and ,,child4 ,luis de ,morales 7,spanish3 #aeji-aehf74 ,luis de ,morales was born at ,badajos1 and is one of the most native of ,spanish artists4 ,he did not resort to ,italy1 such foreign influence as is discernible in him being rather that of the ,flemings2 and the religious sanctity of his work won him the surname of the ,divine4 ,his subjects1 always devotional1 were1 we are told1 mostly of the saddest1 as the ,saviour in his hour of suffering1 or dead in his mother's arms1 or the weeping ,madonna4 ,his object was to excite devotion through images of pain1 and to this end the forms are attenuated and the faces disfigured by the marks of past or present anguish4 ,he was very largely commissioned by churches and convents1 and his fame spread over ,spain4 ,he was called to the court of ,philip ,,ii4 in #aefc1 but was dismissed as soon as he had painted one picture1 and thereafter he fell into great poverty4 ,he had appeared at court1 it is said1 in the style of a grand seigneur which seemed to the king and his courtiers absurd in a mere painter1 and was the cause of their disfavour4 ,some years later1 however1 the king1 learning of his poverty1 granted him a pension4 ,in his earlier period1 ,morales painted crowded compositions with numerous figures2 in his later1 smaller pictures1 such as the one before us4 #abcj4 ,,portrait ,,of ,a ,,girl4 ,domenico ,ghirlandajo 7,florentine3 #addi-adid74 ,the name of ,ghirlandajo is one of the great landmarks in the history of ,florentine art4 ,he was the first to introduce portraits into historical pictures for their own sake1 and his series of frescoes in ,s4 ,maria ,novella is particularly interesting for the numerous portraits of his friends and patrons1 dressed in the costume of the period and introduced into scenes of ,florentine life and architecture4 ,there is a bishop1 says ,vasari1 in his episcopal vestments and with spectacles on his nose--,ghirlandajo was the first master who ventured to paint a figure wearing spectacles--he is chanting the prayers for the dead2 and the fact that we do not hear him alone demonstrates to us that he is not alive1 but merely painted4 ,these groups of men and women in ,ghirlandajo's sacred compositions stand by in the costume of their day as spectators of the incidents represented4 ,he introduced also the architecture of ,florence in the richest display and in complete perspective2 and thus in his subjects taken from sacred story he has left us an exalted picture of life as it presented itself to him in that day4 ,in the technical management of fresco ,ghirlandajo exhibits an unsurpassed finish1 and worked in it with extraordinary facility4 ,he is said to have expressed a wish that he might be allowed to paint in fresco the whole of the walls which enclosed the city of ,florence4 ,he was carried off by the plague in his forty-fifth year1 but he had already completed a very large body of work4 ,he was the son of a silk-broker named ,bigordi4 ,he and his brother ,david1 who was also a painter1 were apprenticed to a goldsmith4 ,their master probably manufactured the garlands of gold and silver which were so much in favour with the women of ,florence1 and the young men coming from his shop thus acquired the name of del ,ghirlandajo4 ,domenico early showed his bent by the striking likenesses he drew of the people who passed by the goldsmith's shop4 ,he remained to the end of his life1 says ,ruskin1 a goldsmith with a gift of portraiture4 ,as early as #adge his reputation was established1 for in that year he was called to ,rome to paint in the ,sistine ,chapel1 where his ,calling of ,peter and ,andrew is still well preserved4 ,among the frescoes executed after his return to ,florence may be mentioned the ,st4 ,jerome in the church of the ,ognissanti1 the history of ,st4 ,francis in the ,trinita1 and the famous series in the choir of ,s4 ,maria ,novella4 ,copies from several of these works may be seen in the ,arundel ,society's ,collection4 ,they are described by ,ruskin in his ,mornings in ,florence 7see also ,praeterita1 vol4 ii41 and numerous incidental references in ,modern ,painters74 ,ghirlandajo had not1 perhaps1 ,giotto's dramatic instinct for the heart of his subjects1 but his frescoes are remarkable1 not only for their brilliantly decorative effect1 but for their noble and dignified realism4 ,in the ,uffizi at ,florence are his best easel pictures4 ,there is also a fine ,visitation in the ,louvre4 ,ghirlandajo was celebrated further as a worker in mosaic 7e4g4 the mosaic over the north door of the ,cathedral at ,florence74 ,he was twice married4 ,the painter ,ridolfo 7#aadc7 was a son by his first wife4 ,amongst his other pupils were ,granacci and ,michael ,angelo4 ,the girl is of the same type--with the same hair1 yellow as ripe corn1 and the same dainty primness--as the lady in ,mr4 ,willett's picture 7for some years on loan in the ,national ,gallery1 and now in the collection of ,m4 ,rodolphe ,kann at ,paris71 but she was perhaps of humbler station--a simple flower in her hair and a coral necklace being her only ornaments4 #abca4 ,,portrait ,,of ,a ,,gentleman4 ,sir ,antonio ,more 7,flemish3 #aeab-aegh74 ,see #ajid4 ,a man in the prime of life1 attributed to ,sir ,antonio ,moro2 the signature is perhaps apocryphal4 ,there is little doubt1 however1 that the attribution is correct2 the manipulation shows all the prodigious power of ,moro4 ,his capacity for seizing character and the fine tone of his flesh colour are all here4 ,the execution suggests the brilliant study of ,hubert ,goltzius1 by ,moro1 in the ,brussels ,gallery4 ,that masterpiece was stated to have been painted in an hour2 the present head bears every indication of almost equally rapid brush work 7,times1 ,september #ai1 #ahhg74 #abcb4 ,,portrait ,,of ,a ,,gentleman4 ,heinrich ,aldegrever 7,westphalian3 about #aejb-aeee74 ,aldegrever is a son of the ,renaissance1 but he has not altogether escaped the old ,franconian stiffness and provincialism4444 ,his real strength is in engraving4444 ,he worked also as a goldsmith1 and his ornamental designs are numerous4 ,we also know of a small number of woodcuts by him 7,woltmann1 ii4 #bcd74 ,his pictures are very rare4 ,the flower and ring which figure in the best known portrait by him at ,vienna are again met with here1 but this picture is less stiff and formal than that4 #abcc4 ,,the ,,blood ,,of ,,the ,,redeemer4 ,giovanni ,bellini 7,venetian3 #adbf-aeaf74 ,see #ahi4 ,a devotional picture recalling such reminiscences of medival mysticism as are found in many of our hymns-- ,come let us stand beneath his ,cross3 ,so may the blood from out his side ,fall gently on us drop by drop4 ,jesus our ,lord is crucified4 ,a cold sky with underlit clouds suggests the still and solemn hour of early dawn1 a fitting time for the advent of this weird and livid apparition4 ,gaunt1 bloodless1 and with attenuated limbs1 the ,redeemer1 we recognise1 has passed through the ,valley of 'the ,shadow of ,death'--not victoriously2 there is no light of triumph in the lustreless eyes2 no palm nor crown awaits this victim of relentless hate1 the type of infinite despair and eternal sacrifice 7,times1 ,september #ai1 #ahhg7-- ,sunrise is close3 the upper sky is blue ,that has been darkness2 and the day is new1 ,bleaching yon little town3 where the white hue1 ,spread blank on the horizon1 skirts ,the night-mass there is strife and wavy rush ,of beams in flush4444 ,the dawn is blue among the hills and white ,above their tops2 a gladness creeps in sight ,across the silver-russet slopes1 but night ,obscures the mortal ebb and flow ,flushing ,thy veins2 ,thy lips in strife for breath ,are full of death4 7,michael ,field in ,sight and ,song47 ,the looks and gestures of the ,saviour seem to demonstrate that the blood which pours from ,his riven side is freely given for the redemption of the world4 ,in the details of the picture1 which careless observers might mistake for mere chance accessories1 there is an allegorical meaning4 ,the paved terrace with the open doorway symbolises the ,paradise regained by the ,blood of the ,sacrificed1 the ideal ,church1 the ,church of the ,new ,covenant1 in contradistinction to the ,hortus ,inclusus1 the garden enclosed1 without a door1 which was the type of the ,old ,covenant4 ,the antique reliefs are pagan prototypes of the ,christian sacrifice4 ,on the right is ,mucius ,scaevola1 before ,lars ,porsena1 thrusting his hand into the fire1--the ancient type of heroism and readiness to suffer2 on the opposite side is a pagan sacrifice1 with ,pan playing the pipes1 signifying the propitiatory sacrifices of the ancients1 and thus foreshadowing the ,sacrifice on the ,cross4 ,the landscape background carries out the same ideas4 ,on the right is a barren hill with leafless trees1 and at its base some ancient ruins and a crumbling fountain4 ,in contrast to this on the opposite side is a prosperous and well-fortified city1 lying amid meadows2 a church tower2 the sky above is rosy with the light of early dawn4 ,figures are seen turning from the ancient ruins and making their way along the path which leads to a new and better home1 the ,christian city 7,richter's ,lectures on the ,national ,gallery1 p4 #cg74 ,this little picture is among the earliest of ,bellini's works4 ,the abnormal length of the figure of ,christ and the exaggerated length and straightness of the forearms are points which should be noticed in this connection1 resembling as they do characteristics of other early works by the painter1 and also the drawings of his father1 ,jacopo4 ,but already1 in spite of the archaism of form1 he shows a feeling for atmospheric tonality2 the ruin to the right and the two figures near it are1 as painters say1 in their place2 that is to say1 the treatment as regards relations of tone is such as the linear perspective would lead us to expect4 ,still more surprising is the way in which the eye is led down the valley to free spaces of luminous air 7,roger ,fry3 ,giovanni ,bellini1 p4 #ah74 ,the subject is a rare one in ,italian art4 ,mr4 ,fry gives a reproduction of a similar figure in a picture by ,crivelli in the ,poldi ,pezzoli ,collection at ,milan2 and ,dr4 ,richter1 one from a woodcut in ,savonarola's treatise on ,humility1 first printed in #adib4 #abcd4 ,a ,,muse ,,inspiring ,a ,,court ,,poet4 ,dosso ,dossi 7,ferrarese3 #adgi-aedb74 ,see #fdj4 ,called a court poet because1 one may suppose1 of his sleek and uninspired appearance2 but poets do not always look their parts1 and 'tis the function of the ,muse to mould the secret gold4 ,but perhaps the artist had some gently sarcastic intention1 for it is but a small sprig that the ,muse has spared to the poet from her garland4 ,the head of the poet is clearly a portrait4 ,that of the ,muse is as fine in technique and condition as anything in the whole range of ,dossi's work 7,benson74 #abci1 #abdj4 ,,the ,,murder ,,of ,,the ,,innocents4 ,girolamo ,mocetto 7,venetian3 worked #adhd-aead74 ,mocetto was a native of ,verona1 but a pupil of ,giovanni ,bellini at ,venice4 ,he was one of the earliest1 says ,lanzi 7ii4 #afg71 and least polished among ,bellini's disciples4 ,and it is interesting to contrast the accomplished and beautiful work of the master 7#abcc7 with the almost ludicrous imperfections of these two pictures by the pupil4 ,notice especially the absurd attitude of the attendant to the left1 in #abci2 and in #abdj1 the expression of grief in the mother4 ,mocetto's claim to distinction rests rather on his rare engravings1 executed from the designs of ,giovanni ,bellini and ,mantegna4 ,he was also the painter of the great window in the church of ,,ss4 ,giovanni e ,paolo 7,venice71 which1 although badly restored1 still remains a magnificent work 7,layard1 i4 #ccb74 ,these works probably formed the wings of a triptych4 ,in the former scene ,herod directs the massacre which has already begun2 in the second1 the massacre is at its height4 #abda4 ,,christ ,,preaching ,,in ,,the ,,temple4 ,pedro ,campaa 7,flemish-,italian3 #aejc-aehj74 ,the painter of this picture forms an interesting link in the history of art4 ,in ,spain the influence exercised over the national school by the northern ,gothic masters was weakened at an early stage by the ,italian ,renaissance4 ,strange to say1 a ,fleming1 who had learned his art in the school of ,michael ,angelo1 was the chief instrument by which ,italy asserted her power4 ,peter de ,kampencer1 to whom the ,spaniards gave the name of ,pedro ,campaa1 was born in ,brussels4 ,he left ,italy1 where he had enjoyed the protection of ,cardinal ,grimani1 for ,seville 7#aedh71 where he founded an academy4 ,luis de ,morales 7see #abbi7 is said to have been among his disciples4 ,one of his masterpieces1 a ,descent from the ,cross1 in ,santa ,cruz1 was the picture which ,murillo was never tired of admiring 7see the story told under #ac74 ,besides such large altar-pieces1 he was accustomed1 says ,lanzi 7i4 #djb1 ,bohn's edition71 to paint small pictures1 which were eagerly sought after by the ,english1 and transferred to their country1 where they were highly prized4 ,in #aefj ,campaa returned to his native city1 and became official painter to the tapestry works there4 ,the subject of this celebrated picture 7as ,lanzi calls it7 is ,the ,magdalen led by ,st4 ,martha to the ,temple1 to hear the preaching of ,christ4 ,mary1 the sister of ,martha and ,lazarus1 is identified in legend with the ,magdalen1 and her conversion is said to have begun with the incident here depicted4 ,the kneeling figure of the ,magdalen is conspicuous amongst the women listeners2 she is encouraged by ,martha1 who points to the preacher 7see ,mrs4 ,jameson's ,sacred and ,legendary ,art1 p4 #bai1 ed4 #ahej1 for other representations of this subject74 #abdc4 ,,portrait ,,of ,a ,,young ,,man4 ,c4 ,w4 ,heimbach 7,german3 #afac-afgh74 ,dated #affb4 ,notice the characteristic steeple-crowned hat4 #abdg4 ,,the ,,card ,,players4 ,nicolas ,maes 7,dutch3 #afcb-afic74 ,see #aec4 ,this picture1 purchased in #ahhh at the sale of the ,gatton ,park 7,lord ,oxenbridge's7 ,collection1 was stated by the auctioneer to be by ,rembrandt1 but there is little doubt that it is really by his disciple1 ,maes2 though1 as it is larger than most of the known works by that master1 other critics have ascribed it to another pupil of ,rembrandt1 ,carl ,faber1 or ,fabricius4 ,in any case it is unmistakably of the ,rembrandt school1 and owes its inspiration to the method of presentation peculiar to the master4 ,from every technical point of view it is first-rate4 ,it is infused with the largeness of style1 the just appreciation of character1 and the glowing colour1 to be found in ,rembrandt's matured works4 ,it is the turn of the girl to play4 ,she regards her hand in evident perplexity1 doubtful which card to throw down4 ,the man is apparently sure of his game 7,times1 ,june #d1 #ahhh74 #abdh4 ,,portrait ,,of ,a ,,lady4 ,bartholomeus van der ,helst 7,dutch3 #afaa-afgj74 ,see #adj4 ,the sitter belonged to the ,braganza family4 ,so prematurely demure is this plain little girl that1 in spite of the fact that her hair is down and that she wears a round nursery cap1 she is dignified with the title of ,a ,lady4 ,she is certainly every inch a grown-up lady in her rich brocade dress1 pearl necklace1 and costly feathers4 ,van der ,helst gave special attention1 says ,sir ,f4 ,burton1 to the discrimination of stuffs1 and his skill in reproducing the lustre and shimmer of jewellery or gold embroidery and the delicacy of the lace-worker's art has never been equalled4 ,the picture is signed1 and dated #afde4 #abea4 ,,portrait ,,of ,a ,,man4 ,frans ,hals 7,dutch3 #aehj-afff74 ,see #ajba4 ,it is only at ,haarlem that the full power of ,hals can be seen2 but this picture shows something of his dash and facility4 ,there is1 indeed1 upon it a stamp of power and individuality1 alike in conception and treatment1 which makes it one of the most interesting portraits in the ,gallery4 ,it is signed with the painter's monogram1 and dated #afcc4 ,possibly it is a portrait of the painter himself2 and certainly it shows the type of a man to which ,hals belonged--,hals1 the dashing volunteer who fought in the military guilds1 the good-for-nothing1 daredevil fellow who loved his glass and was none too faithful in his domestic relations1 whose excesses brought him finally to penury1 but whose high spirit and unfailing dash enabled him to remain true1 through it all1 to the calling of his art4 #abeb4 ,a ,,fruit-,,piece4 ,frans ,snyders 7,flemish3 #aegi-afeg74 ,snyders was one of the principal ,flemish painters of animals and still life1 and his talents were so much admired by ,rubens that the latter often employed him to paint fruit1 game1 and other accessories in his pictures4 ,rubens in exchange sometimes drew the figures in pictures by ,snyders1 whom1 as a last proof of affection1 he appointed by will to manage the sale of his works of art4 ,snyders received many commissions1 too1 from the ,archduke ,albert and from ,philip ,,iii4 of ,spain4 ,his earlier pictures were confined to representations--such as this one of fruit and vegetables1 or of dead game and fish4 ,in the establishment of his parents1 who were proprietors of a large eating-house1 he had ample opportunity of studying such models4 ,snyders is not to be surpassed1 says ,sir ,f4 ,burton1 in the painting of fruit4 ,with his fine appreciation of colour1 and his large method of handling1 he reproduced with few but masterly touches the characteristic surface of each luscious product of the garden1 with greater truth to nature than was generally attained by those painters who sought it by means of minute and laborious imitation4 ,afterwards ,snyders enlarged his scope1 and produced those scenes of the chase for which he became celebrated4 ,the vigour which ,snyders threw into these productions is extraordinary1 but pictures of animals in savage chase or butchered agony do not appeal to all tastes4 ,i know no pictures1 says ,ruskin1 more shameful to humanity than the boar and lion hunts of ,rubens and ,snyders1 signs of disgrace all the deeper because the powers desecrated are so great4 ,the painter of the village ale-house sign may1 not dishonourably1 paint the fox-hunt for the village squire2 but the occupation of magnificent art power in giving semblance of perpetuity to those bodily pangs which ,nature has mercifully ordained to be transient1 and in forcing us1 by the fascination of its stormy skill1 to dwell on that from which eyes of merciful men should instinctively turn away1 and eyes of high-minded men scornfully1 is dishonourable alike in the power which it degrades1 and the joy to which it betrays 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 vi4 #ai74 #abee4 ,a ,,study ,,of ,,still ,,life4 ,jan ,jans van de ,velde 7,dutch3 born #afbb74 ,this rare painter1 perhaps the son of ,jan van de ,velde1 the engraver1 was settled at ,amsterdam in #afdb4 ,besides being a painter he was in business as a broker1 and was described in the marriage register as a silver-wire drawer4 ,this picture is dated #afef4 #abef4 ,a ,,study ,,of ,,still ,,life4 ,herman ,steenwyck 7,dutch3 #agth ,century74 ,this ,steenwyck is not to be confused with the painter of architectural interiors 7see #aacb74 ,herman1 and a brother1 ,pieter1 were painters of still-life subjects at ,leyden4 #abeg4 ,,the ,,birth ,,of ,,the ,,virgin4 ,murillo 7,spanish3 #afah-afhb74 ,see #ac4 ,a sketch for the large picture now in the ,louvre 7,no4 #edj74 ,like so many of the sketches of ,murillo1 it is so light in touch1 says one of the critics1 so exquisite in colour1 as to be1 from an artistic point of view1 preferable to the finished picture4 ,this1 however1 is not the only advantage which ,murillo gains from smallness of scale4 ,there is a prettiness1 and even a sentimentality1 permissible on a small scale which offends the dignity of a large canvas4 ,thus1 the affectation of the attendant angels is far less absurd here than in the large picture4 ,one of the cherubs shrinks back1 adds ,mr4 ,eastlake in his ,louvre catalogue1 frightened at a dog1 which seems a strangely human act of weakness2 another holds up a piece of baby-linen1 with a provokingly fantastic air4 ,but herein we have the very characteristics which make the religious sentiment of ,murillo's pictures interesting4 ,in the early ,italian pictures the ,virgin is a great lady1 living in a fine house or spacious cloister4 ,but in ,spain the symbols of devotion passed into realities2 and a combination of mysticism in conception with realism in treatment is the distinguishing note of the ,spanish religious school4 ,one could not wish for a prettier presentment of this mingled note than is afforded by this little sketch1 with its angels half in ecstatic adoration over the ,lily of ,eden1 and half in human playfulness--a sketch which seems to combine with the frank realities of a humble nursery the religious sentiment of ,keble's ,christian ,year3-- ,ave ,maria6 blessed maid6 ,lily of ,eden's fragrant shade1 ,who can express the love ,that nurtured thee so pure and sweet1 ,making thy heart a shelter meet ,for ,jesus' ,holy ,dove6 #abeh4 ,a ,,study ,,of ,,still ,,life ,j4 ,b4 ,s4 ,chardin 7,french3 #afii-aggi74 ,jean ,baptiste ,simon ,chardin was the contemporary of ,boucher 7#ajij71 and his pictures may serve to remind us that there was a bourgeoisie in ,france as well as a noblesse when ,louis ,,xv4 was king4 ,the simple subject of this picture--a loaf of brown bread1 with a bottle of wine1 spread out on a piece of old newspaper--takes us far away from the luxurious trifling of the ,court painters4 ,chardin followed the path of frank realism1 treating1 however1 all his subjects with refinement4 ,to ,dutch precision he added ,gallic grace4 ,he painted either still life 7as here7 or scenes from the domestic life of the people 7as in #affd1 and in a picture in the ,dulwich ,gallery74 ,his treatment was devoid of affectation1 and his colouring fresh and agreeable4 ,he is the best colourist in the ,salon1 said ,diderot of him in his lifetime4 ,chardin1 in the exercise of his honest industry1 knew how difficult it was to excel1 and said on one occasion to ,diderot and the other critics1 ,gently1 good sirs1 gently6 ,out of all the pictures that are here seek the very worst2 and know that two thousand unhappy wretches have bitten their brushes in two with their teeth1 in despair of ever doing even so badly4 ,chardin's fellow-workers appreciated his merits1 and he was elected a member of the ,academy in #agbh1 becoming ,treasurer of that body in #agee4 ,there is a large collection of his works in the ,louvre4 ,they fell into disrepute during the succeeding reign of ,david and the classical school1 but they have again won a high position in the estimation of those who know4 ,this picture 7which is signed1 and dated #aged7 was presented to the ,gallery2 for ,no4 #affd1 purchased in #ahih1 the sum of #gba was paid4 ,chardin's pictures show that instinctive power of reticence which is one of the secrets of fine art4 ,it is what gives value to such humble efforts as the study of still-life subjects1 and raises them--as in the works of the ,french painters1 ,chardin especially1 and of some of the ,dutch painters--above the level of mere mechanical imitations1 and transforms them into works capable of giving us real pleasure 7,poynter's ,lectures on ,art1 p4 #aie74 #abfj-abgj4 ,,early ,,greek ,,portraits4 ,these eleven portraits are part of the find by ,mr4 ,flinders ,petrie1 in his excavations at ,hawara1 in the ,fayoum 7,middle ,egypt71 and are of great interest as supplying a fresh link in the historical development of art as exhibited in the ,national ,gallery4 ,here is portraiture in its infancy4 ,but even these portraits1 done probably by ,grco-,egyptian artists in the second or third century ,a4,d41 are later developments from an earlier stage4 ,they were affixed to the outside covering of mummies in a position corresponding to the head of the corpse3#bcg the exact arrangement can be seen in two mummies from the same find1 now in the ,british ,museum4 ,they are derived1 says ,miss ,amelia ,b4 ,edwards1 by a clearly traced process of evolution from the portrait-heads first modelled in stucco upon ,egyptian mummy cases1 and then painted4 ,from coloured portraiture in high relief to coloured portraiture on flexible canvas1 where a certain amount of relief was obtained by the prominence of the bandaged face beneath1 was one step2 and from the flexible canvas to the panel upon which the semblance of relief was given by light and shadow and foreshortening was another and far more important step4 ,it marked the transition from the ,eastern to the ,western school of painting4 ,the portraits are painted with pigments of rich colour on thin panels of cedar wood1 wax being the medium employed4 ,the rather lumpy surface or impasto which comes from the use of a wax medium is very obvious4 ,the melted wax rapidly hardened when the brush touched the cold surface of the panel1 and so prevented the pigment from being laid in a smooth1 even manner4 ,the wood was not1 like stucco1 sufficiently absorbent for the subsequent application of heat to get rid of the lumpy surface by driving the superfluous wax below the surface 7,middleton's ,remains of ,ancient ,rome1 i4 #ajj74 ,the persons buried with these panel portraits were mostly of ,greek origin2 but some--as1 for instance1 the man 7,no4 #abfe1 presented by ,mr4 ,haworth7--seemed rather to be of the ,roman type4 ,the faces exhibit all variations1 from living grace to the emptiest vacuity4 ,it has been suggested that the better portraits were painted from the life1 whilst in other cases the painter was perhaps only sent for after death1 and this may account for the vague and lifeless looks of many of the portraits1 inanimate in spite of the wide1 open1 and vacuous smile4 ,it will be noticed that the style of the portraits is usually conventional precisely in those details which make the difference between one living face and another4 ,the eyes1 which more than any other feature should impart the living expression in all these cases1 are executed in a perfunctory and formal manner4 ,and they are1 moreover1 in many cases too large for the face4 ,this is not merely due to the inability of the artists1 for many of these portraits show a real grasp of character and a distinct technical skill in the modelling1 notably in that1 perhaps1 most difficult of tasks1 the indication of the play of muscles around the mouth4 ,under these circumstances ,i think no one will deny that the measure of success achieved in some of the best of these portraits is very remarkable4 ,the old man in particular 7#abfe7 shows a breadth of style and a quiet humour which reminds us of some of the ,dutch masters of the ,teniers school4 ,of course there are good and bad among them2 the quality probably depended to some extent upon the price which the relative could afford to pay4 ,one wonders what the price may have been1 especially when we read of the enormous sums which great pictures fetched in the palmy days of ,greek painting4 ,most of these people seem to have been well to do1 as the gold wreaths of the men and the jewellery of the women prove 7,cecil ,smith1 ch4 vi4 of ,w4 ,m4 ,f4 ,petrie's ,hawara1 ,biahmu1 and ,arsinoe3 #ahhi74 ,no4 #abfa retains the greater part of a gilt gesso border1 stamped or modelled with a wavy tendril and bud pattern4 #abgg4 ,a ,,man',s ,,portrait4 ,nicolas ,maes 7,dutch3 #afcb-afic74 ,see #aec4 ,signed1 and dated #afff4 ,a singularly lifelike portrait of a singularly unattractive face4 #abgh4 ,a ,,convivial ,,party4 ,hendrik ,gerritsz ,pot 7,dutch3 about #afjj-afef74 ,the picture is signed ,,hp 7on the side of the projecting chimney74 ,several pictures--chiefly conversation-pieces and portraits 7including one of ,charles ,i4 in the ,louvre7--bear these initials4 ,they are supposed to belong to the above-named artist1 of whom it is recorded that he visited ,england and made portraits of the king4 ,an ordinary scene of the kind1 but there is a pleasant touch in the little dog who furtively licks the hand of its half-tipsy master4 #abhj4 ,,christ ,,appearing ,,after ,,his ,,resurrection ,unknown 7,early ,flemish3 #aeth ,century74 ,the ,virgin ,mary sits on the edge of an old-fashioned bedstead4 ,christ1 with the marks of the wounds in breast and feet1 faces her1 and behind him is a great company of saints1 kneeling4 ,highly finished throughout4 #abhb4 ,,san ,,zenobio ,,restoring ,,to ,,life ,a ,,dead ,,child4 ,jacopo ,chimenti da ,empoli 7,florentine3 #aeed-afdj74 ,chimenti1 of ,empoli1 near ,florence1 was an imitator of ,andrea del ,sarto1 and distinguished for his ,madonnas2 he was distinguished also for his love of good eating1 and acquired from his contemporaries the nickname of ,l' ,empilo1 instead of ,l' ,empoli1 which is as much as to say stewpan 7,wornum1 ,epochs of ,painting1 p4 #cef74 ,he was largely employed in the churches of ,florence and the neighbourhood4 ,his best production is his ,st4 ,ives in the ,uffizi3 in noble conception and truth and glow of colour it reminds us of the best of the old ,florentine masters4 ,st4 ,zenobio 7died ,a4,d4 #dag7 was a ,bishop of ,florence1 famous in his time for his eloquence and good works1 and a favourite saint with the ,florentines in after ages4 ,the following is the legend painted in this picture3--,a ,french lady of noble lineage1 who was performing a pilgrimage to ,rome1 stopped at ,florence on the way1 in order to see the good bishop ,zenobio1 of whom she had heard so much1 and having received his blessing she proceeded to ,rome1 leaving in his care her little son4 ,the day before her return to ,florence1 the child died4 ,she was overwhelmed with grief1 and took the child and laid him down at the feet of ,st4 ,zenobio1 who1 by the efficacy of his prayers1 restored the child to life1 and gave him back to the arms of his mother 7,mrs4 ,jameson1 ,sacred and ,legendary ,art1 p4 #dae74 #abhd4 ,,st4 ,,francis ,,and ,,st4 ,,mark4 ,antonio ,vivarini 7,venetian3 died #adgj74 ,see #gfh4 ,a companion panel to the one already in the ,gallery2 see #gfh4 ,the design of the pedestal is1 it will be seen1 the same in both4 #abhe4 ,,portrait ,,of ,,napoleon ,i4 ,horace ,vernet 7,french3 #aghi-ahfc74 ,emile ,john ,horace ,vernet1 soldier and artist1 was the grandson of ,claude ,joseph ,vernet 7#bcf74 ,he was decorated in #ahad by ,napoleon for his gallant conduct before the enemy at the ,barrire de ,clichy1 on which occasion he served in a regiment of hussars4 ,in the ,louvre there is a picture by him representing the defence of ,paris on that occasion4 ,on the fall of the ,empire he left ,france for a time1 but he gradually won the favour of the court4 ,in #ahcc he joined the ,french army at ,algiers1 and there gathered material for the huge battle-pieces which he painted for ,louis ,philippe4 ,the ,crimean ,war furnished him with another congenial set of subjects4 ,his work had a great vogue in its day1 but owed more to its patriotic and stirring subject-matter than to abiding artistic qualities4 ,less ideal than the beautiful sketch which ,david made of ,napoleon as ,first ,consul1 or the later conventional pictures painted for a generation which had not seen the original4 ,there is no dreamy intensity in the eyes1 and no engaging smile4 ,the famous lock in the centre of the forehead is there1 and the face is still handsome1 imposing1 and resolute2 but there is already something of the heaviness which presaged his fall4 #abhf4 ,a ,,boy ,,drinking4 ,murillo 7,spanish3 #afah-afhb74 ,see #ac4 ,the boy is resting his left arm on a table and holding a square bottle1 like one of those used for schiedam4 ,the head is finely modelled1 with a firm1 broad touch2 the bright eyes are deep set under the brow1 and they betray eager delight in the draught he is taking4 ,the flesh tones are unusually pure and bright for ,murillo4 ,the picture seems to be that which1 named ',a ,spanish ,youth ,drinking1' was sold in #ahcf with ,lord ,charles ,townshend's collection for #dad4 ,with the ,earl of ,clare's pictures was sold1 in #ahfd1 ',a ,peasant holding a ,bottle and drinking from a ,glass1' which had belonged to ,prince ,talleyrand and ,lord ,c4 ,townshend1' for #acfe 7,athenum74 #abhg4 ,,interior ,,of ,,an ,,art ,,gallery4 ,dutch ,school 7#agth ,century74 ,of interest alike for its technical skill and for its historical information4 ,no less than forty-two pictures hang upon the walls of the ,art ,gallery1 and the collection is very interesting as showing the taste of an amateur of the period4 ,in addition to these1 there are globes1 gems1 maps1 engravings1 nautical instruments1 pieces of sculpture1 and other objects of vertu--all painted with miniature-like delicacy4 ,especially charming is an elaborately inlaid cabinet with china and other curios upon it4 ,notice also the fine ,persian carpet4 ,the art treasures are being eagerly scanned by several groups of connoisseurs1 whilst--with a touch1 perhaps1 of satiric intent--a monkey is perched on the window-sill1 criticising the critics4 ,it is interesting to note that with only three exceptions all the paintings depicted in the ,art ,gallery are in black frames4 ,this was the common practice with the ,low ,country painters4 ,several of the latest additions to the ,dutch pictures in the ,gallery are in their original black frames4 ,the famous ,teniers at ,vienna of ,the ,archduke's ,gallery is an equally apt illustration of the taste of ,dutch and ,flemish painters 7,athenum1 #bnd ,january #ahib74 #abhh4 ,,frost ,,scene4 ,aart van der ,neer 7,dutch3 #afai-afib74 ,see #aeb4 #abhi4 ,,landscape ,,with ,,cattle4 ,cuyp 7,dutch3 #afbj-afia74 ,see #ec4 ,a characteristic little work4 ,in the distance is a ruined castle-keep in the water1 which may be the same building as that depicted in ,no4 #hbd4 #abia4 ,,the ,,assumption ,,of ,,the ,,virgin4 ,juan de ,valdes ,leal 7,spanish3 #afcj-afia74 ,valdes ,leal1 who was born at ,cordova1 settled afterwards at ,seville1 where he became the first ,president of the ,academy in that city4 ,it is to him that some critics have assigned the ,dead ,orlando in this room 7#gda74 ,his most famous picture--one of the most repulsive1 but also most impressive ever painted1 says ,mr4 ,w4 ,b4 ,scott--is ,the ,two ,dead ,men1 in the ,hospital of ,charity at ,seville1 representing a charnel house with the partially-decayed corpses of a bishop and a noble4 ,so dreadful is the realism that ,murillo said he never could approach the picture without fancying he smelt the horror4 ,ah1 my compeer1 replied the flattered realist1 it is not my fault2 you have taken all the sweet fruit out of the basket and left only the rotten4 ,in the present picture ,valdes ,leal has picked sweet fruit too2 indeed it is over sweet4 ,the donatrix of the picture and her son are shown in either corner1 while in the midst the ,virgin ascends to ,heaven1 surrounded by bands of angels4 ,the picture is thoroughly characteristic1 in its florid type of sentiment1 of the ,spanish school4 #abib4 ,a ,,family ,,group4 ,jan van ,bylert 7,dutch3 #afjc-afga74 ,a painter of ,utrecht2 entered the ,guild of ,painters there in #afcj1 and repeatedly filled the office of its ,dean4 ,studied at ,utrecht under ,a4 ,bloemaert1 and afterwards visited ,italy and ,france4 ,his works are numerous in the galleries of ,amsterdam and ,utrecht4 ,they are plain old people1 truth to tell1 this group of two ,dutch housewives and a ,dutch burgher1 and they are somewhat too obviously sitting for their portraits4 ,how prim and neat all the surroundings are6 how pretty is the trailing rose on the balustrade6 and with what quiet1 unobtrusive fidelity the whole picture is painted6 #abic4 ,,musical ,,pastime4 ,jan ,miense ,molenaer 7,dutch3 died #affh74 ,this painter1 the best of three artists of the same name1 excelled in representing peasant interiors and scenes of rustic life in a quiet style and in skilfully graduated tints4 ,his colouring is warm and clear2 his drawing spirited1 and his touch full of life4 ,besides this1 he possessed a certain refinement1 and his humour never overstepped the bounds of decency4 ,while his works retain characteristics peculiar to him1 they manifest also something of the styles of ,steen1 ,brauwer1 and ,ostade 7,havard3 ,the ,dutch ,school1 p4 #aei74 ,he was a native of ,haarlem1 and afterwards settled in ,amsterdam4 ,his earlier works 7such as the present picture7 suggest the tutelage of ,frans ,hals2 the later works show the influence of ,rembrandt4 ,this picture 7which is signed on the side of the foot-warmer7 is a capital example of the artist4 ,the fair faces of the singers are very spontaneously expressive of their gaiety1 and have something of the animation of ,jan ,steen without his vulgar types and occasional grimace4 #abid4 ,,an ,,allegorical ,,subject4 ,william van de ,poorter 7,dutch3 painted #afcj-afde74 ,this painter was a native of ,haarlem1 where he belonged to the ,guild of ,painters1 and was a pupil of ,rembrandt4 ,in this picture the light1 coming from the top on our left1 falls on the globe and figure with ,rembrandtesque effect4 ,the subject is perhaps a ,vigil of ,arms1 and may depict a knight or king passing the night before his investiture in the seclusion of a private chapel4 ,on the altar before which he stands are a globe1 two crowns1 and several documents4 ,his left hand is turned slightly forward1 as if to call attention to the action1 while in his right hand he holds a sceptre with its point resting on the globe4 ,on the floor in front of the altar lie his arms and armour2 behind1 hangs his banner4 ,on his head is a laurel wreath2 and over a bright breastplate he wears the richly embroidered robe of his order4 #abie4 ,,madonna ,,and ,,child1 ,,with ,,saints4 ,girolamo ,giovenone 7,lombard3 early #afth ,century74 ,giovenone was a native of ,vercelli1 in which city several fine pictures by him are preserved4 ,other painters who worked1 or were born1 at ,vercelli are ,macrino d' ,alba 7#abjj71 ,lanini 7#gjj71 and ,gaudenzio ,ferrari 7#adfe74 ,by some critics our picture is assigned to another painter of the same school1 ,defendente ,ferrari 7see ,catalogue of the ,burlington ,fine ,arts ,club's ,exhibition1 #ahih1 p4 lxxix474 ,examples of both painters may be seen in the ,turin ,gallery4 ,the ,virgin and ,child are flanked by the kneeling figures of two men1 perhaps brothers1 who were doubtless the donors of the picture4 ,behind each of them stands his patron saint1 patting the devotee approvingly on the back4 ,the ,virgin's face is charming2 so also are two little angels1 who are quaintly perched up aloft1 one on either side sitting on ledges of the canopied throne4 ,the picture is a good example of symmetry--almost exaggerated1 one may think--in composition4 #abif1 #abig4 ,,landscapes4 ,giuseppe ,zais 7,venetian3 died #aghd74 ,zais1 a ,venetian1 was a pupil of the ,florentine landscape and decorative painter ,zuccarelli 7#agjb-aghh7 who settled for many years at ,venice4 ,zuccarelli in #ageb came to this country1 where in #agfh he became an original member of the ,royal ,academy4 ,the works of ,zais also for a time attracted the attention of ,english amateurs1 but he died a pauper in the hospital of ,treviso4 ,amusing examples of the so-called pastoral landscape1 which found favour in the last century--the landscape painted in praise of the country by men who lived in coffee-houses4 ,zais was nearly contemporary with ,longhi1 and shows us the same ,venetians in villeggiatura whom ,longhi shows us in town 7see #aajj and #aaja74 ,in #abhf we see some picturesque farm-buildings on one side of a stream1 with a picturesque cow-herd asleep2 whilst on the other side is a party of gay ladies--dressed in crinolines and bows1 and devoid of hats1 shawls1 or wraps--flirting with beaux4 ,the companion picture 7#abig7 is conceived in the same style2 but the ladies are here fishing1 though1 to judge from the amateurishness of their proceeding1 they are not likely to catch fish4 #abih4 ,,landscape3 ,,river ,,scene4 ,joachim ,patinir 7,early ,flemish3 died #aebd74 ,see #gae4 ,this picture1 acquired in ,florence in #ahhi together with two by ,zais 7#abif1 #abig71 was for some years attributed to the ,venetian school4 ,it is now recognised as a work of ,patinir4 ,the heavy blue tone of that painter's distances here gives way to a lighter colour2 but the fantastic landscape has strong resemblances to ,no4 #gaf4 ,if by ,patinir1 the work is unique in being one of pure landscape1 with no scriptural incident4 ,the earliest independent landscape that we possess by an old master1 the first admission that inanimate nature pure and simple is worth making a picture of4 ,in the left corner is the artist sketching1 which is a sort of guarantee that he worked in the open air1 and that he had been struck with the beauty of some such prospect4444 ,he has been so used to regard landscape as an accessory that he does not dare to paint it except from a distance1 or on any but a minute scale1 and he enlivens it with signs of human industry in the raft and the limekiln4 ,it is as though a landscape had stepped out of the background of some old picture1 and asserted its independence with fear and trembling 7,monkhouse3 ,in the ,national ,gallery1 p4 #bjb74 #abii4 ,,portrait ,,of ,a ,,youth4 ,domenico ,ghirlandajo 7,florentine3 #addi-adid74 ,see #abcj4 ,it is interesting to compare this portrait with ,botticelli's of a somewhat similar subject 7,no4 #fbf74 ,both were probably good likenesses2 but ,ghirlandajo's is less forcible and impressive than ,botticelli's4 #acjj4 ,,virgin ,,and ,,child4 ,unknown 7,milanese ,school3 #aeth-#afth ,century74 ,apparently by a follower of ,leonardo4 #acja4 ,,portrait ,,of ,,savonarola4 ,unknown 7,florentine3 #aeth ,century74 ,a portrait of the great patriot-priest of ,florence 7#adeb-adih71 whose strange career is familiar to all readers of ,george ,eliot's ,romola4 ,ultimately he was condemned to death1 with his two disciples2 and on the back of the portrait is a representation of their execution4 ,they were hung on a cross1 and burnt4 #acjb4 ,,the ,,soul ,,of ,,st4 ,,bertin4 #acjc4 ,a ,,choir ,,of ,,angels4 ,simon ,marmion 7,french3 #adbe-adhi74 ,these two panels are the uppermost portions of an altar-screen painted for the ,abbey ,church of ,st4 ,bertin at ,st4 ,omer4 ,the remaining portions are now in the ,king's ,palace at the ,hague4 ,these shutters1 and a diptych belonging to the ,duc d',aumale1 are the only works that have come down to us of ,marmion1 a painter of ,valenciennes1 worthy 7according to the chroniclers of his time7 of great admiration4 ,the two panels before us had been reposing for thirty years in a lumber-room at the ,south ,kensington ,museum4 #acjd4 ,,marcus ,,curtius4 ,unknown 7,umbrian ,school3 #afth ,century74 ,so described in the ,official ,catalogue4 ,by ,signor ,frizzoni the picture is considered to be of the ,florentine school1 and is ascribed to ,francesco ,ubertini1 for whom see ,no4 #abah 7,archivio ,storico dell' ,arte1 #ahie1 p4 #ajd74 ,the subject is supposed to be that of the ,roman youth who sacrificed himself by leaping into a chasm which 7said the oracle7 would never close until ,rome threw into it the most precious thing she had4 ,what did ,rome possess more precious than her arms and courage1 said ,curtius as he prepared to leap1 in full armour1 into the gulf4 ,if this be the subject here represented1 the picture shows in an interesting way the frank anachronism of the early painters1 for the local colour is certainly not that of the ,roman ,forum1 where ,curtius took his self-sacrificing leap4 ,the picture bears strong resemblance to ,raphael's earlier manner1 as any visitor will see who compares it with the ,vision of a ,knight 7#bac74 ,michael ,field has put the sentiment of the picture into verse in ,sight and ,song3-- ,he comes from yonder castle on the steep1 ,no ,roman1 but a lovely ,christian knight1 ,with azure vest and florid mantle bright1 ,blown1 golden hair and youthful face flushed deep ,for glory in the triumph of the leap4 ,though his mild1 amber horse rears back at sight ,of the red flames1 though poised for thrust his right ,hand grasps a knife1 his countenance doth keep ,soft as ,saint ,michael's with the devil at bay4 ,so sweet it is to cast one's life away ,in the fresh pride and perfume of its breath6 ,he smiles to think how soon the cleft will close3 ,and see1 a sun-brimmed cloud above him throws ,its white effulgence1 as he fares to death4 #acje4 ,a ,,family ,,group4 ,g4 ,donck 7,dutch3 #agth ,century74 ,there are other signed pictures by this little known painter in private collections in ,vienna4 ,they bear the dates #afbg and #afce4 ,portraits of ,jan van ,hensbeeck and his wife1 ,maria ,koeck1 with their infant child between them4 #acjh4 ,,portrait ,,of ,a ,,man4 ,j4 ,b4 ,martinez del ,mazo 7,spanish3 #afaj-afhg74 ,juan ,bautista ,martinez del ,mazo1 the favourite pupil and the son-in-law of ,velazquez1 whom he succeeded in #affa as painter to the ,spanish ,court4 ,in portraiture ,mazo was an imitator of the great master2 he also painted hunting pieces and landscapes4 ,his view of ,zaragoza1 now in the ,madrid ,gallery1 is celebrated4 ,a very short thick-set figure2 possibly a portrait of one of ,philip ,,iv4's court dwarfs4 #acji4 ,,portrait ,,of ,a ,,young ,,man4 ,bernardino ,licinio 7,venetian3 painted #aebd-aeda74 ,the above are the earliest and latest dates on his pictures4 ,he was a native of ,pordenone1 in ,friuli2 a pupil and relative of the better known painter who is called after that place4 ,there are two pictures by ,bernardino at ,hampton ,court--,a ,lady playing on the virginals1 of rich though muddy colouring2 and ,a ,family ,group 7dated #aebd7--monotonous in composition1 but brilliant in colour 7see ,mary ,logan's ,guide1 p4 #be74 ,he also painted altar-pieces1 among which one in the ,frari at ,venice is the best4 ,a young man with feminine features4 ,his black gown1 lined with gray fur1 is left open at the chest and discloses a gold chain and pendant4 ,on the stone plinth whereon he leans is an inscription1 ,stephanus ,nani4 abavro ,,xvii4 ,,mdxxviii,lycinivs4 ,p4 #acaj4 ,,ecce ,,homo6 ,cima da ,conegliano 7,venetian3 #adfj-aeah74 ,see #cjj4 ,this picture was sold as a ,carlo ,dolci2 but the attribution was an obvious absurdity4 ,there is no resemblance whatever between the affected sentimentality of ,dolci and the sincere pathos of this picture4 ,its deep and rich colouring also is very different from ,dolci's4 ,sir ,frederick ,burton labelled his trouvaille ,giovanni ,bellini4 ,but its attribution to ,cima is now accepted4 ,this type of ,christ1 says ,mr4 ,claude ,phillips1 of a perfect1 manly beauty1 of a divine meekness tempering majesty1 dates back not to ,gian ,bellino but to ,cima4 ,the preferred type of the elder master is more passionate1 more human4 ,our own ,incredulity of ,st4 ,thomas1 by ,cima1 shows in a much more perfunctory fashion a ,christ similarly conceived 7,the ,earlier ,work of ,titian1 p4 #ca n474 ,to the same effect a writer in the ,academy 7,july #bf1 #ahij7 says3 ,the modelling--not precise or searching enough for ,giambellino--resembles that of his gifted pupil1 the parted lips being one of his especial characteristics1 as may be noted in his great ',incredulity of ,st ,thomas' 7#haf74 ,the treatment of the heavy wig-like masses of the hair1 with its fine lines1 is very similar to that of the ,saviour's parted locks in the larger work1 while a certain want of flexibility in the muscles of the face is also a distinguishing mark of the master4 ,more striking still is the coincidence that from the head of ,christ issue in both instances single rays1 disposed in three distinct and separate fasciculi--an arrangement not found1 as far as we are aware1 in the works of ,giovanni ,bellini1 and never common in ,italian art4 ,the peculiarly brilliant blue of the drapery is paralleled by that of the little ',st4 ,jerome' from the ,hamilton ,palace ,collection1 and approached by that of the ',virgin and ,child'--both these panels being sufficiently representative examples of ,cima4 ,comparison has in these remarks been restricted to works in the ,national ,gallery1 as being most readily available for purposes of verification4 ,the influence of ,antonello--from whom ,bellini himself borrowed so much--is1 in the new acquisition1 undeniable1 and may account for a virility and an intensity of pathos not often reached even in the better productions of the sympathetic ,bellinesque painter to whom we would attribute it4 #acaa4 ,a ,,winter ,,scene4 ,jan ,beerestraaten 7,dutch3 #afbb-afhg74 ,this painter was the son of a cooper of ,amsterdam4 ,he travelled much in ,holland1 staying in all the towns he visited1 and copying their monuments1 squares1 and thoroughfares1 and leaving everywhere on his route a great number of sketches and pictures4 ,he painted ,italian views also1 but these pictures may have been founded on local sketches by other ,dutch artists4 ,his manner of painting was vigorous2 delicate finish and precision of touch were less his aim than freedom of handling combined with broad contrasts of tone1 where the colour1 of a subdued richness1 shows brilliancy and often loses itself in harmonies of gray 7,official ,catalogue1 and ,havard's ,dutch ,school1 p4 #bci74 ,the castle is that of ,muiden1 between ,amsterdam and ,naarden4 ,the fortified village is in the distance4 ,on the left is the ,zuyder ,zee4 ,signed in the foreground1 and dated #afeh4 #acab4 ,,the ,,village ,,cobbler4 ,jan ,victoors 7,dutch3 #afbj-afgb74 ,victoors1 a native of ,amsterdam1 was a pupil of ,rembrandt1 and attempted biblical subjects in the style of his master2 a picture by him in this kind may be seen in the ,dulwich ,gallery4 ,but he is seen at his best in portraits and domestic subjects1 such as that treated in the present picture4 #acac4 ,,the ,,origin ,,of ,,the ,,milky ,,way4 ,tintoretto 7,venetian3 #aeah-aeid74 ,see #af4 ,this work1 acquired from the ,earl of ,darnley1 is a particularly welcome addition to the ,national ,gallery2 for the two works by ,tintoret previously in the collection1--the ,st4 ,george and the ,dragon and ,christ ,washing the ,disciples' ,feet1--though fairly representative of his more sombre mood1 give no idea whatever of such radiant forms and sweeping harmonies as those with which he decorated the ,ducal ,palace at ,venice4 ,this picture immediately recalls these last-mentioned works1 for it was doubtless designed as the centre-piece for some painted ceiling4 ,the picture is a very beautiful representation of a classic myth of the ,milky ,way4 ,hermes1 it is told1 carried the infant ,hercules to ,olympus1 and put him to the breast of ,juno while she lay asleep2 but1 as she awoke1 she pushed the child from her1 and the milk thus spilled produced the ,milky ,way4 ,in this picture1 however1 we see ,jupiter himself descending through the air and bearing the child in his arms4 ,juno is rising undraped from her couch1 surrounded by little loves1 and attended by peacocks--emblems of her royal state as ,queen of ,heaven2 while in the deep-blue firmament is the eagle carrying the thunderbolt of ,jupiter4 ,from her bosom issue long lacteal jets that seem1 as it were1 to crystallise into stars4 ,sumptuous draperies float around the ground1 and in most poetical composition ,tintoret has thus mingled with their gorgeous dyes ,the milky baldric of the skies4 ,there is a study for the picture in the ,accademia at ,venice4 #acad4 ,,the ,,ambassadors4 ,hans ,holbein1 the ,younger 7,german3 #adig-aedc74 ,hans ,holbein--the greatest master1 says ,ruskin1 of the ,german1 or any northern school--is closely identified with ,england1 and at least seventy important works by him are1 it is calculated1 in this country4 ,he is called the younger1 to distinguish him from his father of the same name1 who was also a celebrated painter4#bch ,the son was born at ,augsburg1 but migrated early in life to ,basle--then a centre of literary and artistic activity4 ,there he formed a friendship with ,erasmus1 a portrait of whom from his hand is now one of the treasures of the ,basle ,museum4 ,both at ,basle and at ,lucerne ,holbein was engaged in portraiture1 house-decorating1 and designs for goldsmiths' work4 ,ruskin traces to ,holbein's surroundings at ,basle the serious temper which characterises much of his art4 ,a grave man1 knowing what steps of men keep truest time to the chanting of ,death4 ,having grave friends also2--the same singing heard far off1 it seems to me1 or1 perhaps even low in the room1 by that family of ,sir ,thomas ,more2 or mingling with the hum of bees in the meadows outside the towered wall of ,basle2 or making the words of the book more tuneable1 which meditative ,erasmus looks upon4 ,nay1 that same soft death-music is on the lips even of ,holbein's ,madonna4 ,the reference here is to the famous ,darmstadt ,madonna1 which was painted about #aebf4 ,in that year1 leaving his wife and child behind him1 ,holbein set out for ,england1 with letters from ,erasmus to ,sir ,thomas ,more1 who received him with honour4 ,from #aebh to #aecb he was again in ,basle4 ,in the latter year he returned to ,england to find ,more in disgrace1 and no longer able to assist him4 ,holbein1 however1 met with a warm reception from the ,german merchants of the ,steelyard1 and painted portraits of many of them4 ,to this same period also the present picture belongs4 ,gradually he became known at court1 and from #aecf onwards he was in the service of ,henry ,,viii41 whose high opinion of ,holbein is recorded in the ,king's rebuke to one of his courtiers for insulting the painter3 ,you have not to do with ,holbein1 but with me2 and ,i tell you that of seven peasants ,i can make seven lords1 but not one ,holbein4 ,the portrait of ,christina of ,denmark1 lent by the ,duke of ,norfolk1 was one of those painted for the ,king4 ,he paid during these years several visits to the ,continent1 but died in this country--being carried off by the plague--in #aedc4 ,it is as a portrait-painter that ,holbein is best known4 ,his work in this kind is1 says ,ruskin1 true and thorough2 accomplished in the highest as the most literary sense1 with a calm entireness of unaffected resolution1 which sacrifices nothing1 forgets nothing1 and fears nothing4 ,of his fidelity in portraiture and his fine perfection in accessories1 we have a magnificent example in the picture before us1 to which what ,ruskin says of ,holbein's ,george ,gyzen 7at ,berlin7 equally applies4 ,in some qualities of force and grace it is inferior4 ,but it is inexhaustible4 ,every detail of it wins1 retains1 rewards the attention with a continually increasing sense of wonderfulness4 ,so far as it reaches1 it contains the absolute facts of colour1 form1 and character rendered with an inaccessible faithfulness4 ,there is no question respecting things which it is best worth while to know1 or things which it is unnecessary to state1 or which might be overlooked with advantage4 ,what were visible to ,holbein1 are visible to us2 we may despise if we will2 deny or doubt1 we shall not2 if we care to know anything concerning them1 great or small1 so much as may by the eye be known is for ever knowable1 reliable1 and indisputable4 ,but ,holbein1 as we have seen1 was much more than a portrait-painter4 ,few artists1 indeed1 have excelled him in majestic range of capacity4 ,his ,madonna at ,darmstadt1 referred to above 7the better known copy of which is at ,dresden71 is one of the great religious pictures of the world4 7,a copy of it is in the ,arundel ,society's ,collection47 ,he was also a fresco-painter1 a designer for glass painting1 and a draughtsman for woodcuts2 his designs for the ,dance of ,death being the typical expression in ,northern art of the spirit of the ,reformation4 7,for ,ruskin's estimate of ,holbein1 see further ,sir ,joshua ,holbein1 reprinted in ,on the ,old ,road1 vol4 i41 and ,ariadne ,florentina1 passim47 ,this celebrated picture is1 says ,mr4 ,sidney ,colvin1 the most important among ,holbein's works--after the ,darmstadt ,madonna--that are extant in good preservation1 important alike as to scale1 and as to richness and multiplicity of accessories and costumes4 ,it is also one of those most characteristic of the master1 both in his excellences and in his faults4 ,there are more completely satisfying works among his single-figure portraits1 in some of which we find a greater artistic unity--as1 for instance1 in the portrait of ',christina1 ,duchess of ,milan4' ,among the faults in the present work may be noticed the short proportions of the figures in relation to the heads--an effect exaggerated in the case of the personage on our left by the fashion of the broad surcoat with its great puffed sleeves4 ,it must further be admitted that ,holbein1 who in decorative and ornamental design was one of the most inventive1 adroit1 and powerful composers that ever lived1 has in this instance seemed to let his composition take care of itself4#bci ,the figures are placed at either end of the desk1 with a certain naf stiffness almost recalling the pose of a photographic group4 ,moreover1 masterly and energetic as are the heads in modelling1 in expression they are somewhat rigid1 harsh1 and staring4 ,yet1 all deductions made1 with what an effective and potent grasp does the picture hold us6 ,the colouring is richer and more varied than in any other painting of the master4 ,the accessories are painted with such strong minuteness of reality and diligent1 though never paltry1 emphasis of detail1 that their due subordination to the whole and to the personages would seem impossible4 ,but the subordination is there all the same1 and how it comes is ,holbein's secret4 ,the total effect is one of singularly rich1 if somewhat rigid grandeur2#bdj the persons dominating as they should2 the faces and hands remaining the master features of the picture4 ,the heads1 with their hard gaze1 lay hold on the spectator masterfully1 so that he cannot forget them after he has passed away 7,art ,journal1 ,january #ahij74 ,the brilliance of the picture1 now that the discoloured varnish which formerly concealed many of its beauties has been removed1 is very remarkable4#bda ,every colour appears to have stood2 and after #cgj years the picture remains in its pristine freshness4 ,the identity of the personages portrayed in the picture had long been a subject for critical conjecture among the ingenious4 ,the picture was traditionally known as ,the ,ambassadors1 and the name of almost every ambassador of the period had at one time or another been suggested2 while other critics1 maintaining that the traditional title rested on no good authority1 went further afield and sought to identify the personages with various poets and men of letters1 to whom the accessories in the picture seemed appropriate4#bdb ,the matter has now1 however1 been finally set at rest by the discovery of a seventeenth-century manuscript1 which gives a description of the picture and records its history during the first #abj years of its existence4#bdc ,this manuscript1 presented by ,miss ,mary ,hervey 7who discovered it71 is now hung in another part of the ,gallery 7in the small room marked ,a on our plan74 ,the traditional title of the picture is confirmed1 for the portraits are of ,jean de ,dinteville 7on the left71 ,french ,ambassador in ,england1 and ,george de ,selve 7on the right71 ,bishop of ,lavaur1 and subsequently ,ambassador at ,venice4 ,the two men1 we learn from the ,,ms41 were friends2 and in #aecc1 the year in which the picture was painted1 ,george de ,selve came to ,england1 by permission of the ,french king1 on a visit to ,jean de ,dinteville3 and the two1 having there met with an excellent painter of ,holland1 employed him to make this picture1 which has been carefully preserved in the same place at ,polizy up to the year #afec4 ,the document itself is convincing1 and its identification of the personages agrees with what may be learnt from an examination of the picture4 ,there are three inscriptions on it4 ,one is on the sheath of the dagger which hangs from the girdle of the personage on the spectator's left4 ,this inscription is3 ,t4 ,,sv #bi4 ,on the edges of a clasped book1 upon which the second personage leans1 is another inscription3 ,,tatis ,,sv #be4 ,thirdly1 in the shadow cast on the floor by the chief personage is the inscription3 ,,iohannes ,,holbein ,,pingebat1 #aecc4 ,jean de ,dinteville1 ,seigneur of ,polizy1 ,bailly of ,troyes1 ,chevalier de l',ordre du ,roi1--the order of ,st4 ,michael1 which he wears in the picture1--was born ,september #ba1 #aejd1 and was1 therefore1 in his #bith year1 or just the age required by the picture1 at the time of his first ,embassy to ,england in #aecc4 ,he remained in this country from ,february to ,november of that year1 returning again as ,ambassador in #aecf4 ,at a later period of his life he became paralysed and retired to his estate at ,polizy1 where he occupied the enforced leisure of his ill-health in building and embellishing the chteau1 of which a vaulted undercroft and a few other striking fragments1 including an inscription and some dates1 yet remain as a monument to his tastes4 ,he died in #aeee4 ,on the globe1 which stands on the lower shelf of the what-not1 the names are all of continents1 countries1 or great cities1--,paris1 ,lyons1 ,bayonne1 ,genoa1 ,rome1 ,nuremberg1--with the single exception that1 in the east of ,france1 we find the name of what is little more than a village4 ,this name is ,polizy4 ,george de ,selve1 ,bishop of ,lavaur1 was one of six brothers1 nearly all of whom attained distinction as ,ambassadors4 ,in #aebf1 at the early age of #ah1 he was appointed to the ,see of ,lavaur1 but he was not consecrated until #aecd1 when he was #bf4 ,it follows from these dates that in #aecc1 the year in which he sat to ,holbein1 he was #be years old1 or precisely of the age recorded in the picture4 ,his non-episcopal dress is explained by the fact that he was only consecrated in the following year1 the same in which he was appointed ,ambassador at ,venice4 ,in #aecf he was transferred to ,rome1 where he remained two years1 and in #aedj we find him intrusted with an important mission to ,charles ,v4 ,having voluntarily returned to his diocese when at the zenith of his career1 in order to devote himself completely to his episcopal duties1 he died in #aedb 7,n4,s47 at the early age of #cd4 ,his profound learning1 his piety1 his keen interest in all intellectual pursuits1 make him one of the remarkable figures of his day4 ,some further description of the details may assist the spectator in his examination of the picture4 ,the background is hung with green damask1 which in the upper left-hand corner reveals a silver crucifix4 ,jean de ,dinteville1 the figure on the left1 habited in the rich costume of the period of ,henry ,,viii4 and ,francis ,i41 wears a heavy gold chain with the badge 7as already explained7 of the ,french ,order of ,st4 ,michael4 ,in his right hand he holds a richly-chased gold dagger1 the design of which is manifestly ,holbein's own2 and beside it hangs a large green and gold silk tassel1 in itself a miracle of painting4 ,in his black bonnet is a jewel formed of a silver skull set in gold4 ,the other personage is more soberly attired4 ,he wears a loose1 long-sleeved gown of mulberry and black brocade1 lined with sable1 and the four-cornered black cap1 which was in that age the common headgear of scholars1 university doctors1 and ecclesiastics in undress4 ,the contrast between the swordsman on one side and the gownsman on the other is characteristic of the era and profession of the two ambassadors4 ,the upper shelf of the stand1 or what-not1 between the two figures is covered with a ,turkish rug1 very beautifully painted1 and on this are several mathematical and astronomical instruments1 and1 close to the principal personage1 a celestial globe4 ,conspicuous on the lower shelf is a lute1 of which one of the strings was broken and curled up over the unbroken one4 ,on the lower shelf also are a case of flutes2 an open music-book1 containing part of the score and words of the ,lutheran hymn1 ,komm1 heiliger ,geist2#bde a smaller book on arithmetic1 kept partly open by a small square1 a pair of compasses1 and a terrestrial hand-globe 7in direct line below the other globe74 ,on this globe the famous line drawn by ,pope ,alexander ,,vi4 in #adic between the spheres of influence of ,spain and ,portugal is marked4 ,underneath the what-not is the lute-case2 and a fine mosaic adorns the floor4 ,the design of this is 7as ,miss ,hervey points out7 an accurate copy of the well-known mosaic pavement in the ,sanctuary of ,westminster ,abbey1 for the construction of which marbles and workmen were brought from ,italy by ,abbot ,richard ,ware in the reign of ,henry ,,iii4 ,nothing brings the ,english sojourn of the great painter more closely home to us than to fancy him wandering through the aisles of the venerable ,abbey--venerable even then--to sketch the outlines of the historic pavement trodden by so many generations before and since that time4 ,on the floor is a mysterious-looking object1 which puzzled the connoisseurs for centuries4 ,even the late ,mr4 ,wornum could make nothing of it2 and in his book on ,holbein 7#ahfg7 dismissed it as a singular object which looks like the bones of some fish4 ,the puzzle was first solved by ,dr4 ,woodward in #ahgc1 when the picture was hung in the ,old ,masters ,exhibition4 ,the curious fish-like object is simply the anamorphosis--the distorted projection--of a human skull4 ,it was probably drawn from the reflection in a cylindrical mirror2 and it is seen to be an accurate representation when viewed from the proper point4 ,if the spectator cannot discover this for himself1 the attendant will readily assist him4 ,one must stand at a little distance off and look in the direction of the length of the object from the right hand in order to find the skull4 ,pictorial puzzles such as the skull were at the time not uncommon4 ,allusions to such things are to be found in old inventories of pictures2 and ,shakespeare in ,richard ,,ii4 says3 ,like prspectives1 which1 rightly gazed upon1 ,show nothing but confusion3 eyed awry ,distinguish form4--,act ,,ii4 ,sc4 #b4 ,similarly1 ,canon ,ainger has pointed out that in ,twelfth ,night1 when the ,duke first becomes aware that ,viola and ,sebastian1 who had up to that time from their exact likeness been thought the same person1 are really two1 he cries out that here is a puzzle in nature corresponding to those in art1 where an object varies according to the point of view from which it is regarded3 ,a natural perspective--that is and is not6 ,as to the interpretation and significance of the puzzle1 authorities differ4 ,some see in the skull only a punning signature of the painter's name 7hohl bein1 hollow bone1 holbein74 ,others discover in it a recondite allusion to ,cranmer 7crne-mre74 ,others again1 when the identity of the personages was still in dispute1 sought to connect the skull with the death of one or other of them2 most ingenious and far-fetched theories were elaborated by ,sir ,f4 ,burton and others with this object4 ,probably1 however1 the distorted skull is only a variant on the memento mori1 which occurs very frequently in portraits of the time 7see1 for instance1 ,no4 #ajcf74 ,it may be 7as ,miss ,hervey suggests7 that ,dinteville had adopted the death's-head as his personal badge or devise4 ,he suffered from ill-health1 and in a letter to his brother describes himself as the most melancholy ambassador that ever was seen4 ,there is still a field open to conjecture with regard to the elaborate accessories described above4 ,mr4 ,sidney ,colvin thinks1 indeed1 that the globes1 quadrant1 music-book1 etc41 are probably simply introduced by the painter to show his skill of hand for the satisfaction of his patrons1 the choice of objects having been made partly in compliment to them as persons interested in music and the sciences1 partly because they were the properties readiest to hand in the society of such men as ,kratzer1 the astronomer1 and the ,german merchant goldsmiths of the ,steelyard1 among whom ,holbein lived 7,times1 ,dec4 #aj1 #ahie74 ,miss ,hervey sees in the accessories a record1 probably unique in the domain of art1 of the thoughts and studies1 the hopes and fears1 which swayed the country and generation of ,jean de ,dinteville4 ,the objects selected for illustration precisely represent the pursuits and occupations most in vogue at the time in ,france4 ,geometry and ,mechanics1 the foundations of the builder's art1 just then attaining classical expression in the lovely creations of the ,french ,renaissance2 ,music1 especially that of the lute1 which was so fashionable that every ,frenchman of exalted position carried a lutist in his train2 the ingeniously contrived and artistically rendered devise2 these1 as the literature of the period abundantly testifies1 were among the favourite studies and pastimes of the ,court of ,france4 ,dinteville must have devoted many an hour to thinking out with the painter the elaborate details4 ,a different contention has been argued with much ability by ,mr4 ,alfred ,marks3-- ,the scheme of the picture is very unusual4 ,at either end of a table of two stages stands a figure in a ceremonious attitude4 ,between these figures1 the two stages of the table1 occupying the middle and most prominent portion of the picture1 are loaded with numerous accessories4 ,the method of their display forbids us to suppose that1 as suggested by ,mr4 ,colvin1 they are here merely to show the painter's skill of hand4 ,indeed1 the whole scheme of the picture--pose of figures and arrangement of accessories--tells of some occasion which the picture is designed to commemorate1 or1 let us say1 perhaps1 some occasion of which advantage has been taken to place the personages in a situation of more than ordinary interest4 ,what this occasion was the picture1 as we shall find1 declares with sufficient plainness4 ,holbein's symbolism was simple and direct4 ,does he desire to convey that his sitter is a merchant8 ,the figure is represented as holding a bond2 other bonds lie on a table1 together with a seal and a pen4 ,or1 if he is portraying an astronomer1 he introduces a quadrant1 dials1 compasses1 and other instruments of the craft4 ,in the ,two ,ambassadors the symbolism is1 from the nature of the case1 not personal to each of the two figures1 but applicable to the occasion4 ,the lute1 instrument of harmony1 was already1 as has been shown by ,mr4 ,dickes see ,magazine of ,art1 ,december #ahia and ,june #ahib1 the accepted symbol of a treaty2 the suggestion is strengthened by the introduction of a case of flutes4 ,the occasion commemorated is1 therefore1 a treaty4 ,nor are we left in doubt as to the nature of this treaty2 the globes celestial and terrestrial1 the compasses1 dials1 quadrants1 merchants' calculating book1 clearly indicate that the treaty was one relating to commerce or navigation4 ,mr4 ,marks discovers in support of his theory that in #aecc 7the date of the picture7 some agreement was arrived at between ,king ,henry ,,viii4 and the ,french ,ambassador with regard to certain grievances of ,french merchants4 ,george de ,selve1 as we have seen1 came over to ,england with the ,french ,king's permission and assisted ,dinteville1 it is suggested1 in the arrangement1 the conclusion of which is celebrated by ,holbein's picture 7,times1 ,dec4 #g1 #ab1 #bc1 #ahie74 ,with regard to the provenance of the picture1 in the year #afec it was still1 as we have seen1 at the chteau of ,polizy4 ,the next known notices of it occur in a ,rouen catalogue of #aghg1 and in the ,galerie des ,peintres 7#agib7 of ,j4 ,r4 ,p4 ,lebrun 7husband of the artist ,vige-,lebrun71 who had the picture in his possession1 and states that he had sold it1 and that it was then in ,england4 ,it seems probable that it came into the hands of the dealer ,vandergutsch1 and that from him it was purchased by the second ,earl of ,radnor about #ahjh or #ahji1 in whose family it became an heirloom4 ,in #ahia it was purchased from the present earl for the nation4#bdf #acae4 ,,the ,,admiral ,,pulido ,,pareja4 ,velazquez 7,spanish3 #aeii-affj74 ,see #aig4 ,one of the master's most famous works4 ,in the year #afci1 says ,palomino1 he made the picture of ,don ,adrian ,pulido ,pareja1 a native of ,madrid1 ,knight of the ,order of ,santiago1 ,admiral of the ,fleet of ,new ,spain1 who about that time was here transacting various official matters with ,his ,majesty4 ,this portrait is life size1 and is among the most famous painted by ,velazquez1 on which account he put his name to it1 which he otherwise seldom did3 ,didacus ,velazquez fecit2 ,philip ,,iv4 cubiculo eiusque ,pictor1 anno #afci4 ,the painter's signature was not the only thing which served at the time to stamp the picture as one of special excellence4 ,the ,king one day was paying his customary visit to the painter2 ,philip mistook the picture for the admiral himself1 and rebuked him for tarrying in ,madrid when he had been ordered away4 ,perceiving his mistake1 he addressed ,velazquez with the words3 ',i assure you ,i was deceived4' ,this1 of course1 says ,mr4 ,colvin1 is one of the common legends which abound in the art history of all countries1 from ,greece to ,japan2 but it is almost possible to believe the tale when we look at the picture4 ,something of the rugged flashing power and fierce eagerness of the sitter seems to have passed into the painter's hand1 and the method of execution he has chosen emphasises and harmonises with the character of the subject4 ,the rude soldier-sailor in his handsome suit stands in bodily and spiritual presence before us1 and seems snorting with impatience to be off to the fight once more4 ,pulido1 the subject of the picture1 was a captain who distinguished himself greatly during the siege of ,fontarabia1 in the war with ,france4 ,the browned face with gleams of white light belongs1 says ,professor ,justi1 in describing the picture1 to a not uncommon ,castilian type1 of which this is an exceptionally stout1 sturdy1 grim specimen4 ,the thick black shady eyebrows1 very bushy and nearly meeting above the nose1 the perpendicular wrinkle right in the middle of the forehead1 the up-twirled mustachio1--the whole enframed in an abundant mass of black hair parted on one side and profusely crowning the defiant head1--bespeak the dauntless soldier as he stood on the ramparts of ,fontarabia1 as he will yet stand on the quarter-deck of the ,admiral's ship in the hottest of the fight4 ,there is nothing of the courtier in the attitude1 for he stands bolt upright1 like a soldier before his commanding officer4 ,we see at once that he is not the man to hesitate about risking his own life or that of others in the deadly jaws of a breach4 ,both hands wear the yellow leather gloves1 the right holding the ,admiral's staff1 the left a very broad-brimmed felt hat4 ,on his breast is the red1 gold-hemmed scarf and the red enamelled decoration of the ,order of ,santiago--which the ,king had bestowed upon him for his gallantry in the siege4 ,with regard to the technique of the picture1 ,palomino tells us that ,velazquez painted it with brushes of unusual length1 in order to work with greater force and effect standing at a distance4 ,it appears in fact 7says ,professor ,justi7 to have been very broadly treated1 with more fiery vigour than delicacy4 ,the light yellow-gray ground--dark above1 and without any relation to the limits of wall and floor--has been specially prepared with reference to the black velvet costume4 ,don ,adrian stands a little to the left1 his glance directed towards the observer1 legs#bdg brought close together1 feet almost at a right angle4 ,the colour is applied more freely than usual1 the otherwise rarely employed dazzling white patches on the deep lace collar1 flowered satin sleeves1 plumes1 bows on the knees1 and accoutrements1 helping the illusion4 #acaf4 ,,an ,,italian ,,nobleman4 ,moroni 7,bergamese3 #aebe-aegh74 ,see #fig4 ,inferior in charm and interest to some of the other ,moronis previously in the ,national ,gallery1 and to many of the master's marvellous pictures in the ,carrara ,collection at ,bergamo4 ,only1 says a recent critic1 in the expressive look in the dreamy eyes1 and in the drawing and painting of the left arm1 clothed in chain-armour1 do we find interest4 ,another1 and more favourable1 critic 7,mr4 ,sidney ,colvin7 says3 ,dignity and directness of presentment1 richness of quality and mellowness of tone1 with a colour-sense never more powerfully shown than when the scheme is one of flesh-colour with simple black and white on gray--these are the universal qualities of ,venetian portrait-painting4444 ,this is a thoroughly characteristic example in an excellent state4 ,we already possess a portrait by the same hand1 composed of much the same elements 7#ajbb73 a man in a close-fitting black suit1 showing chain-armour on the sleeves1 a broken column1 a wall1 and a glimpse of sky4 ,the two will make admirable pendants4 #acag4 ,,the ,,marriage ,,of ,,the ,,virgin4 ,unknown 7,sienese ,school3 #adth or early #aeth ,century74 ,this is one of the stock subjects in which the evolution of ,italian art may be most clearly traced4 ,everybody knows the beautiful and celebrated ,sposalizio of ,raphael at ,milan1 which in its turn was copied1 with some characteristic modifications1 from ,perugino's picture1 now at ,caen4 ,comparing those versions of the subject with an early one such as this1 every one will be struck by the difference in general effect1 but not less remarkable are the resemblances4 ,the type1 so far as the component parts are concerned1 remains constant4 ,the basis of the tale which ,italian painters told for century after century is found in two of the apocryphal gospels4 ,in them we read how the ,virgin of the ,lord was brought up1 like ,samuel1 within the precincts of the temple1 and how the ,high ,priest summoned the suitors to an ordeal4 ,every man of them was to take a rod1 and he whose rod should miraculously put forth leaves and blossom was to be chosen as husband4 ,the common features of all ,sposalizio pictures adhere closely to this legend4 ,thus the action always takes place within or just outside the temple4 ,in the centre stands the ,high ,priest with a long gray beard and 7almost always7 a high-peaked mitre1 the ,italian painters' idea of a ,jewish ephod4 ,he joins the hands of the pair in betrothal4 ,the rod of ,joseph blossoms1 and above its foliage hovers the ,holy ,spirit in the form of a dove4 ,one of the suitors is about to strike ,joseph in his passion2 another is engaged in breaking his rod in vexation4 ,raphael makes the mien of the suitors much more gentle4 ,he leaves out the passionate suitor altogether1 but gives to the disappointed suitor a prominent place as an opportunity for a graceful attitude4 ,in this picture he is very much in the background 7in the extreme left-hand corner74 #acah4 ,,unfaithfulness4 ,paolo ,veronese 7,veronese3 #aebh-aehh74 ,see #bf4 ,one of a series3 see under #acbd-bf4 #acai4 ,,view ,,in ,,rome4 ,claude 7,french3 #afjj-afhb74 ,see #b4 ,on the right of the composition are an ancient ,ionic portico 7seen from the side7 and a statue of ,apollo1 surrounded by trees4 ,on the left is a wooded slope1 beyond which1 in the middle distance1 is seen the church of ,sta4 ,trinita de' ,monti with other buildings4 #acbj1 #acba4 ,a ,,man ,,and ,,his ,,wife4 ,cornelis ,janssens 7,dutch3 #aeid-affd74 ,this painter--,cornelis ,janssens van ,ceulen--is believed to have been born in ,london4 ,he was taken into the service of ,james ,i41 whose portrait he painted several times4 ,in the ,national ,portrait ,gallery are portraits by him of ,sir ,edward ,coke and ,lord ,coventry4 ,his reputation waned somewhat after the arrival of ,van ,dyck1 whose portrait he painted and whose influence may be noticed in the pictures now before us4 ,in the ,dulwich ,gallery are two pictures formerly ascribed to ,van ,dyck1 but now to ,janssens4 ,in #afdh ,cornelius ,johnson1 picture-drawer was permitted by the ,speaker's warrant to pass beyond seas with such goods and chattels as belonged to himself4 ,on his return to ,holland1 he seems to have worked at ,middelburg1 at the ,hague1 and at ,amsterdam4 ,pictures by him may be seen in all those places4 ,his portraits are sometimes stiff in conception1 but are remarkable for the lively tranquillity of the countenances4 ,none of the artists excelled him in painting the lace collars and cuffs which were the reigning fashion of the time4 ,the man is ,aglonius ,voon2 the woman 7presumably his wife71 ,cornelia ,remoens3 the names are inscribed above their heads4 #acbc4 ,,piero ,,di ,,medici4 ,angelo ,bronzino 7,florentine3 #aejb-aegb74 ,see #fdi4 ,a portrait of ,piero1 son of ,cosimo the elder--surnamed ,il ,gottoso1 ,the ,gouty--who died in #adfi4 ,bronzino was employed to paint the portraits of many members of the ,medici family4 ,no4 #gjd is a contemporary portrait of one of the later ,dukes4 #acbd4 ,,scorn4 #acbe4 ,,respect4 #acbf4 ,,happy ,,union4 ,paolo ,veronese 7,veronese3 #aebh-aehh74 ,see #bf4 ,the four ,veroneses 7#acbe1 #acbd1 #acah1 and #acbf71 acquired from ,cobham ,hall1 obviously formed a series1 or portions of a series1 of enrichments for a ceiling1 and must be looked at accordingly4 ,they exhibit the decorative power of ,veronese at a very high pitch in respect to colour1 composition1 and action1 while his characteristically large and bold style of design and draughtsmanship are most fortunately employed upon them4 ,one may readily conceive the magnificence of the saloon for which they were executed1 and of which they must have been the chief ornaments4 ,sumptuous as they are now1 their superb qualities would be enhanced if they could be seen with all their original accompaniments of gilding1 carved frames1 and magnificent furniture 7,athenum1 ,august #af1 #ahij74 ,the subjects of the pictures are moral allegories1 and they go in pairs4 ,thus we have first ,respect 7#acbe7 and ,scorn 7#acbd74 ,in the former picture1 a nude female figure--whose beautiful face recalls that of the ,st4 ,helena 7see ,no4 #ajda7--;is seen recumbent on a couch1 asleep or lost in dreams4 ,cupid is leading a warrior1 clad in sumptuous costume1 but he turns aside1 held back by an older man1 in chivalrous respect4 ,he is contrasted in the companion picture with another male figure1 who lies prostrate while a ,cupid tramples in scorn upon him4 ,on the left two females 7contrasting with the two men in the former pictures7 are hurrying away4 ,the elder carries an ermine1 the emblem of purity1 and guides the younger and more beautiful woman whom she has rescued from peril4 ,in the other two pictures the faithfulness and unfaithfulness of woman are similarly contrasted4 ,in ,unfaithfulness 7#acah7 a nude female figure1 seated on a bank with her back turned to the spectator1 extends her arm towards a man who grasps her right hand1 while she with her left is employed in furtively delivering a letter to a more youthful lover on the other side4 ,he is of the same type as the figure of ,alexander in the ,family of ,darius 7#bid74 ,finally1 in ,happy ,union 7#acbf7 the painter shows us the reward of faithfulness4 ,here a ,cupid is introducing a warrior to a queenly figure--whom we may take to personify ,fame or ,fortune--seated on a globe at the entrance to some palace4 ,she is placing a wreath upon the man's brow2 he is led by a beautiful woman who carries a palm which she is about to present to him4 ,she in her turn is guided by a little ,love who has hold of a golden chain around her waist4 ,a dog is also in attendance4 ,it is a pretty trait of the ,venetian schools1 the frequency with which a pet dog is introduced into scenes of domestic felicity4 ,the prices paid for these pictures are interesting4 ,they belonged at one time to ,queen ,christina of ,sweden1 and afterwards passed into the ,orleans ,collection4 ,at the sale of that collection1 the ,tintoret fetched #ej1 and the four ,veroneses #aih4 ,lord ,darnley made a handsome unearned increment out of them4 ,for the ,tintoret and one of the ,veroneses 7#acah7 the nation paid #bejj4 ,for two more of the ,veroneses the same price was paid4 ,the fourth ,veronese 7#acbe7 was presented by ,lord ,darnley4 #acbg4 ,a ,,winter ,,scene4 ,jan van ,goyen 7,dutch3 #aeif-afef74 ,see #acg4 ,the scene is an arm of the ,maes1 near ,dordrecht2 the ice being covered with skaters1 hockey-players1 and others4 ,the figures are treated with considerable humour4 ,in the distance rises the tall ruin1 which is shown in so many of ,cuyp's pictures4 ,van ,goyen's signature and the date #afdb are conspicuous on a sleigh in the foreground4 #acbi4 ,,an ,,interior4 ,quiryn ,brekelenham 7,dutch3 #afbe-affh74 ,a native of ,zwammerdam near ,leyden1 in which town he joined the ,guild of ,st4 ,luke in #afdh4 ,he was a pupil of ,gerard ,dou1 but did not adopt the high finish of that master2 his style may be called an admixture of that of ,dou with that of ,rembrandt4 ,he was a painter of quiet interiors1 industrious households1 and kitchen scenes4 ,inspired by ,rembrandt's teaching1 he placed his figures in a beautiful amber light4 ,they are neither too graceful nor too striking1 but singularly lifelike and truthful4 ,the scenes in which he delights are always quiet1 modest1 and sober in movement and expression4 ,his touch is free1 supple1 and soft 7,havard3 ,the ,dutch ,school1 p4 #ahb74 ,some of his best works are in the ,ryks ,museum at ,amsterdam4 ,our picture is signed1 and dated #afec4 #accj4 ,,the ,,transfiguration4 ,duccio 7,sienese3 about #abfj-acdj74 ,see #eff4 ,clinging more closely to ,byzantine traditions than any other of the works of ,duccio in the ,gallery1 is the panel of ',the ,transfiguration1' with the folds of the drapery indicated by gold lines4 ,the elements of this ancient design1 like those of nearly all the ,byzantine conceptions of scenes of sacred history1 were never wholly departed from2 they remain still quite recognisable in ',the ,transfiguration' of ,raphael 7,monkhouse3 ,in the ,national ,gallery1 p4 #af74 #acca4 ,,virgin ,,and ,,child4 ,bernardino ,fungai 7,sienese3 about #adfj-aeaf74 ,in flatness1 absence of chiaroscuro1 and use of gilding1 he partakes of the ,sienese ,school1 resembling1 for instance1 ,matteo di ,giovanni 7#aaee74 ,but he is rather pleasing in his children and angels1 where he is influenced by ,perugino2 also in his landscapes1 which1 though peculiar in their faint blue distance1 recall ,pinturicchio4 ,a characteristic of the master is the heaviness of his hands at the fingers' ends 7,layard's edition of ,kugler1 i4 #bje74 ,fungai may best be studied in the ,accademia of ,siena4 ,the style of this painter is dismissed by ,lanzi as dry1 and by another authority as dry and stiff4 ,there is a certain stiffness1 undoubtedly--due probably in part to religious symbolism--in the hands of the ,virgin and in the upraised finger of the ,child1 and in those of the otherwise human and chubby cherubim4 ,but there is nothing dry or stiff in the pretty faces of these children1 or in the gracious and beautiful face of the mother4 ,she is clad in a white-and-gold brocade of very beautiful pattern4 ,one of the finest of the kind known to us1 it appears1 says the ,athenum1 to be of ,venetian origin1 and is a pure and perfect diaper1 instinct with the choicest ,gothic grace and harmony of line1 and betraying but the slightest touch of ,orientalism4 ,this circumstance attests that the brocade did not come from a ,sicilian loom1 while other elements prohibit us from ascribing it to an ultramontane craftsman4 ,the landscape background1 which has sadly darkened1 has many quaint figures--on one side ,mary1 ,joseph1 and a cow2 on the other1 the ,three ,kings and their attendants4 #accb4 ,,george1 #a,,st ,,earl ,,of ,,berkeley4 ,g4 ,netscher 7,dutch3 #afci-aghd74 ,see #hdc4 ,the first ,earl of ,berkeley--a man of considerable note in his day1 and the author of a religious work to which some complimentary couplets by ,waller have given a kind of immortality--was born in #afbh and died in #afih4 ,he was one of the ,commissioners nominated in #affj to proceed to the ,hague to invite ,charles to return to the kingdom1 and shortly afterwards he received various important appointments4 ,in #afhh1 after the flight of the ,king1 he was one of the lords assembled at the ,guildhall to draw up the celebrated declaration constituting themselves a provisional government until such time as the ,prince of ,orange should arrive4 #accc4 ,,the ,,deposition ,,from ,,the ,,cross4 ,tiepolo 7,venetian3 #afib-agfi74 ,see #aaib4 #accd4 ,,the ,,fortune-,,teller4 ,pietro ,longhi 7,venetian3 #agjb-agfb74 ,see #aajj4 ,a girl1 in the hooped dress and three-cornered hat of the #ahth century1 is having her hand read by a fortune-teller1 while a cloaked cavalier1 standing near in a white domino1 watches the result4 #acce4 ,,the ,,madonna4 ,unknown 7,french ,school3 #aeth ,century74 ,the face is most delicately executed2 the white head-cloth and gown are covered by a blue mantle1 which is jewelled and embroidered at the edge4 ,the originally gold background is now brown2 the nimbus of the ,virgin is punctured in a beautiful foliated design4 #accf4 ,,the ,,death ,,of ,,dido4 ,ascribed to ,liberale da ,verona 7,veronese3 #adea-aece74 ,see #aacd4 ,painted probably to adorn the front of a cassone or marriage-chest4 ,the buildings of the forum in which the pyre stands are copied from well-known monuments at ,verona4 ,in the background on the left are seen two spectators in the everyday costume of the artist's contemporaries4 ,the one on the left-hand side seems from his dress to be a ,german4 ,drer has portrayed himself in an exactly similar way4 ,the identity of the person thus represented will always remain hypothetical2 nevertheless1 the soldier leaning on his lance1 on the extreme right1 points directly to ,drer1 for the figure is taken from a well-known engraving by him 7,dr4 ,richter in the ,art ,journal1 ,february #ahie74 #accg4 ,,ecce ,,homo6 ,bazzi 7,lombard3 #adgg-aedi74 ,see #aadd4 ,probably part of a picture of ,christ bearing ,his ,cross4 ,the face wears a gentle1 grave1 and dignified expression on features of a noble type4 #acch4 ,,the ,,adoration ,,of ,,the ,,shepherds4 #acci4 ,,the ,,nativity ,,of ,,st4 ,,john4 ,bernhard ,fabritius 7,dutch3 painted #afej-afgb74 ,of this painter very little is known4 ,he was a member of the ,painters' ,guild at ,leyden1 and it is clear from his works that he was a disciple of ,rembrandt4 7#acch74 ,the subject is treated with ,dutch directness4 ,it is a ,dutch interior with ,dutch peasants4 ,an opening in the roof discloses a peep of landscape in the light of early dawn4 7#acci74 ,somewhat more academic in treatment4 ,the infant saint lies in a wicker cradle1 at the foot of which lies ,st4 ,elizabeth1 who offers an apple to another child standing by the side of its nurse or mother4 ,to the right of the picture ,st4 ,zacharias writes on a tablet the record of the birth4 #acdj4 ,,landscape4 ,roeland ,roghman 7,dutch3 #aeig-afhf74 ,roghman is a landscape-painter widely known by his drawings and etchings4 ,he was a friend of ,rembrandt4 ,his pictures usually represent views in ,holland and on the borders of ,germany1 but he travelled also in the ,tyrol4 ,his works exhibit a close attention to nature in the forms1 but his colour is dark and disagreeable 7,bryan74 #acda4 ,a ,,woodland ,,scene4 ,cornelius ,decker 7,dutch3 died #afgh74 ,see #acd4 #acdb4 ,,landscape4 ,j4 de ,wet 7,dutch3 #agth ,century74 ,this is the only landscape subject known to bear the signature of ,j4 de ,wet2 other works so signed are of biblical subjects4 ,a ,jan de ,wet1 a native of ,hamburg1 was a pupil of ,rembrandt1--a tutelage not inconsistent with the style of this picture4 #acdc4 ,,amsterdam ,,musketeers ,,on ,,parade4 ,unknown 7,dutch ,school3 about #afej74 ,formerly attributed to ,govert ,flinck 7#afae-affj71 who was a pupil of ,rembrandt1 and was commissioned to paint many considerable works for the ,town ,hall of ,amsterdam4 ,observe the group of officers on the left2 one bears a standard embroidered with the arms of that city4 #acdd4 ,a ,,landscape4 ,salomon ,ruysdael 7,dutch3 #afjj-afgj74 ,a good example of one of the founders of the ,haarlem ,school of ,landscape1 uncle of the more famous ,jacob ,ruysdael4 ,like his nephew1 he was a member of the sect of ,mennonites4 ,he appears to have had some talent for business2 he was a prominent officer to the ,haarlem ,guild of ,st4 ,luke1 and there is a story of his having invented a sort of imitation marble1 by the sale of which he was able to live in easier circumstances than the majority of his artistic brethren4 ,salomon's work resembles much that of ,van ,goyen 7see #acg71 and it is difficult to distinguish early works by the two painters4 ,afterwards they diverged4 ,van ,goyen prefers the round forms of the clouds that on a fine summer day overhang the ,maas2 his brush always plays with the delicacy of their shadows1 and loves to turn a landscape into what the moderns would call 'a harmony of gray and silver4' ,salomon ,ruysdael is by no means so reticent in the matter of colour4 ,his skies in his later period are frankly blue 7,quarterly ,review1 ,october #ahia74 ,there is in this picture a peculiarly sharp1 clear1 and firm touch1 very like that of ,stark of ,norwich4 ,the warm1 deep-toned evening sky is admirable 7,athenum74 ,the picture is signed1 and dated #afei4 #acde4 ,,landscape4 ,jan ,wouwerman 7,dutch3 #afbi-afff74 ,jan was a younger brother and pupil of the more famous ,philips 7see #hgh74 ,some works by another brother1 ,pieter1 may be seen in the ,dulwich ,gallery4 #acdf4 ,a ,,winter ,,scene4 ,hendrik van ,avercamp 7,dutch3 #aehe-affc74 ,a characteristically animated work by the ,mute of ,kampen1 as this painter was called4 ,he was the son of a schoolmaster4 ,he was born dumb1 and documents have been discovered in which his mother speaks of her dumb and pitiable son4 ,having shown an early talent for drawing1 he was placed with a painter at ,amsterdam1 and there and at the ,hague he practised until #afbe4 ,he afterwards joined his widowed mother at ,kampen4 ,in her will of #afcc she made provision for him in order that he may not be a burden on his brothers and sister4 ,he loved especially to depict lively scenes of winter sport4 ,he defines his figures sharply against the ice and snow4 ,the refined modulations of tint and the delicacies of aerial perspective1 aimed at by painters of such scenes in the middle of the #agth century1 are seldom found in ,avercamp's works 7,official ,catalogue74 #acdg4 ,,farmyard ,,scene4 ,isaak van ,ostade 7,dutch3 #afba-afdi74 ,see #hdg4 ,the crisp touch and golden light in this ,cuyp-like picture will please all lovers of ,dutch art4 #acdh4 ,,landscape ,,with ,,goat ,,and ,,kid4 ,adrian van de ,velde 7,dutch3 #afce-afgb74 ,see #hfg4 ,a pleasant twilight effect4 #aceb4 ,,landscape4 ,f4 de ,moucheron 7,dutch3 #afcc-afhf74 ,see #hdb4 ,the signature of the artist is on the cornice of one of the buildings4 ,possibly ,lingelbach 7see #hcg71 who often worked with ,moucheron1 painted the figures4 #acec4 ,,landscape ,,with ,,satyrs4 ,martin ,ryckhaert 7,flemish3 #aehg-afca74 ,martin ,ryckhaert was a son of the elder1 and brother of the younger1 ,david ,ryckhaert4 ,he studied1 and for some years practised his art1 in ,italy4 ,he is entered in the register of the ,painters' ,guild at ,antwerp as a painter with one arm1 and is so represented in the portrait by ,van ,dyck in the ,dresden ,gallery4 #acge4 ,,christ ,,in ,,the ,,house ,,of ,,martha4 ,velazquez 7,spanish3 #aeij-affj74 ,see #aig4 ,a picture of the earliest1 or ,seville period of the painter4 ,though professedly a religious subject1 it is in reality one of the bodegones1 or tavern-pieces1 which had come into favour at ,seville during the end of the sixteenth century--naturalistic studies of the tavern and the kitchen4 ,they are certainly to be valued1 says ,pacheco1 when painted as ,velazquez paints them1 for in this branch he has attained such an eminence that he has left room for no rival4 ,they deserve high esteem2 for with these elements and with portraiture he discovered the true imitation of ,nature4 ,in the background1 shown through a window or square opening in the wall1 is seen an inner chamber with ,christ addressing ,martha1 who stands1 and ,mary1 who kneels before ,him4 #acgf4 ,a ,,duel ,,in ,,the ,,prado 7,a ,,sketch74 ,velazquez 7,spanish3 #aeii-affj74 ,see #aig4 ,note that some of the figures in the foreground closely resemble the group in ,the ,boar ,hunt 7,no4 #aig74 #acgg4 ,,the ,,adoration ,,of ,,the ,,shepherds4 ,venetian ,school 7#afth ,century74 ,formerly ascribed to ,savoldo 7see #ajca74 ,in its deep and striking chiaroscuro it reminds one of a greater and later artist1 ,bassano1 and even of the earlier works of ,velazquez4 ,it is a very interesting picture1 full of imagination1 especially in its landscape1 and generally in fine condition4 ,for light and effective painting1 look at the pigeons in the basket on the right 7,monkhouse3 ,in the ,national ,gallery1 p4 #bfa74 ,this picture was bequeathed by the late ,sir ,william ,gregory1 one of the ,trustees of the ,gallery1 who secured it for the paltry sum of #ab3 #ajs41 and was 7as we know from his ,autobiography7 justly proud of his bargain4#bdh #acgh4 ,,an ,,interior ,,with ,,figures4 ,jan ,steen 7,dutch3 #afbf-afgi74 ,see #hef4 ,another of ,sir ,william's bequests1 and1 like the preceding1 a bargain4 ,a ,french dealer1 he wrote1 offered me #bej the day after ,i had bought it for #b3 #cs4 ,an itinerant musician enters the kitchen in a village inn or country farmhouse1 and salutes the buxom lady of the house with a fantastic gesture of courtesy4 ,a flute sticks out of his pocket4 #achj4 ,,fruit ,,and ,,flower ,,piece4 ,jan van ,os 7,dutch3 #agdd-ahjh74 ,see #ajae4 #acha4 ,,the ,,holy ,,women ,,at ,,the ,,sepulchre4 ,francesco ,mantegna 7,paduan3 about #adgj-aeag47 ,see #fci4 ,for the subject1 see #egf4 ,notice the pool in the foreground on which are two water-fowl1 while a tortoise crawls towards it4 ,this picture is the same size as #fci and #aajf1 and the three beautiful little panels doubtless formed a series--now at last brought together again1 having been long separated in three different collections4 #achc4 ,,la ,,jeune ,,femme ,,au ,,clavecin4 ,jan ,vermeer of ,delft 7,dutch3 #afcb-afge74 ,this picture formerly belonged to the celebrated ,french critic ,thor 7who wrote under the name of ,w4 ,brger71 to whom belongs the credit of having rescued ,vermeer from oblivion4 ,he was famous in his own day1 being one of the chiefs of the ,delft ,guild of ,artists4 ,but after his death his works were dispersed or destroyed or ascribed to ,pieter de ,hooch1 and his very existence was forgotten till ,brger's researches rehabilitated him 7see ,gazette des ,beaux ,arts1 #ahff1 pp4 #big1 #deh1 #edb74 ,he was born in ,delft1 and was for a short time a pupil of ,carel ,fabritius1 a painter who was deeply imbued with the spirit and manner of ,rembrandt4 ,vermeer obtained good prices for his pictures1 but his circumstances cannot have been flourishing1 for his widow had to apply to the court of insolvency to be placed under a curator4 ,his works are now rare and costly3 for the present picture #bdjj was paid4 ,the artist with whom ,vermeer has the closest affinity is ,de ,hooch4 ,at an auction in ,amsterdam in the middle of the #agth century a ,de ,hooch is praised as being nearly equal to the famous ,van der ,meer of ,delft1 and there is often some confusion between the works of the two painters4 ,substitute red for blue1 it has been said1 and a ,vermeer becomes a ,de ,hooch4 ,both painters are remarkable for the quality of light displayed in their interiors1 and ,vermeer has never been surpassed in the cool general effect which he produced4 ,though in perfection of execution1 says ,m4 ,havard1 the one rivals the other1 they differ singularly in their use of the brush4 ,whilst ,hooch has a vigorous and supple touch1 ,vermeer on the other hand1 proceeding by short steps1 paints in small patches1 and then connects the whole by glazing in a manner peculiar to himself1 which produces a vibrating effect1 a characteristic of this original painter which we cannot forget 7,the ,dutch ,school1 p4 #ahf74 ,beauty of tone and perfect harmony are conspicuous in all his works1 which in some other respects exhibit marked differences1 for the ,sphinx of ,delft 7as ,brger calls him7 had several manners4 ,it is supposed that he worked for a time under ,rembrandt4 ,the picture of four life-sized figures in the ,dresden ,gallery called ,les ,courtisanes1 and dated #afef1 suggests the influence of that master4 ,during the last ten or twelve years of his life he adopted a second manner1 of greater delicacy and subtlety4 ,in all his works there is a singular completeness and charm4 ,he is a master in rendering momentary expression1 and his pictures attract by the successful delineation of character1 as well as by the skill with which he makes his figures move in light and air4 ,he has also a complete mastery of perspective1 and in his effects of light upon flat surfaces he is unsurpassed4 ,this picture is a good example of the qualities described above4#bdi ,the head1 however1 has unfortunately suffered from over-cleaning1 showing the gray under-painting which gives the picture a colder aspect than it would otherwise have 7,official ,catalogue74 ,the picture has a very good pedigree1 ,brger1 to whom it once belonged1 having traced it back1 through the ,solly and ,danser-,nyman ,collections1 to an anonymous sale catalogue of #agad4 #achf4 ,,soldiers ,,quarrelling ,,over ,,their ,,booty4 #achg4 ,,players ,,at ,,tric-,,trac4 ,w4 ,c4 ,duyster 7,dutch3 #aeii-afce74 ,these pictures are by one of the rarest of the ,dutch masters--,william ,cornells ,duyster1 a painter of ,amsterdam4 ,they were acquired from a family in whose possession they have been ever since they were brought over to this country by an officer in the army of ,william ,,iii4 ,the fine execution and brilliant condition of the pictures make them decidedly attractive4 ,they are both signed2 #achf1 on a box in the foreground2 #achg1 on the border of the beautifully-painted tablecloth4 #acij4 ,a ,,sea-,,piece4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 ,an excellent example of ,ruysdael's sea-pieces1 in which he was not surpassed by any painter of the time4 ,the view represented is the shore at ,scheveningen4 ,this picture1 for which the sum of #cjde was paid by the nation1 changed hands in #ahgb for #fh as one of a pair6 #acic4 ,a ,,mediterranean ,,seaport4 ,claude ,joseph ,vernet 7,french3 #agad-aghi74 ,see #bcf4 ,the frigate is flying the ,dutch tricolor flag4 ,at the foot of the fortified wall is a party of ,turkish or ,albanian merchants4 #acig4 ,,an ,,old ,,woman ,,sewing4 ,unknown 7,dutch ,school3 #agth ,century74 ,on the wall behind is an engraved portrait of a gentleman1 with an inscription in which the name1 ,jan van ,aach1 and the date #afee occur4 ,the name is possibly that of the unknown painter4 #acii4 ,,portrait ,,of ,a ,,gentleman4 ,gerard ,terburg 7,dutch3 #afag-afha74 ,see #hfd4 ,this and the following picture were in the collection of the late ,sir ,charles ,eastlake4 ,by the provisions of his will1 they were to be offered to the ,national ,gallery at the prices he paid for them1 viz4 #be and #ge4 #adjj4 ,,christ ,,before ,,pilate4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,this sketch is the original study for the etching of the same subject done in #afcf4 ,it is signed with the artist's name underneath the clock which is above the arched entrance on the right4 #adja4 ,a ,,fruit-,,piece4 ,pieter ,snyers 7,flemish3 #afha-ageb74 ,a painter of fruit and flower pieces1 landscapes1 portraits1 and figure subjects of low life2 was ,director of the ,royal ,academy of ,antwerp4 ,fowls1 cray-fish1 artichokes1 lobsters1 peaches1 plums1 strawberries1 asparagus1 radishes1 and peonies--all represented of natural size and distributed in picturesque confusion4 ,the artist's signature is included1 as if embroidered on the corner of the tablecloth4 #adjf4 ,,the ,,annunciation4 ,school of ,fra ,angelico 7,florentine3 #achg-adee74 ,see #ffc4 ,through an arched opening behind the ,virgin we see a sort of cloister garth4 ,there are daisies on the sward1 and in a pot stands a tall lily4 ,a similar opening behind the ,archangel reveals another part of the garth1 enclosed on all sides by a rose trellis4 ,beyond the trellis are visible a hill and a convent resembling that of ,san ,miniato1 rows of cypresses1 and more distinct peaks in fuller light4 ,the embroideries1 the angel's plumage1 and both the nimbi1 are represented in real gold1 while the last are incised in radial lines1 so that1 like the wings1 their brilliance is distinct1 and they shimmer in the light4 ,on the capitals of two of the columns of the cloister the red annulets upon a silver shield of the ,albizzi family are seen 7,athenum74 ,the composition of this not very attractive picture recalls the ,annunciations by ,fra ,angelico1 at ,cortona and in the ,madrid ,gallery respectively4 #adji4 ,,the ,,marriage ,,of ,,st4 ,,catherine4 ,andrea ,cordelle ,agii 7,venetian3 ,school of ,bellini74 ,this picture is a repetition of one by ,andrea ,previtali in the sacristy of the ,church of ,san ,giobbe at ,venice1 and the painter has been supposed to be the same as ,previtali4 ,this1 however1 is probably not the case4 ,the present picture is signed 7on a cartellino7 #aejd3 ,andreas ,cordelli ,agy dissipulus ,jovannis ,bellini pinxit4 ,he similarly describes himself as a pupil of ,john ,bellini on a picture in the ,poldi ,pezzoli ,gallery at ,milan4 ,judging from his name1 twists and needles1 he or his father was probably a pedlar 7,layard's edition of ,kugler1 i4 #ccd74 ,the conjecture that ,andrea ,previtali is identical with ,andrea ,cordelle ,agii seems to me1 says ,morelli1 untenable4 ,both were fellow-scholars in the workshop of ,giovanni ,bellini1 and it is undeniable that in some of their works they closely resemble each other2 but this may be explained by the fact that the one probably copied the cartoons or even the pictures of the other4 ,the few signed works which ,i have met with by ,cordelle ,agii appear to me1 however1 to be more refined and lifelike in expression1 and his landscapes are warmer and less vividly green in tone1 than those of ,previtali 7,roman ,galleries1 p4 #bcg n474 ,as a picture by ,previtali hangs close by 7,no4 #fie71 the reader is in a position to consider the justness of the critic's remarks for himself4 #adaj4 ,,virgin ,,and ,,child ,borgognone 7,lombard3 about #adee-aebc74 ,see #bih4 ,the nimbus which surrounds the ,virgin's head is inscribed in gold with the words ,,ave4 ,,maria4 ,,gratia4 ,,plena4 ,,dom4 ,the background is interesting4 ,on the right is no doubt a faithful view of part of the old faade of the ,certosa of ,pavia before it was completed4 ,on the left are other buildings which appear to be part of a convent1 with ,carthusian friars walking in front4 ,this picture is earlier in date than ,borgognone's ,two ,st4 ,catherines 7#bih72 it is more rigid in style and a capital example of the painter's less ambitious work 7,catalogue of the ,burlington ,fine ,arts ,club's ,exhibition1 #ahih1 p4 xxxvii474 #adaa4 ,a ,,diptych4 ,ercole ,roberti de' ,grandi 7,ferrarese3 #adej-adif74 ,see #aabg4 ,on the left the ,adoration of the ,shepherds4 ,there is much natural charm in the figure of the ,virgin bending over the manger4 ,on the right the dead figure of ,christ1 with ,st4 ,jerome and ,st4 ,francis in the middle distance receiving the stigmata4 ,very delicately finished4 #adab4 ,,virgin ,,and ,,child1 ,,with ,,st4 ,,john4 ,filippino ,lippi 7,florentine3 #adeg-aejd74 ,see #bic4 ,see also 7p4 xxi7 ,formerly ascribed to ,botticelli4#bej ,notice the beautifully painted white eglantine and jasmine blossoms in the vase on the balcony4 ,the youthful ,st4 ,john is an attractive figure1 very characteristic of this group of painters4 #adae4 ,,portrait ,,of ,a ,,lady4 ,gerard ,dou 7,dutch2 #afac-afge74 ,see #aib4 ,an old inscription on the back of the panel states that this picture is a portrait of ,anna ,maria van ,schurmann2 but it will be observed that the portrait by ,jan ,lievens 7#ajie71 supposed to represent the same lady1 differs in the colour of the hair1 and has other points of variation1 which preclude the possibility of both having been painted from the same person 7,official ,catalogue74 #adaf4 ,,virgin ,,and ,,child1 ,,with ,,saints4 ,filippo ,mazzola 7,parmese3 died #aeje74 ,the ,mazzola family affords one of the many instances in the history of painting of artistic heredity4 ,filippo's two brothers were also painters1 and his son was the more famous ,parmigiano 7see under #cc74 ,the ,mazzoli were much employed in ,parma1 but their work seldom rose above mediocrity4 ,by ,filippo--called delle erbette from the plants which he was fond of introducing into his pictures--there are religious-subject pictures to be seen at ,parma4 ,but he is best known for his portraits1 in which the influence of ,antonello da ,messina is to be traced 7see ,morelli's ,german ,galleries1 p4 #dah74 ,an excellent one in the ,brera bears his signature4 ,this picture is in its original frame1 of early cinque-cento pattern1 richly carved1 gilt1 and painted4 ,a somewhat similar frame has recently been given to the ,vision of ,st4 ,eustace 7#adcf74 #adag4 ,,christ',s ,,agony ,,in ,,the ,,garden4 ,andrea ,mantegna 7,paduan3 #adca-aejf74 ,see #bgd4 ,a celebrated picture 7painted in #adei for ,giacomo ,marcello1 ,podest of ,padua71 and a specially interesting acquisition to our ,gallery--first1 as belonging to an earlier period of the master than his other important works here2 and secondly1 for its strong family likeness to the picture of the same subject by his brother-in-law1 ,giovanni ,bellini1 which1 hangs in an adjoining room 7,no4 #gbf74 ,at the time when these pictures were painted ,giovanni and ,andrea were working at ,padua under the influence of ,giovanni's father1 ,jacopo ,bellini 7,vasari has some family gossip on this subject1 ii4 #bfe72 and the original suggestion for the treatment of the subject in both pictures appears in ,jacopo's sketch-book1 now in the ,british ,museum4 ,a prominent object in the distance 7an ,italian version of ,jerusalem7 is a little gilt equestrian statue1 which was evidently suggested by ,donatello's equestrian statue of ,gattamelata1 still to be seen at ,padua4 ,the foreshortening of the apostles suggests the work of ,uccello 7see #ehc71 who is known to have painted in that city4 ,the picture has been described as a marvellous combination of the fantastic and the realistic2 note for curious details the rabbits and storks1 and the cormorant on the withered tree4 ,this picture is more quaint than ,bellini's2 but ,bellini's is the more original4 ,mantegna's1 says ,mr4 ,monkhouse1 exhibits only a strong personal treatment of old conventions3 ,bellini's proclaims the dawn of a new world of art4 ,what was old in the pictures--the ,christ kneeling on a little hill1 with the sleepy apostles in foreshortened attitudes in the foreground1 the angelic vision on a cloud1 and the suggestion of a neighbouring city--are common to both pictures4 ,what was new--the fresh observation of nature for its own sake--is found only in ,bellini's4 ,we see this in the smouldering clouds of sunset1 the light thrown on the distant buildings1 the half-shade on the cliffs1 the bringing-out of the figures into something like the real open1 sun-illumined air1 the attempt at solution of the problem of the tone of a face and figure relieved right against the sky 7,in the ,national ,gallery1 #ahie1 p4 #aib74 #adag;a4 ,,illuminated ,,initial ,,letter4 ,the letter ,d3 enclosed within it is painted ,the ,agony in the ,garden1 copied from the preceding picture by ,mantegna4 ,the picture and this letter were both in the collection of ,lord ,northbrook4 #adah4 ,,st4 ,,jerome ,,in ,,his ,,study4 ,antonello da ,messina 7,venetian3 #addd-adic74 ,a celebrated little picture1 with a long critical history1 for as early as #aebi the writer known as the anonimo of ,morelli mentions it as being variously attributed to ,van ,eyck1 to ,memlinc1 and to ,antonello1 while he himself ascribed it tentatively to ,jacometto 7,jacopo de' ,barbari74 ,the influence of the ,flemish ,school is obvious1 says ,sir ,edward ,poynter1 in the ,gothic character of the architecture1 the general arrangement of the picture1 and the finish of the details4 ,but the head of the saint has an energy of character highly characteristic of ,antonello1 and the buildings in the glimpse of landscape seen through the window on the left are distinctly ,italian in character 7,the ,national ,gallery1 i4 #ad74 ,it is interesting to compare this picture with the version of the same subject commonly ascribed to ,bellini 7#fid74 ,observe1 here1 the lion walking along the cloister1 holding up a suffering paw1 and the puss curled up on a platform at the saint's feet4 ,evidently this ,st4 ,jerome was a lover of animals1 and1 like ,canon ,liddon1 more especially of cats 7,the ,beasts of the ,national ,gallery1 by ,sophia ,beale1 in ,good ,words1 ,july #ahie74 #adai4 ,,the ,,legend ,,of ,,st4 ,,giles4 ,unknown 7,flemish ,school3 #aeth ,century74 ,see also 7p4 xxi7 ,st4 ,giles1 patron saint of ,edinburgh1 and of woods1 cripples1 lepers1 and beggars1 was an ,athenian prince1 revered for his miraculous gifts4 ,having healed a sick man whom he found in a church by laying his cloak over him1 and fearing danger to his soul from the fame which this event obtained him1 he withdrew to a solitary cave1 where he lived as a hermit1 nourished only by wild herbs and the milk of a doe which had followed him4 ,one day the ,king of ,france1 hunting near this retreat1 shot the doe1 and1 pursuing it1 came upon the aged hermit holding in his arms the doe1 which was pierced by the arrow through his hand4 ,the ,king1 seeing he was a man of ,god1 begged forgiveness1 and wished to persuade ,st4 ,giles to return with him2 but he refused to quit his solitude1 and remained in the cave till his death 7,saints and their ,symbols1 by ,e4 ,a4 ,g41 #ahha1 p4 #ie74 ,here we see the saint1 clad in hermit's robes1 protecting the doe1 which has fled from the hunting party towards him2 his right hand is transfixed by an arrow1 intended for the animal4 ,the ,king kneels to implore forgiveness4 ,he is attended by a companion1 who is supposed to represent the painter of the picture4 ,notice the irises in the foreground1 and to the right a plant of mullein1 finished with great delicacy4 ,remarkable as an example of extraordinary finish and enamel-like splendour of colour4 ,remarkable also for the flood of even1 gay daylight diffused over it1 such as makes us think of the more moderate among recent plein air transcripts from nature4 ,but the painter shows more of that intense humanity1 of that command over delicate shades of character and facial expression which are the highest characteristic of the great ,netherlandish masters of his time 7,claude ,phillips1 in ,national ,review1 ,dec4 #ahid74 #adbj4 ,a ,,view ,,in ,,haarlem4 ,gerrit ,berck-,heyde 7,dutch3 #afch-afih74 ,gerrit1 and his elder brother1 ,job1 were the sons of a butcher at ,haarlem4 ,gerrit was very skilful in lineal perspective1 and reproduced with remarkable fidelity the most complicated architectural views4 ,the brothers worked together a great deal1 and ,job often painted the figures in ,gerrit's pictures4 ,the pictures of both brothers are remarkable for a broad style of painting1 for brilliant sunlight1 and careful1 but not over elaborate1 drawing of details1 and the figures are invariably well grouped 7,official ,catalogue74 ,a view of the painter's favourite subject1 the market-place of ,haarlem4 ,the picture is signed1 and dated #afgd4 #adba4 ,a ,,terrace ,,scene4 ,jan ,steen 7,dutch3 #afbf-afgi74 ,see #hef4 #adbb4 ,,the ,,holy ,,family4 ,eustache ,le ,sueur 7,french3 #afaf-afee7 ,le ,sueur1 sometimes styled the ,french ,raphael1 was the son of a wood-carver at ,paris1 and became one of the original members of the ,french ,academy4 ,his works1 in spite of the early age at which he died1 are very numerous4 ,he was assisted in the production of them by three brothers and his brothers-in-law4 ,several of his most important pictures are to be seen at the ,louvre4 ,this little picture is a good example of the painter's characteristics--with its somewhat crude colour1 but considerable gracefulness1 especially in the figure of the ,virgin4 #adbc4 ,,portrait ,,of ,a ,,lady4 ,jan ,a4 ,ravesteijn 7,dutch3 #aegb-afeg74 ,this artist was born at the ,hague1 where his most important works are to be found4 ,he was admitted into the ,painters' ,guild there in #aeih4 ,he was a pupil of ,frans ,hals1 and was much employed in painting the large groups of portraits--of archers1 magistrates1 etc4--which were in vogue at the time4 ,ravesteijn's groups are somewhat more formal than those of ,rembrandt1 ,hals1 and ,van der ,helst1 but are full of life and character4 ,he knew how to give dignity to his sitters1 and his pictures are inferior only to those of the great masters just mentioned4 #adbd4 ,,tobias ,,and ,,the ,,angel4 ,adam ,elsheimer 7,german3 #aegh-afbj74 ,see #ajad4 ,a favourite subject with this painter4 ,it was etched in #afac by ,count ,gondt1 who was the painter's chief benefactor2 he purchased some of ,elsheimer's choicest pictures1 and engraved seven of them4 ,the copper-plate of this subject fell into the hands of ,rembrandt1 and was partly erased and altered by him into another subject4 #adbe4 ,,portrait ,,group4 ,le ,nain 7,french3 #aehh-afdh74 ,there were three brothers of this name1 the sons of a sergeant at ,laon1 who all worked together as painters in ,paris1 and became members of the ,academy in #afdh1 in which year two of them died4 ,mathieu painted historical subjects2 he lived till #afgg4 ,the very interesting and pleasing pictures1 such as the present one1 most generally known as the works of ,le ,nain1 were probably painted by the other brothers--,louis and ,antoine--conjointly4 ,antoine was born in #aehh2 ,louis in #aeic4 ,their works consist of familiar objects and incidents1 such as the ,peasants and the ,blacksmith's ,forge in the ,louvre2 they have a direct air of truth and realism1 which is very remarkable in contrast to the artificial taste by which other ,french painters of the same period were inspired4 ,another work by the brothers may be seen at ,dulwich4 #adbg4 ,,the ,,dead ,,christ3 ,a ,,piet4 ,hans ,baldung 7,german-,swabian3 #adgf-aede74 ,see #bde4 ,signed and dated ,hans ,baldung1 #aeab4 ,the ,virgin's attitude is expressive of intense sorrow4 ,her mouth is drawn convulsively down in the manner usual in the pictures of ,burgkmair and the school and epoch to which he and ,baldung belonged4 ,on our right is ,st4 ,john4 ,behind the group is ,joseph of ,arimathea4 ,behind1 ,god the ,father appears1 robed in blue under a red mantle1 and holding across ,his knees the drooping corpse of the ,redeemer4 ,clouds form the background1 and among them the ,holy ,ghost is hovering4 ,the heads of all the figures bear plain nimbi of metallic gold4 ,the draperies1 except the loin-cloth of ,christ1 are somewhat tortured in the manner of the ,german painters of the fifteenth century4 ,on the front of the balcony in which they are placed are depicted the donor and his family2 in one corner is their escutcheon1 bearing three money bags and a broad bar 7,athenum1 ,jan4 #aa1 #ahie74 #adbi4 ,,the ,,rotunda ,,at ,,ranelagh4 ,canaletto 7,venetian3 #afig-agfh74 ,see #abg4 ,the interior of the ,rotunda in ,ranelagh ,gardens 7at ,chelsea71 which were opened as a rival to ,vauxhall in #agdb1 and at once became the rage4 ,ranelagh has totally beat ,vauxhall1 wrote ,walpole in #agdd2 nobody goes anywhere else4 ,when ,i first entered ,ranelagh1 said ,dr4 ,johnson1 it gave me an expansion and gay sensation in my mind such as ,i never experienced anywhere else4 ,smollett describes it in his novels as an enchanted palace4 ,ranelagh1 said ,rogers 7,table-,talk71 was a very pleasant place of amusement4 ,there persons of inferior rank mingled with the highest nobility of ,britain4 ,all was so orderly and still that you could hear the whisking sound of the ladies' trains as the immense assembly walked round and round the room4 ,if you chose1 you might have tea1 which was served up in the neatest equipage possible4 ,the dining boxes under the arcade on the ground level are shown in the picture1 as well as the orchestra1 the musicians1 and the numerous gaily-dressed promenaders4 ,on the back of the original canvas was an inscription by the artist1 recording that the picture was painted in ,london in #aged4 #adcj4 ,,architectural ,,subject ,,with ,,figures4 ,domenico ,beccafumi 7,sienese3 #adhf-aeea74 ,of this painter there is a very interesting account in ,vasari4 ,his surname was adopted from his patron1 on whose estate ,domenico's father was a labourer4 ,like ,giotto1 ,domenico was observed one day drawing on the ground1 while minding his father's sheep1 and his master sent him to school and made an artist of him4 ,his style was first formed on that of ,perugino1 whose pictures in ,siena he copied4 ,in #aeaj he went to ,rome to study the works of ,michael ,angelo and ,raphael2 but returning to ,siena in #aeab1 he became a close imitator of ,bazzi 7#aadd71 who had recently settled in the city4 ,unlike ,bazzi1 ,domenico was 7adds ,vasari7 most orderly and well conducted1 lived as it beseemed a ,christian to do1 and passed the greater part of his time alone4 ,it will nevertheless sometimes happen1 adds ,vasari1 that such as are called good fellows and merry companions are more sought after than are the virtuous and upright4 ,in the matter of artistic commissions1 however1 ,beccafumi was well employed1 in painting both altar-pieces for churches and frescoes of classical subjects for the houses of wealthy citizens4 ,some of the latter still remain in situ1 while the ,accademia contains ,beccafumi's best works in the other sort4 ,it was he who executed the mosaics of light and dark marbles which form the pavement of the choir of the ,duomo4 ,he also practised sculpture and did eight angels in bronze for the ,duomo4 ,he hastened his death1 says ,vasari1 by labouring day and night at his castings of metal which he would also finish and polish himself1 working entirely alone1 and refusing to accept any assistance whatever4 ,he occupied his leisure time in cultivating a small property outside the city gates4 ,he could not work1 he told ,vasari1 removed from the air of ,siena4 ,a picture corresponding in general character to several described by ,vasari4 ,it is probably intended as a fantastic treatment of the visit of the ,queen of ,sheba to ,king ,solomon1 or of ,esther before ,ahasuerus4 #adca4 ,,the ,,baptism ,,of ,,christ4 ,ascribed to ,perugino 7,umbrian3 #addf-aebc74 ,see #bhh4 ,around this little picture of the ,umbrian ,school1 bought by ,sir ,edward ,poynter at ,rome in #ahid1 a fierce battle of the critics has raged4 ,sir ,edward's own description may first be cited3--,a perfectly genuine work by a scholar of ,perugino1 probably done in his studio1 and1 in my opinion1 possibly by the young ,raphael4 ,the most characteristic point1 besides the beautiful painting of the figure of the ,saviour1 is the drawing of the hands1 which is precisely ,raphael's4 ,on the other hand1 the heads are not specially ,raphaelesque1 nor is the colour as pure and transparent as is usual even in his early work2 at the same time1 such characteristics as do not agree with what we know of his work might possibly be due to its being a youthful performance4 ,the painting of the trees is quite peculiar1 and different from the treatment to be found in the works of ,perugino1 or1 indeed1 of any work of the school that ,i had seen4 ,some two or three years afterwards ,i saw the predella painting of ',st4 ,john ,preaching' by ,raphael1 belonging to the ,marquis of ,lansdowne1 and was very interested to find in it the same treatment of the leaves of the trees--that is to say1 that1 instead of the minute and delicate sprays of foliage1 so characteristic of ,perugino's own work and of1 so far as ,i know1 most of his followers1 the trees have only a few sprays of large and freely painted leaves4 ,according to many of ,sir ,edward's critics1 the picture is a detestable little production2 while one of them ascribes it1 as a work of the nineteenth century1 to ,micheli1 a maker of old masters4 7,see a copious correspondence in the ,athenum and the ,times1 during ,march and ,april1 #aijg74 #adcb4 ,,the ,,marriage ,,of ,,st4 ,,catherine4 ,gerard ,david 7,early ,flemish3 #adfj-aebc74 ,see #ajde4 ,this picture 7formerly ascribed to ,hugo van der ,goes7 was1 like ,no4 #ajde1 painted for the ,collegiate ,church of ,st4 ,donatian at ,bruges4 ,until the end of the last century it adorned the altar of ,st4 ,catherine in that church4 ,the details of the picture are carried out with marvellous care and finish1 and the whole displays the utmost perfection of execution4 ,the expression of the figures1 is1 however1 hardly so animated or idealised as in ,no4 #ajde4 ,but the ,canon's intelligent head is admirably modelled and painted1 and the figure of ,st4 ,catherine is executed with rare perfection4 ,the jewellery1 stuff1 and draperies are all rendered with ,david's usual skill2 while the background1 with its rich vegetation1 vigorously coloured trees1 and picturesque buildings1 is hardly surpassed by that of any of his other pictures4 ,the scene of the mystical marriage 7for the subject1 see under #bdi7 is laid in the emblematic walled garden 7a garden inclosed is my sister1 my spouse71 surrounded by a vineyard 7in which is an angel gathering grapes74 ,on the right of the picture are seated ,st4 ,barbara1 holding an open book1 and ,st4 ,mary ,magdalene with the vase of precious ointment in her lap4 ,in front of ,st4 ,catherine kneels the donor of the picture1 ,richard de ,visch van der ,capelle1 ,canon and ,cantor of the ,church2 he is accompanied by his greyhound1 on whose collar is a shield bearing the ,canon's arms4 ,before him1 on the floor1 lie a breviary of blue velvet and his precentor's staff4 ,the workmanship of this staff is a good instance of the painter's minute precision4 ,the staff is surmounted by a group representing the ,holy ,trinity adored by a monk and a cardinal4 ,it was painted from a staff presented to the church in #acch1 and the picture precisely corresponds to a description of the staff1 to be found in an old inventory of the church property 7see authorities cited in the ,official ,catalogue from ,mr4 ,weale's description in the ,academy1 xiv4 p4 #cia74 ,the picture was exhibited at ,paris in #ahha under the name of ,hugo van der ,goes1 and was sold for #ed1ajj francs4 ,it ultimately passed into the possession of ,mr4 ,lyne ,stephens1 by whom in #ahie it was bequeathed to the ,national ,gallery4 #adcc4 ,,portrait ,,of ,a ,,lady4 ,unknown 7,flemish ,school3 #aeth ,century74 ,notice the transparent starched muslin head-dress which1 coming down as low as the eyebrows and covering the ears1 yet allows the forehead and ears1 and a high cap of gold and white brocade1 to be seen through its thin texture4 #adcd4 ,a ,,betrothal4 ,velazquez 7,spanish3 #aeii-affj74 ,see #aig4 ,see also 7p4 xxi7 ,an unfinished picture once in the possession of ,sir ,edwin ,landseer1 and presented to the ,gallery by ,lord ,savile1 who has given a very interesting surmise of the subject3 ,it is evidently the representation of a betrothal in a private family1 probably that of ,velazquez himself4 ,if this surmise be correct1 the principal male figure would be ,velazquez as a ,knight of the ,order of ,santiago1 the red cross of which1 though half concealed1 is seen on his cloak2 the mother presenting her child would be his daughter1 the wife of the artist ,del ,mazo1 his pupil and son-in-law1 and the girl1 their daughter1 the grandchild of ,velazquez4 ,the foreground is occupied on the right by a half-length figure of the poet ,quevedo1 with a huge pair of horn spectacles1 as he is represented in his portrait by ,velazquez at ,apsley ,house1 though here he is a much older man4 ,he was a great friend of ,velazquez1 and in this picture may represent the witness to the betrothal of the artist's grandchild4 ,on the right is a negro1 probably ,juan ,pareja1 the favourite slave of ,velazquez1 who is conveying a basket of fruit to his young mistress4 ,velazquez himself is waiting1 pen in hand1 for the 'promesso sposo1' who1 though not shown in the picture1 may be entering the room by the portire which an attendant is raising2 but he is seen by the little bride elect1 who waves a salute to him with the flower in her hand4 ,contrast1 as a pretty little incident1 the dog who is running towards the door and barking at the stranger4 ,it is not surprising that a painting of this unusual character should give rise to doubt as to the correctness of its attribution1 and it has been suggested that it is the work of ,del ,mazo1 the pupil of ,velazquez2 but if that artist had been commissioned to paint the portrait of a knight of ,santiago1 his sitter would scarcely have been satisfied with the scanty indication of that celebrated order shown in this picture4 ,if1 however1 as ,i believe1 the knight of ,santiago represents ,velazquez himself1 the half-hidden cross of that order assumes an aspect that may have an important bearing on the questions of the authorship of the picture1 the date of the work1 and the cause of its being unfinished4 ,stirling-,maxwell1 in his admirable and exhaustive ,annals of the ,artists of ,spain1 relates that ,philip ,,iv4 in #afeh conferred on ,velazquez the habit of the ,order of ,santiago2 but it was not for many months later that the artist was invested with its insignia1 owing to the formalities required by the ,order to prove his pedigree4 ,the ,king1 impatient at this delay1 sent for the ,president of the ,order and the documents connected with the case1 and having looked at them his ,majesty said to the ,president1 ',place on record that the evidence satisfies me4' ,the half-concealed red cross of ,santiago in the picture was sufficient for ,velazquez to show that he was entitled to the ,order1 but1 with the modesty and conscientiousness that distinguished him1 he did not design the insignia on his breast1 where it is worn1 apparently not feeling justified in so doing until after his investiture4 ,this1 however1 did not occur till ,november #afei4 ,it is evident1 therefore1 that the picture must have been painted in #afeh1 after he had received the habit1 but not the insignia1 of the ,order4 ,that the picture was left unfinished was doubtless due to the onerous duties with which ,velazquez was charged by the ,king in preparing the meeting on the ,bidassoa1 in #affj1 of the ,french and ,spanish ,courts1 to celebrate the nuptials of ,louis ,,xiv4 and the ,infanta ,maria ,teresa4 ,these duties doubled the official fatigues and shortened the life of ,velazquez1 who died shortly after his return to ,madrid in ,august of the same year4 ,there is1 therefore1 good reason to believe that the picture in the ,national ,gallery is the last ever painted by ,velazquez 7letter to the ,times1 ,may #aa1 #ahie74 #adcf4 ,,the ,,vision ,,of ,,st4 ,,eustace4 ,vittore ,pisano 7,veronese3 #achj-adeb74 ,see #ggf4 ,the minute but unobtrusive finish of the picture is1 says the ,official ,catalogue1 astonishing4 ,of the coats of the horse1 dogs1 stag1 and other wild animals introduced every hair is drawn2 and of the wild birds1 every feather2 nor are they less remarkable for the beauty of the drawing and the admirable character displayed1 in which it may be truly said this painter has never been excelled4 ,numerous studies of animals of the highest beauty are to be found in collections of drawings throughout ,europe1 some of them evidently done in preparation for this picture4 ,st4 ,eustace1 whose name before his conversion was ,placidus1 was a ,roman soldier1 a captain of the guards in the reign of the ,emperor ,trajan4 ,he was a great lover of the chase1 and one day1 while hunting in the forest1 he saw before him a stag of marvellous beauty4 ,he pursued it eagerly1 and the stag fled before him1 and ascended a high rock4 ,then ,placidus1 looking up1 beheld1 between the horns of the stag1 a cross of radiant light1 and on it the image of the crucified ,redeemer2 and being astonished and dazzled by this vision1 he fell on his knees1 and a voice1 which seemed to come from the crucifix1 cried to him1 and said1 ',placidus6 why dost thou pursue me8 ,i am ,christ1 whom thou hast hitherto served without knowing me4 ,dost thou now believe8' ,and ,placidus fell with his face to the earth1 and said1 ',lord1 ,i believe6' ,and when he looked up again the wondrous vision had departed4 ,and he returned to his house and was baptized with his wife and children 7,mrs4 ,jameson3 ,sacred and ,legendary ,art1 #ahej1 p4 #dff74 ,for a representation of the very similar legend of ,st4 ,hubert1 see ,no4 #ghc4 ,this beautiful picture 7from ,lord ,ashburnham's ,collection7 has been placed in a very elaborate frame in the ,italian style3 compare ,no4 #adaf4 #adcg4 ,,the ,,descent ,,of ,,the ,,holy ,,ghost4 ,barnaba da ,modena 7painted about #acfe74 ,a specimen1 very well preserved1 of the ,giottesque period of ,italian art4 ,the painter1 a native of ,modena1 appears to have worked chiefly in ,piedmont and ,pisa4 ,examples of his work may be seen in the ,galleries of ,pisa1 ,turin1 ,frankfort1 and ,berlin4 ,it is pointed out as noticeable1 in the ,official ,catalogue1 that the drapery of the ,virgin ,mary is treated in the hieratic or ,byzantine manner1 while that of the ,apostles is in the naturalistic manner of ,giotto4 ,for a similar instance of transitional treatment1 see ,duccio's ,transfiguration1 ,no4 #accj4 #adch4 ,,head ,,of ,,st4 ,,john ,,the ,,baptist4 ,unknown 7,lombard ,school3 #afth ,century74 ,a head of great beauty and much pathos of expression4 ,an inscription on the background gives the date of the picture1 #aeaa4 #adci4 ,,fishing ,,in ,,the ,,river4 ,salomon ,ruysdael 7,dutch3 #afjj-afgj74 ,see #acdd4 ,an early work4 ,signed1 and dated #afca4 ,the sky is partly covered with soft1 gray clouds1 and the whole scene gives the impression of a still and peaceful summer's day4 #addj4 ,,st4 ,,dominic4 ,giovanni ,bellini 7,venetian3 #adbg-aeaf74 ,see #ahi4 ,see also 7p4 xxi7 ,the portrait of a monk 7on the parapet is an inscription recording that it is a likeness of ,brother ,theodore of ,urbino7 in the character of ,st4 ,dominic4 ,he wears the ,dominican robe1 and the name of the saint is inscribed on the label of the book which he holds1 and carries the usual attributes of the saint1 the lily and a book 7on the label of which are the words ,sanctus ,dominicus74 ,the inscription is dated #aeae1 so that if genuine this must be one of the painter's last works4 ,no4 #hjh is another portrait of a monk ascribed to the same painter--in character as one of the saints 7,st4 ,peter ,martyr74 ,signor ,frizzoni attributes both of them to ,gentile ,bellini4 #adda4 ,,the ,,adoration ,,of ,,the ,,shepherds4 ,perugino 7,umbrian3 #addf-aebc74 ,see #bhh4 ,this fresco from the church at ,fontignano1 near ,castello della ,pieve1 was left unfinished when the painter died there in #aebc1 in his #ggth year2 it is believed to be his last work 7see ,vasari1 ii4 #cbc74 ,the fresco was transferred to canvas and removed in #ahdc4 ,it was purchased in #ahfb from ,mr4 ,spence of ,florence1 by the ,south ,kensington ,museum4 ,the hand had not lost its cunning1 and there is much of the early sweetness in this huge fresco4 ,there is the charm of its faded blues and purples1 the haze of its shimmering sunshine1 and the tender reverence of the kneeling figures 7,g4 ,c4 ,williamson3 ,perugino1 o1 p4 #aaj74 #addb4 ,,ships ,,in ,a ,,gale4 ,bakhuizen 7,dutch3 #afca-agjh74 ,see #bjd4 #addc4 ,,interior ,,of ,a ,,church4 ,h4 ,steenwyck 7,flemish3 #aehj-afdi74 ,see #aacb4 ,a funeral service is being celebrated in the nave1 while in the foreground is a christening procession4 #addd4 ,,peasants ,,warming ,,themselves4 ,gerard von ,honthorst 7,dutch3 #aeij-afef74 ,this artist went early in life to ,rome1 where he acquired the style of ,caravaggio 7see #agb74 ,his rude contrasts of opaque shade and brilliant light1 his luminous effects produced by the light of a torch or flambeau1 and the naturalism of his works1 caused him to be much sought after in ,italy1 where this style was in fashion1 and acquired for him the name of ,gherardo della ,notte4 ,he returned to ,utrecht1 his birthplace1 in #afbc1 and in #afbh was commissioned by ,charles ,i4 to decorate the palace of ,whitehall4 ,while in ,england he also painted the portraits of the ,court and many of the nobility4 ,several of his portraits are to be seen in the ,national ,portrait ,gallery4 #adde1 #addf4 ,,studies ,,of ,,flowers4 ,rachel ,ruysch 7,dutch3 #affd-agej74 ,one of the few female painters represented in the ,gallery4 ,rachel ,ruysch was the daughter of a professor of anatomy1 and began to study art at an early age4 ,she married ,julian ,pool1 a portrait-painter1 and had a large family4 ,she continued the practice of her art until she reached an advanced age1 always signing her pictures with her maiden name4 ,notwithstanding her industry1 the number of her pictures is somewhat small1 and it was jokingly said in her time that she produced more children than pictures4 ,the labour she devoted to her work was astonishing2 two pictures alone are said to have occupied her for seven years2 and these she bestowed on one of her daughters as a marriage portion4 ,she was admirable in her manner of grouping as well as in pencilling2 each flower is relieved by its neighbour1 and all are kept in perfect harmony4 ,she was fond of introducing among her flowers the insects peculiar to them 7notice the butterfly in #addf72 and these she depicted with microscopic accuracy4 ,had her colouring been less cold1 she would certainly have equalled her illustrious rival1 ,van ,huysum 7,bryan's ,dictionary of ,painters1 and ,havard's ,dutch ,school1 p4 #bfh74 #addg4 ,a ,,hunting ,,party4 ,adam ,frans van der ,meulen 7,flemish3 #afcb-afid74 ,this painter1 a native of ,brussels1 had a great facility in battlepieces4 ,some of these found their way to ,france1 and attracted the notice of the painter ,le ,brun4 ,on his recommendation ,van der ,meulen was invited to the ,french ,court1 and was at first employed on designs for the ,gobelins tapestries4 ,afterwards he accompanied ,louis ,,xiv4 on his campaigns1 and1 brush in hand1 was present at all the principal sieges and battles of that monarch4 ,these he afterwards painted for the ,king2 he also depicted many hunting scenes and cavalcades4 ,his works are to be seen at the ,louvre and ,versailles4 ,the present picture 7signed1 and dated #affb7 shows us some such scene in the life of the ,court4 ,the suite is bareheaded1 and it is clearly some personage of importance--possibly ,louis ,,xiv4 himself--who is seated at the window of the carriage4 ,the background of open country with blue distance is very pleasantly rendered4 #addh4 ,a ,,village ,,green ,,in ,,france4 ,franois ,s4 ,bonvin 7,french3 #ahag-ahhh74 ,a painter of still life and interiors as well as of landscape2 for thirty years a constant exhibitor at the ,salon2 given the ,order of the ,legion of ,honour in #ahgj4 ,signed1 and dated #ahfi1 at ,verberie--a pleasantly-situated spot in the department of the ,oise1 eleven miles north-east of ,senlis4 #addi4 ,,cardinal ,,richelieu4 ,philippe de ,champaigne 7,french3 #afjb-afgd74 ,see #gih4 ,the central head in ,no4 #gih was evidently used as a study for this portrait4 ,the ,cardinal1 in the crimson silk robes of his office1 with the cross of the ,order of ,st4 ,louis hung by a blue ribbon round his neck1 stands as if just risen from the chair of state behind him4 #adej4 ,,the ,,holy ,,family4 ,sebastiano del ,piombo 7,venetian3 #adhe-aedg74 ,see #a4 ,in the mixture of the ,venetian element1 it has been said1 with the severe forms and masses of the ,michelangelesque feeling consists the charm of ,sebastiano's best works 7,layard1 ii4 #efb74 ,the superb composition before us1 says ,sir ,edward ,poynter1 shows the influence of ,michelangelo in every line4 ,it was formerly in the collection of the late ,mr4 ,thomas ,baring1 and was purchased from the ,earl of ,northbrook in #ahie4 ,it was ,mr4 ,baring's favourite picture in his collection4 #adea4 ,,interior ,,of ,a ,,church4 ,gerrit ,berck-,heyde 7,dutch3 #afch-afih74 ,see #adbj4 ,the nave of a ,gothic church in ,holland1 during sermon-time 7the preacher is in the pulpit against one of the columns on the right74 ,the women sit on chairs2 the men in seats raised in tiers4 ,some stand listening to the sermon1 and an elderly man on the left is warning two children to be quiet4 ,in the centre a boy is playing with a dog1 to which a woman directs the attention of the child with her4 ,on the pavement is the artist's signature1 dated #afgc4 #aded4 ,a ,,gondola4 ,francesco ,guardi 7,venetian3 #agab-agic74 ,see #baj4 #adee4 ,,the ,,circumcision4 ,giovanni ,bellini 7,venetian3 #adbf-aeaf74 ,see #ahi4 ,a picture of ,bellini's earlier period1 the original of numerous versions and copies in private and public galleries1 presented to the ,national ,gallery by one of the trustees1 the ,earl of ,carlisle4 ,the ,virgin is one of those magnificent ,venetian women whose morbidezza profoundly moved the painters of their country1 marked by a grave1 suave1 and restful expression1 instinct with unconscious dignity2 this is the countenance of a ,venetian woman to the life1 not over refined1 but full of repose1 the repose of vigour and conscious strength1 not the languor of debility 7,athenum74 ,the diaper of the ,high ,priest's robe contains figures of antelopes1 a curious instance of the straightforward mode of the artist1 who1 no doubt1 employed as a model a veritable robe1 and one of ,oriental or ,sicilian origin4 ,embroideries of this category were frequently used in ,venice of old4 ,the same ,oriental embroidery is to be seen in pictures by other ,venetian artists in which the ,high ,priest is introduced4 #adef4 ,,virgin ,,and ,,child1 ,,with ,,angels4 ,unknown 7,italian ,school3 #aeth ,century74 ,below is a portion of the original frame with three small quatrefoil medallions in which are half-length figures of the ,saviour1 the ,virgin1 and ,st4 ,john4 ,the picture1 which was presented to the ,gallery by one of the trustees1 ,mr4 ,j4,p4 ,heseltine1 is ascribed to the school of ,gentile da ,fabriano 7about #acfj-addj71 the ,umbrian ,fra ,angelico1 whose delight in splendour and gold ornaments is so nave4 #adeg4 ,,christ ,,driving ,,the ,,traders ,,out ,,of ,,the ,,temple4 ,domenico ,theotocopuli 7,spanish3 #aedh-afbe74 ,see #aabb4 #adei4 ,,the ,,wine ,,contract4 ,gerhard van den ,eeckhout 7,dutch3 #afba-afgd74 ,this painter1 the son of a goldsmith at ,amsterdam1 was one of the first to enter ,rembrandt's school4 ,he was a favourite pupil1 and lived in close intimacy with the master4 ,his biblical subjects--examples of which are at the ,louvre1 the ,hague1 and ,amsterdam--were painted in close imitation of ,rembrandt4 ,he owed to his master not only his subjects1 but their figures1 costumes1 and attitudes2 he could not1 however1 borrow ,rembrandt's warmth and intensity4 ,his portraits are more successful4 ,a group of the four chiefs of the ,wine ,guild of ,amsterdam seated in conversation over some deeds4 ,the picture is signed1 and dated #afeg4 #adfa4 ,,st4 ,,sebastian4 ,matteo di ,giovanni 7,sienese3 #adce-adie74 ,see #aaee4 ,this and ,no4 #bdg by the same artist are1 says ,sir ,edward ,poynter1 excellent examples of tempera painting of the fifteenth century1 in good preservation and unvarnished4 ,the panel is surrounded by the original gilt mouldings4 #adfb4 ,,sea-,,piece ,,with ,,shipping4 ,hendrik ,dubbels 7,dutch3 #afbj-afgf74 ,this painter1 the master of ,bakhuizen 7see under #bjd71 was one of the first1 after the success of his pupil was confirmed1 to adopt his subjects and to copy his manner 7,havard3 ,the ,dutch ,school1 p4 #bef74 ,his works1 however1 bear little resemblance to ,bakhuizen's3 they are more like ,van de ,cappelle4 ,many of his pictures are to be found in private collections4 ,the present picture1 with its luminous atmospheric effects1 is an excellent example4 ,observe on the leeboard of one of the barges the signature1 ,i4 ,h4 ,d41 possibly ,jan ,hendrik ,dubbels4 ,there were three painters of the name1 ,hendrik1 ,dirk1 and ,jan4 #adfe4 ,,christ ,,rising ,,from ,,the ,,tomb4 ,gaudenzio ,ferrari 7,lombard3 #adha-aedi74 ,a welcome addition to the ,gallery1 as being the work 7though not a specially important work7 of a great and most indefatigable painter not previously represented4 ,gaudenzio was a native of ,valduggia 7in the ,val ,sesia72 his father was a painter2 his mother's surname was ,vinzio1 and in his early work he often signed his pictures after her1 ,gaudentius ,vincius4 ,he passed his life exclusively in ,piedmont and ,lombardy1 where nearly all his works are still to be found--at ,vercelli1 ,novara1 ,saronno1 and ,milan4 ,the most important of them are at ,varallo1 on the ,sacro ,monte and in the church at its foot4 ,in some of the chapels on the ,sacro ,monte he not only painted the frescoes in the background but also executed the terra-cotta figures1 thus carrying out the scheme of uniting painting and sculpture in a single design4 ,his ,crucifixion ,chapel1 the most important of his works in this kind1 has on this account been described as the most daring among ,italian works of art4 ,gaudenzio1 who was nearly contemporary with ,luini1 first studied at ,milan in the school of ,stefano ,scotto 7whose portrait he is believed to have introduced more than once in his work at ,varallo74 ,the story that he visited ,rome and made the acquaintance of ,raphael rests on no authority1 and probably arose from a certain similarity in his works to the charm of ,raphael4 ,but this is a similarity1 not of what is called influence1 but of age and temperament4 ,the influence of ,perugino or of ,raphael1 says ,morelli1 is not more and not less perceptible in ,ferrari's paintings than in those of nearly all the great masters of that happy period1 generally called the golden age of ,italian art1 during which ,gaudenzio and ,luini held much the same place in their own school as ,raphael does in the ,umbrian1 ,cavazzola 7,morando7 and ,carotto in the ,veronese1 ,garofalo and ,dosso in the ,ferrarese1 and ,fra ,bartolommeo and ,andrea del ,sarto in the ,florentine4 ,gaudenzio1 it is true1 has not the grace of ,luini1 neither are his works so perfect in execution as those of his rival2 but take him for all in all1 as regards inventive genius1 dramatic life1 and picturesqueness1 he stands far above ,luini4 ,in his hot haste ,ferrari often loses his balance1 and becomes quaint and affected2 many of his larger compositions1 too1 are overcrowded with figures2 but in his best works he is inferior to very few of his contemporaries1 and occasionally1 as in some of those groups of men and women in the great ',crucifixion' at ,varallo1 he might challenge a comparison with ,raphael himself 7,german ,galleries1 p4 #dda74 ,the best and fullest account of ,gaudenzio1 in ,english1 is to be found in ,mr4 ,samuel ,butler's interesting work on ,varallo1 entitled ,ex ,voto 7,trbner1 #ahhh74 ,christ1 holding the resurrection banner in ,his hand1 rises from a marble tomb4 ,the painter1 who was a child of the mountains1 gives us a background of blue hills4 ,the picture was the centre compartment of an altar-piece in a church at ,magianico1 near ,lecco1 on the ,lake of ,como4 ,this composition was copied with variations by ,gaudenzio's follower ,giuseppe ,giovenone in a picture now at ,turin4 #adff4 ,,the ,,walk ,,to ,,emmaus4 ,lelio ,orsi 7,parmese3 #aeaa-aehf74 ,this painter1 highly esteemed in his own day and of considerable talent1 has remained less known than many others of inferior merit--a fact which is due1 as ,lanzi observes 7ii4 #ceg71 to his having divided his time between ,reggio and ,novellara1 comparatively obscure towns in the ,emilia4 ,he was born at ,reggio1 and was much employed there by the ,gonzagi4 ,he is supposed to have been a pupil of ,correggio1 whose works he is known to have copied1 and of whom he was a personal friend4 ,in #aedf he was banished for some unknown offence1 and was not permitted to return to ,reggio till #aeeb4 ,during these years he settled at ,novellara1 where again he was employed by the ,gonzagas4 ,he must also have visited ,rome1 and studied the works of ,michael ,angelo4 ,most of ,orsi's frescoes have perished4 ,some of his pictures are in the ,gallery at ,modena4 ,he was celebrated in his day no less as an architect than as a painter4 ,there is an element of picturesqueness and almost modern romanticism in this picture4 ,christ and the disciples wear broad-brimmed hats and the dress of ,italian peasants 7cf4 ,no4 #gec74 #adfh4 ,,the ,,crucifixion4 ,spinello ,aretino 7,tuscan3 about #accc-adaj74 ,see #eha4 ,see also 7p4 xxi7 ,a picture1 some #ejj years old1 in excellent preservation1 retaining its bright colours and the varied expressions of the faces4 ,it is in its original frame1 surmounted by a ,gothic canopy4 ,two upright panels on each side contain figures of ,st4 ,john the ,baptist and ,st4 ,paul 7left71 ,st4 ,james the ,greater and ,st4 ,bartholomew 7right74 ,in circular medallions below are the ,virgin and ,child1 with saints4 #adfi4 ,,still ,,life4 ,w4 ,k4 ,heda 7,dutch3 #aeid-afgh7 ,one of the painters of the kitchen and dining-room--painters who devoted themselves to painting copper and silver vessels1 pottery1 and porcelain1 modest saucepans1 crystal cups1 glass bowls1 and goblets of chased silver4 ,the first to cultivate this new style of still life was ,willem ,klaasz ,heda4 ,he was born at ,haarlem4 ,he was a clever and careful painter1 and must have left behind him a considerable number of works2 but1 nevertheless1 his pictures are excessively rare4 ,they generally consist of a carved silver cup1 a plate1 and a cut lemon--three subjects which the painter rendered with marvellous truthfulness1 the whole surrounded by a few accessories rising out of a brown background 7,havard3 ,the ,dutch ,school1 p4 #bgb74 #adgj4 ,a ,,battle ,,scene4 ,j4 ,weier 7,german3 #agth ,century74 ,this picture is signed ,i4 ,weier1 and dated #afde4 ,it may be either by ,jacob ,weier1 of ,hamburg1 who died in #afgj2 or by ,johann ,matthias ,weier1 of the same town1 who was a pupil of ,wouwerman1 and died1 a very old man1 in #afij4 #adga4 ,,the ,,picnic 7,,marienda ,,campestre74 ,francisco ,goya 7,spanish3 #agdf-ahbh74 ,this painter--of greater genius and of a more national spirit1 says ,sir ,william ,stirling-,maxwell1 than any his century produced--was the son of humble parents4 ,until the age of #af he lived without any knowledge of art1 when his passion for painting was awakened by a monk of ,santa ,f1 near ,saragossa1 after which he was admitted into the studio of ,jos ,luxan ,martinez1 who had been educated in ,italy4 ,he distinguished himself at this time1 not so much in the studio as in the streets1 in the quarrels of painters and confraternities1 sometimes ending in bloodshed4 ,at ,madrid1 to which city he afterwards escaped1 his mode of life appears to have been anything but that of an orderly citizen4 ,being a good musician1 and gifted with a voice1 he sallied forth nightly1 serenading the caged beauties of the capital1 with whom he seems to have been a general favourite1 and whose portraits he painted4 ,in consequence of a street brawl in ,madrid he fled to ,italy1 in company with a party of bull-fighters1 and resided at ,rome1 where he fraternised with ,louis ,david4 ,in #aggd he returned to ,spain1 married1 and settled down to his profession4 ,he soon attracted the notice of ,mengs1 the ,king's painter1 by some designs which he executed for the royal manufactory of tapestry1 and became a popular artist of that capital1 and a prime favourite with its fashionable society4 ,in #aghi he was appointed painter-in-ordinary to ,charles ,,iv41 a post which he continued to hold under ,ferdinand ,,vii4 ,he was so largely employed that he was able to maintain a fine villa near ,madrid1 where he entertained in the grand style4 ,among distinguished persons who sat to him was the ,duke of ,wellington1 but on his making a remark which raised the artist's choler1 ,goya seized a plaster cast and hurled it at the ,duke's head4 ,the artist's declining years were spent in retirement at ,bordeaux1 where he died at the age of #hb4 ,goya's earlier life indicated1 says ,w4 ,b4 ,scott1 the character of his painting--bizarre and wild1 with a gleam of infernal splendour in his choice of beauty4 ,he was an inventor1 and gives us the most vivid and novel sensations1 although he serves us with vinegar as well as wine4 ,much that was bizarre and tumultuous1 the strangeness of charm1 a certain curious and sombre side of beauty1 the sense of the strength of a personality1 the reflection of extravagant gaiety1 or excessive horror1 ,goya was able to render in a manner that had never been seen before 7,goya1 by ,w4 ,rothenstein3 #aijj74 ,he was in no way the slave to the technicalities of the studio or academical rules4 ,in sacred subjects1 which he painted by no means con amore1 he affects the hard style of ,david and his ,french followers4 ,but it was otherwise in those more congenial works in which his hand spoke as his fancy prompted1 and in which he poured forth the gaiety of his art or the gall of his sarcasm4 ,there the daubing boldness of the execution rivals the coarseness of the idea or the rudeness of the jest4 ,his colours were laid on as often with sticks1 sponges1 or dish-clouts as with the brush4 ,smearing his canvas with paint1 says ,gautier of him1 as a mason plasters a wall1 he would add the delicate touches of sentiment with a dash of his thumb4 ,so dexterous was he in turning all materials to artistic account that during morning visits to his friends he would take the sandbox from the inkstand1 and1 strewing the contents on the table1 amuse them with caricatures traced in an instant by his ready finger4 ,his versatility is proverbial2 in addition to numerous oil paintings he executed many crayon sketches1 engravings1 and etchings4 ,it is by the latter that he is perhaps best known4 ,the ,caprices are the most surprising1 showing humanity in all the stages of brutality and ugliness1 with a mlange of beauty and demonology quite unexampled4 7,w4,b4 ,scott1 ,the ,spanish ,school2 ,bryan's ,dictionary of ,painters2 and ,stirling-,maxwell1 ,annals of the ,artists of ,spain47 ,the three following pictures are representative of ,goya's several styles--scenes of country life1 demoniacal fancies1 and portraiture4 ,from the collection of the ,duke of ,ossuna at ,madrid4 ,thophile ,gautier described ,goya--in the language of hyperbole--as a combination of ,watteau and ,rembrandt1 and in this picture we have a ,watteau-like subject1 treated1 however1 in a more grotesque fashion than that of the charming ,french painter of rural ftes4 #adgb4 ,,the ,,bewitched4 ,francisco ,goya 7,spanish3 #agdf-ahbh74 ,see #adga4 ,a scene from a play 7,el hechizado por fuerza71 showing a player on the stage1 dressed as a padre in complete black1 and in the act of pouring oil into a lamp which is held by an obsequious demon1 while a team of ghostly and affrighted mules are rearing in the background4 ,goya1 who has been called the ,hogarth of ,spain1 specially delighted in satirising the clergy1 whose enchantments and incantations he parodied1 and whom he was fond of portraying in the form of asses or apes4 #adgc4 ,,portrait ,,of ,,do,a ,,isabel ,,corbo ,,de ,,porcel4 ,francisco ,goya 7,spanish3 #agdf-ahbh74 ,see #adga4 ,the lady was evidently a plump and rosy voluptuous woman1 having large and liquid eyes with much dilated pupils1 as well as coarse and full lips1 and wearing her loose brown tresses about her eyes and ears1 while a black mantilla fell from a lofty comb upon her shoulders4 ,it is obvious--and this accounts for the lady's flushed carnations and glittering pupils1 not frequent elements in ,goya's work--that she prepared herself for sitting1 not only by blacking her eyelids with kohl1 but using belladonna to dilate her eyes1 and rouge for her cheeks 7,athenum1 ,july #d1 #ahif74 ,this portrait1 says ,sir ,edward ,poynter1 is perhaps as good an example as could be found of the brilliancy of execution and vivid portrayal of character which characterise ,goya at his best4 #adgf4 ,,jupiter ,,and ,,semele4 ,andrea ,schiavone 7,venetian3 #aebb-aehb74 ,andrea ,meldolla1 called ,il ,schiavone 7from his birthplace in ,dalmatia1 the country of the ,slaves71 was born of poor parents1 and died1 we are told1 after a life of much suffering as well as labour--his works1 by which the dealers enriched themselves1 barely supplying him with the means of existence4 ,he was employed at very small remuneration to paint the outside of houses and panels for furniture4 ,it is said that he was rescued from obscurity by ,titian4 ,he was a good colourist1 and had considerable imagination4 ,the colouring of ,schiavone1 says ,zanetti1 was much admired by ,tintoret1 who kept a painting by that artist in his studio and advised others to do the same4 ,among the illustrious painters who followed ,tintoret's advice was our own ,lord ,leighton1 from whose collection the present picture was bought4 ,the picture illustrates the myth which told how ,jupiter came to ,semele1 whom he loved1 attended by clouds1 lightning1 and thunderbolts4 ,this panel was doubtless painted1 as described above1 for some piece of furniture4 #adgh4 ,,the ,,crucifixion4 ,giovanni ,mansueti 7,venetian3 born about #adej74 ,of the life of this painter little is known4 ,the registers of ,san ,giovanni1 ,venice1 tell us that he was lame2 and by his own authority we learn that he was a pupil of ,giovanni ,bellini1 and a believer in the miracle of the ,cross1 which took place in #adgd1 and forms the subject of a picture by him1 now in the ,academy of ,venice4 ,his pictures in that collection are interesting as illustrating ,venetian costume and architecture1 and ,ruskin finds much that is delightful in them4 ,mansueti's figures1 says ,kugler 7i4 #ccb71 are short and stumpy1 and he lacks the variety of expression and action of ,gentile ,bellini1 and the brilliancy of colour and fancy of ,carpaccio4 ,this picture--which is not a very ambitious or characteristic illustration of the painter--gives a symbolic representation of the ,crucifixion4 ,in front of an architectural screen--on the right and left of which is an open tabernacle in sculptured stone1 enclosing1 instead of the usual statue of the ,virgin or a saint1 an angel singing1 and holding an instrument of the ,passion of our ,saviour--lie the spear1 and the sponge upon the reed4 ,between these is a ,majesty of the usual type1 the flesh of the ,redeemer being1 doubtless owing to the partial fading of the carnations or the fact of the under-paint coming through1 more greenish and opaque than the ,venetian artists1 especially the school of ,bellini1 affected4 ,at the foot of the group the ,magdalen kneels in the act of kissing the ,saviour's feet4 ,on her left stands the ,virgin1 and on the same side are two men1 representing1 of course1 the ,magi and the shepherds who attended the nativity of our ,lord4 ,on our right stand ,,ss4 ,john the ,baptist and ,peter1 in front of whom kneels a man who holds the pincers as an implement of the ,passion4 ,the picture1 as becomes its origin1 is bright in colour as well as in its effect and local tints1 very carefully and almost laboriously as well as timidly drawn2 the architecture would not discredit ,peter ,neeffs 7,athenum1 #bdth ,october #ahif74 ,the picture is signed1 and dated #adib4 #adgi4 ,a ,,winter ,,scene ,,on ,,the ,,ice4 ,hendrik van ,avercamp 7,dutch3 #aehf-affc74 ,see #acdf4 ,a winter scene such as ,mr4 ,pater describes in his ,imaginary ,portraits 7p4 #ia71 with all the delicate poetry together with all the delicate comfort of the frosty season1 in the leafless branches1 the furred dresses of the skaters1 the warmth of the red-brick house fronts1 and the gleam of pale sunlight4 #adha4 ,a ,,philosopher4 ,cornelis ,pietersz ,bega 7,dutch3 #afbj-affd74 ,this painter1 who lived and died at ,haarlem1 was the son of a sculptor and a pupil of ,adrian van ,ostade4 ,though1 says ,havard 7p4 #adh71 a more finished draughtsman1 with more regard for grace of form and for the beauty of his figures1 in all other respects he was very inferior to ,ostade4 ,when we notice his dry and heavy execution1 his ruddy flesh-colouring1 and his opaque shadows1 we are surprised that he should have so far neglected the examples placed before him4 ,this picture1 executed throughout with extreme care and finish1 is signed1 and dated #affc4 #adhi1 #adij4 ,,portraits ,,of ,,venetian ,,senators4 7,venetian ,school3 #afth ,century47 ,transferred from the ,south ,kensington ,museum1 where the portraits were attributed to ,tintoret4 #adic4 ,,landscape1 ,,with ,,view ,,of ,,the ,,carrara ,,mountains4 ,g4 ,costa 7,italian3 born #ahbf74 ,giovanni ,costa1 ,professor in the ,florentine ,academy of ,fine ,arts1 is distinguished alike as a painter and a patriot4 ,he fought in the ,venetian campaign of #ahdh1 was a follower of ,mazzini1 in #ahec joined the ,piedmontese regiment of lancers known as the ,aosta ,cavalleggieri1 served on ,garibaldi's staff at ,mentana1 and in #ahgj fought his way through the streets of ,rome at the head of the ,italian army1 and was the first to enter the ,capitol4 ,this ended his military career2 but he afterwards served on the ,municipal ,council of ,rome and interested himself specially in the prevention of inundations of the ,tiber4 ,it was in #aheb that ,costa first began the study of landscape painting1 in which he was destined to become the greatest ornament of the modern ,italian ,school4 ,his home was in the ,alban ,hills1 near ,rome1 and afterwards at ,florence1 where in #ahei he inaugurated the open-air school in ,italy4 ,in #ahfd he returned to ,rome1 and in #ahgj was appointed to his professorship at ,florence4 ,in the earlier portion of his artistic career1 ,costa exhibited at ,paris 7with ,corot1 ,troyon1 and others72 afterwards he found in ,england his chief patrons1 and many of his pupils4 ,in #ahec1 at ,rome1 he made the acquaintance of ,leighton1 whose intimate friend he remained until the ,president's death4 ,another celebrated ,english artist with whom ,costa was intimate was ,mason2 there is considerable affinity in some respects between the work of the two men4 ,the ,italian painter has depicted almost every part of his beautiful country4 ,he has been called the ,italian ,millet1 for the feeling of sublimity which he knows so well how to impart to the simplicities of peasant life2 while in works of pure landscape he especially excels in giving to blue mountains1 reedy banks1 and olive-grown shores a poetical charm4 7,see an interesting account of ,professor ,costa1 largely autobiographical1 in the ,magazine of ,art1 vol4 vi4 ,his personal reminiscences of ,mason and ,leighton have been published in the ,cornhill ,magazine1 ,march #ahig47 ,the scenery of the ,carrara ,mountains is a favourite subject of the painter4 ,in his pictures of these mountains1 seen across a broad expanse of plain through a misty atmosphere1 he invests forms undeniably grand in themselves with a more solemn splendour and a deepened poetry4 #adie4 ,,christ ,,disputing ,,with ,,the ,,doctors4 ,ludovico ,mazzolino 7,ferrarese3 #adhj-aebh74 ,see #afi4 ,this brilliant and characteristic little picture1 containing twenty-eight delicately and elaborately finished figures1 is enriched with one of ,mazzolino's usual backgrounds of marble bas-reliefs4 ,the lower of them represents ,moses showing the ,tables of the ,law to the ,israelites4 ,the upper1 the battle between the ,israelites and the ,philistines1 with ,david beheading ,goliath4 #afec4 ,,portrait ,,of ,,herself4 ,madame ,vige ,le ,brun 7,french3 #agee-ahdb74 ,all visitors to ,paris know this charming artist4 ,her two portraits of herself with her little girl in her arms are in the ,louvre1 and engravings or photographs of them are in every printseller's window4 ,they are characteristic of her refined drawing1 her limpid and transparent colour1 her graceful sentiment4 ,she excelled in rendering the candour of innocence1 the charm of childhood1 and maternal tenderness4 ,she aimed rather at a certain ideal of soft and smiling beauty than at realism of portraiture4 ,some of her personages1 even those in the highest ranks of life1 seem1 it has been well said1 to have traversed the sentimental scenes of the tender ,greuze1 and she was fond of enveloping her sitters in semi-allegorical surroundings4 ,if she cannot be reckoned among the great portrait-painters1 she yet shows a power which is rare among artists of her sex1 and a charming style of her own which will always make her works attractive4 ,madame le ,brun was herself one of the most beautiful and accomplished women of her time4 ,elizabeth ,louise ,vige was born in ,paris1 and her early years were spent in the studio of her father1 who was a painter1 and among other artistic surroundings4 ,her own talents rapidly developed2 by the time she was #ae she had many commissions1 and at #bj she was already celebrated4 ,her beauty and social charm soon gained for her the friendship of the greatest men and women of the day1 including ,la ,harpe1 ,d',alembert1 and ,marie ,antoinette4 ,with the ,queen she was a great favourite4 ,she painted her portrait in #aggi1 and afterwards no less than thirty times4 ,she was made a member of the ,royal ,academy of ,painting in #aghj1 but when the ,revolution broke out she left ,paris in haste4 ,she went from capital to capital2 in each in turn the charm of her person and manner made her many friends1 and she was always full of commissions4 ,in #agie she settled for some years at ,st4 ,petersburg1 where she enjoyed the favour of the ,imperial ,court4 ,in #ahjb she came for three years to ,england1 where she painted portraits of the ,prince of ,wales and ,lord ,byron1 among others4 ,she was a favourite wherever she went1 but in spite of all the adulation she received she remained simple and natural to the end4 ,when she returned to ,paris1 her salon became the rendezvous of the most distinguished writers1 painters1 and politicians of that brilliant period1 and her ,souvenirs1 published in #ahcg1 are crowded with interesting sketches of her friends4 ,in this frank and engaging autobiography she gives us particulars of the worthless husband--,m4 ,le ,brun1 a picture-dealer whom she had married when she was #bj4 ,he squandered her fortune1 but she found unfailing consolation in the daughter whom she presses to her in those portraits in the ,louvre4 ,she outlived both her daughter and her husband by many years and died at the age of #hg4 ,this portrait was painted by the artist in her #bgth year4 ,its acquisition for the ,national ,gallery is specially interesting1 for it was painted in emulation of the celebrated ,chapeau de ,paille of ,rubens 7,no4 #heb74 ,she had seen and admired that work at ,antwerp in #aghb1 and determined to represent herself in a similar effect of shadow and reflected light4 ,the portrait had so great a success that it gained her admission to the ,acadmie1 where she was received in the following year1 #aghc4 #affj4 ,,portrait ,,of ,,himself4 ,adrian van der ,werff 7,dutch3 #afei-agbb74 ,the painter who by his astounding success did most after ,gerard de ,lairesse to lead the art of painting into a perverse path was ,adrian van der ,werff4 ,he was born at ,kralinger-,ambacht1 near ,rotterdam1 and received lessons in drawing from ,cornelis ,picollet1 and then entered the studio of ,eglon van der ,neer1 where he made rapid progress4 ,at first he seemed inclined to follow the bent of his master1 but he deserted the study of nature for the pursuit of the ideal1 and in doing so he fell into cold sentimentality and tasteless affectation4 ,his groups became pretentious1 his heads monotonous1 his bodies have no life1 and his flesh-colouring assumes the polish and the tint of ivory4 ,these defects1 however1 did not prevent his misleading a certain number of people who believed themselves to be connoisseurs4 ,the ,duke of ,wolfenbttel and other high personages of his time contended for the possession of his pictures at enormous prices1 and praised the merits of their favourite artist to the skies4 ,no one more assisted him in his career1 and in the making of his reputation1 than the ,elector-,palatine ,john ,william1 who1 not satisfied with giving him very considerable commissions1 also conferred upon him the title of ,chevalier1 and ennobled his family4 7,the artist signs himself on occasion ',chevalier van ,werff'74 ,the compositions which he painted for his patron are now to be seen at ,munich 7,havard3 ,the ,dutch ,school1 p4 #bhj74 ,there is in the ,dulwich ,gallery a ,judgment of ,paris by ,van der ,werff--a celebrated work painted in #agah for the ,duke of ,orleans and much admired by ,sir ,joshua ,reynolds4 ,the heads are wanting in expression and the flesh is bloodless1 but the painting is of the greatest finish4 ,there are also pictures by him in the ,wallace ,collection4 ,the cold porcelain-like colour1 says ,mr4 ,phillips in his catalogue1 and mechanical finish of this artist in the treatment of the nude are much less appreciated by modern connoisseurs than they were by his contemporaries4 ,still his general accomplishment and the certainty of his execution1 in a vicious and wholly conventional style1 are not to be denied4 ,in our picture the courtly painter of polished1 lascivious nudities faces the spectator in a wig of the period of ,louis ,quatorze1 looking as dignified and impersonal as the painters of that particular age did manage to look in their portraits4 ,the statue of ,fame1 holding a wreath1 is characteristic4 ,the portrait is signed1 and dated #afhe4 #affa1 #affb4 ,,wings ,,of ,,the ,,altar-,,piece1 ,no4 #ajic4 ,ambrogio de ,predis 7,milanese3 about #adej-aeae74 ,this long-forgotten painter was rediscovered by ,morelli in #ahhj1 who claimed for him a considerable place in the ,milanese school4 ,this claim has since been historically confirmed by the document1 referred to in the notes to ,no4 #ajic1 showing that ,ambrogio de ,predis was at work in ,milan with ,leonardo da ,vinci1 employed as his assistant to paint the wings of the altar-piece of which the central portion was the ,vierge aux ,rochers4 ,by a fortunate purchase these wings by ,ambrogio now hang in our ,gallery1 on either side of ,leonardo's picture4 ,ambrogio's best work was in portraiture1 of which an example 7one of the two signed and dated by the artist7 is also in our ,gallery 7,no4 #affe74 ,ambrogio and his brother ,bernardino were sons of a certain ,lorenzo ,preda of ,milan4 ,there is also a ,cristoforo de ,predis1 a miniaturist1 one of whose miniatures 7representing ,galeazzo ,maria ,sforza7 is in the ,wallace ,collection1 and it is probable that from him ,ambrogio received his first education in art4 ,in #adhb he was established as ,court ,painter to ,ludovico il ,moro4 ,in #adic he accompanied ,bianca ,maria ,sforza on the occasion of her marriage to the ,emperor ,maximilian1 but was back again at ,milan in #adid4 ,in #aejb we find him at ,innsbruck1 where he seems to have settled4 ,in #aejf he designed some tapestries for the ,emperor1 after which year nothing more is known of him4 ,in the ,vienna ,gallery is a signed portrait by him of the ,emperor1 dated #aejb1 and to him ,morelli ascribes the celebrated profile portrait of ,bianca ,maria in the ,ambrosiana at ,milan 7there erroneously called ,beatrice ,sforza71 hitherto assigned to ,leonardo4 ,among other portraits now ascribed to ,ambrogio are the ,page in the ,morelli ,collection at ,bergamo1 and ,fr4 ,brivio in the ,poldi ,pezzoli ,collection at ,milan4 ,de ,predis is a conscientious and careful painter1 though his drawing and modelling are often defective1 particularly in the representation of the hand4 ,he seems to have been an artist of some individuality1 even after coming under ,leonardo's influence4 ,he was by nature too much of a miniaturist to concern himself with the larger problems of painting1 and was very limited in his range--even his portraits are uniformly treated4 ,he seems1 judging by his drawings1 to have sought to improve himself by a careful and conscientious study of ,leonardo's work1 and when he had the advantage of the master's guiding hand he could produce works 7like these angels7 one of which1 though lacking the qualities of profound art1 has a certain charm and even dignity of its own 7,catalogue of ,milanese ,pictures at the ,burlington ,fine ,arts ,club1 #ahih1 p4 li42 ,morelli's ,german ,galleries1 pp4 #dac-dae2 ,roman ,galleries1 pp4 #ahj-ahi74 ,the angel in #affa may1 as suggested above1 have been designed1 or begun1 by ,leonardo himself2 that in #affb must be entirely the work of ,ambrogio4 ,these paintings remained in their place1 as we have seen under #ajic1 up to #aghg4 ,they were purchased in #ahgh from ,duke ,jean ,melzi d',erie at ,milan for #bafj4 #affd4 ,,la ,,fontaine4 ,j4 ,b4 ,s4 ,chardin 7,french3 #afii-aggi74 ,see #abeh4 ,the woman is drawing water from a copper fontaine into a black jug4 #affe4 ,,portrait ,,of ,a ,,young ,,man4 ,ambrogio de ,predis 7,milanese3 about #adej-aeae74 ,see #affa4 ,in his right hand he holds a scroll which bears the painter's signature ,,am4 ,,pr41 the date #adid1 and the words ,,an4 #bj4 ,formerly in the possession of the ,archinti family1 and supposed to represent ,francesco di ,bartolommeo ,archinto 7#adgd-aeea71 who was ,governor of ,chiavenna4 ,a very refined portrait2 but ,morelli points out that the hand is coarse and wanting in life4 #afgd4 ,a ,,burgomaster4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,the costume and rapid execution of this magnificent picture point rather1 says ,sir ,edward ,poynter1 to its being a study than a portrait painted on commission4 ,probably also the title by which the picture has long been known is a mistake3 a ,burgomaster would not be painted in such dingy and fantastic garb4 ,the old man was no doubt a model dressed up by ,rembrandt in studio properties4 ,the knotted stick which he holds in his hands may be recognised in the painter's portrait of himself in ,lord ,ilchester's possession 7,no4 #fa in the ,academy ,exhibition of #ahii74 ,that portrait is dated #afeh1 and this picture probably belongs to the same period4 ,the picturesque but nondescript headgear worn by the burgomaster may have belonged to the master himself in those latter days when all relics of the former splendours had vanished4 ,whoever he may have been1 the ,burgomaster1 as he lives for ever on ,rembrandt's canvas1 is a striking personage2 the refined1 intellectual face recalls to some spectators one of the late ornaments of the ,episcopal ,bench in our own day4 ,the portrait is a masterpiece alike of character-reading and of modelling4 #afge4 ,,portrait ,,of ,,an ,,old ,,lady4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #de4 ,a noble portrait4 ,rembrandt was a painter who reverenced old age1 and gave its dignity and beauty to faces the least promising4 ,we may notice especially the pathetic eyes1--with an expression at once so living and so sorrowful1 and the character in the hands which ,rembrandt never failed to give his sitters4 ,the old lady wears a large white ruff1 evidently clinging to the costume of her earlier years1 for ruffs had long been out of fashion at the time when the picture was painted4 ,the picture has been known as the ,burgomaster's ,wife1 but this description is without authority or probability4 ,there is another portrait of the same old lady in ,lord ,wantage's possession 7,no4 #ae in the ,academy ,exhibition1 #ahii74 ,lord ,wantage's picture is dated #affa4 ,the two magnificent pictures just described1 which hold their own triumphantly even on a wall of masterpieces1#bea were formerly in possession of ,sir ,william ,middleton1 ,bart41 great-uncle to ,lady de ,saumarez1 and were exhibited at the ,british ,institution in #aheh4 ,since that date they had been lost to sight until they were purchased for the ,national ,gallery in #ahii4beb ,they are believed to have been in possession of the ,lee family1 ,lady de ,saumarez's ancestors1 from the time that they were painted1 but they may have come into the family with a certain ,john van ,enkoren1 a ,dutch gentleman1 who married a second cousin of ,sir ,william ,middleton4 #afgf4 ,,christ ,,disputing ,,with ,,the ,,doctors4 ,francesco de ,herrera1 the elder 7,spanish3 #aegf-afef74 ,francesco de ,herrera1 the elder--so called to distinguish him from a son of the same name who was also a painter--was the first to throw off the timid conventional style hitherto in vogue1 and to adopt the bold and vigorous manner which became characteristic of the school of ,seville4 ,he drew1 we are told1 with charred reeds1 and painted with a housepainter's brush4 ,it is said that on occasions he would employ a servant to smear the paints on his canvas with a coarse brush1 and then himself shape the rough masses into figures and draperies4 ,in the ,louvre there is an important picture by ,herrera1 ,st4 ,basil dictating his ,doctrine1 of which ,thophile ,gautier said that it was dashed off with an unimaginable fury of the brush1 and blazed with the flashing of some auto-da-f4 ,in the ,earl of ,clarendon's ,collection are three powerful pictures 7shown at the ,new ,gallery1 #ahie-if7 representing scenes in the life of ,st4 ,bonaventura4 ,but most of ,herrera's extant works1 in oil and fresco1 remain at ,seville4 ,the vigour of his style was equalled by the impetuosity of his temper4 ,pupils flocked round him1 but the violence of his outbursts drove them away4 ,among this number was ,velazquez4 ,he perverted his talent as an engraver of medals to the work of coining1 and when suspected of this offence fled for sanctuary to the ,jesuits' ,college4 ,there he painted a picture which was shown to ,philip ,,iv4 ,what need1 said the ,king1 has a man gifted with abilities like yours of silver and gold8 ,go1 you are free2 and take care that you do not get into this scrape again4 ,he could not1 however1 change his violent habits1 and his children1 we are told1 robbed him and fled from his house4 ,in #afej ,herrera removed to ,madrid1 where he had the pleasure1 or mortification1 of seeing his former pupil1 ,velazquez1 at the height of his fame4 ,a work in the painter's less impetuous style1 but marked by the vigour characteristic of the ,spanish and ,italian naturalists4 #afhj4 ,,portrait ,,of ,a ,,young ,,man4 ,dutch ,school 7#agth ,century74 ,an admirable portrait of a young man with long golden hair1 looking out at the spectator4 ,the picture is signed ,j4 ,karel du ,jardin4 ,it has sometimes been attributed to the well-known painter of that name 7see #hbf71 and been said to be a portrait of the artist by himself4 ,but the initial ,j4 does not confirm this theory4 #afhb4 ,,virgin ,,and ,,child4 ,francesco di ,giorgio 7,sienese3 #adci-aejb74 ,francesco di ,giorgio ,martini was one of the most distinguished architects and engineers of his time4 ,he wrote a treatise on ,civil and ,military ,architecture1 and was a great authority1 says ,vasari1 on all instruments required for the purposes of war4 ,there are two altar-pieces by him in the ,siena ,academy1 and he also occasionally produced works in sculpture3 this he could do very conveniently1 being a man of fair possessions as well as of remarkable ability1 wherefore he did not work for the sake of gain1 but for his own pleasure1 and when he felt inclined1 to the end that he might leave honourable memorials of his existence behind him4 ,this quaint little picture represents the ,virgin in the attitude of walking1 leading the ,infant ,saviour by the hand4 ,she wears a white dress1 shaded blue1 with a small gold pattern delicately painted upon it1 and a rose-coloured mantle lined with dark green1 and holds in her right hand a branch of roses4 ,the drapery falls with much grace1 and she looks down with a sweet expression to the ,child 7,national ,gallery ,report1 #ahii74 #afhc4 ,,study ,,of ,a ,,horse4 ,cuyp 7,dutch3 #afbj-afia74 ,see #ec4 ,the glossy texture of the horse is well rendered4 #afhf4 ,,study ,,of ,,flowers4 ,henri ,fantin-,latour 7,french3 #ahcf-aijd74 ,ignace ,henri ,jean ,thodore ,fantin-,latour was born at ,grenoble1 the son of a famous pastellist4 ,he first exhibited at the ,salon in #ahfa4 ,in #ahfd his ,hommage ,delacroix created a sensation4 ,in this country1 where he was a constant exhibitor at the ,royal ,academy1 he is best known for his exquisite studies of roses and other flowers4 ,but he was also a painter of portraits 7see ,no4 #aieb7 and of romantic subjects inspired by his musical tastes4 ,in portraiture1 a thorough1 though a sympathetic1 realist 7witness his ,monet's studio at the ,batignolles in the ,luxembourg71--he becomes fanciful when he enters the domain of romance4 ,a favourite medium was lithography1 in which he excelled2 the ,british ,museum has a fine set of proofs4 ,his subjects are taken from the motives used in the musical dramas of ,wagner and ,berlioz4 ,late summer flowers1 chiefly roses1 in a vase on a wooden table4 ,the background1 as usual with this painter1 is of a flat tone of warm gray4 #afhi4 ,a ,,man ,,and ,,wife4 ,mabuse 7,flemish3 about #adgj-aeda74 ,see #fef4 ,portraits1 uncompromising in thoroughness1 of a severe and uncompromising couple4 ,this masterpiece1 says ,sir ,edward ,poynter1 combines with a high perfection of finish and modelling1 every detail being finished with the utmost care1 even to the stubble of the man's beard1 great breadth of effect and a beautiful quality of light and shade 7,national ,gallery ,report1 #aijj74 ,the portraits1 formerly in the collection of ,captain ,a4 ,f4 ,dawson1 used to be attributed to ,quentin ,matsys4 ,some authorities ascribe them to his brother1 ,jan4 ,others believe that the work belongs to the ,german school4 ,the attribution to ,mabuse is made in the ,director's ,report for #aijj4 #afid4 ,,virgin ,,and ,,child ,,with ,,st4 ,,john4 ,fra ,bartolommeo 7,florentine3 #adge-aeag74 ,bartolommeo di ,pagholo del ,fattorino1 one of the greatest of the ,florentine masters1 is commonly known as ,baccio della ,porta1 or ,fra ,bartolommeo4 ,he was born at the village of ,savignano1 near ,prato1 and was sent while still a lad to the studio of ,cosimo ,rosselli at ,florence1 where he lived with some kinsfolk in a house near the gate of ,san ,piero ,gattolini 7now the ,porta ,romana74 ,the neighbours1 seeing him come and go to his work1 and ignoring surnames with the custom of the time1 distinguished him from all the other ,bartholemews as ,baccio della ,porta4 ,he was loved in ,florence1 says ,vasari1 for his virtue1 for he was very diligent at his work1 quiet and good-natured1 fearing ,god1 living a tranquil life1 flying all vicious practices1 and taking great pleasure in preaching1 and the society of worthy and sober persons4 ,in the studio of ,rosselli he made the acquaintance of ,mariotto ,albertinelli1 as erratic1 gay1 and idle as his companion was pure1 gentle1 and austere4 ,between the two young men a warm friendship sprang up1 which continued unbroken till the death of ,albertinelli in #aeae4 ,when ,fra ,bartolommeo temporarily relinquished the practice of art in #aejj1 ,albertinelli took up his abandoned canvases1 and from #aeji onwards the two men worked in formal partnership4 ,the religious spirit of ,bartolommeo had been profoundly impressed by ,savonarola's preaching4 ,to the famous bonfire1 into which the people cast their pomps and vanities1 our painter brought all the studies and drawings which he had made from the nude4 ,he was among the band of faithful followers who shut themselves up with ,savonarola in ,san ,marco4 ,having very little courage1 says ,vasari1 being indeed of a timid and even cowardly disposition1 he lost heart on hearing the clamours of an attack1 which was made upon the convent shortly after1 and seeing some wounded and others killed1 he began to have grievous doubts respecting his position4 ,thereupon he made a vow1 that if he might be permitted to escape from the rage of that strife1 he would instantly assume the religious habit of the ,dominicans4 ,this he did in the year #aejj1 and for some time afterwards his brush was idle4 ,when he resumed work1 it was on condition that the convent received all the produce of his labours4 ,in #aejf1 when ,raphael visited ,florence1 he formed a friendship with ,fra ,bartolommeo1 in whose work he doubtless found something to assimilate4 ,some years afterwards1 ,fra ,bartolommeo went to ,rome1 where he painted a figure of ,st4 ,paul1 and part of one of ,st4 ,peter 7now in the ,quirinal71 leaving ,raphael to finish the work4 ,fra ,bartolommeo suffered from ill-health1 and died at the early age of #db4 ,the contributions made by ,fra ,bartolommeo to ,italian art were fourfold4 ,he exhibited a scientific scheme of composition based on principles of strict symmetry1 and in this respect he was the precursor of ,raphael4 ,in colouring he was equal to the best of his contemporaries2 in his better works brilliance is combined with harmony of tone in a very charming manner4 ,in some of his works1 however1 the attempt to adopt the chiaroscuro of ,leonardo led to an over-darkening of the shadows4 ,vasari noticed even in his day that the use of printer's-black and ivory-black had caused some of ,fra ,bartolommeo's shadows to become unduly heavy4 ,in his landscape backgrounds1 ,fra ,bartolommeo showed a considerable advance on his predecessors4 ,everything is true and harmonious1 up to its intention1 which is to be simple1 calm1 consistent1 and real1--real1 and yet breathing an idyllic beauty4 ,lastly1 he was the inventor of the lay figure4 ,he always considered it advisable1 says ,vasari1 to have the living object before him when he worked2 and the better to execute his draperies1 arms1 and things of similar kind1 he caused a figure1 the site of life1 to be made in wood1 with the limbs moveable at the joints1 and on this he then arranged the real draperies4 ,fra ,bartolommeo's range was limited4 ,he is seen at his best not in works 7such as the fresco of the ,last ,judgment1 now in the picture gallery of the hospital of ,santa ,maria ,nuova7 which call for the exercise of powerful imagination1 but in ,madonna pieces4 ,nature made ,fra ,bartolommeo1 says ,symonds1 the painter of adoration4 ,he excels in the poetry of simple religious feeling4 ,his works are rare outside ,italy4 ,copies from some of his frescoes at ,florence are in the ,arundel ,society's ,collection2 but the treasure city of ,fra ,bartolommeo at his best is ,lucca4 ,few figures in ,italian art have been more often copied and photographed than his charming little angel who sings at the foot of the ,madonna's throne in the ,cathedral of ,lucca4 ,fra ,bartolommeo's pictures sum up1 says ,ruskin1 the principles of great ,italian religious art in its finest period1--serenely luminous sky1--full light on the faces2 local colour the dominant power over a chiaroscuro more perfect because subordinate2 absolute serenity of emotion and gesture2 and rigid symmetry in composition4 ,and elsewhere he speaks of the precious and pure passages of intense feeling and heavenly light1 holy and undefined1 and glorious with the changeless passion of eternity1 which sanctify with their shadeless peace the deep and noble conceptions of the early school of ,italy--of ,fra ,bartolommeo1 ,perugino1 and the early mind of ,raffaelle 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 ii4 ch4 i4 #bb1 and epilogue of #ahhc to vol4 ii474 ,some trace of these characteristics may be found in the present picture4 ,it is bright in colour1 balanced in composition1 simple in feeling1 and shows a charming ,tuscan landscape4 ,thoroughly ,tuscan also is the type of peasant ,madonna1 with her brown hair tied up in a blue handkerchief4 ,the infant ,christ is almost grotesque1 but the little ,st4 ,john may take his place among ,fra ,bartolommeo's collection of sweet child-faces4 ,our picture#bec is ascribed to the years #aejg-i4 ,in the ,corsini ,gallery at ,rome is a repetition of it done at a later period1 with the figures1 life-sized1 reversed1 and with ,st4 ,joseph added to complete the pyramidal composition4 #afie4 ,,landscape ,,with ,,nymphs4 ,venetian ,school 7early #afth ,century74 ,from the ,south ,kensington ,museum3 very characteristic of the ,venetian school is the beautiful blue distance4 #afif4 ,,madonna ,,and ,,child4 ,giovanni ,bellini 7,venetian3 #adbf-aeaf74 ,see #ahi4 ,a fragment of a fresco1 painted in #adha and originally brought from the church of ,magre1 near ,schio1 in the neighbourhood of ,vicenza4 ,the work1 if by ,bellini1 is somewhat earlier than the ,madonna and ,child 7#bhj7 of our ,gallery4#bed ,we have1 says ,mr4 ,roger ,fry1 no example of ,bellini's fresco work by which to judge it4 ,it may therefore be argued that the weak construction of the ,virgin's figure and the poor drawing of the child are the result of ,bellini's want of familiarity with the medium1 nor can it be denied that the weaknesses are exaggerations of certain peculiarities of ,bellini's own design4 ,this is particularly noticeable in the drawing of the child1 which approaches very nearly in type and expression the child of the ',madonna between the ,magdalen and ,st4 ,catherine' of the ,academy at ,venice4 ,but in no undoubted work by ,bellini is the drawing so clumsy as this4 ,much1 however1 may be attributed to restoration1 particularly in the ,infant ,christ1 and it is impossible to deny the great beauty of the colour--a peculiar golden glow which is very unusual in fresco1 and is indeed a translation into that medium of the golden richness of ,bellini's tempera and oil pieces4 ,the ,madonna's expression has a certain tenderness and charm which is characteristic of ,bellini1 but it lacks the definite realisation of a mood which he almost invariably compassed 7,the ,pilot1 ,jan4 #e1 #aija74 ,on the other hand1 according to a well-known critic1 writing in the ,daily ,telegraph1 the wistfulness of the ,virgin is not the wistfulness of ,giambellino1 but rather that of ,bartolommeo ,montagna or some kindred painter of the school of ,vicenza4 ,again1 the type of the ,virgin and the adjustment of her headgear recall the severe yet passionate master of ,vicenza just named1 under the influence1 not so much of ,giovanni ,bellini as of the elder school of ,venice--that of the ,vivarini4 #afii4 ,,the ,,lesson4 ,jan ,vermeer of ,delft 7,dutch3 #afcb-afge74 ,see #achc4 ,see also 7p4 xxi7 ,a symphony in black and white2 cool in effect1 almost to the point of austerity and chilliness4 ,the faces are full of expression4 ,the master turns in expectation to the pupil1 as much as to say ,come1 don't you know8 ,the pupil is ready with his answer1 and seems to appeal for encouragement3 ,that is right1 is it not8 ,there is a severe absence of details2 everything in the picture is made to contribute to the colour scheme4 ,the play of cool light on the faces and hands1 on the man's black dress1 and the gray tablecloth with its patches of blue shadow2 the design of the man's large hat against the dark background1 the almost pathetic charm of the fair-haired boy's expression1 the regular black and white of the tiled floor1--all seem chosen for their pictorial value alone and skilfully composed into this grave1 almost austere harmony4 ,the largeness of design and rejection of all superfluous detail in this picture connect it with ,vermeer's more daring compositions 7,m4 ,h4 ,witt1 in the ,nineteenth ,century1 ,october #aijj74 ,only one life-size group by the master is certainly authenticated--the signed ,courtesans at ,dresden4 ,the attribution of our picture to the master is uncertain4 #agjj4 ,,portrait ,,of ,a ,,gentleman4 ,unknown 7,dutch ,school3 #agth ,century74 ,a strong face1 finely painted4 ,the iron-gray of the man's hair combines harmoniously with the lawn collar and cuffs2 a harmony in black and gray4 #agja4 ,,landscape ,,with ,,watermill4 ,allart van ,everdingen 7,dutch3 #afab-afge74 ,this painter1 an elder contemporary and precursor of ,ruysdael1 was born at ,alkmaar4 ,he studied successively under ,roelandt ,savery at ,utrecht and ,pieter ,molyn at ,haarlem4 ,in a voyage which he made to the ,baltic he was shipwrecked on the coast of ,norway1 and he remained for some time in that country4 ,on returning to his native land he reproduced the scenes among which he had dwelt--torrents edged around by huge firs springing out from sombre masses of rock1 and throwing their spray into large stretches of transparent water4 ,a large number of studies from nature remain from his hand1 and these he composed into pictures4 ,his works had some vogue in ,holland1 where they provided a counter-attraction to the views of the softer and more smiling country which the ,italianisers were offering to the public4 ,if ,ruysdael did not himself go to ,norway1 it must have been ,everdingen's ,norwegian scenes that inspired him4 ,everdingen's colouring is simple and pure1 his touch broad and facile1 and it is evident that every object in his pictures was studied from nature4 ,he was also an accomplished etcher4 ,he died at ,amsterdam4 #aggf4 ,,the ,,adoration ,,of ,,the ,,shepherds4 ,signorelli 7,cortona3 #adda-aebc74 ,see #aabh4 ,a predella picture2 characteristic of the master1 and in good preservation4 ,formerly in the possession of ,count ,colonna ,ferretti 7a nephew of ,pius ,,ix47 at ,cortona4 #aghf4 ,,the ,,lake ,,of ,,thun4 ,alexandre ,calame 7,swiss3 #ahaj-ahfd74 ,this painter is of some interest in the history of painting as one of the pioneers who discovered for artistic purposes the picturesqueness of ,switzerland4 ,he was born at ,vevay1 and was the son--not 7as sometimes stated7 of a simple mason1 but--of a clever stone-cutter4 ,he was very delicate as a child1 and an accident at school deprived him of the sight of his right eye4 ,as a youth1 ,calame obtained employment in a bank at ,geneva4 ,he further aided the narrow resources of his home by making little ,swiss views in colour1 which the shopkeepers took up4 ,foreigners were glad to bring them away as travelling memorials1 in place of photographs1 which did not then exist4 ,his employer1 ,m4 ,diodati1 noticing young ,calame's talent for art1 generously enabled him to obtain instruction4 ,he made rapid progress1 and became headmaster of a drawing-school in ,geneva4 ,in #ahcg he began contributing to foreign exhibitions views of ,switzerland1 and these won for him a considerable reputation4 ,he visited ,england in #ahej1 and here1 as in other countries1 his works found many purchasers4 ,in the ,south ,kensington ,museum there is a large collection of his ,swiss views in water-colour4 ,he was a lithographer and engraver1 as well as a painter1 and his plates of ,swiss landscapes were at one time well known4 ,he received commissions from many ,european sovereigns1 and was visited by all the great personages who passed through ,geneva4 ,in ,france1 indeed1 art-circles were cool towards him4 ,un ,calame1 deux ,calames1 trois ,calames--que de calamits ran the phrase every year in the ,paris ,salon4 ,but in ,germany he found warm admirers and formed several imitators4 ,his lithographed studies of trees1 and his landscapes for copying remained in use for some decades as a medium of instruction in drawing4 ,he was a conscientious workman1 who finished the whole of his canvas or paper with equal industry1 and his drawing was correct4 ,but his colouring is insipid1 and his atmosphere somewhat heavy4 ,by painting he understood the illumination of drawings1 and his drawing was that of an engraver4 ,sentiment is replaced by correct manipulation1 and in the deep blue mirror of his ,alpine lakes1 as in the luminous red of his ,alpine summits1 there is always to be seen the illuminator who has first drawn the contours with a neat pencil and pedantic correctness 7,muther's ,history of ,modern ,painting1 ii4 #cbb74 ,calame's fertility was very great4 ,his note-books contain the record of #dej finished pictures in oil1 #ejj studies1 and #abjj water-colours 7,e4 ,rambert3 ,alexandre ,calame4 ,sa vie et son oeuvre1 ,paris1 #ahhd74 ,the mountain in our picture is the ,blumlis ,alp3 an afternoon effect4 #ahaj4 ,,portrait ,,of ,a ,,boy4 ,franois ,duchatel 7,flemish3 #afaf-afid74 ,this painter1 whose works are very rare1 is said to have been a pupil of ,david ,teniers1 the younger4 ,in some of his pictures representing village festivals he followed the style of that master2 in others1 of family groups1 his work rather resembles that of ,gonzales ,coques4 ,his most important picture is in the ,museum at ,ghent4 ,it represents the ,inauguration of ,charles ,,ii41 ,king of ,spain1 as ,count of ,flanders1 and comprises about a thousand small figures4 ,duchatel was born at ,brussels4 ,he worked for some time in ,paris in conjunction with his fellow-countryman ,van der ,meulen 7see #addg74 ,the picture before us1 with its vigorous touch and warm colour1 shows that ,duchatel was an accomplished portrait-painter4 #ahab4 ,,the ,,agony ,,in ,,the ,,garden4 ,ascribed to ,lo ,spagna4 7,see #ajcb74 ,the figure of the ,saviour and the angel are identical with those in the picture by ,lo ,spagna in the ,national ,gallery numbered #ajcb1 but the execution of the work points to possibly a different hand4 ,it was ascribed by ,passavant to ,raphael4 ,on the back of the panel are incised the initials ,g4 ,d4 ,h4 in a monogram surmounted by a crown1 and an inscription on paper of probably the #ahth century2 ',all' ,illmo et ,eccmo ,giovanni ,hiccolini 7sic7 ,imbascatore 7sic7 di ,toscana in ,roma4' ,it was exhibited in the ,art ,treasures ,exhibition at ,manchester in #aheg 7,no4 #adf7 under the name of ,raphael1 when it belonged to ,mr4 ,henry ,farrer1 who had it from ,russia 7,national ,gallery ,report1 #aijj74 #ahdb4 ,,heads ,,of ,,angels4 ,tuscan ,school 7#aeth century74 ,see also 7p4 xxi7 ,a characteristic fragment of fresco4 #ahdc4 ,,the ,,adoration ,,of ,,the ,,magi4 ,benedetto ,bonfigli 7,umbrian3 #adbj-adif74 ,a characteristic1 if unimportant1 example of one of the early masters of the ,umbrian ,school4 ,bonfigli 7or ,buonfiglio7 was a native of ,perugia1 and his principal work1 a series of frescoes1 full of quaint costume and fantastic detail1 representing the lives of ,st4 ,louis of ,toulouse and ,st4 ,herculanus1 is in the ,palazzo del ,consiglio there4 ,there is much navete in the surprised expression of the seated ,sir ,joseph1 and much dainty charm in the youths with their vessels of gold4 #ahde4 ,,the ,,light ,,of ,,the ,,world4 ,paris ,bordone 7,venetian3 #aejc-aegj74 ,see #fcg4 ,the ,saviour holds in his hand a scroll inscribed ,ecce sum lux mundi1 but the expression is vapid4 #ahdg4 ,,the ,,virgin ,,crowned ,,by ,,angels4 ,luca ,signorelli 7,umbrian3 #adda-aebc74 ,see #aabh4 ,this important picture1 in a splendid frame of the period1 is of special interest from the record of authenticity which it bears4 ,on the cartellino at the foot1 is an inscription informing us that the noble picture before us was an offering of devotion by ,master ,aloiusius1 a ,french physician1 and ,thomasina his wife1 that ,luca ,signorelli1 the illustrious painter of ,cortona was the artist1 and that the date was #aeae4 ,in the archives of the little town of ,montone1 near ,umbertide1 a deed1 dated ,september #aj1 #aeae1 has been discovered1 which informs us further that the picture was painted for ,master ,aloiusius1 living at ,montone1 for the chapel of ,st4 ,christina at that place1 by ,luca ,signorelli on account of their mutual and cordial friendship1 and in consideration of the free services which he had received1 and in future hopes to receive1 from the said ,aloiusius4 ,the physician on his part undertakes in the same deed to give free medical attendance henceforth to the said ,luca1 and to any member of his household4 ,the place for which the picture was painted accounts for the figure of ,st4 ,christina1 on the right of the ,virgin4 ,among her adventures was being tied to a millstone and cast into the ,lake of ,bolsena1 but angels upheld the millstone1 and she floated back to land4 ,the legend explains also the charming view of a lake seen beneath the feet of the ,virgin4 ,the altar-piece was discovered by ,signor ,mancini in a cellar at ,montone1 much obscured by neglect1 and was for some time in his collection at ,citt di ,castello4 ,it has now been cleaned1 and is apparently in fine condition4 ,the date of the picture shows that it was painted towards the end of the artist's life1 when he was #gd years of age1 and some critics have found in the work signs that the master's hand was losing its cunning4 ,certainly the composition of the principal lines--with the upper figure at each side in line with the lower--is somewhat awkward1 and the ,st4 ,christina is a heavy figure with a meaningless expression4 ,that of ,st4 ,sebastian1 however1 is vigorous2 the central group of the ,madonna and ,child borne by cherubims is impressive2 the angels above are very fine1 and ,st4 ,jerome and ,st4 ,nicholas of ,bari are good4 ,the details of ,st4 ,nicholas's robe and mitre deserve study4 ,it is amusing to note that two of the critics who scarify the picture single out the landscape--the one1 as the worst part of it1 the other1 as its redeeming feature4 #ahdh4 ,,portrait ,,of ,a ,,young ,,man4 ,abraham ,raguineau 7,dutch3 #afbc-afha74 ,this painter1 born in ,london1 settled at the ,hague1 where he seems to have met with little prosperity4 ,at a later time1 he was living at ,leyden1 and was writing-master to the ,prince of ,orange4 ,the picture is signed1 and dated 7#afeg71 at the top of the oval on the left1 and is the only known signed work of the painter in existence4 ,it shows us a pleasant-looking1 if somewhat characterless youth1 aged #ah 7as the description states71 whose coat1 shirt1 and collar make a delicate study in cool grey tones4 #ahdi4 ,,the ,,nativity4 ,jacopo ,pacchiarotto 7,sienese3 #adgd-aedj74 ,the story of this painter and revolutionist--who1 joining the ,bardotti and taking part in popular risings in ,siena1 was concealed by the monks in a tomb1 beside a newly-buried corpse--is familiar from ,browning's humorous telling of it in his ,pacchiarotto and how he worked in ,distemper4 ,he was originally a pupil of ,bernardino ,fungai 7see #acca72 but his later work shows the influence of ,fra ,bartolommeo and ,raphael4 ,he appears to have studied ,raphael1 says ,lanzi1 with the greatest care2 and there are heads and whole figures so lively1 and with such grace in the features1 that to some connoisseurs they seem to possess the ideal4 ,certainly there is a liveliness and an appropriateness of expression about the figures in this picture which distinguish it from the stiff mannerism of earlier ,sienese pictures4 ,kneeling in adoration are ,st4 ,john the ,baptist and ,st4 ,jerome 7with the stone1 in his character as penitent74 ,st4 ,stephen1 behind ,st4 ,john1 carries on his head the stone1 as symbol of his martyrdom4 ,behind ,st4 ,jerome is ,st4 ,nicholas of ,bari1 a finely rendered portrait of venerable age4 ,of the figures in the niche-shaped panels in the frame1 that1 at the top on the left1 of the ,angel of the ,annunciation is particularly graceful4 ,the panels of the predella show the ,agony in the ,garden1 the ,betrayal1 the ,crucifixion1 the ,deposition1 and the ,resurrection4 #ahej4 ,a ,,scene ,,on ,,the ,,ice4 ,andries ,vermeulen 7,dutch3 #agfc-ahad74 ,see #addg4 #ahea4 ,,the ,,interior ,,of ,a ,,stable4 ,dutch ,school 7#agth century74 #ahfj4 ,,portrait ,,of ,a ,,lady4 ,ascribed to ,sir ,antonio ,more 7,flemish3 #aegb-aegh74 #ahgb4 ,,virgin ,,and ,,child4 ,alvise ,vivarini 7,venetian1 painted #adfa-aejc74 ,all visitors to ,venice are familiar with a picture1 in the church of the ,redentore1 of the ,madonna and ,sleeping ,child1 with two playing angels2 there is a bird on the curtain above1 and some fruit on the parapet below4 ,it is one of the most charming little pictures in ,venice1 and is usually shown as a work of ,giovanni ,bellini4 ,modern criticism assigns it1 however1 to ,alvise ,vivarini1 to whom an important place in the history of ,venetian painting is now accorded as an artist developing on lines independent of the ,bellinis1 and as the ,master of ,lorenzo ,lotto4#bee ,that he was largely employed in the ,ducal ,palace we know from ,vasari1 who describes his works there1 commending more particularly their fine perspective and portraits from the life so well depicted as to prove that this master copied nature very faithfully4 ,these works1 begun in #adhi and stopped by the artist's death in #aejc1 were destroyed in the fire of #aegg4 ,of his extant works1 the earliest one1 which is dated 7#adge71 is at ,montefiorentino4 ,the altar-piece in the ,venice ,academy is dated #adhj1 and that in the ,berlin ,gallery is probably of the same period4 ,to a later date are assigned the ,madonnas of the ,redentore and ,s4 ,giovanni in ,bragora at ,venice1 and the present picture4 ,his latest work1 finished after his death by ,marco ,basaiti1 is the large altar-piece of ,st4 ,ambrose in the ,frari4 ,this picture 7which is signed on a cartellino on the parapet7 is1 says ,mr4 ,berenson1 delightful as a composition4 ,the ,madonna is seen down to the waist1 holding the ,child on a parapet1 while behind her1 to the left1 a window opens out on a charming landscape4 ,the ,madonna's face has a tinge of almost ,botticellian melancholy1 as in ,lotto's ,recanati altarpiece4 ,the ,child is almost the putto on the right in the ,redentore picture1 but somewhat more bony4 ,the draperies already have the freedom of ,alvise's latest works4 ,the picture1 formerly in the ,manfrini ,gallery1 was presented by ,mr4 ,charles ,loeser in #ahih4 #ahie4 ,,baron ,,waha ,,de ,,linter ,,of ,,namur4 ,jacob ,jordaens 7,flemish3 #aeic-afgh74 ,jordaens1 who stands next to ,rubens and ,van ,dyck among the great ,flemish painters1 was a fellow-pupil with the former under ,adam ,van ,noort1 whose daughter he married in #afaf4 ,in the same year he became a member of the ,painter's ,guild of ,st4 ,luke1 being described as a water-colourist2 his first works were in fact paintings in distemper and cartoons for the tapestry workers4 ,by #afbj his fame as a painter of pictures was established4 ,his works1 which are very numerous1 are of all kinds of subjects1 but he is little represented in ,british ,galleries4 ,examples may be seen1 however1 in the ,wallace ,collection and the ,dulwich ,gallery4 ,the name of the sitter is on the frame2 his coat of arms and crest1 with the inscription ,aetatis suae #fc1 #afbf1 are on the upper corner of the picture4 ,it is a fine portrait1 characteristic of the exuberance and vigour which mark the work of ,jordaens4 #ahif4 ,,interior ,,of ,a ,,church4 ,pieter ,saenredam 7,dutch3 #aeig-affe74 ,saenredam1 who lived at ,haarlem1 is one of the leading ,dutch painters of architecture4 ,his interiors in particular are remarkable for their luminous effect4 ,another example of them may be seen at ,dulwich4 ,the church is the ,domkerk at ,utrecht4 ,notice the boy making a caricature on the wall2 underneath this is the artist's signature4 #ahig4 ,,the ,,coronation ,,of ,,the ,,virgin4 ,lorenzo ,monaco 7,florentine3 #acgj-adbe74 ,don ,lorenzo was born at ,siena1 but became a ,camaldose monk of the ,convent of the ,angeli at ,florence1 his early practice being that of a miniaturist4 ,in the principal of his known works--an altar-piece of #adac now in the ,uffizi at ,florence1 ,mr4 ,roger ,fry bids us note the cunning with which the painter weaves together his flowing curves1 the rare charm in his therial1 unstructural draperies1 and a kind of visible music in his design 7,monthly ,review1 ,june #aija74 ,something of these qualities may be seen in the long and slender figures of our picture4 ,the decorativeness of its patterns1 and the architectural details1 should also be noticed4 ,the picture1 formerly in a church at ,certaldo1 is in its original ,gothic frame4 ,crowe and ,cavalcaselle 7vol4 i4 p4 #eed7 suppose the picture to have formed part of a larger altar-piece of which the two wings are in our gallery1 ascribed to the school of ,taddeo ,gaddi 7,nos4 #bae1 #baf74 ,but the different scale of the figures in them negatives this supposition4 #aijc4 ,,landscape1 ,,with ,,dogs ,,and ,,game4 ,jan ,fyt 7,dutch3 #afji-affa74 ,see #ajjc4 ,see also 7p4 xxi7 #aiji4 ,,the ,,execution ,,of ,,lady ,,jane ,,grey4 ,paul ,delaroche 7,french3 #agig-ahef74 ,hippolyte1 or 7as he called himself7 ,paul1 ,delaroche1 was the popular ,french painter of his time1 and this is one of his best known pictures4 ,he turned to historical illustration as affording scope for an art which should reconcile the classical with the romantic4 ,he was the embodiment in the art of painting1 as someone has put it1 of ,louis ,philippe's maxim of the juste-milieu4 ,to the same class with the present picture belong his ,death of ,queen ,elizabeth 7,louvre71 ,the ,princes in the ,tower 7familiar from engravings71 and several works in the ,wallace ,collection4 ,ruskin1 while not enamoured of his pictures 7see ,fors ,clavigera1 ,letter #ce71 allows that his honest effort to grasp the reality of conceived scenes compares favourably with the deathful formalism and fallacy of what was once called ',historical ,art1' and that his kindly-meant talent has contributed greatly to the instruction of innumerable households 7,works1 vol4 xix4 pp4 #ej1 #bje74 ,thophile ,gautier1 more contemptuously1 described ,delaroche's art as that of historical illustration for the family use of the bourgeoisie1 and the vogue which it enjoyed all over ,europe set the fashion for what became a prevailing style of stage-dramatic representation in painting4 ,in #ahcc 7the date on our picture7 ,delaroche was appointed a professor at the cole des ,beaux-,arts1 and from #ahcg-ahda he was engaged upon the principal work of his life1 the decoration of the amphitheatre of that school--the idea of his design being an assemblage of the chiefs of the arts in past ages to witness the triumphs of the labourers in his own age4 ,he was assisted in this colossal work by many pupils2 among them was ,edward ,armitage1 ,r4 ,a4 7see vol4 ii4 ,no4 #gei71 who has given an interesting account of the manner of their co-operation 7see ,report of the ,commissioners on the ,royal ,academy1 #ahfc1 p4 #fd74 ,the ,hemicycle was much damaged by fire in #ahec1 and was restored after the death of ,delaroche by ,robert ,henry4 ,the scene is in the ,tower1 ,february #ab1 #aeed4 ,lady ,jane ,grey1 condemned for treason1 has been blindfolded1 and is being led to the block by the ,lieutenant of the ,tower4 #aiad4 ,a ,,royal ,,ch,,teau ,,in ,,holland4 #aiae4 ,a ,,dutch ,,church ,,and ,,market ,,place4 ,jan van der ,heyden 7,dutch3 #afcg-agab74 ,see #hff4 ,the chteau in the former picture is ,the ,house in the ,wood 7,huis ten ,bosch71 built in #afdg1 in which the first ,peace ,conference was held at ,the ,hague4 #aiag4 ,,an ,,italian ,,landscape4 ,jan ,both 7,dutch3 #afaj-affb74 ,see #ga4 ,a fine example of the soft golden tones noted in our account of ,both as characteristic of his best works4 #aiah4 ,,market ,,place ,,at ,,the ,,hague4 ,paul ,constantin ,la ,fargue 7,dutch3 died #aghb74 ,the work of an artist 7best known by his drawings and etchings7 who painted many small pictures of his native city1 ,the ,hague4 ,a scene in the ,gron ,market2 the tower of the ,groote ,kerk in the background4 #aibe4 ,,portrait ,,of ,a ,,man4 ,lucas ,cranach 7,german3 #adgb-aeec74 ,see #bia4 ,upon the shield to the left is the painter's crest1 as in ,no4 #bia2 with the date #aebd4 ,the head is fine and full of character2 the hands are less successful4 #aicj4 ,,portrait ,,of ,a ,,lady ,,as ,,st4 ,,margaret4 ,francisco ,zurbaran 7,spanish3 #aeih-affb74 ,see #bcj4 ,zurbaran1 it has been said1 was a great though not a professed1 portrait painter4 ,the lady is ,st4 ,margaret only in virtue of the dragon1 the emblem of the saint2 otherwise this is a portrait of a young lady in a fanciful country costume4 #aicg4 ,,portrait ,,of ,a ,,lady4 ,bartholomeus van der ,helst 7,dutch3 #afaa-afgj74 ,see #adj4 ,this picture1 said to be a portrait of a lady of the house of ,braganza1 was formerly in the collection of ,mr4 ,beckford at ,fonthill4 ,it is signed1 and dated #afde4 ,the careful finish1 which ,sir ,joshua ,reynolds commended in the work of ,van der ,helst1 may be well studied here in the rich and beautiful costume and jewellery4 #aich4 ,,portrait ,,of ,,his ,,father4 ,albrecht ,drer 7,german3 #adga-aebh74 ,the acquisition of this picture adds to the ,gallery a fine example of the great artist1 who in all the characteristics of his art is the central representative of the ,german spirit1--its combination of the wild and rugged with the homely and the tender1 its meditative depth1 its enigmatic gloom1 its sincerity and energy1 its iron diligence and discipline4 ,the range of his powers is shown not only in his works that survive1 but in the estimation in which he was held by his contemporaries4 ,when he went to ,venice they praised his beautiful colouring1 ,bellini honoured him with his friendship1 and he was everywhere treated1 so he wrote1 as a gentleman4 ,raphael sent him some drawings1 on one of which this note in ,drer's handwriting may still be seen3 ,raphael of ,urbino1 who has been so highly esteemed by the ,pope1 drew these naked figures1 and sent them to ,albrecht ,drer in ,nuremberg to show him his hand4 ,he was a writer as well as an artist4 ,painting1 said ,melanchthon1 was the least of his accomplishments2 whilst of his personal qualities ,luther bore testimony when he wrote3 ,as for ,drer1 assuredly affection bids us mourn for one who was the best of men4444 ,may he rest in peace with his fathers3 ,amen6 ,he was born at ,nuremberg--the son of a goldsmith and the third of eighteen children--and ,albert of ,nuremberg he remained to the end--the painter of a city distinguished for its self-restrained1 contented1 quaint domesticity4 ,his first training was from his father in the goldsmith's trade2 next1 when fifteen1 he was apprenticed for three and a half years to ,wohlgemuth1 the chief painter of the town2 and lastly came his ,wanderjahre1 a long course of travel and study in foreign lands4 ,in #adid he settled down at ,nuremberg1 and there1 with the exception of a visit to ,venice in #aeje-aejf 7see p4 #aij n471 and to the ,netherlands in #aebj-aeba1 he passed the remainder of his life in the busy and honoured exercise of the various branches of his art4 ,he had married1 at the age of twenty-three1 a well-to-do merchant's daughter4 ,the stories which have long passed current with regard to her being imperious1 avaricious1 and fretful1 have been entirely discredited on closer knowledge of the facts4 ,the marriage was childless1 but husband and wife lived throughout on terms both of affection and companionship4 ,as for examples of ,drer's work1 the widely-spread prints of the ,knight and ,death and the ,melancholia give the best idea of his powers of imagination2 while in actual specimens of his handiwork in drawing1 the ,british ,museum is the second richest collection in the world4 ,the best commentary on this picture is the description of his father which ,drer wrote in a history of his family3-- ,my dear father became a goldsmith1 a pure and skilful man4 ,he passed his life in great toil and stern1 hard labour1 having nothing for his support save what he earned with his hand for himself1 his wife1 and his children2 so that he had little enough4 ,he underwent1 moreover1 manifold afflictions1 trials1 and adversities4 ,but he won just praise from all who knew him1 for he lived an honourable1 ,christian life2 was a man patient of spirit1 mild and peaceable to all1 and very thankful towards ,god4 ,for himself he had little need of company and worldly pleasures3 he was also of few words1 and was a ,god-fearing man4 ,this my dear father was very careful with his children to bring them up in the fear of ,god2 for it was his highest wish to train them well that they might be pleasing in the sight both of ,god and man4 ,wherefore his daily speech to us was that we should love ,god and deal truly with our neighbours4 ,it is just such a man that the painter here sets before us4 ,the face is pathetic with the deep furrows ploughed in by seventy years of labour and sorrow4 ,yet as he stands there1 so quietly1 for his son to paint him1 there is just a trace of pleasure and pride lurking in the kind old face 7,conway's ,literary ,remains of ,drer1 p4 #ce74 ,an inscription on the top of the panel records that it was painted in #adig1 when the father was seventy and the son twenty-six4 ,there are three other versions of the picture--at ,munich1 ,frankfort1 and ,syon ,house respectively1 and the question which is the original has been much disputed4 ,the present picture 7exhibited at the ,old ,masters1 #aijc7 was bought1 with ,no4 #aicg1 for #aj1jjj from the ,marquis of ,northampton4 #aici4 ,,virgin ,,and ,,child1 ,,with ,,saints4 ,french ,school 7#aeth century74 ,a little picture almost as delicately wrought as an illuminated page in a missal4 ,the donor is kneeling in the door of the ,gothic chapel4 ,the ,virgin and ,child are in a garden enclosed1 where columbines spring up at her feet2 at the top of the picture are two small figures of ,st ,michael driving out ,satan4 #aidd4 ,,portrait ,,of ,,ariosto4 ,titian 7,venetian3 #adgg-aegf74 ,see #d4 ,this superb portrait1 though traditionally called ,ariosto1 bears no resemblance to the poet4 ,it is the picture of an ,italian aristocrat of the ,renaissance that the painter sets before us2 of a man refined and luxurious1 unimpassioned1 and somewhat cynical4 ,immortalised by art1 he looks out upon us with a somewhat scornful glance2 the handsome head is one of those thoroughly individualised representations which1 once studied1 fix themselves indelibly in the memory4 ,sober and yet sumptuous in colour1 the picture is enveloped in a luminous haze2 and the costume1 with the quilted sleeve of steely grey1 is a masterpiece of technique4 ,the picture1 which is signed on the parapet ,titianus ,v4 7with another ,v4 at the further end of the parapet71 belongs to ,titian's earlier period1 when he was under the influence of ,giorgione1 to which master indeed it is sometimes attributed4#bef ,there are several versions of the picture1 including one in ,lord ,rosebery's collection at ,mentmore4#beg ,the present picture 7,old ,masters1 #ahie7 was bought by ,sir ,george ,donaldson from ,cobham ,hall 7,lord ,darnley7 for #cj1jjj1 and sold by him for the same price to the nation2 a portion of the sum 7#ijjj7 being contributed by ,mr4 ,w4 ,w4 ,astor1 ,mr4 ,alfred ,beit1 ,lord ,burton1 ,lord ,iveagh1 ,mr4 ,pierpont ,morgan1 and ,lady ,wantage4 #aiea4 ,,portrait ,,of ,,dr4 ,,peral4 ,francisco ,goya 7,spanish3 #agdf-ahbh74 ,see #adga4 ,perhaps as good an example as could be found of the brilliancy and execution and vivid portrayal of character which characterise this artist at his best 7,official ,catalogue74 #aieb4 ,,mr4 ,,and ,,mrs4 ,,edwin ,,edwards4 ,henri ,fantin-,latour 7,french3 #ahcf-aijd74 ,see #afhf4 ,a fine example of this artist's portraiture1 representing old friends of the ,french painter1 with whom he stayed when in this country4 ,mr4 ,edwards1 landscape painter in water-colours and etcher 7#ahbc-ahgi71 is examining a print with an expert's eye4 ,his wife1 perhaps less happily posed 7because seemingly disconnected with the other figure71 looks out at the spectator with her arms folded4 ,mrs4 ,edwards who presented this picture to the nation in #aijd died in #aijg4 ,nearly every one of ,fantin-,latour's pictures in this country passed through her hands1 and have her private marks1 by which she was able to identify them after a lapse of many years4 #aiec4 ,,the ,,virgin ,,and ,,child4 ,lazzaro ,bastiani 7,venetian3 about #adbe-aeab74 ,see #gej4 ,in the background is the festoon of fruit1 familiar to us in ,crivelli's pictures4 #aifi4 ,a ,,greek ,,captive4 ,henriette ,browne 7,french3 #ahbi-aija74 #bjeg4 ,,venus ,,with ,,the ,,mirror4 ,velazquez 7,spanish3 #aeii-affj74 ,see #aig4 ,this celebrated picture--commonly called ,venus and ,cupid1 but known in ,spain as the ,venus del ,espejo--is one of the master's rare studies of the nude1 and it is characteristic of his genius4 ,the subject is professedly mythological1 but ,velazquez seeks no adventitious interest from legendary association or idealistic grace4 ,here1 as everywhere1 his standpoint is frankly realistic1 whilst the work is saved from commonness by purity of colour and sincerity of artistic purpose4 ,it has been truly said that the flesh-painting here makes many another picture in the ,gallery look lifeless and unreal4 ,the face of ,venus in the mirror--with broad features enframed in plainly dressed hair--does not realise the promise of the pretty outline of the head with the brown hair tied in a knot2 and it has been suggested 7by ,dr4 ,justi7 that perhaps the damsel did not wish to be recognised4 ,however this may be1 the very plainness of the face emphasises the artist's intention4 ,the picturesqueness of the outline and modulations of the back in a youthful female figure was the artistic effect which he set himself to render4 ,the history of the picture is well authenticated4#beh ,it was painted about #afej1 and passed into the possession of the ,duke of ,alba on his marriage in #afhh with ,doa ,catalina de ,haro of ,guzmom1 ,condessa-,duquesa de ,olivares1 the picture forming part of her dowry4 ,it is mentioned in an inventory of the paintings belonging to her family as a ,venus of life size reclining nude with a child who holds up for her a mirror into which she gazes4 ,this picture is an original work by ,don ,diego ,velazquez4 ,in an account of the ,duke of ,alba's palace in #aggf it is described as the very celebrated ,venus depicted from the back1 in the reclining posture1 with her face reflected in a mirror towards which she directs her gaze4 ,subsequently the picture became the property of the ,spanish statesmen1 ,godoy4 ,in #ahjh it was sold and brought to this country2 and purchased through ,mr4 ,buchanan for the sum of #ejj1 by ,mr4 ,morritt1 the friend of ,sir ,walter ,scott4 ,it became an heirloom in ,mr4 ,morritt's family at ,rokeby ,hall1 ,teesdale4 ,twice1 says ,dr4 ,justi in his life of ,velazquez1 in #ahgi and #ahhe ,i had the privilege of seeing it there and convincing myself of its faultless preservation and the original brilliancy and freshness of its colour4 ,it was exhibited in #aheg among the ,art ,treasures at ,manchester and in #ahij at the ,old ,masters4 ,it was ultimately sold under an order of the ,court of ,chancery1 the price obtained being #cj1ejj4 ,it passed into the hands of ,messrs4 ,agnew1 and its sale out of this country was believed to be imminent when the ,national ,art ,collections ,fund came to the rescue and raised by subscription the amount now necessary for its purchase4 ,the sum paid was #de1jjj1bei and the picture was presented by the ,fund to the nation4 #bjeh4 ,,sunny ,,days ,,in ,,the ,,forest4 ,diaz 7,french3 #ahji-ahgf74 ,narciso ,virgilio ,diaz de la ,pea1 one of the members of the ,barbizon ,school 7see p4 #fih71 was born1 of ,spanish extraction1 at ,bordeaux4 ,left an orphan at the age of ten1 he was adopted by a ,protestant clergyman1 living at ,bellevue1 near ,svres4 ,he was of a truant disposition1 and sleeping once upon the grass in the woods he was bitten by a viper2 the accident cost him his left leg1 and he had to go through life with a wooden one1 which he called his pilon4 ,in after years1 when his pictures were rejected at the ,salon1 he would make a hole in the canvas with his wooden leg1 saying with a laugh what's the use of being rich8 ,i can't have my pilon set in diamonds4 ,his early years were of uncertain fortune1 spent in earning a precarious living1 sometimes as a painter on china at ,svres1 sometimes as an errand-boy in the streets4 ,but he had confidence in his talent1 and gradually found a market for his pictures4 ,these were at first of figures1 flowers1 or other genre4 ,a meeting in #ahcj with ,thodore ,rousseau sent him to ,fontainebleau and nature4 ,for ,rousseau1 he entertained the most profound admiration1 the story of the toast of ,diaz1 is well known4 ,diaz had been preferred to ,rousseau in admission to the ,legion of ,honour4 ,in attending a dinner given in #ahea to the new officiers1 ,diaz rose and invited the company to drink ,rousseau1 notre matre oubli6 ,of his figure-subjects1 one of the best ,la ,fe aux ,perles is in the ,louvre1 but it is on his landscapes that his fame chiefly rests4 ,go into the forest1 it has been said1 lose yourself among its trees1 and you can only say ' ,diaz'4 ,to him1 however1 the forest was not1 as to some others of the school1 or as to ,ruysdael1 sombre or serious4 ,it was a keyboard on which to play colour-fantasies4 ,you paint stinging-nettles1 he said to ,millet1 ,i prefer roses4 ,pearls1 said ,thophile ,gautier of his pictures1 brilliant as precious stones1 prismatic gems and rainbow jewels4 ,his pictures have been called not so much landscapes1 as tree-scapes4 ,have you seen my last stem8 he used to say himself to his visitors4 ,but it was the play of sunlight on the stems that he chiefly loved4 ,diaz is the colourist of the ,barbizon ,school4 ,the acquisition of this sparkling little picture of a glade in the forest of ,fontainebleau1 lit by the afternoon sun1 marked somewhat of an era in the history of the ,national ,gallery4 ,it was the first illustration on its walls of the modern ,french school of landscape4 #bjfb4 ,,christ ,,teaching ,,from ,,st4 ,,peter',s ,,ship4 ,herman ,saftleven 7,dutch3 #afji-afhe74 ,this painter1 whose landscapes were praised by connoisseurs of the time as distinguished by great care and accuracy1 was born at ,rotterdam1 was a pupil of ,jan van ,goyen1 and worked chiefly at ,rotterdam and ,utrecht4 ,he painted many views on the ,rhine and ,maas2 and one of the former1 in the ,dulwich ,gallery1 dated #afef1 is among his best works4 ,the scene is the ,lake of ,gennesaret2 the people are assembled on the shore to hear the words of ,christ who is seated in ,st4 ,peter's ship 7,luke v4 #a-c74 #bjfi4 ,,the ,,madonna ,,of ,,the ,,tower4 ,raphael 7,urbino3 #adhc-aebj74 ,see #aaga4 ,this picture is attributed to the earlier portion of ,raphael's ,roman period 7see p4 #efi72 to about the same time1 that is1 as that of the ,garvagh ,madonna 7,no4 #gdd74 ,it takes its commonly accepted name from the small tower which may be seen in the distance of the landscape background2 it is sometimes referred to as ,the ,madonna with the ,standing ,child1 or ,the ,virgin with the ,downcast ,eyes1 or ,the ,rogers ,madonna4 ,it is painted on canvas1 and has suffered much from accident and repainting2 but the feeling of the picture is thoroughly ,raphaelesque in purity of colour and charm of expression4 ,the mother's face is full of affection1 sweet and yet serious2 while the ,child looks out of the canvas1 as if unconscious of all but the joy of the moment4 ,the picture was formerly in the ,orleans collection1 whence it was purchased by ,mr4 ,willett in #agib for #aej4 ,it next passed into the collection of ,mr4 ,henry ,hope1 at whose sale in #ahaf it was bought for #ei guineas by ,samuel ,rogers1 the poet4 ,in the atmosphere of ,st4 ,james's ,place1 says a chronicler of the works from the ,orleans ,collection which passed into the possession of ,rogers1 they may safely be said to have been worshipped with a purer incense than they ever received before4 ,we may be pardoned for recalling a few of them4 ,foremost was a ,raphael1 one of the master's sweetest compositions1 the ,child standing with one foot on his mother's hand4 ,it had been reduced by ruthless rubbings to a mere shadow1 but the beauty was ineffaceable3 hanging--how well remembered6--in the best light on the left-hand wall in the drawing-room4 ,then two glorious ,titians--one of them1 ,christ appearing to the ,magdalene 7,quarterly ,review1 ,oct4 #ahhh74 ,the picture last mentioned is also now in the ,national ,gallery 7,no4 #bgj7 which possesses further from his collection1 ,nos4 #bfi1 #bga1 #bgf1 #bgi4 ,at his sale in #ahef the ,raphael was bought for #dhj guineas by ,mr4 ,r4 ,j4 ,mackintosh1 son of the historian1 who exhibited it at ,manchester in the ,art ,treasures ,exhibition of #aheg2 it was also shown at the ,old ,masters in #aijb4 ,from him it passed to ,miss ,eva ,mackintosh who has now 7#aijf7 presented it to the nation4 ,in the ,british ,museum there is a cartoon of the picture4 #bjgh4 ,,the ,,harbour ,,of ,,trouville4 ,louis ,eugne ,boudin 7,french3 #ahbe-ahih74 ,a view from within the harbour looking out to the open sea between the piers4 ,signed and dated ,e4 ,boudin1 '#hh1 with the title on the back in the artist's handwriting1 ,entre les jetes1 ,trouville4 ,this picture by a fine sea-painter was presented by the ,national ,art ,collections ,fund4 #bjha4 ,,lulli ,,and ,,his ,,fellow ,,musicians ,,at ,,the ,,french ,,court4 ,hyacinthe ,rigaud 7,french1 #afei-agdc74 ,see #ijc4 ,jean ,baptiste de ,lulli 7or ,lully7 was the celebrated composer 7#afcc-afhg7 for whose music ,louis ,,xiv4 had a great predilection4 ,for him the ,king created a new company of musicians called ,les ,petits ,violons or ,la ,bande des ,seize4 ,lulli composed also the incidental music for ,molire's plays4 ,the portraits of ,lulli1 says a contemporary1 are fairly like him1 but he was smaller and stouter than they show4 #bjhb4 ,a ,,florentine ,,lady2 on the reverse1 ,a ,,symbolic ,,angel4 ,school of ,botticelli 7,florentine3 #addg-aeaj74 ,see #ajcd4 ,the portrait is supposed to represent the unknown artist's wife2 the angel holds an armillary sphere4 #bjhc4 ,,portrait ,,of ,,dr4 ,,battista ,,fiera4 ,lorenzo ,costa 7,ferrarese3 #adfj-aece74 ,see #fbi4 ,the portrait1 warts and all1 of a theologian1 physician1 and poet of ,mantua4 ,so he is described under the engraving of this picture1 which is the frontispiece to a book published at ,padua in #afdi and entitled ,baptistae ,fierae ,mantuani ,medici sua aetate clarissimi ,coena notis illustrata a ,carolo ,avantio ,rhodigino4 ,the portrait1 a chef d'oeuvre of a painter whose portraits are rare1 was shown at the ,burlington ,fine ,arts ,club in #ahid4 #bjhd4 ,a ,,young ,,man ,,in ,,black4 ,florentine ,school4 ,this picture has been attributed to ,piero ,pollajuolo and to the painter known as ',amico di ,sandro' 7,national ,gallery ,report1 #aijf74 #bjhe4 ,,bianca ,,capello4 ,school of ,bronzino 7,florentine3 #aejb-aegb74 ,see #fdi4 #bjhf4 ,,the ,,gate ,,with ,a ,,round ,,tower4 #bjhg4 ,a ,,pastoral ,,landscape4 ,francesco ,zuccarelli 7,florentine3 #agjb-aghh74 ,this painter of decorative landscape was much employed in ,england1 and during a sojourn here from #ageb to #aggc he became one of the foundation members of our ,royal ,academy4 #bjhh4 ,,christ ,,teaching4 ,bernardino ,luini 7,lombard3 about #adge-aecc74 ,see #ah4 ,the face1 attitude1 and design are the same as in the ,christ of ,no4 #ah2 but the beautiful expression is absent4 #bjhi4 ,,madonna ,,and ,,child4 ,lombard ,school3 #afth century4 ,fresco on plaster2 not unlike the work of ,beltraffio4 #bjij1 #bjia4 ,,angels4 ,moretto 7,brescian3 #adih-aeee74 ,see #bii4 ,companion figures1 with wreaths of roses1 inscribed 7on the first7 ,ave ,regina1 7on the second7 ,coelorum4 #bjib1 #bjic4 ,,st4 ,,joseph ,,and ,,st4 ,,jerome4 ,moretto 7,brescian3 #adih-aeee74 ,see #bii4 #bjid4 ,,il ,,cavaliere4 ,moroni 7,bergamese3 #aebe-aegh74 ,see #fig4 #bjie4 ,a ,,man ,,in ,,black4 ,alvise ,vivarini 7,venetian3 painted #adfa-aejc74 ,see #ahgb4 ,a fine portrait1 hitherto attributed to ,antonello da ,messina1 but now assigned to ,vivarini1 on the analogy of similar busts attributed by ,mr4 ,berenson to that painter4 #bjif4 ,,the ,,man ,,with ,a ,,beard4 ,romanino 7,brescian3 about #adhe-aeff74 ,see #big4 #bjig4 ,,the ,,lady ,,with ,,the ,,carnations4 ,paris ,bordone 7,venetian3 #aejj-aegj74 ,see #fcg4 #bjih4 ,s4 ,,maria ,,della ,,salute1 ,,venice4 #bjii4 ,,the ,,ducal ,,palace1 ,,venice ,francesco ,guardi 7,venetian3 #agab-agic74 ,see #baj4 ,excellent examples of the best manner of this painter4 #bajj4 ,,the ,,marriage ,,of ,,the ,,emperor ,,frederick ,i4 ,tiepolo 7,venetian3 #afib-agfi74 ,see #aaib1 #aaic4 ,it is mentioned in the account of ,tiepolo 7under ,nos4 #aaib1 #aaic7 that he executed wall-decorations in the ,royal ,palace1 formerly the episcopal residence1 at ,wurzburg4 ,the present picture is almost the same in composition as one of those4 ,the subject--the marriage of ,frederick ,barbarossa in #aaef1 to ,beatrix1 daughter of the ,count of ,burgundy--lends itself well to ,tiepolo's feeling for splendour1 and swift mastery of decorative effect4 ,the ,imperial banner1 emblazoned with the black eagle1 is borne by a warrior4 ,the bishops of ,wurzburg were princes of the ,empire4 #baja4 ,,esther ,,at ,,the ,,throne ,,of ,,ahasuerus4 ,sebastiano ,ricci 7,venetian3 #afei-agcd74 ,see #heg4 ,an illustration of the ,book of ,esther 7xv4 #g-af72 ,then lifting up his countenance that shone with majesty1 he looked very fiercely upon her1 and the queen fell down and was pale and fainted1 etc4 #bajb1 #bajc4 ,,town ,,and ,,river ,,scenes4 ,jacopo ,marieschi 7,venetian3 #agaa-agid74 ,by this painter1 an imitator of ,canaletto1 two views of ,venice were bought by the ,national ,gallery from the ,beauconsin ,collection1 but they were consigned to the ,national ,gallery of ,dublin4 #bajd4 ,a ,,man ,,with ,a ,,wide ,,collar4 ,enrico ,fiammingo4 ,this painter of whom little is known1 was a follower of ,spagnoletto and ,guido4 #baje4 ,a ,,man ,,with ,a ,,pointed ,,beard4 ,annibale ,carracci 7,bolognese3 #aefj-afji74 ,see #i4 #bajf4 ,,portrait ,,of ,,the ,,artist4 ,benedetto ,gennari 7,bolognese3 #afcc-agae74 ,the artist was the nephew and scholar of ,guercino4 ,he came to ,england in #afgd1 and was for some time in the service of ,charles ,,ii4 and ,james ,,ii4 ,i once saw1 says ,lanzi1 a ,bathsheba of ,guercino1 along with a copy by one of the ,gennari4 ,the former appeared as if newly painted at the time1 and the latter as if many years previously1 such was its inferiority in strength of hand4444 ,benedetto subsequently formed for himself a style in ,england1 more polished and careful1 and exemplified it more particularly in his portraits4 #bajg4 ,,hagar ,,in ,,the ,,desert4 ,salvator ,rosa 7,neapolitan3 #afae-afgc74 ,see #hd4 #baah4 ,,madonna ,,and ,,child4 ,giovanni ,francesco da ,rimini 7,umbrian3 dated #adjf74 #babg4 ,,portrait ,,of ,,the ,,marchese ,,giovanni ,,battista ,,cattaneo4 ,van ,dyck 7,flemish3 #aeii-afda74 ,see #di4 ,it has been said in our notice of ,van ,dyck that many of his best works are to be seen in ,genoa4 ,two of the portraits made during his ,genoese period are now in our ,gallery2 having found their way to ,paris and thence to ,england from the palace of the ,marchese ,cattaneo in ,genoa1 and having been bought by the ,trustees from ,messrs4 ,colnaghi4 ,the price paid for the picture before us was #ac1ejj4 ,the portrait has not the pathetic charm of the ,gevartius 7#eb71 to which it now forms a pendant2 but in strength and vitality it is one of the painter's masterpieces4 ,the ,marchese lives before us1 instinct with nervous energy2 seeming1 as has been well said1 at once to interrogate the spectator1 and haughtily to repel interrogation4 #babi4 ,,une ,,parade4 ,gabriel ,jacques de ,saint ,aubin 7,french3 #agbd-aghj74 ,a pupil of ,boucher2 painter1 first of heroic and then of domestic subjects2 also an etcher4 ,spectators watching a turn with the foils by two mountebanks4 #bacj4 ,,the ,,water ,,lane4 ,jan ,siberechts 7,flemish3 #afbg-agjc74 ,it is very fitting that this painter1 whose works in ,continental galleries are rare1 should be represented in ours2 for it was the ,duke of ,buckingham1 who brought him into vogue4 ,passing through ,antwerp1 the ,duke was attracted by his work1 and took him in his train to ,england1 where1 according to ,walpole1 he was much employed by the aristocracy4 ,among the landscapes of the ,flemish school1 says an enthusiastic critic 7,a4 ,j4 ,wauters71 there is not one of whom we think more highly4 ,if his colouring lacks the brilliancy and the soft transparency of the tones of ,rubens1 it offers others both rare and unexpected at a time when the ,flemish landscape was yet enslaved by conventional laws4 ,sieberechts boldly met the difficulties offered by open-air scenes and foreshadowed the daring colouring attempted by modern realism4 ,his landscapes are true pastorals4 ,he understood the art of giving his farm-girls and hinds real attitudes1 taken from life2 and how to make the various hues of vermilion and silver1 blue and yellow of their costumes harmonise boldly together1 which makes his works so charming1 and gives them such a free and entirely personal character4 #bacc1 #bacd4 ,,roses ,,and ,,apples4 ,henri ,fantin-,latour 7,french3 #ahcf-aijd74 ,see #afhf4 #bace4 ,,the ,,marsh ,,of ,,arleux-,,du-,,nord4 ,j4 ,b4 ,c4 ,corot 7,french3 #agif-ahge74 ,corot is one of those original painters who bring new aspects of nature and modes of beauty into ken4 ,he is usually classed with the ,barbizon ,school 7see p4 #fia71 but he stands alone with a peculiarly subtle and individual note of his own4 ,rousseau1 he once said1 is an eagle2 ,i am only a lark4 ,his mood1 though often tinged with melancholy1 is tender1 and delicate2 what he loved was not the grandiose in form or colour1 but rather all that was glimmering1 uncertain1 evanescent--such as the shade by the light quivering aspen made1 or delicate effects1 at early dawn1 or in moonlight4 ,to read his letter on the day of a landscapist#bfj is the best introduction to his art4 ,one rises early1 at three o'clock in the morning before the sun is up1 one goes and sits down at the foot of a tree1 one looks and waits2 he does not see much at first4 ,nature resembles a white tablecloth1 where he can hardly distinguish the profiles of some of the masses4 ,everything is scented1 everything trembles with the fresh breeze of the dawn4 ,and then1 again1 when the sun has set3 ,bien6 bien6 twilight commences4 ,there is now in the sky only that soft vaporous colour of pale citron4 ,one is losing sight of everything1 but one still feels that everything is there4 ,the birds1 those voices of the flowers1 say their evening prayer1 the dew scatters pearls upon the grass1 the nymphs fly 444 everything is again darkened2 the pond alone glitters4 ,good1 there is my picture completed4 ,it was only gradually that ,corot reached the style upon which his fame rests4 ,he was born in ,paris of humble parents1 and served for some years in a draper's shop4 ,he was twenty-two before he was able to follow his artistic bent4 ,he made the usual classical tour to ,italy1 and it was not till #ahdc that he began to reveal the characteristic charm which he had found in ,french landscape4 ,he painted what few eyes are wont to see and had to create the taste by which he was to be admired4 ,but affluence came to him1 and he gave as readily as he received4 ,many stories are told of his benevolence1 and the love which he inspired is recorded in the title1 le pre ,corot1 by which he was called4 ,as a mark of their esteem his fellow-artists presented him with a gold medal shortly before his death4 ,his last words were characteristic of his art and his life4 ,it was his practice to sketch early and late in the open air1 dreaming his pictures as he studied1 and to paint his dreams in the studio4 ,last night1 he said as he lay on his death-bed1 ,i saw in a dream a landscape with a rosy sky2 it will be marvellous to paint4 ,he was seen to draw in the air with his fingers4 ,mon ,dieu he said1 how beautiful that is2 the most beautiful landscape ,i have ever seen4 ,his old housekeeper offered to bring him his breakfast4 ,he smiled and said1 ,to-day ,pre ,corot will breakfast above4 ,this little picture is characteristic of one of ,corot's tastes4 ,he loved1 we are told1 water in indetermined clearness and in the shining glance of light1 leaving it here in shadow and touching it there with brightness4 ,he loved morning before sunrise1 when the white mists hover over pools like a light veil of gauze2 he had a passion for evening which was almost greater2 he loved the softer vapours which gather in the gloom4 7,muther47 ,the picture was painted in #ahga1 and was purchased by ,fantin-,latour at the posthumous sale of ,corot's works4 #bacf4 ,,engraved ,,portrait ,,of ,,lully1 ,,the ,,musician4 ,see #bjha4 #badc4 ,,lady ,,standing ,,by ,a ,,spinet4 ,jacob ,ochtervelt 7,dutch3 died before #agaj74 ,jacob ,ochtervelt 7sometimes called wrongly ,jan1 and ,achtervelt or ,uchtervelt7 was born probably at ,rotterdam4 ,he formed his style on the model of ,terburg1 to whom his pictures are sometimes attributed 7see1 for instance1 an example in the ,venice ,academy formerly given to ,terburg74 ,a beautiful example of a painter1 by whom pictures in good condition are rare--a harmony in pink and grey and brown4 ,there is poetical feeling1 too1 in the lady's attitude and the man who looks up intently at her2 as also some humour in the dog turning his attention to an intruder4 #badd4 ,,la ,,marchesa ,,cattaneo4 ,van ,dyck 7,flemish3 #aeii-afda74 ,see #di4 ,a companion picture to ,no4 #babg4 #bafb4 ,,portrait ,,of ,,the ,,artist4 ,joseph ,ducreux 7,french3 #agce-ahjb74 ,the artist is dressed as a ,french ,abb1 with powdered hair4 #bafc4 ,,the ,,magdalen4 ,mabuse 7,flemish3 #adgj-aeda74 ,see #fef4 #bbjd4 ,,interior ,,of ,a ,,church4 ,hendrick ,steenwyck 7,flemish3 #aehj-afdi74 ,see #aacb4 ,dated #afae4 ,the nave of a ,gothic church2 in the distance a funeral procession is entering the choir2 beggars and dogs in the foreground4 #bbje4 ,,interior ,,of ,a ,,church4 ,pieter ,neeffs 7,flemish3 #aegg-affa74 ,see #ibd4 ,a night scene in a church of ,renaissance architecture4 ,on a tomb on the floor is an inscription--#fcb ,hier legt begraven ,henri ,steenwick4 #bbjf4 ,,vespers4 #bbjg4 ,,after ,,vespers4 ,pieter ,neeffs4 ,the chapel in ,no4 #bbjg is the same as that on the left in ,no4 #bbjf4 #bbji4 ,,ulricus ,,sirosenius1 ,,duke ,,of ,,east ,,friesland4 ,cornelissen 7,dutch3 about #adge-aeee74 ,see #feg4 ,the title is written on the back of the oak panel4 ,the ,duke's sword is inscribed--,victor est qui nomen ,domini pugnavit4 ,among other versions of this portrait is one in the ,oldenburg ,gallery1 attributed to ,lucas van ,leyden4 ,another 7in the ,duke of ,rutland's collection7 has ,drer's monogram4 #bbaa4 ,,jacqueline ,,de ,,bourgogne4 ,mabuse 7,flemish3 about #adgj-aeda74 ,see #fef4 ,the beautiful costume and jewellery should be noticed2 the girl holds an orrery4 ,this picture was shown in the ,golden ,fleece ,exhibition at ,bruges in #aijg4 #bbaf4 ,,la ,,main ,,chaude4 ,jean ,franois de ,troy 7,french3 #afgi-ageb74 ,this painter 7pupil of his father1 ,franois de ,troy7 was employed by ,louis ,,xiv4 to execute designs for tapestry in the grand style1 and he carved out much decorative work4 ,sets of some of the tapestries from his designs are in the ,state ,apartments in ,windsor ,castle4 ,subsequently1 he adopted the style of ,watteau1 and painted conversations galantes1 such as in the example before us4 ,other specimens of his work may be seen in the ,victoria and ,albert ,museum1 and in the ,wallace collection4 #bbag4 ,,elisa ,,bonaparte1 ,,grand ,,duchess ,,of ,,tuscany4 ,j4 ,l4 ,david 7,french3 #agdh-ahbe74 ,jacques ,louis ,david1 the founder of the classical school in ,france and for many years the ,dictator of ,french art1 was a nephew of ,boucher1 from whom he received his first instruction4 ,his celebrated ,oath of the ,horatii 7#aghd7 and ,brutus 7#aghi71 and other works of the kind1 are in the ,louvre4 ,they were not without influence on the politics of the time1 and ,david was elected a representative of ,paris in the ,convention in #agib4 ,he became a follower of ,robespierre1 and naturally escaped execution4 ,abandoning politics1 he became acquainted with ,napoleon1 who made him his ,first ,painter4 ,on the restoration of the ,bourbons1 he sought refuge in ,brussels1 where he died4 ,many of his ,napoleonic pictures are at ,versailles4 ,a vigorous portrait-sketch of ,elisa1 sister of ,napoleon1 whom he made ,duchess of ,tuscany1 with the titles of ,duchess of ,lucca and ,princess of ,piombino4 ,she was born in #aggg and died in #ahbj4 ,we see her here in white empire costume4 #bbah4 ,,madame ,,malibran4 ,j4 ,a4 ,d4 ,ingres 7,french3 #aghj-ahfg74 ,a study of the famous singer2 attributed to ,jean ,auguste ,dominique ,ingres1 a pupil of ,david1 who imparted a grace of his own to the ,classical ,school4 #bbea4 ,,portrait ,,of ,,bona ,,of ,,savoy4 ,ambrogio de ,predis 7,milanese3 about #adej-aeae74 ,see #affa4 ,this striking full-length figure of a lady1 richly attired and wearing jewels1 was ,no4 #g in the exhibition of pictures by ,milanese masters at the ,burlington ,fine ,arts ,club in #ahid4 ,it was then described as a portrait of ,beatrice d',este4 #bbef4 ,,river ,,scene4 #bbeg4 ,,ilex ,,trees1 ,,villefranche4 ,henri ,harpignies 7,french3 born #ahai74 ,these two pictures1 recently presented to the ,gallery1 are slight examples of the work1 in oil and water-colour1 of an artist who travelled with ,corot and continued that master's method of interpreting nature4 #bbeh4 ,a ,,woodland ,,scene4 ,georges ,michel 7,french3 #agfc-ahdc74 ,a good example of an artist who has been called the ,ruysdael of ,montmartre4 #bbha4 ,,the ,,virgin ,,and ,,child4 ,lorenzo ,lotto 7,venetian3 #adhj-aeef74 ,see #fii4 ,the ,virgin1 a pretty woman prettily dressed1 is seated between ,st4 ,jerome and ,st4 ,anthony of ,padua1 who holds in his hand a ,madonna lily4 ,this bright and dainty picture belongs to the year #aebb 7see ,berenson's ,lorenzo ,lotto1 #ahie1 p4 #ahg74 #bbhb4 ,,the ,,bohemians4 ,philips ,wouwerman 7,dutch3 #afai-affh74 ,see #hgh4 #bbhc4 ,,dawn4 ,aart van der ,neer 7,dutch3 #afjc-afgg74 ,see #aeb4 #bbhe4 ,a ,,family ,,group4 ,frans ,hals 7,dutch3 #aehj-afff74 ,see #ajba4 ,an important accession to the ,gallery1 as an example of the large portrait-groups in which ,hals excelled4 ,the composition whereby the ten figures are all brought into a group is ingenious--the part played by the direction of the elder boy's attention to the other being in this respect important--though in colour the harmony is somewhat disturbed by the emphatic lights of the lace and linen worn by each member of the group4 ,there is individual character in all the portraits2 among the figures which most compel admiration are those of the mother1 full of quiet dignity1 of the eldest daughter1 standing on the right with a work-basket in her hand 7both beautifully painted71 and of the little girl seated in front4 ,the picture unknown to the connoisseurs before its acquisition for the ,national ,gallery--was purchased in #aijh from ,lord ,talbot de ,malahide for #be1jjj4 #bbhh4 ,,portrait ,,of ,,dr4 ,,forlenze4 ,jacques ,antoine ,vallin 7,french3 #aggj-ahch74 ,dr4 ,j4 ,n4 ,b4 ,forlenze 7#agfi-ahcc7 was a physician and man of fashion in ,naples4 ,he had visited ,england and studied under ,john ,hunter2 and practised as an oculist in ,paris4 ,this portrait was exhibited at the ,salon in #ahjh4 #bbhi4 ,,attila3 ,,an ,,allegory4 ,f4 ,v4 ,e4 ,delacroix 7,french3 #agih-ahfc74 ,ferdinand ,victor ,eugne ,delacroix was the chief of the ,romantic school in painting1 which in literature was represented by de ,musset1 ,george ,sand1 and ,victor ,hugo4 ,the ,romanticists revolted against the art of the ,classicists as cold1 formal1 and colourless4 ,delacroix1 whose admiration was for ,byron in poetry and for ,rubens in painting1 sought before all things passion1 emotion1 and colour4 ,he had1 says ,silvestre1 the sun in his head and a thunderstorm in his heart1 and his grandiose and awe-inspiring brush sounded the entire gamut of human emotion4 ,he loved strong colour1 and he was one of many ,french artists who were influenced by the sight of ,constable's pictures in the ,salon4 ,his pictures were as fiercely assailed1 as they were furiously painted4 ,it is the massacre of painting1 said ,baron ,gros of ,delacroix's ,massacre of ,chios4 ,i became the abomination of painting1 said the artist1 ,i was refused water and salt2 but1 he added1 ,i was enchanted with myself1 and he won his way into favour4 ,he was born at ,charenton ,st4 ,maurice1 near ,paris4 ,his father1 who held high office under the ,first ,empire1 had been a partisan of the violent faction during the ,revolution1 and1 like some other revolutionaries1 was more consumed with public ardour than concerned with private affairs4 ,the boy was exposed to accidents and neglect in his childhood which make one wonder that he survived4 ,he had poor health throughout life1 and there was in him a hectic strain which was reflected in his art4 ,in #ahag he entered the studio of ,gurin1 where he had ,ary ,scheffer 7see #aafi7 for a fellow-pupil and antagonist1 and afterwards he worked under ,baron ,gros4 ,he was deeply stirred by the ,war of ,greek ,independence2 and a visit which he paid to ,morocco and ,algiers in #ahca had the effect of enriching his sense of colour4 ,he had a strong supporter in ,thiers1 through whose influence he received many important commissions for public works--in the decoration of the ,louvre1 the ,luxembourg1 and the ,chamber of ,deputies4 ,our picture was a design for the latter4 ,these and other large works occupied him till #ahee2 and at last in #aheg he was admitted into the ,french ,academy4 ,in this characteristic design the spirit of ,ruthless ,conquest is personified in the figure of ,attila1 the leader of the ,huns1 called ,the ,scourge of ,god4 ,he drives before him1 beneath a blood-red sky and amid the ghosts of the slain1 figures emblematic of ,beauty1 ,art1 and ,pleasure4 #bbij4 ,,parc ,,de ,,sansac1 ,,indre-,,et-,,loire4 ,armand ,charnay 7,french3 born #ahdd74 ,jean ,marie ,armand ,charnay1 born at ,charlieu 7,loire72 in #ahfd entered the cole des ,beaux-,arts2 genre and landscape painter4 ,this picture of autumn in the walks of a ,french chteau was presented by the artist4 #bbia4 ,,portrait ,,of ,,cardinal ,,de ,,retz4 ,philippe de ,champaigne 7,french3 #afjb-afgd74 ,see #gih4 ,a portrait1 in ,cardinal's cape and skull-cap1 of ,jean ,franois ,paul de ,gondi 7#afad-afgi71 ,archbishop of ,paris1 and afterwards ,cardinal de ,retz4 ,as ,archbishop1 he aided the rising of the ,fronde against ,mazarin4 ,in #afeb he was arrested and imprisoned2 he escaped1 and for some years wandered abroad4 ,in #affb he was received into favour by ,louis ,,xiv41 and in his later years was often employed as an envoy to ,rome4 ,he is described as having been in his youth short1 near-sighted1 ugly1 and exceedingly awkward4 #bbib4 ,,portrait ,,of ,a ,,lady4 ,michiel ,jansz van ,mirevelt 7,dutch3 #aefg-afda74 ,mirevelt 7or ,miereveld7 was the son of an engraver on precious metals at ,delft1 and was trained as an engraver4 ,he afterwards entered the studio of ,blocklandt at ,utrecht1 and devoted himself to historical painting1 still-life1 and other subjects4 ,presently he painted the portraits of some of the princes of the ,house of ,nassau1 and these were so much admired that he came into continuous request in that branch of art4 ,sandrart relates that ,mirevelt claimed to have painted nearly #aj1jjj portraits2 doubtless an exaggeration1 but it may be said that it was he who made the custom of having portraits painted general in the ,united ,provinces4 ,his painting1 thin1 clean finished1 and rather cold1 was intended to please his elegant clients 7,havard74 ,this lady's stomacher embroidered with rows of pearls and pleated lace ruff are finely painted4 #bbic4 ,,holy ,,family4 ,ascribed to ,luca ,penni 7,roman3 born about #aejj74 ,one of the scholars and assistants of ,raphael2 after whose death ,penni is said to have attached himself to ,perino del ,vaga4 ,subsequently he became an engraver4 #bbid4 ,,portrait ,,of ,,galileo4 ,passignano 7,florentine3 #aeeh-afch74 ,domenico ,cresti1 called ,il ,passignano from his native place1 a village near ,florence1 was a pupil of ,zuccaro4 ,moving to ,venice1 he studied for a while under ,paolo ,veronese1 whose works he greatly admired and whose manner he followed4 ,his facility and rapidity caused a play upon his surname1 and he was called ,passa ognuno4 ,the great astronomer 7#aefd-afdb7 is represented with astrolabe1 books1 diagram1 and compasses4 #bbie4 ,,portrait ,,of ,a ,,military ,,commander4 ,frans ,pourbus1 the younger 7,flemish3 #aefi-afbb74 ,pourbus1 son of ,frans ,pourbus the elder1 was born at ,antwerp1 and by #aeia was a master in the ,guild of ,st4 ,luke4 ,he was employed by the ,archduke ,albert at ,antwerp1 at whose court he attracted the notice of the ,duke of ,mantua4 ,the ,duke took him into his service 7#afjj-afji71 and he shared with ,rubens the title of ,painter to the ,ducal ,court4 ,at ,mantua he worked at a collection of the most beautiful women in the world1 whether princesses or private ladies4 ,like ,rubens1 ,pourbus was occasionally employed as ,ambassador1 and a mission to ,paris caused him to forsake ,italy for ,france4 ,eleanor of ,mantua was a sister of ,marie de' ,medici1 and ,pourbus finally settled in ,paris as ,painter to the ,queen4 ,there is a portrait of the queen by him at ,hampton ,court4 #bdbc4 ,,lithographs ,,of ,,horses4 ,j4 ,l4 ,a4 ,t4 ,gricault 7,french3 #agia-ahbd74 ,jean ,louis ,andr ,thodore ,gricault1 animal and historical painter1 was a precursor of the revolt of the ,romanticists against the ,classicists1 which was carried further by ,delacroix 7see #bbhi74 ,his most famous picture1 ,the ,raft of the ,medusa 7,louvre71 was exhibited at the ,salon in #ahai and excited much controversy4 ,he was the son of a prosperous advocate2 and as a young man became a member of the ,jockey ,club1 and lived the life of the jeunesse dore4 ,he had some instruction in art from ,charles ,vernet and ,gurin1 but his real master was ,rubens in the ,louvre4 ,in #ahaf he went to ,italy4 ,after #ahai he visited ,england1 where he practised the then new art of lithography4 ,his picture of ,the ,derby at ,epsom 7#ahba7 is in the ,louvre4 #bdci4 ,a ,,river ,,scene4 ,p4 ,e4 ,thodore ,rousseau 7,french3 #ahab-ahfg74 ,rousseau1 one of the founders of the modern school of landscape in ,france1 had to fight his way to fame through many difficulties and much neglect4 ,the toast of ,diaz1 notre matre oubli1 has been already recorded 7p4 #fia74 ,for thirteen years 7#ahce-ahdh7 his pictures were rejected from the ,salon2 and official honours came to him tardily4 ,he had his revenge in the ,exhibition of #ahee1 when his rejected pictures came back as victorious exiles1 and again in that of #ahfg1 when he was chosen president of the jury4 ,but he was of a sensitive and jealous disposition2 he was estranged from his best friend1 ,dupr1 and chagrin at being passed over for promotion in the ,legion of ,honour in #ahfg is said to have hastened his death4 ,a pleasanter episode in his life is his generous and timely help to ,millet4 ,the heads of the two artists are carved together on his tombstone in the cemetery of ,chailly1 near ,barbizon4 ,he was born in ,paris1 the son of a merchant-tailor4 ,he studied painting under ,rmond and ,guillon ,lethire1 and first exhibited at the ,salon in #ahca4 ,his pictures in successive years were loudly trumpeted by ,thor as those of an innovator1 and for that reason perhaps excited the more hostility among the old school4 ,his favourite ground was the forest of ,fontainebleau1 and he made his home at ,barbizon1 studying every aspect of nature with intense application4 ,it is a good composition1 he wrote1 when the objects represented are not there solely as they are1 but when they contain under a natural appearance the sentiments which they have stirred in our souls4 ,if we contest that the trees have power of thought1 at any rate we may allow that they can make us think2 and in return for all the modesty of which they make use to elevate our thoughts1 we owe them1 as recompense1 not arrogant freedom or pedantic and classic style1 but the sincerity of a grateful attention in the reproduction of their being4 ,there is a good example of his forest-pictures in the ,wallace ,collection4 ,rousseau was the most various of the landscape painters of his time4 ,in the present picture we see him in a peaceful mood2 another picture 7#bfce7 is of a stormy sky4 #bdge4 ,,christina1 ,,duchess ,,of ,,milan4 ,hans ,holbein 7,german3 #adig-aedc74 ,see #acad4 ,amongst ,holbein's duties as painter to ,henry ,,viii4 was that of taking portraits of the ladies whom he proposed in turn to wed4 ,after the death of ,jane ,seymour1 the first favourite was the lady before us1 the demure half-smile not yet faded from her eyes--,christina1 daughter of ,christian ,,ii4 of ,denmark1 niece of the ,emperor ,charles ,v41 and widow of the ,duke of ,milan4 ,reasons of state suggested her marriage to ,henry ,,viii41 and ,holbein was sent to ,brussels1 where the ,duchess was residing4 ,our portrait was painted a few years later than ,the ,ambassadors1 from a sketch made at ,brussels on ,march #ab1 #aech4 ,the circumstances are entertainingly told in the letters of the ,english envoy1 ,john ,hutton1 to ,thomas ,cromwell4 ,on the #ajth ,august ,hutton had sent off a portrait by another artist to ,henry ,,viii41 that he might judge of the appearance of the young ,duchess before making her a proposal of marriage4 ,the next evening ,mr4 ,haunce 7i4e4 ,hans ,holbein7 arrived in company of a servant of the king1 whereupon ,hutton sent off an express-courier to fetch back the picture he had already despatched1 for that in my opinion1 he said1 it was not so perfect as the case required1 neither as the said ,mr4 ,haunce could make it4 ,the next day following at one of the clock in the afternoon1 the said ,lord ,benedick came for ,mr4 ,haunce1 who1 having but three hours' space1 both showed himself to be master of that science1 for it is very perfect2 the other is but slobbered in comparison to it1 as1 by the sight of both1 your ,lordships shall well perceive4 ,the original--the study1 sketch1 or miniature1 the result of three hours' hard work--has disappeared2 but the picture which the master made from it after he came home is now before us4 ,the portrait1 it would seem1 did not make the king less anxious for the match--which1 however1 was broken off1 it will be remembered1 after long negotiations1 by the hostility of the emperor4 ,the duchess1 in spite of her tender years1 seems--and the picture does not belie the supposition--to have had a character of her own4 ,the story of her reply1 that she had but one head1 but that if she had two1 one should be at the service of his majesty1 is1 indeed1 now discredited2 but her actual answer1 ,you know ,i am the ,emperor's poor servant and must follow his pleasure1 was1 in the light of subsequent events1 equally to the point4 ,the ,english envoy specially reported her honest countenance and the few words she wisely spoke4 ,the beautiful portrait before us was retained by ,henry ,,viii41 and through the ,lumley1 ,pembroke1 and ,arundel ,collections it passed into that of the ,dukes of ,norfolk4 ,whether as a pictorial record of an interesting chapter of our history1 or as an example of the presentment of a fresh and winning young personality by the most masterful and at the same time most reserved and refined methods of the painter's craft1 the picture counts among the very noblest of the art treasures still left in ,england4 ,that it is so left is mainly due to the splendid generosity of a small group of private donors1 the chief of whom elude our public thanks by choosing firmly to remain anonymous4 ,at the eleventh hour1 when the picture was on the very point of leaving our shores to enrich a private gallery in ,america1 these benefactors came forward and enabled the ,committee of the ,national ,art-,collections' ,fund to present the masterpiece to the nation4 ,the price paid was #gb1jjj4 7,report of the ,national ,art-,collections' ,fund1 #aiji2 ,froude's ,history of ,england1 ch4 xv47 ,the picture had for many years been lent to the ,national ,gallery by the ,duke of ,norfolk4#bfa #bdhj4 ,,the ,,fish ,,market4 ,philippe ,rousseau 7,french3 #ahaf-ahhg74 ,born in ,paris2 first exhibited at the ,salon in #ahcd1 ,a ,view in ,normandy2 afterwards made his reputation1 and attained great popularity as a painter of still-life4 #bdhb4 ,,virgin ,,and ,,child4 ,benvenuto da ,siena 7,sienese3 #adcf-aeah74 ,this painter is better seen in the larger picture1 ,no4 #iji4 #bdhc4 ,,virgin ,,and ,,child4 ,fiorenzo di ,lorenzo 7,umbrian3 #addj-aeba74 #bdhd4 ,,virgin ,,and ,,child4 ,l',ingegno 7,umbrian3 painted #adhd-aeaa74 ,see #abbj4 ,the donor and his wife kneel in adoration before the ,virgin and ,child enthroned between ,st4 ,dominic and ,st4 ,catherine of ,siena4 ,the picture was formerly in ,lord ,dudley's collection4 #bdhe4 ,,salome4 ,cesare da ,sesto 7,lombard3 #adgg-aebc74 ,leonardo da ,vinci was very successfully installed1 says ,vasari1 by ,cesare da ,sesto1 who was also a ,milanese4 ,cesare was born at ,sesto ,calende on the ,lago ,maggiore1 and is supposed to have worked under ,leonardo in ,milan1 #aejg-aeab4 ,at ,rome he was1 according to ,lomazzo1 an intimate friend of ,raphael4 ,the daughter of ,herodias1 with a face of haunting beauty1 points to a vase1 over which the executioner holds the head of ,john the ,baptist4 ,the table on which it rests has sphinxes for supports4 ,this picture is a replica with variations of the one by ,cesare in the ,vienna ,gallery1 and is said to have come from the ,barberini ,palace in #agii4 #bdhf4 ,a ,,concert4 ,ercole ,roberti de' ,grandi 7,ferrarese3 #adej-adif74 ,see #aabg4 ,this picture was ,no4 #ad at the ,burlington ,fine ,arts ,club1 #ahid1 where it was ascribed to ,lorenzo ,costa4 ,in type1 the woman resembles one of the daughters of ,bentivoglio ,,ii41 and it may be that this group of musicians contains family portraits of the reigning house of the ,bentivogli at ,bologna4 #bdhg4 ,,bartolommeo ,,bianchini4 ,francia 7,bolognese3 #adej-aeag74 ,see #ahj4 ,this picture1 an early work by ,francia1 is an admirable example of the artist as a portrait-painter4 ,it is a marvel of fine condition1 and betrays the technique of the goldsmith seeking for the quality of enamel4 ,bianchini was a ,bolognese senator1 collector1 poet1 and friend of ,francia4 ,upon a ,holy ,family in the ,berlin ,museum is inscribed-- ,bartholomei sumptu ,bianchini maxima matrum ,hic vivit manibus1 ,francia1 picta tuis4 ,our portrait1 from the collection of the ,princesse de ,sagan1 was ,no4 #bc at the ,burlington ,fine ,arts ,club1 #ahid4 #bdhh4 ,,the ,,holy ,,family4 ,luca ,signorelli 7,cortona3 #adda-aebc74 ,see #aabh4 #bdhi4 ,,the ,,young ,,florentine4 ,domenico ,ghirlandajo 7,florentine3 #addi-adid74 ,see #abcj4 ,the portrait of the man in his red-coloured robe and black skull-cap is set against a landscape background4 ,many other examples of a like treatment will have been noticed by the visitor2 as1 for instance1 in the fine portrait by ,ridolfo ,ghirlandajo 7#bdia74 ,and it is interesting to observe how long this convention survived1 though with variations4 ,the advantage of introducing an object of locally dark colour behind the head was perceived1 and a background of curtain or other drapery was used2 but a piece of it was drawn back1 so as still to display landscape4 ,see1 e4g41 ,basaiti's portrait 7#bdih74 ,or1 again1 a window was opened with the same purpose4 ,see1 e4g41 ,piombo's portrait of a ,venetian lady as ,salome 7#bdic7 and ,cariani's of a ,venetian magnate 7#bdid74 ,a corresponding development may be traced in ,madonna pictures4 ,often the ,virgin and ,child are placed in an open landscape1 as in the beautiful ,madonna of the ,meadow 7#eii74 ,when they are brought indoors a curtain is drawn back 7#bejc71 or a window opened--e4g4 #bdif1 #bfji1 and 7,flemish ,school7 #beie4 #bdij4 ,,costanza ,,de' ,,medici4 ,lorenzo di ,credi 7,florentine3 #adei-aecg74 ,see #eic4 ,the inscription records that the lady was the wife of ,francis1 ,duke of ,gaeta4 ,this portrait was formerly ascribed to ,d4 ,ghirlandajo4 #bdia4 ,,girolamo ,,benevieni4 ,ridolfo ,ghirlandajo 7,florentine3 #adhc-aefa74 ,see #aadc4 ,this fine portrait is of a very learned man1 and an intimate friend of ,lorenzo di ,credi1 who also1 as ,vasari relates1 painted him4 ,the background is studied from that in ,leonardo's ,mona ,lisa4 #bdib4 ,,virgin ,,and ,,child ,,with ,,angels ,,adoring4 ,jacopo del ,sellaio 7,florentine3 #addb-adic74 ,this painter is mentioned by ,vasari as among the pupils of ,fra ,filippo ,lippi4 ,he worked in the manner of ,botticelli1 and ,no4 #iaf in our gallery is now ascribed to him4 #bdic4 ,,salome4 ,sebastiano del ,piombo 7,venetian3 #adhe-aedg74 ,see #a4 #bdid4 ,,an ,,italian ,,gentleman4 ,cariani 7,bergamese3 about #adhj-aeda74 ,see #abjc4 ,a vigorously-painted portrait of a personage of some importance or self-importance2 perhaps1 as the official catalogue suggests1 the principal citizen of some provincial town4 ,his robe is of gold brocade1 and he handles his gold chain4 ,it may be a view of his town that is shown through the open window4 #bdie4 ,,our ,,lady ,,of ,,the ,,laurels4 ,cariani 7,bergamese3 about #adhj-aeda74 ,see #abjc4 ,this fine picture1 known as ,la ,vierge aux ,lauriers from its background of a laurel-bush 7and roses71 was formerly in the ,leuchtenberg ,collection at ,st4 ,petersburg1 where it was ascribed to ,giorgione4 #bdif4 ,,virgin ,,and ,,child4 ,beltraffio 7,lombard3 #adfg-aeaf74 ,see #gbh4 #bdig4 ,,virgin ,,and ,,child ,,with ,,st4 ,,john4 ,school of ,botticelli 7,florentine3 #addg-aeaj74 ,see #ajcd4 #bdih4 ,a ,,young ,,venetian4 ,marco ,basaiti 7,venetian3 painted #aejj-aeba74 ,see #bha4 ,signed on the parapet4 ,the young ,venetians1 it will be noticed1 wore their hair long1 and carried great weights of it at the sides of their faces3 compare1 e4g41 ,no4 #aaba 7,catena71 #beji 7,vivarini74 #bdii4 ,,virgin ,,and ,,child4 ,marco ,basaiti 7,venetian3 painted #aejj-aeba74 ,this picture1 if ,no4 #eii be indeed by the same hand1 must be an early work2 the face and figure1 both of mother and of child1 are ugly and ungainly4 ,the picture is signed in the left corner4 #bejj4 ,,virgin ,,and ,,child4 ,andrea ,previtali 7,bergamese3 about #adhj-aebh74 ,see #fie4 #beja4 ,,salvator ,,mundi4 ,previtali 7,bergamese3 about #adhj-aebh74 ,see #fie4 ,inscribed on the parapet ,andreas ,privitalus1 p4 and dated #aeah4 #bejb4 ,,virgin ,,and ,,child4 ,bastiano ,mainardi 7,tuscan3 died #aeac74 ,this painter was the pupil1 favourite assistant1 and brother-in-law of ,domenico ,ghirlandajo 7see #abcj74 ,he was born at ,san ,gimignano1 in the churches of which place pictures by him are to be seen4 ,the beautiful painting of jewellery1 and the fine patterns1 should not escape notice4 #bejc4 ,,holy ,,family4 ,antonio da ,solario 7,venetian3 #aeth-#afth century74 ,this beautiful picture is signed on a cartellino ,antonius da ,solario ,v7enetus74 #bejd4 ,,virgin ,,and ,,child4 ,cesare da ,sesto 7,milanese3 #adgg-aebc74 ,see #bdhe4 #beje4 ,,david ,,and ,,jonathan4 ,cima da ,conegliano 7,venetian3 #adfj-aeah74 ,see #cjj4 ,this little picture1 of ,david 7carrying the head of ,goliath7 walking with ,jonathan1 was formerly in the ,modici collection at ,naples4 #bejf4 ,,virgin ,,and ,,child4 ,cima 7,venetian3 #adfj-aeah74 ,formerly in the ,patrizi collection at ,rome4 #bejg4 ,,portrait ,,of ,a ,,lady4 ,bartolommeo ,veneziano 7painted #aeje-aecj74 ,see #bhg4 ,from the ,castellani collection4 #bejh4 ,,virgin ,,and ,,child ,,with ,,angels4 ,unknown 7,florentine ,school3 #aeth century74 ,two charming angels1 of whom one is garlanded with roses1 hold the child before the ,virgin4 ,the scene is laid within the walls of the mystical garden 7a garden inclosed is my sister1 my spouse71 behind which rise ,noah's ark trees4 #beji4 ,,portrait ,,of ,a ,,youth4 ,alvise ,vivarini 7,venetian3 painted #adfa-aejc74 ,see #ahgb4 ,the portrait of a boy of fifteen or sixteen1 a little defiant or shy1 yet frank in look1 with a blond zazzera 7head of hair7 cropped short over the eyebrows1 wearing a coat of pale turquoise blue4 ,formerly in the ,duchatel collection at ,paris1 where it was seen by ,messrs4 ,crowe and ,cavalcaselle4 ,by them ascribed to ,andrea da ,solario 7see #gcd72 formerly1 to ,antonello 7see #fgc72 now1 on the authority of ,mr4 ,berenson1 to ,alvise3 see ,berenson's ,lorenzo ,lotto1 pp4 #aaj-a4 #beaj4 ,a ,,portrait4 ,unknown 7,umbrian ,school3 #aeth century74 ,possibly a portrait of the young ,raphael4 #beaa4 ,a ,,musician4 ,giulio ,campi 7,cremona3 #aejb-aegb74 ,a master at the ,school of ,cremona1 who worked in the great church there with ,boccaccino 7see #hjf74 ,there are also works by him at ,mantua1 where he is said to have studied under ,giulio ,romano4 #beab4 ,,the ,,magdalen4 ,correggio 7,parmese3 #adid-aecd74 ,see #aj4 ,the art of ,correggio with its deep sense of beauty and its tender sensibility was peculiarly fitted1 says ,signor ,ricci1 to give life and grace to the figure of the ,magdalen4 ,he introduced it in many of his large compositions1 and made it the subject of several separate studies1 but not one of the latter has survived4 ,if this be an authentic work1 the statement requires correction2 but the head of the ,magdalen is not convincingly ,correggiesque4 #beac4 ,,virgin ,,and ,,child ,,with ,,saints4 ,tiepolo 7,venetian3 #afib-agfi74 ,see #aaib4 #bead-beaf4 ,,views ,,in ,,venice4 ,canaletto 7,venetian3 #afig-agfh74 ,see #abg4 ,no4 #bead shows the ,grand ,canal1 with the church of the ,scalzi2 ,no4 #beae1 the square of ,st4 ,mark's1 seen through an archway2 ,no4 #beaf1 the ,colonnade of the ,procuratie ,nuove4 ,the white spots with which the figures are picked out are not a happy instance of ,canaletto's workmanship4 #beag-bebc4 ,,various ,,views4 ,guardi 7,venetian3 #agab-agic74 ,see #baj4 ,no4 #beag1 ,buildings and ,figures2 #beah1 ,gothic ,archway and ,figures2 #beai1 ,venetian ,courtyard2 #bebj1 ,quay-side with ,warehouses2 #beba1 ,ruins2 #bebb1 ,treasure-,seekers2 #bebc1 ,view through an ,archway4 #bebd4 ,,the ,,tower ,,of ,,mestre4 ,guardi 7,venetian3 #agab-agic74 ,see #baj4 ,it was at ,mestre that travellers in old days took gondola for ,venice1 and the tower was a familiar landmark4 ,ruskin mentions it in his description of the approach to ,venice 7,stones1 vol4 i4 last chapter74 #bebe4 ,,venice3 ,,piazza ,,di ,,san ,,marco4 ,guardi 7,venetian3 #agab-agic74 ,a good example of the deep1 rich colour which ,guardi gives to his ,venetian subjects3 see under #baj4 #bebf4 ,,peasant ,,and ,,child4 ,unknown 7,spanish3 #agth century74 ,this unfinished picture 7once in the collection of the ,earl of ,clare7 has been ascribed to ,pedro ,nuez de ,villavicencio 7#afcj-agjj74 ,he was a ,knight of the ,order of ,st4 ,john of ,jerusalem1 a distinguished amateur-painter and a favourite pupil of ,murillo1 who died in his arms4 #bebg4 ,,charles ,,mordaunt1 ,,earl ,,of ,,monmouth4 ,juan ,giacchinetti ,gonzalez 7,spanish3 #afcj-afif74 ,a portrait-painter1 who was a great admirer of ,titian and a diligent copyist of his works4 ,he was the son of a ,burgundian jeweller settled at ,madrid1 and he was born in that city4 ,he removed to ,italy1 where he was called1 from his skill in portraiture1 ,il ,borgognone dalle teste 7the ,burgundian of the heads74 ,he practised his art in ,brescia and ,bergamo1 and died in the latter city4 #bebh4 ,,the ,,man ,,with ,,the ,,glove4 ,frans ,hals 7,dutch3 #aehj-afff74 ,see #ajba4 ,an excellent example of the irresistible verve which ,hals brings to his portraits1 especially to those of men3 see under #ajba4 ,to what is there said1 it may be interesting to add the opinion of ,sir ,joshua ,reynolds4 ,in the work of ,frank ,hals1 the portrait-painter may observe the composition of a face1 the features well put together1 as the painters express it2 from whence proceeds that strong-marked character of individual nature1 which is so remarkable in his portraits1 and is not found in an equal degree in any other painter4 ,if he had joined to this most difficult part of the art1 a patience in finishing what he had so correctly planned1 he might justly have claimed the place which ,vandyck1 all things considered1 so justly holds as the first of portrait-painters 7,sixth ,discourse74 #bebi4 ,,the ,,lady ,,with ,,the ,,fan4 ,frans ,hals 7,dutch3 #aehj-afff74 ,see #ajba4 #becj4 ,,portrait ,,of ,a ,,lady4 ,cornelis ,janssens 7,dutch3 #aeid-affd74 ,see #acbj4 ,sir ,joshua ,reynolds has some interesting remarks on the technique of ,janssens4 ,there is a kind of finishing1 he says1 which may safely be condemned1 as it seems to counteract its own purpose2 that is1 when the artist1 to avoid that hardness which proceeds from the outline cutting against the ground1 softens and blends the colours to excess3 this is what the ignorant call high finishing1 but which tends to destroy the brilliancy of colour1 and the true effect of representation2 which consists very much in preserving the same proportion of sharpness and bluntness that is found in natural objects4 ,this extreme softening1 instead of producing the effect of softness1 gives the appearance of ivory1 or some other hard substance1 highly polished4 ,the portraits of ,cornelius ,janssen appear to have this defect1 and consequently want that suppleness which is the characteristic of flesh2 whereas1 in the works of ,vandyck1 we find that true mixture of softness and hardness perfectly observed 7,eleventh ,discourse74 #beca4 ,,church ,,of ,,st4 ,,bavon1 ,,haarlem4 ,pieter ,saenredam 7,dutch3 #aeig-affe74 ,see #ahif4 ,in ,no4 #adea 7by ,berck-,heyde7 we see the interior of the same church2 in the present picture1 no public service is going on4 ,in each case a dog is a church-goer2 here in front of the pew on the left1 where a man kneels down in prayer1 a dog kneels up4 #becb4 ,a ,,woman ,,driving ,,sheep4 #becc4 ,a ,,sandy ,,lane4 ,jan ,wynants 7,dutch3 about #afae-afgi74 ,see #hhc4 #becd4 ,,river ,,scene1 ,,with ,,horseman4 ,aart van der ,neer 7,dutch3 #afjc-afgg74 ,see #aeb4 #bece4 ,,judith4 ,eglon ,hendrik van der ,neer 7,dutch3 #afce-agjc74 ,eglon was the pupil of his father1 the landscape-painter1 ,aart van der ,neer2 but the son's taste took the direction rather of interiors and portraits4 ,he also painted some ,biblical subjects4 ,a costume piece3 note the richly embroidered white satin dress of ,judith4 #becf4 ,,moonlight4 #becg4 ,,landscape3 ,,with ,a ,,cart ,,in ,,the ,,foreground4 ,aart van der ,neer 7,dutch3 #afjc-afgg74 ,see #aeb4 #bech4 ,,diana ,,bathing4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #dc4 ,a characteristically ,rembrandtesque effect1 the light concentrated on the principal figure4 #beci4 ,a ,,man ,,with ,a ,,cap4 ,rembrandt 7,dutch3 #afjf-affi74 ,see #dc4 ,this fine portrait-study was formerly in the collection of the ,duke of ,sutherland4 #bedj4 ,,the ,,hurdy-,,gurdy4 ,adrian van ,ostade 7,dutch3 #afaj-afhe74 ,see #hdf4 ,peasants listening to a man playing the hurdy-gurdy4 ,signed in the left foreground ,a4 ,v4 ,ostade1 #afec4 ,formerly in the collection of ,lord ,dudley 7at whose sale in #ahib it fetched #adgj74 #beda4 ,,the ,,cobbler4 #bedb4 ,,courtship4 #bedc4 ,a ,,man ,,with ,a ,,jug4 ,adrian van ,ostade 7,dutch3 #afaj-afhe74 ,see #hdf4 #bedd4 ,,the ,,cart4 ,isaac van ,ostade 7,dutch3 #afba-afdi74 ,see #hdg4 #bede4 ,,river ,,scene4 #bedf4 ,,lady ,,and ,,child ,,in ,a ,,landscape4 ,cuyp 7,dutch3 #afbj-afia74 ,see #ec4 #bedg4 ,,cattle ,,with ,,herdsmen4 ,cuyp 7,dutch3 #afbj-afia74 ,see #ec4 ,shown at the ,manchester ,art ,treasures ,exhibition in #aheg4 #bedh4 ,,boy ,,holding ,a ,,grey ,,horse4 ,cuyp 7,dutch3 #afbj-afia74 ,see #ec4 #bedi4 ,,the ,,tailor',s ,,shop4 #beej4 ,,the ,,afternoon ,,nap4 ,quiryn ,brekelenham 7,dutch3 #afbe-affh74 ,see #acbi4 #beea4 ,a ,,woman ,,scouring ,,pans4 ,pieter van den ,bosch 7,dutch3 #afac-affj74 ,a painter of ,amsterdam4 ,the year of his death is not known2 #affj is the date of the last mention of him in extant documents4 ,a deed of #afde records that the painter bound himself1 at a yearly fee of #abjj gulden1 to work exclusively for a certain picture-dealer1 from #g a4m4 till dusk1 daily1 ,sundays and ,festivals alone excepted4 #beeb4 ,,refusing ,,the ,,glass4 ,pieter de ,hooch 7,dutch3 #afcj-;about #afgg74 ,see #gid4 ,formerly in the collections of ,pierre de ,grand ,pr 7,paris7 and the ,earl of ,shaftesbury4 #beec4 ,a ,,lady ,,at ,,her ,,toilet4 ,jacob ,ochtervelt 7,dutch3 died before #agaj74 ,see #badc4 #beed4 ,,saddling ,a ,,horse4 ,wouwerman 7,dutch3 #afai-affh74 ,see #hgh4 #beee4 ,,woman ,,asleep4 #beef4 ,,the ,,pedlar4 #beeg4 ,,merry ,,makers4 ,jan ,steen 7,dutch3 #afbf-afgi74 ,see #hef4 #beeh4 ,,grace ,,before ,,meat4 ,jan ,steen 7,dutch3 #afbf-afgi74 ,see #hef4 ,steen1 though he loved scenes of rollicking conviviality and was fond of sly humour1 by no means confined himself to such moods4 ,his brush traced every episode of family life1 and this little piece is as pretty as one of the ,graces for ,children in ,herrick's ,noble ,numbers3-- ,what ,god gives1 and what we take1 ',tis a gift for ,christ his sake2 ,be the meal of ,beans and ,pease1 ,god be thanked for those and these4 ,this picture was formerly in the ,leuchtenberg ,collection at ,st4 ,petersburg4 #beei4 ,,the ,,oyster ,,feast4 #befj4 ,,the ,,skittle ,,players4 ,jan ,steen 7,dutch3 #afbf-afgi74 ,see #hef4 #befa4 ,,view ,,near ,,haarlem4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 ,a beautiful example of the master1 who has signed it in full in the centre of the foreground4 ,it will be noticed that the point of view is much the same1 and that the effect of sunlight in the middle distance is the same1 as in the large picture1 ,no4 #iij4 ,one may ask the question which ,fromentin puts of a like instance3 ,the two landscapes are1 the one on a large scale1 the other on a small1 a repetition of the same subject4 ,is the little canvas the study which served as text for the large8 ,did ,ruysdael design1 or did he paint from nature8 ,was he inspired1 or did he copy directly8 ,that is his secret4 ,in any case the two works are charming4 #befb4 ,,country ,,scene1 ,,with ,,ruined ,,castle4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 ,this is one of the best known of ,ruysdael's small pictures1 much prized for its luminous quality3 its pedigree has been traced through famous collections for over #ajj years4 ,in the ,bredel sale 7#ahge7 it fetched #bcaj2 in the ,dudley sale 7#ahib71 #adgj4 ,it is ,no4 #ghf in vol4 iv4 7#aiab7 of ,smith's ,catalogue ,raisonn4 #befc4 ,,the ,,entrance ,,to ,,the ,,forest4 #befd4 ,a ,,cottage ,,on ,a ,,rocky ,,hill4 #befe4 ,,cottage ,,and ,,haystack4 #beff4 ,,skirts ,,of ,a ,,forest4 #befg4 ,a ,,stormy ,,sea-,,piece4 ,ruysdael 7,dutch3 #afbh-afhb74 ,see #fbg4 #befh4 ,a ,,lady ,,at ,,the ,,virginals4 ,jan ,vermeer 7,dutch3 #afcb-afge74 ,see #achc4 ,no4 #ae at the ,burlington ,fine ,arts ,club1 #aijj1 where it was thus described3 ,a lady seated on the right facing to left2 she wears a yellow skirt with blue overdress1 the sleeves trimmed with lace1 and turns her face to the spectator as she plays4 ,her clavichord stands upon a marble table and is open1 showing a landscape painted inside the cover2 a viol da gamba and bow are in the left-hand bottom corner1 and a blue and yellow curtain above2 a picture with three figures hangs on the wall behind4 ,signed to the right of the lady's head1 ,j ,v ,meer4 #befi4 ,,three ,,boors ,,drinking4 ,adrian ,brouwer 7,dutch-,flemish3 #afje-afch74 ,brouwer1 ,flemish by birth1 ,dutch by adoption1 rivalled his contemporary1 the younger ,teniers1 as a genre painter4 ,his realism is as humorous as it is vigorous4 ,his pictures1 says ,m4 ,havard1 are marvels of arrangement and colouring4 ,they are sober in conception1 and exhibit exquisite modelling1 remarkable softness1 and light and shade full of transparency and truthfulness2 qualities which1 during his lifetime1 obtained for ,brouwer the admiration of his brother-artists and the enthusiasm of ,rubens1 who1 as is known from extant documents1 possessed several of his pictures4 ,his portrait was painted by ,van ,dyck to be placed in a collection of the most celebrated portrait-painters4 ,brouwer led an exciting life1 and has been the subject of several biographies1 which have alternately covered him with scandal and whitewashed him4 ,documents unearthed during recent years support the earlier accounts1 which represent this painter of topers as a jovial1 reckless1 dissipated ,bohemian2 though his epitaph may yet have partly told truth in describing him as a man of great mind1 who rejected every splendour of the world1 and who despised gain and riches4 ,the documents are set out by ,wurzbach 7,niederlndisches ,knstler-,lexicon1 #aijf74 ,taking all the evidence together1 we may picture ,brouwer as a genial fellow1 fond of adventure1 slow in setting to work1 quick in spending1 inclined to libertinism and drink1 constantly running into debt1 a sworn foe of shams and parade1 fond of his joke1 a lover of poetry1 and popular among all who knew him4 ,one of the stories told of him well illustrates his mocking contempt of fashionable vanities4 ,at ,amsterdam he had bought himself some coarse linen1 which he had made up into a fashionable suit and then painted with a flowered pattern4 ,brouwer's costume became the talk of the town1 and shops were ransacked to furnish copies of it2 till one night at the theatre1 the artist jumped on to the stage1 wiped off his pattern with a wet cloth1 and laughed at his audience4 ,he was born at ,oudenarde1 ran away from home1 had exciting adventures on the way1 and turned up in ,amsterdam and ,haarlem4 ,he is said to have entered the studio of ,frans ,hals1 and to have been very badly treated there4 ,he is known to have been an artist of repute1 moving also in literary circles1 in ,amsterdam and ,haarlem1 #afbe-bg4 ,he is next heard of at ,antwerp1 where in #afca-cb he was admitted into the ,painters' ,guild4 ,three years later he became a member of the section of the ,guild for exercising rhetoric4 ,he was cast into the state prison1 probably on suspicion of espionage2 and during the seven months of his incarceration1 succeeded in running up new debts to the extent of #djj--;a feat which may be explained by the fact that the prison amenities included an excellent wine-tavern4 ,he died--of his dissipations1 according to some1 but quite as probably of the plague--and was buried in the cemetery1 and afterwards in the ,convent ,church of the ,carmelites4 ,his pictures are rare4 ,the ,wallace ,collection1 the ,victoria and ,albert ,museum 7,ionides ,collection71 and the ,dulwich ,gallery have each one good example4 ,it has been suggested that the ,landscape1 ,no4 #gb in our ,gallery1 hitherto attributed to ,rembrandt1 is by ,brouwer4 #begj1 #bega4 ,,woody ,,landscapes4 ,hobbema 7,dutch3 #afch-agji74 ,see #fhe4 #begb4 ,,the ,,little ,,farm4 ,adrian van de ,velde 7,dutch3 #afcf-afgb74 ,see #hfg4 ,no4 #eg in the ,exhibition of ,dutch ,masters at the ,burlington ,fine ,arts ,club1 #aijj1 when it was thus described3 ,in the centre1 among sparse trees in leaf1 stands a small farm2 to left a man accompanied by a woman on horseback1 driving a flock of sheep to pasture2 in the left foreground a pool of water1 with a cow drinking2 in the centre1 two herdsmen1 with cows1 sheep1 and goats lying down and feeding4 ,cool daylight with light clouds spreading over blue sky4 ,signed in the centre ,a4 v4 ,velde #affc4 #begc4 ,,sea-,,scape3 ,,windy ,,day4 #begd4 ,,calm3 ,,shipping4 ,willem van de ,velde 7,dutch3 #afcc-agjg74 ,see #adi4 #bege4 ,a ,,musical ,,party4 ,anthonie ,palamedes 7,dutch3 #afja-afgc74 ,palamedes was the son of a gem-engraver at ,delft4 ,he became ,dean of the ,painters' ,guild4 ,he painted portraits and small conversation pieces1 and sometimes supplied figures for the architectural pictures of his friend ,dirk van ,delen 7see #ajaj74 ,the light and spirited pose of his figures1 his bold touch1 and the skill with which he makes the outline of his little groups stand out1 please the eye 7,havard74 #begf4 ,a ,,family ,,group4 ,pieter ,codde 7,dutch3 #aeii-afgh74 ,a painter of ,amsterdam much influenced by ,frans ,hals4 #begg4 ,a ,,stiff ,,breeze4 #begh4 ,a ,,windmill ,,by ,a ,,river4 #begi4 ,,scene ,,on ,,the ,,ice4 #behj4 ,,river ,,scene4 ,jan van ,goyen 7,dutch3 #aeif-afef74 ,see #acg4 #bfha4 ,a4 ,,van ,,leeuwenhoek1 ,f4,r4,s4 ,nicolas ,maes 7,dutch3 #afcb-afic74 ,see #aec4 ,a portrait of the eminent ,dutch savant 7#afcb-agbc7 who has been called the father of scientific microscopy4 ,he was elected a ,fellow of the ,royal ,society in #afhj4 #behb4 ,,fruit ,,and ,,flowers4 ,david de ,heem 7,dutch3 #aegj-afcb74 ,david de ,heem1 the elder1 born at ,utrecht1 was the father of the more celebrated still-life painter of the same name4 ,he and his son were the founders of the still-life school in their country4 ,except for the snail1 this brightly-coloured arrangement of oysters1 a lemon1 a plum1 cherries and nuts1 with a glass of wine1 is not unlike the kind of arrangement of actual eatables and drinkables which one may see to-day in the shop-windows of ,italian restaurants in ,london4 ,nor1 in all probability1 was the motive of the picture different4 ,the painting of still-life in ,holland1 says ,m4 ,havard1 was originally sign-painting4 ,inn-keepers and game-dealers had real pictures as signs1 painted upon their shop-fronts1 and we know of several of these simple masterpieces which have found their way into important collections 7,the ,dutch ,school1 p4 #bfj74 #behc4 ,,cattle ,,in ,a ,,stormy ,,landscape4 ,paul ,potter 7,dutch3 #afbe-afed74 ,see #hdi4 ,signed1 and dated #afdg2 formerly in the collection of ,mr4 ,hope1 of ,deepdene4 #behd4 ,a ,,lady ,,holding ,a ,,mirror4 ,pieter ,codde 7,dutch3 #aegi-afgh74 ,see #begf4 #behe4 ,,st4 ,,mary ,,magdalen4 ,adrian ,ysenbrandt 7,flemish3 died #aeea74 ,ysenbrandt was an assistant of ,gerard ,david 7see #ajde74 ,he came to ,bruges1 and was admitted into the ,painters' ,guild in #aeaj2 he worked there till his death4 ,he acquired a reputation for skill in painting the nude and the human countenance2 his carefulness of execution and the sweetness of expression which he gave to his faces were much admired4 ,many of his pictures were sent to ,spain 7see ,w4 ,h4 ,weale in the ,burlington ,magazine1 vol4 ii474 ,this picture of the ,magdalen1 before whom an angel holds a crucifix1 was in the ,exhibition of the ,primitives at ,bruges in #aijb4 ,the artist's careful execution may be noted in the beautifully illuminated ,,ms4 #behf4 ,,coast ,,scene4 #behg4 ,a ,,calm4 #behh4 ,a ,,dutch ,,galliot4 ,jan van de ,cappelle 7,dutch3 painted #afej-afhj74 ,see #hfe4 #behi4 ,,the ,,young ,,astrologer4 ,frans van ,mieris 7,dutch3 #afce-afha74 ,see #hdj4 #beij4 ,a ,,woman ,,at ,a ,,window4 #beia4 ,,the ,,forge4 ,gabriel ,metsu 7,dutch3 #afcj-affg74 ,see #hch4 #beib4 ,,fruit ,,piece4 ,w4 ,k4 ,heda 7,dutch3 #aeid-afgh74 ,see #adfi4 #beic4 ,,portrait ,,of ,a ,,man4 ,petrus ,cristus 7,flemish3 about #adaj-adgb74 ,cristus was born at ,baerle1 near ,ghent4 ,he purchased the right of citizenship at ,bruges in #addd--that is1 four years after the death of ,jan van ,eyck4 ,he cannot therefore have been a pupil of that master1 as has often been surmised2 but he belongs to the school of the ,van ,eycks by his realistic style1 by the extreme care he bestowed on details1 by his bold and powerful colouring1 and by the tasteful arrangement of his draperies and interiors4 ,but his works can never be mistaken for those of ,van ,eyck2 his outline is often harsh1 his types are wanting in character2 his figures1 designed and executed with very inferior skill1 are not painted in the same impressive manner as those of the great master 7,wauters74 ,the portrait of a ,venetian consul 7,no4 #fif7 is ascribed to him4 ,acquired by ,mr4 ,salting from the ,earl of ,northbrook's collection2 ,no4 #aj at the ,burlington ,fine ,arts ,club1 #ahib--remarkable for the preciseness and microscopic minuteness of hand displayed in it4 ,the portrait of a devout and studious young man4 ,he holds an open book2 and on the wall of his chamber there is hung a board on which an illuminated sheet of vellum1 edged with a narrow red riband1 has been nailed4 ,the miniature at the top of it represents the ,vernacle 7our ,lord's head with cruciform nimbus and rays72 and below is a rhymed prayer1 headed ,incipit oratio ad sanctam ,veronicam1 and continuing ,salve sancta facies ,nostri redemptoris1 etc4 #beid4 ,,the ,,duke ,,of ,,cleves4 ,hans ,memlinc 7,early ,flemish3 #adcj-adid74 ,see #fhf4 #beie4 ,,virgin ,,and ,,child4 ,dierick ,bouts 7,early ,flemish3 about #adaj-adge74 ,dirk ,bouts1 ,thieiri ,bouts1 ,dierick of ,haarlem1 or ,thieiri ,stuerbout 7by all of which names he has been called7 was ,dutch by birth1 being born at ,haarlem4 ,at some unknown date he migrated to ,flanders1 and established himself at ,louvain1 where he was appointed ,painter to the ,town4 ,in #adfh he delivered to the ,council two beautiful pictures 7now in the ,museum of ,brussels7 representing ,the ,judgment of the ,emperor ,otho4 ,his colouring1 says ,m4 ,havard1 is clear and brilliant4 ,red and green assume under his brush the brilliancy of the ruby and the emerald4 ,his draperies are of unusual softness1 and have none of that stiffness of fold which is peculiar to ,jan van ,eyck and some of his pupils4 ,his flesh tints are of a warm and vivid tone1 and his shadows are remarkably transparent4 ,but his merit is manifested especially in his picturesque and original manner of arranging his compositions4 ,he is besides remarkable for the care and distinctness with which he treats the landscapes in the background of his pictures4 ,little is known of his life1 and the ascription of various works to him is conjectural4 ,to him1 in the latest revision of labels in our ,gallery1 are now attributed ,nos4 #ffd1 #ggd1 and #idc4 #beif4 ,,st4 ,,jerome4 ,gerard ,david 7,early ,flemish3 #adfj-aebc74 ,see #ajde4 #beig4 ,,three ,,venetian ,,gentlemen ,,and ,a ,,child4 ,johannes ,stephen ,calcar 7,venetian3 #adii-aedf74 ,in the year #aede ,i became known to1 says ,vasari1 and contracted much friendship with ,giovanni ,calcar1 a ,flemish painter of great merit1 who so successfully practised the ,italian manner that his works were not always perceived to be those of a ,fleming2 but he died at ,naples while still young1 and when the fairest hopes had been conceived respecting his future progress4 ,he worked first at ,dordrecht2 but in #aecf went to ,venice1 where he entered ,titian's studio4 ,he became a good master1 says ,vasari elsewhere1 whether for large or small figures1 and in portraits was most admirable4 ,by his hand--and they must do him honour to all time--were the designs for anatomical studies which the most admirable ,andrea ,vessalio caused to be engraved on copper and published with his works 7vol4 v4 p4 #djc74 #beih4 ,,diana ,,and ,,endymion4 ,rubens 7,flemish3 #aegg-afdj74 ,see #ch4 ,a sketch painted about #afcf4 #beii4 ,a ,,visit ,,to ,,the ,,doctor4 #bfjj4 ,,card ,,players4 #bfja4 ,,an ,,old ,,woman ,,reading4 ,david ,teniers 7,flemish3 #afaj-afid74 ,see #aed4 #bfjb4 ,a ,,man ,,with ,a ,,ring4 ,unknown 7,flemish3 #afth ,century74 #bfjc4 ,,virgin ,,and ,,child4 ,unknown 7,school of ,cologne3 early #afth ,century74 ,by the master of the ,death of the ,virgin 7a picture in the ,munich ,gallery71 a painter of ,cologne1 the teacher1 it is said1 of ,bruyn4 ,the donor of the picture1 with spectacles and a large straw hat1 stands at a desk1 reading4 7,the curious in such matters may consult ,notes and ,queries1 #ahij1 for other early instances of spectacles in art47 ,the picture was ,no4 #dh 7,plate #bc7 in the ,burlington ,fine ,art ,club's ,exhibition of ,early ,netherlandish ,pictures1 #ahib4 #bfjd4 ,,portrait ,,of ,a ,,young ,,man4 ,christopher ,amberger 7,german3 #adij-aefc74 ,this painter1 who worked at ,augsburg1 probably studied under ,hans ,burgkmair1 and the painting of ,hans ,holbein the younger had an evident effect on his style1 so much so that his works have been sometimes mistaken for those of ,holbein4 ,in #aecb he painted the portrait of ,charles ,v42 and ,sandrart tells us that this portrait was considered by the ,emperor equal to any of the pictures painted of him by ,titian4 ,he certainly honoured the artist by giving him a gold chain and medal on the occasion 7,bryan's ,dictionary of ,painters74 #bfje4 ,,dr4 ,,fuchsius4 ,bartolomaus ,bruyn 7,school of ,cologne3 died #aeef74 ,this artist painted both religious subjects and portraits4 ,his earlier works in the former kind recall the style of ,the ,master of the ',death of the ,virgin' 7see above1 #bfjc74 ,bruyn was the last really eminent painter of the ,cologne ,school4 ,he was a municipal councillor of that town in #aeej and #aeec4 ,a portrait of the celebrated ,german physician1 ,leonhard ,fuchs 7#aeja-aeff71 one of the fathers of scientific botany4 ,he has obtained1 says ,hallam1 a verdant immortality in the familiar flower which bears his name1 the fuchsia4 ,he espoused the doctrines of the ,reformation2 in our portrait he holds a paper inscribed 7in ,german7 ,the word of the ,lord endureth for ever4 #bfjf4 ,,the ,,madonna ,,enthroned4 ,unknown 7,flemish3 #afth ,century74 ,in the centre of the triptych1 the ,virgin sits on a throne of ,flemish renaissance design4 ,on the right1 ,st4 ,ambrose2 on the left1 ,st4 ,louis of ,toulouse4 ,the royal rank of the latter ,saint 7nephew of ,st4 ,louis1 ,king of ,france1 and son of ,charles of ,anjou1 ,king of ,naples71 who renounced his succession and became ,bishop of ,toulouse1 is commonly indicated as here1 by fleur-de-lys upon a blue ground4 #bfjg4 ,a ,,man ,,with ,a ,,medallion4 ,unknown 7,flemish3 #ae-afth ,century74 #bfjh4 ,,virgin ,,and ,,child ,,with ,,angels4 ,robert ,campin 7,early ,flemish3 died #addd74 ,campin1 a native of ,hainault1 settled at ,tournai in about the year #adjf1 and quickly made a reputation1 becoming painter-in-ordinary to the town4 ,between #adbc and #adbh there are records showing that he filled several offices in the ,painters' ,guild and amassed a considerable fortune4 ,he had several apprentices2 among them1 ,roger ,van der ,weyden 7see #gaa71 who was with him from #adbf to #adcb4 ,he made many designs for tapestry and seems to have been charged with the designing of all municipal art work in whatever kind 7,w4 ,h4 ,weale1 in the ,burlington ,magazine1 vol4 xi474 #bfji4 ,,virgin ,,and ,,child ,,in ,,an ,,apartment4 ,campin 7,early ,flemish3 died #addd74 ,the ,virgin is of the same unlovely type as in the picture ascribed to ,bouts1 ,no4 #beie4 ,behind her head is a screen of plaited straw4 #bfaj4 ,,antoine ,,de ,,bourbon4 ,corneille de ,lyons 7,french3 #afth ,century74 ,two painters are catalogued under this name1 father and son1 who are sometimes distinguished as ,corneille le ,grand and ,corneille le ,petit4 ,the elder was a ,flemish painter1 who became naturalised in ,france in #aedg4 ,in #aedj he was appointed ,painter to the ,dauphin2 in #aeea1 ,painter to the ,king4 ,he is mentioned in a poem of #aedd1 and in a deed of #aefd4 ,several portraits in the ,museum of ,versailles and at ,chantilly are ascribed to him4 7,see ,henri ,bouchot's ,les ,clouet et ,corneille de ,lyon47 #bfaa4 ,a ,,man ,,in ,,black4 ,corneille de ,lyons 7,french3 #afth ,century74 #bfab4 ,,louis ,,xi41 ,,king ,,of ,,france1 #adbc-adhc4 #bfac4 ,,philip ,,and ,,margaret ,,of ,,burgundy4 ,unknown 7,french3 #aeth ,century74 ,these pictures are of the early ,burgundian ,school4 #bfad4 ,a ,,lady ,,as ,,mary ,,magdalen4 ,unknown 7,french ,school3 #aeth ,century74 ,notice the pearl embroidery4 #bfae4 ,,mary1 ,,queen ,,of ,,france4 ,unknown 7,french ,school3 #aeth ,century74 ,formerly supposed to represent ,mary ,tudor1 sister of ,henry ,,viii41 born in #adih4 #bfaf4 ,,portrait ,,of ,a ,,lady4 #bfag4 ,,the ,,duchess ,d',,angoul,,me4 ,unknown 7,french ,school3 #aeth ,century74 #bfah4 ,,virgin ,,and ,,child ,,with ,,angels4 ,unknown 7,french ,school3 #aeth ,century74 ,possibly by an artist of the ,catalonian school4 #bfai4 ,,landscape4 ,nicolas ,poussin 7,french3 #aeic-affe74 ,see #ci4 #bfbj4 ,,the ,,happy ,,mother4 ,jean ,honor ,fragonard 7,french3 #agcb-ahjf74 ,the only poets who seized the spirit of the ,france of the eighteenth century were1 said the brothers ,goncourt1 two painters3 ,watteau and ,fragonard4 ,it was ,fragonard1 says ,sir ,claude ,phillips1 whose frank passion1 whose irresistible lan lighted up the decline of the century much as the imaginativeness of ,watteau1 his reticence and wistful charm even in the midst of voluptuousness1 lighted up its first years4 ,he is the ,ovid of ,french painting4 ,he was born at ,grasse near ,cannes2 and the pupil1 in ,paris1 first of ,chardin and then of ,boucher 7see #abeh1 #ajij74 ,having won the ,prix de ,rome in #ageb1 he travelled in ,italy1 drawing all the sights and monuments1 and studying the old masters4 ,the works of ,tiepolo 7see #aaib7 especially attracted him1 and something of their brilliant1 flashing bravura was to be characteristic of ,fragonard himself4 ,soon after his return to ,paris1 a picture of ,coresus and ,callirho made a sensation in the ,salon1 and inspired what ,lord ,morley calls an elaborate but not very felicitous criticism by ,diderot4 ,fragonard did not return1 however1 to compositions in the classical style2 he found his mtier1 and a highly lucrative practice1 in pictures of sentimental genre1 audaciously amorous in subject1 and of masterly grace and lightness in execution4 ,some of his most famous works in this sort are to be seen in the ,wallace ,collection4 ,the beautifully decorative canvases1 the ,roman d',amour de la ,jeunesse1 which were exhibited in ,london in #ahih and are now in ,mr4 ,pierpont ,morgan's collection1 were a commission from ,madame du ,barry1 who1 however1 for reasons which have not been clearly explained1 declined them4 ,from ,mademoiselle ,guimard1 the dancer1 and queen of the monde galant1 ,fragonard had received a like commission2 and the story is well known of the revenge taken by the painter when he threw up the task1 and transformed his portrait of the lady as ,terpsichore into ,tisiphone4 ,in #agid ,fragonard retired for security from the ,terror to ,grasse1 and on his return to ,paris he found his vogue gone4 ,the ,revolution had killed the taste for his amorous trifles4 ,the reign of the ,classical ,school of ,david had begun2 and ,fragonard died in comparative oblivion and poverty4 ,in #agfi ,fragonard had married ,marie ,anne ,grard1 the miniature painter2 and to the succeeding years belong1 says his biographer 7the ,baron de ,portalis71 many pictures of which the theme is the cradle4 ,our picture is of that kind4 #bfba4 ,,willows4 ,charles ,franois ,daubigny 7,french3 #ahag-ahgh74 ,daubigny was the youngest member of the ,barbizon group2 and1 though he has artistic affinity with them1 and regarded ,corot as his master1 he painted not in their chosen district1 but on the banks of the ,oise4 ,his landscapes have not the poetry of ,corot's1 nor the force of ,rousseau's2 but they are more comfortable1 as it were1 and human4 ,corot's world might be inhabited by dryads2 in ,rousseau's landscapes man is subordinate or overpowered2 ,daubigny paints nature as the pleasant abode of human beings fond of the country--commons not too remote from a garden wall1 the banks of pleasant streams where men may boat or fish4 ,the country with him is full of fresh air4 ,there is a story told of a poor young man1 afflicted with consumption1 who coming suddenly before a work of ,daubigny1 exclaimed1 ',ah1 ,i can breathe better now' 7,thomson's ,barbizon ,school1 p4 #bhc74 ,daubigny's life is in accord with what have been suggested above as characteristic notes of his art4 ,he had no privations1 storms1 or struggles4 ,he was born at ,paris1 in an artistic family2 and as a youth assisted his father in painting boxes1 clock-cases and the like4 ,he was a delicate child1 and had lived much with his nurse ,bazot at ,valmondois on the ,oise1 where too he afterwards spent many holidays and where in later years he made his home4 ,at the age of #ah he went to ,italy1 where the pictures of ,claude especially attracted him4 ,on his return he was engaged for a time as a picture-restorer4 ,he studied with ,paul ,delaroche1 but struck out a line for himself in landscape pictures and etchings1 and his works gradually found favour4 ,he had a boat made for voyaging on the ,oise and ,seine1 and this served as a floating studio4 ,he built himself a house at ,auvers on the ,oise1 which was decorated with paintings by ,corot and other artist-friends4 ,in #ahff he was invited by ,leighton and others to visit ,england1 and he exhibited at the ,academy4 ,in #ahei he had been made a ,chevalier of the ,legion of ,honour1 and in #ahgd he was promoted to the grade of ,officer4 ,on his death-bed he said to those about him ,adieu2 ,i am going to see above if friend ,corot has found me any motifs for landscapes4 ,sunset effect on a lake2 with brilliant colours piercing through the trees to the water4 ,signed1 and dated #ahgd4 #bfbb4 ,,the ,,banks ,,of ,a ,,river4 ,daubigny 7,french3 #ahag-ahgh74 ,see #bfba4 ,an earlier picture 7signed1 and dated #ahei74 ,the small house-boat or barge in the foreground may be the painter's floating studio1 mentioned above4 #bfbc4 ,,alders4 #bfbd4 ,,the ,,garden ,,wall4 ,daubigny 7,french3 #ahag-ahgh74 ,see #bfba4 #bfbe4 ,,the ,,bent ,,tree4 ,j4 ,b4 ,c4 ,corot 7,french3 #agif-ahge74 ,see #bace4 ,this beautiful picture was formerly in the collection of the late ,mr4 ,alexander ,young1 one of the earliest purchasers of ,corots in ,england1 and was generally considered the gem of his collection of works by that master4 ,the writer of an account of the ,young ,collection calls attention1 in describing this picture1 to the wonderful gradation of tones in the trees and foreground1 the subtle beauty of the distant view1 the massing and treatment of the trees against the luminous sky1 the dignified restraint of the colour scheme 7,studio1 vol4 #ci74 #bfbf4 ,,the ,,wood ,,gatherer4 ,corot 7,french3 #agif-ahge74 ,see #bace4 ,also from the ,young ,collection4 #bfbg4 ,,evening ,,on ,,the ,,lake4 ,corot 7,french3 #agif-ahge74 ,see #bace4 ,formerly in the collection of ,lord ,leighton4 ,that ,corot liked the effect of trees stretching out a graceful arm across the water may be seen by comparing this picture with ,no4 #bfbe4 #bfbh4 ,,noon4 #bfbi4 ,a ,,flood4 ,corot 7,french3 #agif-ahge74 ,see #bace4 #bfcj4 ,,cows ,,standing ,,in ,a ,,marsh4 ,corot 7,french3 #agif-ahge74 ,see #bace4 ,how simple are the ingredients out of which ,corot makes a picture6 ,a marsh1 two cows with a herdsman1 and four willows2 but all are suffused in a beautiful haze1 and wrought into an exquisite harmony of tone and colour4 ,like all ,corot's pictures1 this should be seen from some little distance2 the more it is observed1 the more will its charm be felt4 #bfca4 ,,the ,,fisherman',s ,,hut4 ,corot 7,french3 #agif-ahge74 ,see #bace4 ,an exquisite harmony in tender green and pink4 #bfcb4 ,,the ,,storm4 #bfcc4 ,,common ,,with ,,stormy ,,sunset4 ,diaz 7,french3 #ahji-ahgf74 ,see #bjeh4 #bfcd4 ,,river ,,scene4 ,jules ,dupr 7,french3 #ahab-ahhi74 ,dupr1 the last of the romantic school of ,french landscape1 the friend and the survivor by many years of ,millet and ,rousseau1 was born at ,nantes4 ,he began by painting on china1 in the studio at ,svres of his uncle1 ,arsne ,gillet1 to whom also ,diaz was at one time apprenticed4 ,at the age of #bb he was already exhibiting at the ,salon2 and unlike other members of the group1 he was well treated by the artistic powers of the day4 ,during a visit to ,england he became acquainted with ,constable4 ,he lived at ,isle-,adam near ,paris4 #bfce4 ,,sunset ,,at ,,auvergne4 ,thodore ,rousseau 7,french3 #ahab-ahfg74 ,see #bdci4 #bfcf4 ,,the ,,whisper4 ,jean ,franois ,millet 7,french3 #ahad-ahge74 ,millet1 the peasant painter of ,france1 occupies an important place in the history of modern art4 ,he heard1 as he said1 le cri de la terre2 and it is this to which he gave expression in painting4 ,gambetta well described the characteristics of ,millet and his great contemporary4 ,rousseau 7see #bdci7 revealed the forest2 ,millet was the painter of the seasons1 the fields1 and the peasants4 ,rousseau and others of the school were painters of the country1 of work-a-day nature2 ,millet painted the country-labourers4 ,he did not idealise them1 but he showed1 with deep poetry1 the dignity of their labour4 ,this is the spirit of the great pictures--,the ,sower1 ,the ,gleaners1 ,the ,angelus1 by which through engravings and other reproductions he is most widely known4 ,the depth of impression which those works are found to make was the result of intense feeling and infinite pains on the part of the artist4 ,the ,angelus hung on the point of finish for many months4 ,i mean1 he said1 ,i mean the bells to be heard sounding1 and only natural truth of expression can produce the effect4 ,when a visitor wanted to buy ,the ,sheepfold1 ,millet would not let it go4 ,it is not complete1 he said2 you cannot hear the dog bark in there yet4 ,the life and character of ,millet were in accord with his work4 ,he was born of peasant ancestry1 and the boy grew up1 as ,mr4 ,henley says1 in an environment of toil1 sincerity1 and devoutness4 ,he was fostered upon the ,bible and the great book of nature4 ,wake up1 my little ,franois1 was his grandmother's morning salutation1 the birds have long been singing the glory of ,god4 ,he learned ,latin from the parish priest1 and he soon became a student of ,virgil4 ,he followed his father out into the fields1 and thenceforward1 as became the eldest boy in a large family1 worked hard at grafting and ploughing1 sowing and reaping1 scything and sheaving and planting1 and all the many duties of husbandmen4 ,the life he painted was the life he knew and had led4 ,the spirit in which he painted it was that of his own reverent1 and somewhat melancholy1 temperament4 ,in #ahdi he moved from ,paris to ,barbizon1 on the borders of the ,forest of ,fontainebleau1 which henceforward was his home4 ,if you could but see1 he wrote1 how beautiful the forest is6 ,it is so calm1 with such a terrible grandeur1 that ,i feel myself really afraid in it4 ,the most joyful thing ,i know1 he wrote in a letter of #ahea1 is the peace1 the silence that one enjoys in the woods or in the tilled lands4 ,one sees a poor1 heavily laden creature with a bundle of faggots advancing from a narrow path in the fields4 ,the manner in which this figure comes suddenly before one is a momentary reminder of the fundamental condition of human life and toil4 ,on the tilled land around1 one watches figures hoeing and digging4 ,one sees how this or that one rises and wipes away the sweat with the back of his hand4 ',in the sweat of thy face shalt thou eat bread4' ,is that merry1 enlivening work1 as some people would like to persuade us8 ,and yet it is here that ,i find the true humanity1 the great poetry4 ,like most innovators1 ,millet had to create the taste by which he was to be admired2 and1 though the tale of his struggles and poverty is sometimes exaggerated1 he had many discouragements and times of difficulty4 ,he was neither classical nor romantic1 and both of those schools of art looked askance at him4 ,he was born at ,gruchy1 near ,cherbourg2 and till the age of #ah lived the life of a peasant4 ,as there were then other sons to help on the farm1 his father1 who had long noticed the lad's artistic talent1 took him to ,cherbourg1 where he received some instruction under ,mouchel and ,langlois successively1 and where the ,town ,council gave him assistance in pursuing his studies4 ,the death of his father recalled him for a while to the farm2 but in #ahcg1 at the age of #bc1 he went to ,paris and entered the studio of ,delaroche 7see #aiji74 ,his studio-nickname was ,the ,man of the ,woods4 ,he tried to sell works in his own style1 but found no market for them1 and had to take instead to painting pastorals1 etc41 in the manner of ,boucher and ,watteau4 ,he married in #ahda2 his wife died in #ahdd1 and in #ahde he married again4 ,for a time1 he attained a certain vogue as a painter of the nude1 and a classical picture of ,o,edipus in the ,salon of #ahdg attracted some attention4 ,in #ahdi1 as already said1 he settled at ,barbizon1 and it is from #ahej onwards that his great works date4 ,they did not sell1 or they commanded very small prices4 ,one was bought by his devoted friend1 ,rousseau2 for ,the ,angelus he received #ajj4 ,within #bj years of his death1 it fetched #bb1abj at public auction4 ,but the reputation of ,millet grew gradually in his lifetime1 and in #ahfh he was made a ,chevalier of the ,legion of ,honour4 ,he is buried beside ,rousseau at ,chailly1 near ,barbizon4 ,this little pastoral1 in which a girl reclines on a rock1 while a naked child whispers in her ear1 belongs to the painter's earlier period4 #bffi4 ,,st4 ,,clement ,,and ,,donor4 ,le ,mitre de ,jean ,perral 7,french3 #aeth century74 ,attributed to the master of ,jean ,perral 7called ,jean de ,paris1 who lived about #adfc-aebi72 painter to ,louis ,,xii4 ,st4 ,clement1 in cope and mitre 7as ,bishop of ,rome71 rests his right hand on the shoulder of the ,donor2 and in his left hand carries an anchor 7the emblem referring to the legend of the ,saint having been cast into the sea bound to an anchor74 ,londoners are familiar with the emblem1 as it surmounts the steeple of ,st4 ,clement ,danes in the ,strand4 #bfgj4 ,,lady ,,holding ,a ,,rosary4 ,unknown 7,flemish3 #afth century74 #bfga4 ,a ,,piet4 ,francia 7,bolognese3 #adej-aeag74 ,see #agi4 #bfgb4 ,a ,,venetian ,,gentleman4 ,alvise ,vivarini 7,venetian3 painted #adfa-aejc74 ,see #ahgb4 ,this striking and powerful portrait is signed by the artist on the parapet4 ,it was formerly in the ,bonomi-,cereda ,collection at ,milan 7see ,berenson's ,lorenzo ,lotto1 p4 #ajg74 #bfgc4 ,,narcissus4 ,beltraffio 7,lombard3 #adfg-aeaf74 ,see #gbh4 ,this pretty little picture was shown at the ,old ,masters' ,exhibition of #ahgj1 where ,ruskin noted it as an example of the phase in ,italian art in which pictorial perfectness and deliciousness were sought before everything else 7,works1 xix4 #ddd-e74 ,the same model reappears in the profile portrait of a youth 7also in the character of ,narcissus7 in the ,uffizi ,gallery2 again in a profile of ,san ,sebastian in the ,frizzoni ,collection at ,bergamo2 and again in a profile drawing in the ,louvre 7,no4 #dg;a at the ,burlington ,fine ,arts ,club1 #ahih74 #bgji4 ,,mother ,,and ,,child4 #bgaj4 ,,the ,,drawbridge4 ,jacob ,maris 7,dutch3 #ahcg-ahii74 ,two small pictures by one of the principal masters of the modern ,dutch ,school4 ,jacob ,maris was born at ,the ,hague4 ,he studied in ,paris under ,hebert1 and exhibited at the ,salon from #ahfb to #ahgb1 when he returned to ,the ,hague4 ,his figure-studies show1 says ,r4 ,a4 ,m4 ,s41 a perception of the rich but quiet tissue of colour which wraps all ,nature if you look at it broadly enough4 ,in landscape he and his brother ,matthew are the chief of modern ,dutch painters4 #bgaa4 ,,watering ,,horses4 ,anton ,mauve 7,dutch3 #ahch-ahhh74 ,mauve1 one of the favourite landscape-painters of the modern ,dutch ,school1 was born at ,zaandam1 the son of a ,baptist minister4 ,he studied art at ,amsterdam2 his pensive and peaceful landscapes1 often combined with horses and other animals1 rapidly became popular4 ,his colour1 wrote ,w4 ,e4 ,henley1 is quite his own4 ,to a right sense of nature and a mastery of certain atmospheric effects1 he unites a genuine strain of poetry4 ,his treatment of animals is at once judicious and affectionate4 ,he is careful to render them in relation to their aerial surroundings2 but he has recognised that they too are creatures of character and sentiment1 and he loves to paint them in their relations to each other and to man4 ,the sentiment is never forced1 the characterisation is never strained1 the drama is never exorbitant2 the proportions in which they are introduced are so nicely adjusted that the pictorial1 the purely artistic qualities of the work are undiminished 7,edinburgh ,exhibition ,catalogue1 #ahhf74 ,this picture is a good example of the luminous skies in which ,mauve excelled4 ,the sky shines1 it has been said1 even on a dull day 7see an appreciation of ,mauve by ,frank ,rutter in the ,studio1 vol4 #db74 #bgab4 ,,the ,,interior ,,of ,,haarlem ,,church4 ,johannes ,bosboom 7,dutch3 #ahag-ahia74 ,a characteristic piece by a painter of architecture who rendered very delicately the play of sunbeams in the interior of picturesque churches1 and warm effects of light in large halls and dusky corners 7,muther74 #bgac4 ,,the ,,philosopher4 ,joseph ,israels 7,dutch3 #ahbd-aiaa74 ,joseph ,israels1 the head of the modern ,dutch ,school and a painter of world-wide reputation1 has been called ,the ,dutch ,millet1 and a modern ,rembrandt2 and the phrases serve to indicate his characteristics1 and his place in the development of modern art4 ,he essayed to do what ,rembrandt had done triumphantly two centuries before3 to paint not accidents1 but life itself4 ,he made in ,dutch art the same departure that ,millet made in ,french3 he turned from conventional themes and motives to the life around him4 ,like ,millet1 ,israels made a false start in art4 ,he went to ,paris in #ahde1 entered the cole des ,beaux-,arts1 showing ,achilles and ,patroclus as his probationary drawing1 and on his return to ,amsterdam in #ahdh began to paint1 as ,delaroche had taught him1 historical scenes1 ,calabrian brigands1 and other subjects in the grand style4 ,his health broke down1 and he was ordered change of scene4 ,at ,zandvoort1 a small fishing village near ,haarlem1 he found his ,barbizon4 ,he lodged with a ship's carpenter1 took part in all the usages of his house-mates1 and began to perceive amid these new surroundings that the events of the present are capable of being painted1 that the sorrows of the poor are as deep as the tragical fate of ancient heroes1 that everyday life is as poetic as any historical subject1 and that nothing suggests richer moods of feeling than the interior of a fishing-hut1 bathed in tender light and harmonious in colour4 ,this residence of several months in a distant little village led him to discover his calling1 and determined his future career 7,muther74 ,he was a devoted ,jew1 with a deep interest in the life and character of those of his race who abound in ,holland4 ,among them1 and among the ,dutch toilers of the sea1 he found his vocation1 in painting the tragedy1 the pathos1 or the simple domestic joys of humble working folk4 ,he did this with a technical mastery and with rare insight4 ,his power of pathetic expression is remarkable2 and over his work a spirit of soft tenderness is suffused4 ,many1 perhaps most1 of his pictures are sombre1 but he had an eye for youth and hope1 as well as age and sorrow1 and few artists have painted children with so much sympathy4 ,his method is broad and simple2 his pictures having unity of effect1 and telling their own story with great directness4 ,joseph ,israels was born at ,grningen1 in the north of ,holland1 and for a time was occupied in his father's business as a money-changer1 but he was encouraged to draw4 ,in #ahdd he went to ,amsterdam1 and entered the studio of ,jan ,kruseman4 ,then1 as already related1 came his student-years in ,paris1 and his false start as an historical painter4 ,in #ahee he was represented at the ,paris ,exhibition by an historical picture of the ,prince of ,orange4 ,in #aheg he showed at the ,salon ,children by the ,sea and ,evening on the ,beach4 ,this change of subject marks the true start in an artistic career which was continuously successful1 and which was prolonged into extreme old age4 ,in #ahfb his picture of ,the ,shipwrecked ,mariner 7see below1 #bgcb7 created a sensation at the ,international ,exhibition in ,london4 ,in #ahfc he married and settled down in a house midway between ,the ,hague and ,scheveningen1 facing the canal4 ,here the boats with their loads of herrings pass slowly along1 so that the painter has only to look out of the front windows of his house in order to see the very men and women1 the boats and towing-ropes1 that figure in his canvases4 ,his work is done in a studio in his garden2 here he has a glass house1 in which he paints his open-air figures1 and has likewise fitted up a corner of an old ,dutch cottage1 so that open-air scenes and interiors may be as lifelike as it is possible for an artist to render them4 ,as you enter this studio1 you perceive a little old gentleman at work1 dressed in a brown velvet coat4 ,his hair is silvery white1 and his somewhat pale face is lit up with the kindliest of smiles4 ,he speaks five or six languages in the pleasantest voice imaginable1 and ,english is one of them4 ,personally1 ,israels was one of the most breezy of men1 full of life and vigour1 genial and accessible3 as fresh in mind as a youngster in his teens1 as versatile as he is amiable1 able and always ready to talk on every conceivable subject of interest1 ever contributing some caustic and pointed comment1 yet never assuming the dictatorial and self-opinionated manner which genius often considers itself privileged to adopt4 ,his modesty1 his unfailing amiability to all1 young and old1 distinguished and insignificant1 have served to endear ,joseph ,israels to all who come in contact with him4 ,he does not care to talk much about his own achievements1 but he is less reticent about those of his son ,isaac1 who1 he declares1 is a greater artist than himself4 ,these personalia are quoted from notices which appeared in connection with the artist's #geth birthday 7in the ,daily ,news and in ,israel74 ,he had still twelve years of life2 and his was the rare satisfaction of the man who1 beginning in advance of his time1 creates his own public1 and sees it growing stronger1 larger1 and more devoted as he passes from youth to middle life and thence to extreme old age4 ,he was not consciously the founder of a school1 but he had many close followers1 and the modern ,dutch painters1 who are now so fashionable1 owe their fundamental ideas to him 7,times1 ,aug4 #ae1 #aiaa74 ,there are passages in ,browning's ,grammarian's ,funeral which will suggest themselves to many readers as they study this picture of an old student writing by the light of a single candle4 ,the picture may be compared with an earlier ,dutch one of a like subject--,the ,philosopher1 by ,bega 7#adha74 #bgad4 ,,grandfather',s ,,birthday4 ,isabey 7,french3 #ahjd-ahhf74 ,eugne ,gabriel ,isabey 7by whom there are several pictures in the ,wallace ,collection7 was born in ,paris1 the son of the celebrated miniature-painter1 ,jean-,baptiste ,isabey4 ,he first appeared as a genre painter2 and amid the group of ,classicists of his time1 he had 7says ,dr4 ,muther7 the effect of a beautiful patch of colour4 ,he afterwards took to sea painting1 having in #ahcj accompanied the ,french expedition to ,algiers as marine draughtsman4 ,a characteristic example of the elegant facility with which the painter rendered scenes involving gay attire4 #bgae4 ,,fish ,,market1 ,,dieppe4 ,isabey 7,french3 #ahjd-ahhf74 #bgbc1 #bgbd4 ,,landscapes4 ,ascribed to ,g4 ,poussin 7,french3 #afac-afge74 ,see #ca4 ,these landscapes1 only recently included in the official numbering of the collection1 were presented by ,mr4 ,p4 ,pusey in #ahdi4 #bgbe4 ,,christ ,,blessing4 ,benedetto ,diana 7,venetian3 died #aebe74 ,if ,benedetto be the painter of the fine picture of ',christ at ,emmaus1' in the church of ,st4 ,salvatore1 ,venice1 still attributed in the guidebooks to ,giovanni ,bellini1 he must have been an artist of no ordinary merit1 and one who gradually1 from an unpromising commencement of his artistic career1 attained a high place among the followers of the master4 ,a half-length figure1 larger than life1 of the ,saviour in the act of blessing1 signed with the painter's name1 in private possession at ,venice1 although in a very damaged condition1 has a grand and impressive character not unworthy of ,bellini1 to whom1 as to other ,venetian masters of note1 many works by ,diana in sundry collections are ascribed4 ,he was employed with the two ,bellini and ,alvise ,vivarini in decorating the hall of the ,ducal ,palace 7,layard's ed4 of ,kugler1 #ahhg1 p4 #ccc74 #bgbg4 ,,le ,,pont ,,de ,,la ,,tournelle1 ,,paris4 ,stanislas ,lapine 7,french3 #ahcf-ahib74 ,born at ,caen2 studied under ,corot2 exhibited at the ,salon from #ahei4 ,the ,church of ,notre ,dame in the middle distance4 #bgca4 ,,landscape4 ,w4 ,buitenweg 7,dutch3 #aeij-afcj74 ,william ,buitenweg1 or ,buytewech1 best known for his landscape drawings1 was born at ,rotterdam2 married at ,haarlem in #afac1 and in #afbe returned to ,rotterdam4 #bgcb4 ,,the ,,shipwrecked ,,mariner4 ,joseph ,israels 7,dutch3 #ahbd-aiaa74 ,see #bgac4 ,this celebrated picture--one by which the master often said he would like to be judged--created a great sensation at the ,international ,exhibition of #ahfb4 ,it was1 said one critic1 the most moving picture in the exhibition2 before it1 said another1 crowds daily linger4 ,the storm has passed1 the waves have subsided1 the greyish-black thunderclouds have vanished1 and greenish1 pallid sky smiles upon the earth once more4 ,but upon the waves a shattered boat still rocks1 and men and women and children have come down to see what victim may have been cast up by the tide--,for men must work1 and women must weep1 ,though storms be sudden1 and waters deep1 ,and the harbour bar be moaning4 ,two fishermen reverently bear home the body of their dead comrade4 ,his disconsolate wife and two awestruck children walk in front1 and his old mother beside him4 ,a man with a boat-hook1 a woman pointing to the wreck on the reef1 and others follow the procession1 in the rear of which is the pathetic figure of a dog4 #bgeg4 ,,tartarus3 ,a ,,satirical ,,design4 ,james ,callot 7,french3 #aeic-afce74 ,a curious and fantastic composition 7in ,indian ink71 by a celebrated engraver and draughtsman1 in which it would seem that the artist intended to satirise the ecclesiastic factions rife in ,france during the minority of ,louis ,,xiii4 ,under the vault of a huge cave1 round the upper part of which evil spirits and harpies are sporting1 several figures are grouped4 ,in the centre of the foreground two ,jesuits are derided by demons4 ,on the right1 ,cerberus1 chained to a rock1 guards the entrance to ,hell1 while an armed warrior 7,louis ,,xiii47 stands near with his back to the spectator4 ,on the left is ,death1 surrounded by his victims and the ,vices4 ,in the middle distance ,charon is crossing the ,styx with his boat full of passengers1 whom a crowd on the shore vainly endeavour to join4 ,beyond are represented the tortures of the condemned1 among whom ,ixion1 ,tityus1 the ,danaides1 and other mythological personages are conspicuous4 ,the armorial bearings introduced on the lower edge of the drawing are supposed to be those of ,m4 de ,boyer of ,baudot1 who is said to have suggested the design 7,director's ,report1 #ahhd74 ,the artist's independence of character is recorded in a familiar anecdote4 ,he was witness to the siege and capitulation of his native town1 ,nancy1 in #afcc1 and the ,french king called on him to engrave a plate commemorative of the occurrence4 ,when he declined1 some of the courtiers are said to have remarked to the artist that there were means to make him comply4 ,he replied that he would sooner cut off his right hand than employ it in such a work2 a speech which1 being reported to the king1 led him to say that the ,dukes of ,lorraine were fortunate in the possession of such subjects4 #bgeh4 ,a ,,squall ,,from ,,the ,,west4 ,louis ,eugne ,boudin 7,french3 #ahbe-ahih74 ,see #bjgh4 #bgei4 ,,stormy ,,landscape4 ,george ,michel 7,french3 #agfc-ahdc74 ,see #bbeh4 #bgfd4 ,a ,,family ,,group4 ,ascribed to ,jan ,vermeer 7,dutch3 #afcb-afge74 ,this picture once formed part of ,no4 #afii2 the right arm of the seated child and the tablecloth here are continued there4 #bgfg4 ,,the ,,sea4 ,gustave ,courbet 7,french3 #ahai-ahgg74 ,courbet is famous in the history of modern ,french painting as the first of the realists2 he is the ,caravaggio of ,france1 full of force and vigour1 but often somewhat coarse and brutal4 ,his landscapes and seapieces will probably be esteemed more highly by posterity than his realistic works4 ,he was1 says ,dr4 ,muther1 the first ,french painter of sea-pieces1 who had a feeling for the sombre majesty of the sea4 ,his very quietude is expressive of majesty2 his peace is imposing1 his smile grave2 and his caress is not without a menace4 ,courbet was a revolutionary in politics1 as in art4 ,in ,september #ahgj he was appointed ,director of the ,fine ,arts by the ,provisional ,government1 and he afterwards joined the ,commune4 ,he was instrumental in saving many works of art1 but he ordered the destruction of the ,column in the ,place ,vendme4 ,for this he was brought before a court-martial and sentenced to six months' imprisonment4 ,afterwards1 in a civil action1 he was cast in heavy damages2 his furniture and pictures were sold2 and he retired to ,switzerland4 ,he died at ,la ,tour1 ,vevay1 a ruined man4 #bgij4 ,,the ,,adoration ,,of ,,the ,,magi4 ,mabuse 7,flemish3 about #adgj-aeda74 ,see #fef4 ,this famous picture was acquired for the ,national ,gallery from ,rosalind1 ,countess of ,carlisle1 in #aiaa1 for #db1ggf4bfb ,the picture was painted in about the year #aejj for the ,abbey of ,grammont in ,east ,flanders4 ,in #afjj it was bought for #bjjj florins by the ,archduke ,albert to decorate the high altar of the ,court ,chapel in ,brussels4 ,a story which is recorded of it in those days is a tribute to its bright attractiveness4 ,during ,lent it used to be concealed by the hanging in front of it of a picture of the ,crucifixion as less likely to interfere with the penitential thoughts proper to the season4 ,in the #ahth century the picture passed into the collection of ,prince ,charles of ,lorraine1 ,governor-,general of the ,netherlands1 and thence into that of the fifth ,earl of ,carlisle4 ,for more than a century it remained at ,castle ,howard1 and many connoisseurs who saw it there wrote of it as one of the chief art-treasures of ,great ,britain4 ,i do not think1 wrote ,w4 ,brger 7,thor71 that there is anywhere else a picture by ,mabuse so brilliant1 so well preserved1 so capital as the ,adoration of the ,kings1 belonging to the ,earl of ,carlisle4 ,for variety of character1 glow of colour1 and finished execution1 quite unsurpassed1 said ,mrs4 ,jameson of it4 ,the pride of the artist himself in his work is shown by the fact that he has signed his name upon it in two places--i4e4 on the head-dress of ,balthasar1 the black king1 and on the metal collar of his attendant4 ,the signature ,jennin ,gossart 7diminutive1 ,little ,john71 was that under which ,mabuse was inscribed as a member of the ,guild of ,st4 ,luke at ,antwerp4 ,in the history of ,flemish art the picture is of interest as one of the last works painted before the ,italianising influence became marked4 ,it is one of the finest specimens of ,mabuse's first period 7see under #fef72 but it will be noticed that the architecture of the ruin is no longer ,gothic1 but already shows the influence of the ,renaissance4 ,the picture is after #djj years in perfect preservation4 ,it has an artistic unity1 for the parts are subordinated to the whole2 but it is full of incident1 which adds not a little to its attractiveness and curious interest4 ,the ,adoration of the ,magi affords a remarkable instance of the way in which the ,bible text1 first expounded by ,church legends1 was then embroidered by the painters2 and this example of evolution in art may be studied very fully in the ,national ,gallery1 which contains pictures of the subject painted in various schools and at various periods4 ,the starting-point of the whole development is the second chapter of ,st4 ,matthew's ,gospel where it is related that wise men came from the ,east to ,jerusalem2 that a star guided them to ,bethlehem2 and that when they were come into the house1 they saw the young child with ,mary his mother1 and fell down and worshipped him2 and when they had opened their treasures1 they presented unto him gifts--gold1 and frankincense1 and myrrh4 ,legend set itself to work on this narrative4 ,the ,wise ,men1 it was decided1 were three in number2 and the ,psalmist's prediction--the ,kings of ,tarshish and of the ,isles shall bring presents1 the ,kings of ,sheba and ,saba shall offer gifts--showed that the ,magi were kings4 ,later writers identified their realms as ,tarsus1 ,saba1 and ,nubia2 whence one of the kings is commonly represented as a ,moor or ,nubian4 ,their names also became known--,gaspar1 ,melchior1 and ,balthasar4 ,further developments of the legend--how their remains were discovered by the ,empress ,helena at ,constantinople1 and taken by ,milan to ,cologne--do not here concern us2 it will be seen that by the time art was ready to take up the story1 the painters had much material around which to let their fancy play4 ,the earlier painters in each school treated the story simply4 ,then as technical resources increased1 and artistic effect rather than mere religious instruction became the motive1 the theme was ever more and more expanded1 until it became the most gorgeously rendered of all the ,gospel scenes4 ,many readers will remember the severe and simple treatment of the subject by ,giotto in the ,arena ,chapel at ,padua2 with which may be compared in our gallery ,orcagna's small picture 7#egd74 ,if the visitor after looking at that will turn to the splendid pageant 7#ajcc71 with its seventy figures1 by ,botticelli 7or ,filippino ,lippi71 he will see at a glance how the theme became embroidered and enlarged4 ,the picture by ,fra ,angelico 7#ehb7 represents an intermediate stage4 ,a similar contrast may be noted in the ,flemish room4 ,the picture attributed to ,david 7#ajgi7 is simple1 earnest1 and homely2 far less gorgeous and various than the ,mabuse4 ,the fact is that1 in the more elaborate pictures of the subject1 it was taken as an excuse or occasion for displaying whatever elements of pomp or circumstance appealed to the individual artist4 ,thus ,peruzzi 7#afg and #bah7 elaborates the architecture and the horses1 and introduces portraits4 ,the ,tuscans made out of the subject a ,florentine pageant4 ,mabuse's picture is interesting1 amongst other reasons1 as a kind of epitome of the arts and crafts of his time4 ,note1 for instance1 the cups and chalices in which the kings bring their presents2 their jewelled robes and head-dresses2 and1 for a minor detail1 the pretty bag worn by the ,black ,king's page3 it might well be copied for a lady's reticule to-day4 ,no less remarkable than the variety of treatment in pictures of the ,magi is the large measure of uniformity of type which may be found in them all4 ,a few remarks on these common elements1 which were for the most part symbolic1 will serve the double purpose of directing attention to further details in ,mabuse's picture and of connecting it with other examples in the ,gallery4 ,the scene of the drama is in the earliest pictures a stable or a shed2 in the later1 it is almost invariably the ruins of a temple or other ancient building--a symbol of the triumph of ,christianity over paganism4 ,the ox and the ass will be noticed among the ruins here1 and the shepherds are seen approaching4 ,the idea is to mark the event as a manifestation alike to the ,jews 7the shepherds7 and to the ,gentiles 7the ,magi74 ,angels hover above1 singing the ,gloria in ,excelsis1 and the composition is crowned by the ,star with the ,dove4 ,the background almost invariably includes a mountainous landscape1 through which the retinue of the kings may be discerned winding its way--a reminder that they journeyed from a far country4 ,this is a feature1 indicated sufficiently by ,mabuse1 which may be seen more emphasised in the picture by ,foppa 7#gbi74 ,the ,kings are nearly always shown as old1 middle-aged1 and young respectively1 and one of them is black3 when the ,gentiles were called to salvation1 all ages1 continents1 and races were included4 ,in ,mabuse's picture the equality of the races is emphasised in a further way2 the ,black ,king1 conspicuous on the left1 has his train borne by a white page4 ,the eldest of the kings offers a vase of gold1 out of which ,christ has taken a piece1 which ,he holds in ,his hand4 ,the king uncovers his head4 ,to most medival painters the ,adoration envisages itself essentially as an act of feudal homage4 ,conspicuous in the foreground are two dogs4 ,the one on the right1 says the ,official ,catalogue1 is similar to a dog by ,albert ,drer in his engraving of ,st4 ,eustace1 that on the left is reversed from a print by ,martin ,schongauer4 ,the dog is often thus included in the ,adoration2 as1 for instance1 in one of the earliest 7,orcagna1 #egd7 and in one of the latest 7,peruzzi1 #bah7 of our versions2 and everybody will have noticed how frequently in other religious pictures also the dog is introduced4 ,this custom of putting either the dog1 or some inferior animal1 to be either in contrast1 or modest companionship1 with the nobleness of human form and thought1 is1 says ,ruskin1 a piece of what may be called mental comparative anatomy1 which has its beginning very far back in art 7,eagle's ,nest1 ch4 #h2 see also ,modern ,painters1 vol4 v4 pt4 ix4 chs4 #c1 #f74 ,the place of ,joseph in the scene differs a good deal in different pictures1 for the early legends varied4 ,orcagna 7#egd7 shows him receiving one of the presents from the hands of the ,child3 he plays1 as it were1 the part of royal treasurer or chamberlain4 ,dosso ,dossi 7#fdj7 shows him kneeling in the background4 ,in the present picture he stands1 in a red dress1 under an archway1 listening devoutly to the heavenly harmony4 ,all the figures in ,mabuse's picture 7there are some thirty7 will repay examination4 ,the ,virgin's expression is well given2 and1 as a study in contrasts1 the reverent figures behind the kneeling king may be compared with the man on the extreme left who1 catching hold of a pillar1 is leaning out in curiosity to see the sights4 ,there is much other detail which might be described--the plants1 for instance1 in the foreground and on the ruins2 but enough has been said to indicate the wealth and variety of interest which is to be found in this picture4 #bhef4 ,a ,,cavalier ,,and ,a ,,lady4 ,pieter ,quast 7,dutch3 #afjf-afdg74 ,quast was a painter and engraver of ,the ,hague2 his pictures are in the style of ,brouwer and ,isaac van ,ostade4 #bhfb4 ,,st4 ,,john ,,gualberto4 ,lorenzo ,monaco 7,florentine3 #acgj-adbe74 ,see #ahig4 ,this picture represents ,st4 ,john ,gualberto1 the ,florentine 7died #ajgc71 establishing the ,order of the ,vallombrosans1 whose proper habit is of a pale ash colour4 ,he was ,abbot of ,san ,miniato1 from which he retired to ,vallombrosa1 establishing there the ,order called after the place of its original home4 #bhfc4 ,,virgin ,,and ,,child1 ,,with ,,angels4 ,school of ,benozzo ,gozzoli 7,florentine3 #adbj-adig74 ,see #bhc4 ,illustration ,,footnotes3 #ch ,it is worth noting that a similar incident 7which in this picture has greatly shocked some of the critics7 is introduced in ,orcagna's great fresco of the ,triumph of ,death4 ,the three kings of the ,german legend are represented looking at the three coffins containing three bodies of kings1 such as themselves1 in the last stage of corruption4444 ,orcagna disdains both poetry and taste2 he wants the facts only2 he wishes to give the spectator the same lesson that the kings had1 and1 therefore1 instead of concealing the dead bodies1 he paints them with the most fearful detail4 ,and then1 he does not consider what the three kings might most gracefully do4 ,he considers only what they actually1 in all probability1 would have done4 ,he makes them looking at the coffins with a startled stare1 and one holding his nose 7,lectures on ,architecture and ,painting1 pp4 #bji1 #baj74 ,a comparison of the various opinions expressed on this picture would form a diverting chapter in the history of art criticism4 ,thus in ,kugler's ,handbook we are told that it is in many respects one of the noblest pictures existing2 ,sir ,henry ,cole 7,felix ,summerly7 called it doubtless the greatest ,italian painting in this country2 ,hazlitt said it was one of the best pictures on so large a scale that he was acquainted with2 ,waagen pronounced it to be the most important specimen of ,italian art in ,england2 ,solly called it the second picture in the world2 and ,mrs4 ,jameson saw in it a combination of the characteristic power and beauty of the finest school of design and the finest school of colouring in the world4 ,for an equally uncompromising condemnation see ,landseer's ,catalogue1 pp4 #ib-aai4 ,it is interesting to note that in some cases the admiration excited by the picture was due to the dirt with which by long neglect and lapse in time it had come to be discoloured4 ,thus ,hazlitt says that the figure of ,lazarus is very fine and bold4 ,the flesh is well-baked1 dingy1 and ready to crumble from the touch1 when it is liberated from its dread confinement to have life and motion impressed on it again 7,criticisms on ,art1 #ahdc1 p4 #i74 ,thus it was inferred that ,sebastiano stooped to the trivial artifice of imparting an appearance of half putrefaction to the exhumed corpse4 ,the absurdity of this criticism is well exposed by ,henry ,merritt1 the famous picture restorer1 in his essay on ,dirt and ,pictures ,separated 7,art ,criticism and ,romance1 i4 #fi74 ,the fact is that the whole picture was sadly darkened with time1 and that it had become embedded beneath a thick covering1 compounded of half opaque varnish1 patches of modern paint1 and dirt4 ,it has only been found possible partly to remove this covering4 ,it may not be uninteresting to add that the picture was a favourite with ,charles ,darwin4 ,many of the pictures in the ,national ,gallery1 he wrote1 gave me much pleasure2 that of ,sebastian del ,piombo exciting in me a sense of sublimity 7,life1 i4 #di74 ,the poet ,tennyson was another great admirer of the picture4 ,his son1 describing visits with the poet to the ,national ,gallery1 says1 he always led the way first of all to the ,raising of ,lazarus1 by ,sebastian del ,piombo1 and to ,titian's ,bacchus and ,ariadne4 ,the ,christ ,i call ,christlike1 said ,tennyson on one occasion to ,carlyle1 is ,sebastian del ,piombo's in the ,national ,gallery 7,memoir1 ii4 #bce74 ,it is possible that the poet may have written the stanzas cited above with his eye on ,sebastiano's picture4 #ci ,when they went to nature1 which ,i believe to have been a very much rarer practice with them than their biographers would have us suppose1 they copied her like children1 drawing what they knew to be there1 but not what they saw there 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 ii4 ch4 iii4 #g74 #dj ,the ,claude ,lorraine glass--a convex dark1 or coloured hand-mirror used to concentrate the features of a landscape in a subdued tone--gives the objects of nature1 says an old writer1 a soft mellow tinge like the colouring of that master4 #da ,but ,ruskin does not quite keep his promise4 ,if ,claude had been a great man he would not have been so steadfastly set on painting effects of sun2 he would have looked at all nature1 and at all art1 and would have painted sun effects somewhat worse1 and nature universally much better 7,modern ,painters1 vol4 iii4 pt4 iv4 ch4 xviii4 #bc74 #db ,the passages quoted from ,sir ,f4 ,burton are to be found in his edition of the ,official ,catalogue 7unabridged7 of the ,foreign ,schools4 ,that work1 which occupied the late ,director's leisure for many years1 is a worthy monument of his wide learning and fastidious taste4 ,a large-paper edition was issued by the ,stationery ,office in #ahib4 #dc ,see1 however1 the sunset picture of his predecessor1 ,bellini 7#gbf74 ,connoisseurs should note that this picture is referred to by ,richter as bearing on the vexed question of ,palma ,vecchio's relation with ,titian1 and showing that the latter imitated the former rather than vice vers 7,italian ,art in the ,national ,gallery1 p4 #he4 ,see also ,morelli's ,german ,galleries1 p4 #be74 #dd ,called also ,sinon before ,priam 7neid1 ii4 #gi74 #de ,the two pictures were bought by the nation in #ahcd for #aa1eej4 ,the sum was then thought a very large one1 and the trustees fortified themselves with the opinion of experts4 ,amongst these ,sir ,david ,wilkie1 ,r4,a41 wrote1 ,it is certainly a large sum for two pictures2 but giving this difficulty its due weight1 ,i would decidedly concur in giving this sum rather than let them go out of the country1 considering the rarity of such specimens even in foreign countries1 and their excellence as examples of the high school to which they belong1 to which it must be the aim of every other school to approach4 #df ,the picture is inscribed ,mariage d',isaac avec ,rebecca1 but it is a repetition with some variations in detail of the ,claude known as ,il ,molino 7,the ,mill7 in the ,doria palace at ,rome4 ,ruskin characterises this version of the subject as a villainous and unpalliated copy4 ,there is not1 he adds1 one touch or line of even decent painting in the whole picture2 but as connoisseurs have considered it a ,claude1 as it has been put in our ,gallery for a ,claude1 and as people admire it every day for a ,claude1 ,i may at least presume it has those qualities of ,claude in it which are wont to excite the public admiration1 though it possesses none of those which sometimes give him claim to it2 and ,i have so reasoned1 and shall continue to reason upon it1 especially with respect to facts of form1 which cannot have been much altered by the copyist 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 iii4 ch4 i4 #i1 sec4 iv4 ch4 ii4 #h74 #dg ,the following is the text of this portion of ,turner's will3 ,i give and bequeath unto the ,trustees and ,directors for the time being of a certain ,society or ,institution1 called the ',national ,gallery' or ,society1 the following pictures or paintings by myself1 namely ,dido ,building ,carthage1 and the picture formerly in the ,de ,tabley collection4 ,to hold the said pictures or paintings unto the said ,trustees and ,directors of this said ,society for the time being1 in trust for the said ,institution or ,society for ever1 subject1 nevertheless1 to1 for1 and upon the following reservations and restrictions only2 that is to say1 ,i direct that the said pictures or paintings shall be hung1 kept1 and placed1 that is to say1 always between the two pictures painted by ,claude1 ,the ,seaport and ,mill4 ,the picture formerly in the ,de ,tabley collection is the ,sun rising in a ,mist1 #dgi4 ,turner bought it back at ,lord de ,tabley's sale at ,christie's in #ahbg for #ead3 #ajs41 and ever afterwards refused to part with it4 ,the other picture1 the ,carthage 7#dih71 was returned unsold from the ,academy1 and ,turner always kept it in his gallery4 ,his friend ,chantrey used to make him offers for it1 but each time its price rose higher4 ,why1 what in the world1 ,turner1 are you going to do with the picture8 he asked4 ,be buried in it1 ,turner replied--a remark he often made to other friends4 #dh ,so in ,n4 ,poussin's ',phocion' 7#dj7 the shadow of the stick on the stone in the right-hand corner1 is shaded off and lost1 while you see the stick plainly all the way4 ,in nature's sunlight it would have been the direct reverse3 you would have seen the shadow black and sharp all the way down2 but you would have had to look for the stick1 which in all probability would in several places have been confused with the stone behind it 7ibid474 #di ,compare on this point ,g4 ,poussin's ,abraham and ,isaac 7#ca74 #ej ,one may compare with ,ruskin's description the similar one by ,tennyson of a distant view of ,monte ,rosa-- ,how faintly-flush'd1 how phantom-fair1 ,was ,monte ,rosa1 hanging there ,a thousand shadowy-pencill'd valleys ,and snowy dells in a golden air4 ,the ,daisy4 #ea ,in some of the convents 7in ,mexico7 there still exist1 buried alive like the inmates1 various fine old paintings 444 brought there by the monks 7,dublin ,national ,gallery ,catalogue74 ,the ,spanish influence gave birth1 moreover1 to a native ,mexican ,school of painting1 said to be of considerable merit4 #eb ,murillo1 of all true painters the narrowest1 feeblest1 and most superficial1 for those reasons the most popular 7,two ,paths1 #eg n47--,the delight of vulgar painters 7as ,murillo7 in coarse and slurred painting merely for the sake of its coarseness1 opposed to the divine finish which the greatest and mightiest of men disdained not 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 i4 ch4 x4 #c74 #ec ,the ,french partiality for ,murillo is traditional1 dating back to ,marshal ,soult's time1 from whose collection the ,immaculate ,conception was bought4 ,murillos were his favourite spoils from the ,peninsular ,war4 ,one day1 showing ,general ,g---- his gallery in ,paris1 ,soult stopped opposite a ,murillo1 and said1 ',i very much value that1 as it saved the lives of two estimable persons4' ,an ,aide-de-camp whispered1 ',he threatened to have both shot on the spot unless they gave up the picture' 7,ford's ,handbook74 #ed ,he was not a bad painter1 continued ,ruskin1 but he exercises a most fatal influence on the ,english ,school1 and therefore ,i owe him an especial grudge4 ,i have never entered the ,dulwich ,gallery for fourteen years without seeing at least three copyists before the ,murillos4 ,i never have seen one before the ,paul ,veronese4444 ,i intend some time in my life to have a general conflagration of ,murillos4 ,ruskin would have been relieved to know that of late years at the ,national ,gallery ,paul ,veronese--and especially his ,st4 ,helena--has been very frequently copied4 #ee ,amongst the curiosities of criticisms are the differences between experts as to whether this is a morning or an evening effect4 ,contradictory opinions on the point were submitted to the ,select ,committee of #ahec1 but as the picture had been restored1 each side was able to impute the difficulty of deciding to the ruinous nature of that operation4 #ef ,it may be interesting to note on the other side that ,dr4 ,waagen 7whose experience of the sea is given under ,no4 #adi7 finds the waves in this picture to run high1 and to be extraordinarily deep and full4 #eg ,compare for equally defective perspective the covered portico in #cj4 #eh ,visitors to ,venice may like to be reminded that most of ,ruskin's criticism upon ,tintoret's works there is now easily accessible in 7#a7 ,the ,relation between ,michael ,angelo and ,tintoret1 7#b7 ,the ,stones of ,venice1 travellers' edition1 and 7#c7 the reissue of the second volume of ,modern ,painters4 ,mr4 ,ruskin always accounted his discovery of ,tintoret as one of the chief works of his life4 ,i have supplied1 he wrote in ,stones of ,venice 7#ahec71 somewhat copious notices of the pictures of ,tintoret1 because they are much injured1 difficult to read1 and entirely neglected by other writers on art4 ,i say with pride1 he wrote in the epilogue to the second volume of ,modern ,painters 7#ahhc71 what it has become my duty to express openly1 that it was left to me1 and to me alone1 first to discern1 and then to teach1 so far as in this hurried century any such thing can be taught1 the excellency and supremacy of five great painters1 despised until ,i spoke of them2--,turner1 ,tintoret1 ,luini1 ,botticelli1 and ,carpaccio4 ,despised1--nay1 scarcely in any true sense of the word1 known4 ,for the ,pre-,ruskinian view of ,tintoret1 the reader may consult ,kugler's ,handbook of ,painting4 #ei ,for an exhaustive and interesting history of the legend see ,mr4 ,j4 ,r4 ,anderson's ,supplement to ,st4 ,mark's ,rest4 ,one account1 it seems1 places both ,perseus and ,st4 ,george in the ,nile ,delta4 ,politicians who say that ,england has gone to ,egypt to save that country from itself may perhaps see some significance in this4 ,the superstitious in such things will not forget either that one of ,gordon's names was ,george4 #fj ,it is proper to mention that most of the critics dispute the genuineness of this picture1 and consider it a copy by some scholar or imitator4 ,it is but a school repetition of a signed picture in ,the ,hermitage1 with the omission1 however1 of a charming figure of ,st4 ,catherine4 ,in connection with this disputed point1 it may not be out of place to recall the famous forgery in which ,andrea himself played the chief part4 ,the ,duke of ,mantua coveted ,raphael's portrait of ,leo ,x41 and obtained permission from the ,pope to appropriate it4 ,the owner determined to meet force by fraud1 and employed ,andrea to make a copy which was sent to the ,duke as the original4 ,the copy1 when at ,mantua1 deceived even ,giulio ,romano1 who had himself taken part in the execution of the original--a fact which might well induce some modesty of judgment in connoisseurs4 #fa ,the title usually given to this picture1 ,christ ,disputing with the ,doctors1 cannot be correct1 for the figure of ,christ is too old for an incident which occurred when he was twelve years old4 #fb ,in the little-known collection in the library of ,christ ,church1 ,oxford1 there is a powerful but unpleasantly realistic picture of a group in a butcher's shop1 by one of the ,carracci1 which is perhaps a family portrait4 #fc ,see ,blake's ,auguries of ,innocence4 #fd ,gaspard was particularly unfaithful to the variety of nature in his representation of leaves 7see #ih74 ,it is interesting therefore1 as showing how long it passed for truth1 to note that ,lanzi 7i4 #dha7 singles out this point for special praise3 ,everything that ,gaspard expresses is founded in nature2 in his leaves he is as various as the trees themselves4 #fe ,compare on this point ,claude's ,isaac and ,rebecca1 ,no4 #ab4 #ff ,this anecdote is a modern counterpart of that of ,protogenes1 the rival of ,apelles1 who worked continuously1 we are told1 during the siege of ,rhodes by ,demetrius ,poliorcetes1 notwithstanding that the garden in which he painted was in the middle of the enemy's camp4 ,demetrius1 unsolicited1 took measures for the painter's safety1 and when he was told that one of the masterpieces by ,protogenes was in a part of the town exposed to assault1 he changed his plan of operations4 #fg ,if you live in ,london you may test your progress accurately by the degree of admiration you feel for the leaves of vine round the head of the ,bacchus in ,titian's ,bacchus and ,ariadne 7,elements of ,drawing1 p4 #hb74 ,another technical beauty referred to in the same book 7p4 #gg n47 is the points of light on the white flower in the wreath of the dancing child-faun4 ,similarly1 the wing of the cupid in ,correggio's picture 7#aj7 is focused to two little grains of white at the top of it4 ,elsewhere ,ruskin calls attention to the leaves which crown the ,bacchus1 and the little dancing faun3 every turn of the most subtle perspective1 and every gradation of colour1 is given with the colossal ease and power of the consummate master 7,academy ,notes1 #ahee1 p4 #bb74 #fh ,ruskin's analysis of ,rubens's technical method1 which is here omitted as foreign to the scope of this handbook1 will be found in his review of ,eastlake's ,history of ,oil ,painting1 now reprinted in ,on the ,old ,road1 i4 #ih-acf4 #fi ,the conditions of art in ,flanders--wealthy1 bourgeois1 proud1 free1--were not dissimilar to those of art in ,venice4 ,the misty flats of ,belgium have some of the atmospheric qualities of ,venice4 ,as ,van ,eyck is to the ,vivarini1 so is ,rubens to ,paolo ,veronese4 ,this expresses the amount of likeness and difference 7,symonds3 ,renaissance1 iii4 #bfe n74 #gj ,see1 for a further instance of this1 what is said of ,rubens's landscapes below1 under #ff4 #ga ,dr4 ,elisabeth ,denio1 in her monograph on ,poussin 7#ahii71 adduces good reason for altering the commonly accepted date #aeid to #aeic4 #gb ,see ,lanzi1 i4 #dgg1 and a paper by ,mr4 ,r4 ,heath in the ,magazine of ,art for ,september #ahgg1 where ,poussin's theory is illustrated from his pictures in the ,louvre4 ,english readers may be reminded that ,poussin is particularly well represented in the ,dulwich ,gallery4 #gc ,elsewhere ,ruskin says of ,poussin1 ,whatever he has done has been done better by ,titian4 ,also1 the landscape of ,nicolo ,poussin shows much power1 and is usually composed and elaborated on right principles1 but ,i am aware of nothing that it has attained of new or peculiar excellence2 it is a graceful mixture of qualities to be found in other masters in higher degrees4 ,in finish it is inferior to ,leonardo's1 in invention to ,giorgione's1 in truth to ,titian's1 in grace to ,raphael's 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #ad74 #gd ,he feared the fascinations of colour1 and once wrote from ,venice that he must flee from a place where they lured him too much4 ,he did not know how needless was the alarm 7,sir ,f4 ,burton74 #ge ,constable1 who made some studies from this picture1 was of the same opinion4 ,in a letter to ,fisher he describes it as a noble ,poussin3 a solemn1 deep1 still summer's noon1 with large umbrageous trees1 and a man washing his feet at a fountain near them4 ,through the breaks in the trees are mountains1 and the clouds collecting about them with the most enchanting effects possible4 ,it cannot be too much to say that this landscape is full of religious and moral feeling 7,leslie's ,life of ,constable1 p4 #ij74 #gf ,hang these pictures in a very strong light1 said ,rembrandt of his early work4 ,the smell of paint is not good for the health1 he said many years afterwards1 when a visitor came close up to one of his later pictures4 #gg ,baldwin ,brown's ,the ,fine ,arts1 p4 #bih1 where ,mr4 ,whistler's beautiful description of a nocturne on the ,thames is cited as being in direct artistic descent from ,rembrandt4 ,to ,rembrandt1 said the late ,mr4 ,wornum 7,epochs of ,painting1 #ahfd1 p4 #dba71 belongs the glory of having first embodied in art and perpetuated such rare and beautiful effects of nature as are referred to above4 ,ruskin took up the sentence1 and replied with characteristic emphasis3 ,such effects are indeed rare in nature2 but they are not rare1 absolutely4 ,the sky1 with the sun in it1 does not usually give the impression of being dimly lighted through a circular hole2 but you may observe a very similar effect any day in your coal-cellar4 ,the light is not ,rembrandtesque on the current1 or banks1 of a river2 but it is on those of a drain4 ,colour is not ,rembrandtesque1 usually1 in a clean house2 but is presently obtainable of that quality in a dirty one4 ,and without denying the pleasantness of the mode of progression1 which ,mr4 ,hazlitt1 perhaps too enthusiastically1 describes 7in a criticism upon the present picture7 as obtainable in a background of ,rembrandt's1 'you stagger from one abyss of obscurity to another1' ,i cannot feel it an entirely glorious speciality to be distinguished1 as ,rembrandt was1 from other great painters1 chiefly by the liveliness of his darkness1 and the dulness of his light4 ,glorious or inglorious1 the speciality itself is easily and accurately definable4 ,it is the aim of the best painters to paint the noblest things they can see by sunlight4 ,it was the aim of ,rembrandt to paint the foulest things he could see--by rushlight1--a statement from which1 of course1 deduction must be made1 in forming a general idea of ,ruskin's estimate1 for his appreciation of ,rembrandt's portraits4 ,see1 e4g4 under #ea4 #gh ,to further understand ,rembrandt's principle of choice1 contrast that of ,veronese4 ,see the passage quoted under ,no4 #bf4 #gi ,yet ,rembrandt's pictures are often more deceptive--look more like reality--than others which are really more true4 ,why8 ,it is because people are so much more easily and instinctively impressed by force of light than truth of colour4444 ,give them the true contrast of light1 and they will not observe the false local colour4 ,the references to ,ruskin are ,modern ,painters1 vol4 iii4 pt4 iv4 ch4 iii4 #af2 vol4 iv4 pt4 v4 ch4 ii4 #aa-ai2 vol4 v4 pt4 ix4 ch4 vi4 #aj2 ,on the ,old ,road1 i4 #dih-eje4 #hj ,ruskin1 writing to the ,times in #ahdg1 said of the then condition of the picture3 ,i have no hesitation in asserting that for the present it is utterly1 and for ever partially1 destroyed4 ,i am not disposed lightly to impugn the judgment of ,mr4 ,eastlake 7that is1 the then ,keeper and subsequent ,director1 the late ,sir ,c4 ,l4 ,eastlake71 but this was indisputably of all the pictures in the ,gallery that which least required1 and least could endure1 the process of cleaning4 ,it was in the most advantageous condition under which a work of ,rubens can be seen2 mellowed by time into more perfect harmony than when it left the easel1 enriched and warmed1 without losing any of its freshness or energy4 ,the execution of the master is always so bold and frank as to be completely1 perhaps even most agreeably1 seen under circumstances of obscurity1 which would be injurious to pictures of greater refinement2 and though this was1 indeed1 one of his most highly-finished and careful works 7to my mind1 before it suffered this recent injury1 far superior to everything at ,antwerp1 ,malines1 or ,cologne71 this was a more weighty reason for caution than for interference4 ,some portions of colour have been exhibited which were formerly untraceable2 but even these have lost in power what they have gained in definitiveness1--the majesty and preciousness of all the tones are departed1 the balance of distances lost4 ,time may1 perhaps1 restore something of the glow1 but never the subordination2 and the more delicate portions of flesh tint1 especially the back of the female figure on the left1 and of the boy in the centre1 are destroyed for ever 7,arrows of the ,chace1 i1 #ef1 #eg74 #ha ,the magnificent portrait ,no4 #eb is by some critics ascribed to ,rubens4 ,van ,dyck hardly ever signed his pictures4 #hb ,not all artists have learnt from this great work gladly4 ,it was exhibited at the first exhibition of ,old ,masters at the ,british ,institution in #ahae1 and ,b4 ,r4 ,haydon tells the following story3 ,lawrence was looking at the ,gevartius when ,i was there1 and as he turned round1 to my wonder1 his face was boiling with rage as he grated out between his teeth1 ',i suppose they think we want teaching6' 7,autobiography1 i4 #bib74 #hc ,such is the tradition4 ,by many modern critics the picture is1 on internal evidence1 taken away from ,van ,dyck and given to ,rubens4 ,mr4 ,watts in the article cited above says3 ,attributed to ,van ,dyck1 but hardly1 ,i think1 suggesting his work1 though it would be difficult to attribute it to any other painter1 unless1 perhaps1 on some occasion ,rubens might have been inspired with so fervent a love for art that he forgot his satisfaction in scattering his over-ripe dexterity4 #hd ,the statement found in many biographies of the painter that he was a brewer is a mistake4 ,it arose from the fact that his daughter married a brewer1 and that the painter himself was buried from his son-in-law's brewery4 #he ,see ,modern ,painters1 vol4 v4 pt4 vii4 ch4 iv4 #ac4 #hf ,ruskin 7ibid41 vol4 ii4 pt4 iii4 sec4 ii4 ch4 iv4 #af7 notices this treatment of ,apollo under the head of ,imagination ,contemplative1 as an instance of an imaginative abstraction in which the form of one thing is fancifully indicated in the matter of another2 as in phantoms and cloud shapes1 the use of which1 in mighty hands1 is often most impressive1 as in the cloudy-charioted ,apollo of ,nicolo ,poussin in our own ,gallery1 which the reader may oppose to the substantial ,apollo in ,wilson's ,niobe1 see ,no4 #aaj4 #hg ,this figure is specially good4 ,it was to rival this great landscape that ,james ,ward 7see #fhh71 as he avows in his autobiography1 painted his ,fighting ,bulls1 now in the ,south ,kensington ,museum4 ,how full of lithe natural movement1 says ,mr4 ,j4 ,t4 ,nettleship1 is the man in the foreground1 in heavy boots and feathered hat1 stooping and creeping towards the covey of partridges under cover of bramble and bush1 compared with the clumsy anatomical bulls in ,ward's picture 7,george ,morland1 p4 #ed74 #hh ,ruskin is here speaking of the somewhat similar ,st4 ,george picture in the ,church of ,st4 ,james at ,antwerp4 #hi ,see also ,no4 #ih1 in which the tree is said by ,ruskin to be a mere jest compared to this4 #ij ,no4 #gh was formerly ,sir ,joshua ,reynolds's ,holy ,family1 on which notes will be found in ,volume ,,ii4 of this ,handbook4 ,the picture has now been withdrawn from exhibition and little remains of it1 for owing to the excessive use of asphaltum the pigments have disappeared4 #ia ,garofano is the ,italian for gillyflower 7or clove-pink71 and ,tisio sometimes painted this flower as his sign-manual 7like ,mr4 ,whistler's butterfly74 #ib ,authorities differ between this title and ,pan teaching ,apollo to play on the pipes4 ,certainly there is the ,pan's pipe1 but then if it is ,pan he ought to have goat's legs and horns4 ,the fact that the picture is a companion to ,silenus gathering ,grapes makes also in favour of the description given in the text above4 #ic ,see also ,ruskin's remarks on the companion storm piece1 ,no4 #cf4 #id ,it should be noted that this1 as well as very many other pictures1 has of late years been cleaned4 ,thus #ih and #fh 7in #ahhj71 #cf and #dj 7in #ahfh71 have been cleaned and varnished4 #ca was relined1 repaired1 and varnished in #ahgh2 #afa was cleaned and repaired in #ahfh4 #ie ,the diminutive title ,il ,canaletto was originally applied to ,antonio's nephew and pupil1 ,bernardo ,bellotto1 but came to be transferred to ,antonio ,canale himself4 ,the two ,canaletti painted so much alike that their works are not easily distinguished4 #if ,ruskin1 on one of his latest visits to the ,national ,gallery 7#ahhg71 confessed that he had found himself admiring ,canaletto4 ,after all1 he said to me1 he was a good workman in oils1 whereas so much of ,turner's work is going to rack and ruin4 ,ruskin had made a similar concession long before to ,claude4 ,writing to ,mr4 ,fawkes on the death of ,turner1 he mentions a rumour that the artist had left only his finished pictures to the nation4 ,alas6 these are finished in a double sense--nothing but chilled fragments of paint on rotten canvas4 ,the ,claudites will have a triumph when they get into the ,national ,gallery 7quoted in ,the ,nineteenth ,century1 ,april #aijj74 #ig ,an amusing instance of the nave ignorance of the sea which underlay much of the excessive admiration of ,vandevelde is afforded by ,dr4 ,waagen1 for many years director of the ,berlin ,gallery1 and author of ,treasures of ,art in ,england4 ,at the end of a passage describing his first attempt to navigate the watery paths1 he says3 ,for the first time ,i understood the truth of these pictures 7,bakhuizen's and ,vandevelde's71 and the refined art with which1 by intervening dashes of sunshine1 near or at a distance1 and ships to animate the scene1 they produce such a charming variety on the surface of the sea4 ,for the first time6 exclaims ,ruskin 7,arrows of the ,chace1 i4 #af1 #ag71 and yet this gallery-bred judge1 this discriminator of coloured shreds and canvas patches1 who has no idea how ships animate the sea until--charged with the fates of the ,royal ,academy--he ventures his invaluable person from ,rotterdam to ,greenwich1 will walk up to the work of a man whose brow is hard with the spray of a hundred storms1 and characterise it as 'wanting in truth of clouds and waves4' ,dr4 ,waagen1 it should be explained1 had1 on the strength of his first navigation of the watery ways pronounced ,turner's works inferior in such truth to ,vandevelde4 ,clearly ,dr4 ,waagen1 more fortunate than most of our foreign visitors1 had a calm crossing4 #ih ,it is interesting that another contemporary man of letters1 the late ,matthew ,arnold1 singled out these same lines for special praise3 ,no passage in poetry1 he said1 has moved and pleased me more 7,fortnightly ,review1 ,august #ahhg1 p4 #bii74 #ii ,in this town were born two other painters1 who are sometimes known by its name4 ,curiously enough1 all three were originally masons4 #ajj ,ruskin speaks of the ruffian ,caravaggio1 distinguished only by his preference of candle-light and black shadows for the illustration and reinforcement of villainy 7,on the ,old ,road1 i4 #dh74 #aja ,according to ,morelli 7,italian ,masters in ,german ,galleries1 p4 #ef n471 this familiar tale is legendary1 ,francia being merely an abbreviation of his ,christian name1 ,francesco4 ,but the painter sometimes signed his name ,franciscus ,francia1 a form which on ,morelli's hypothesis would be tautological4 #ajb ,francia's friendship with ,raphael1 on which art historians have based many theories and spun many interesting tales1 is now discredited1 the documents in question being comparatively modern forgeries 7see p4 #cff of ,kugler's ,italian ,schools of ,painting1 #eth edition1 revised by ,sir ,a4 ,h4 ,layard1 #ahhg1 elsewhere referred to as ,layard74 #ajc ,vasari's story that ,francia died of chagrin on seeing how far the whole work of his own life was transcended by ,raphael's picture of ,st4 ,cecilia1 which was sent to its destination at ,bologna about #aeaf1 is hardly credible4 #ajd ,ruskin said of this picture in #ahdg3 ,the attribution to him of the wretched panel which now bears his name is a mere insult 7,arrows of the ,chace1 i4 #fd74 ,petrus ,peruginus is inscribed in gold on the base of the mantle of the ,virgin1 but the picture may be the work of his disciple1 ,lo ,spagna 7see #ajcb74 #aje ,up to the time of the ,van ,eycks the general process of artistic painting for detached pictures was tempera4 ,in this method the colours1 after being ground with chalk1 were laid on with a medium of water1 white of eggs1 juice of unripe figs1 or some similar substance4 ,some kind of oil varnish was1 however1 often laid on afterwards1 and a few ,italian artists sometimes tried to mix their colours with oil in the first instance2 but the results cannot have been satisfactory1 for even ,crivelli1 who died in #adie1 was still exclusively a painter in tempera4 ,the objection to tempera1 so far at any rate as northern countries were concerned1 was that it suffered from the damp4 ,thus in an old retable in ,westminster ,abbey1 so painted1 the painting has flaked off4 ,the objection to the early attempts at using oil as a medium was that it took a long time to dry4 ,this caused ,van ,eyck incessant annoyance2 his knowledge of chemistry led him to make experiments1 and at last he obtained a medium which hastened the drying without the necessity of exposure to the sun4 ,this medium was probably a mixture of linseed and nut oils4 ,this method is different from that now called oil-painting4 ,now the colours are laid on by an oily medium1 and when the picture is finished the whole surface is protected by a transparent varnish4 ,then the varnish was incorporated with the surface colours 7see ,conway's ,early ,flemish ,artists1 p4 #aai2 and ,wauters's ,flemish ,school of ,painting1 p4 #ce74 #ajf ,arrows of the ,chace1 i4 #ff4 ,john ,bellini is the only artist who appears to me to have united1 in equal and magnificent measures1 justness of drawing1 nobleness of colouring1 and perfect manliness of treatment1 with the purest religious feeling4 ,he did1 as far as it is possible to do it1 instinctively and unaffectedly1 what the ,carracci only pretended to do4 ,titian colours better1 but has not his piety2 ,leonardo draws better1 but has not his colour2 ,angelico is more heavenly1 but has not his manliness1 far less his powers of art 7,stones of ,venice1 ,venetian ,index74 ,morelli's estimate is the same2 see ,german ,galleries1 p4 #cfa4 #ajg ,this letter of ,drer's gives an interesting glimpse into the art life of the time4 ,i have many good friends among the ,italians1 who warn me not to eat and drink with their painters4 ,many also of them are my enemies2 they copy my things for the churches1 picking them up whenever they can4 ,yet they abuse my style1 saying that it is not antique art1 and that therefore it is not good4 ,but ,giambellini has praised me much before many gentlemen2 he wishes to have something of mine2 he came to me and begged me to do something for him1 and is quite willing to pay for it4 ,and every one gives him such a good character that ,i feel an affection for him4 ,he is very old1 and is yet the best in painting2 and the thing which pleased me so well eleven years ago has now no attractions for me 7,catalogue of ,standard ,series in the ,ruskin ,drawing ,school1 ,p4 #g74 #ajh ,see ,report of ,select ,committee on the ,national ,gallery1 #ahec1 p4 #dcb1 where the whole story will be found very frankly told in ,sir ,c4 ,eastlake's evidence4 #aji ,similarly ,raphael ,mengs1 a later ,spanish painter1 said of ,velazquez that he appeared to have painted with his will only1 without the aid of his hand4 #aaj ,i read the other day in an otherwise intelligent memoir of ,ruskin that a generation which admired ,velazquez had outlived the art criticism of ,ruskin4 ,not outlived1 but absorbed1 and so forgotten4 ,it was ,ruskin who1 half a century before1 proclaimed the consummate excellence of ,velazquez--the greatest artist of ,spain1 and one of the great artists of the world2 the master to all schools in his consummate ease2 the man who was never wrong4 ,in his admiration of ,velazquez ,ruskin never wavered4 ,the citations above given are from his earlier books4 ,in his later period1 a picture by ,velazquez was included among the ,four ,lesson ,photographs as an example of the highest reach of technical perfection yet reached in art2 all effort and labour seeming to cease in the radiant peace and simplicity of consummated human power 7,fors ,clavigera1 #ahgf1 p4 #ahh74 #aaa ,this was written in #ahdf4 ,in #ahec some horrible revelations were made about the picture before the ,select ,committee on the ,national ,gallery4 ,ruskin turned out to be curiously wrong1 but also curiously right4 ,he was wrong2 for so far from the picture being in genuine and perfect condition1 a considerable portion of the canvas1 as we now see it1 turned out to be not by ,velazquez's hand at all4 ,lord ,cowley1 its former owner1 had sent it to a ,mr4 ,thane1 a picture dealer1 to be relined4 ,a too hot iron was used1 and a portion of the paint entirely disappeared4 ,thane was in despair4 ,the picture haunted him at nights4 ,he saw the figure of it in his dreams becoming more and more attenuated until it appeared at length a skeleton4 ,he was near going mad over it1 when a good angel came to his rescue in the shape of ,lance1 the flower and fruit painter1 who offered to restore the missing parts out of his head4 ,so far ,ruskin was decidedly wrong4 ,but he was also right4 ,the parts which ,lance painted in out of his head were the groups on the left of the foreground1 and some of the middle distance4 ,i endeavoured1 he says1 to fill up the canvas1 such as ,i supposed ,velazquez would have done2 and ,i had great facility in doing that1 because if there was a man without a horse here1 there was a horse without a man there1 so ,i could easily take his execution as nearly as possible1 and my own style of painting enabled me to keep pretty near the mark7674 ,but the high lights of the sky1 he particularly added1 were untouched by him4 ,so that there ,ruskin was right4 ,the picture1 when restored to its owner1 gave complete satisfaction1 and ,lance's share in it was kept a secret4 ,a year or two later he must have felt a proud man4 ,the picture was being exhibited at the ,british ,gallery4 ,in front of it ,lance met two cognoscenti of his acquaintance4 ,it looks to me1 he said1 testing them1 as if it had been a good deal repainted4--,no6 you're wrong there1 they said2 it is remarkably free from repaints4 ,it should be added that soon after the ,parliamentary inquiry referred to above1 a tracing of ,goya's copy1 procured from ,madrid1 showed in fact that the restored work differed but slightly from the copy1 and ,lance's work was probably far less important and extensive than he asserted4 ,an idea of the original condition of the picture may be had from a reduced replica1 or first sketch1 now in the ,wallace ,collection4 #aab ,the view ,diderot thus took of ,greuze's art suggests the importance of historical perspective in criticism4 ,pictures1 like everything else1 should be judged with reference to contemporary circumstances1 as well as by the standard of abstract principle4 ,from the former point of view ,greuze1 as we have seen1 is a moralist in painting4 ,from the latter ,ruskin suggests the consideration how far the value of a girl's head by ,greuze would be lowered in the market if the dress1 which now leaves the bosom bare1 were raised to the neck 7,modern ,painters1 vol4 iii4 pt4 iv4 chap4 v4 #g74 #aac ,another instance of this intimate union of art with business may be seen in the number of ,dutch artists of the period who themselves held municipal office4 ,see1 for instance1 ,terburg 7#hfd7 and ,delen 7#ajaj74 ,many of the ,italian painters also were men of business and of official standing4 ,thus ,titian was a timber merchant2 whilst ,manni1 ,perugino1 and ,pinturicchio were all magistrates4 #aad ,the bit of bluish ribbed paper on which he made his design in light and dark strokes1 now gone brown1 and which he had pricked through for the purpose of tracing the design on the panel1 is framed beside it4 ,he left it about1 not thinking that in #cej years it would be under glass in the distant city of ,london1 stared at by ,english roughs1 who would say1 ,sithee ,bill1 he's pricked it a' through with a pin1 and spilt th' ile on it6 for there are two or three of these amber-coloured blurs which come from a sketch being inadvertently put down on a palette knife 7,letters of ,james ,smetham1 p4 #afh74 #aae ,these pictures1 like the other ,florentine works here exhibited1 except #efd 7which is on linen cloth attached to wood7 and #bgf 7which is in fresco71 are painted in tempera on wood4 ,tempera 7or distemper7 painting is a generic term for the various methods in which some other substance than oil was the medium4 ,various substances were thus used--such as gum1 glue or size1 flour-paste1 white of egg1 milk of figs4 ,cennino ,cennini1 who wrote a treatise on painting at the end of the fourteenth century1 professes to give the exact method of ,giotto4 ,egg beaten up with water was preferred by him1 except where the yellowness of the mixture injured the purity of the colour4 ,the colours thus mixed were laid on to a panel 7or on to a cloth stretched over the panel7 previously prepared with a smooth white ground of plaster4 ,and finally oil or albumen was used to go over the whole surface4 ,this was the practice in general use for all detached pictures until the middle of the fifteenth century1 when what is known as the ,van ,eyck method came into vogue 7see under #ahf74 ,fresco painting is painting upon walls of wet plaster with earths of different colours diluted with water4 ,it is so called from the colour being applied to the fresh wet surface of lime1 but it is of two kinds3 7#a7 fresco secco1 when the plaster of lime has been allowed to dry on the wall and is then saturated with water before painting2 this was the method in use till after ,giotto's time2 7#b7 buon fresco1 when the colours are laid on to the fresh plaster before it is yet dry4 7,the fullest account of these various technical processes and their history is ,sir ,c4 ,eastlake's ,materials for a ,history of ,oil ,painting1 a review of which by ,ruskin appeared in the ,quarterly ,review1 and is reprinted in ,on the ,old ,road1 vol4 i474 #aaf ,the note in the ,official ,catalogue says that the picture does not correspond in the scheme of colour to the works of ,velazquez's early period4 ,on the other hand1 it shows so decided an affinity with the fine picture by ,zurbaran1 in the ,palace of ,san ,telmo1 at ,seville1 not only in colouring but in every detail of the treatment1 that there can be no doubt that the attribution to ,velazquez was an error1 and that ,zurbaran is the true painter of this beautiful work1 which may be considered the best picture he ever painted4 ,but we would fain see proof1 says another critic1 that ,zurbaran ever painted a head like that of the ,divine ,child4 ,the rest of the picture recalls the early ,seville manner of ,velazquez in the style of ,ribera 7,quarterly ,review1 ,april #ahii74 #aag ,this picture1 when first purchased for the ,national ,gallery in #ahec1 was ascribed to ,giorgione4 ,for many years it was given to the ,school of ,bellini4 ,in #ahhc it was identified by ,messrs4 ,crowe and ,cavalcaselle as a work by ,catena4 ,signor ,morelli and other critics of his school supported this view1 which in #ahih was adopted by the authorities of the ,gallery4 ,no4 #fid has also been so attributed to him in the ,catalogue4 ,other pictures which have at one time or another been connected with ,catena are #eii1 #hab1 and #aafj4 #aah ,the roguish little terrier pretends not to see what is going on4 ,but what are the partridges doing behind the chair of the ,blessed ,virgin8 ,was the ,knight a worldling1 given to sport1 but arrested in the pursuit of pleasure by some inward voice or vision2 and so1 taking the result of the day's work1 he lays it at the feet of the ,divine ,child and ,his ,mother8 ,or was worship simply the pious ,knight's godly commencement of the day8 ,why1 too1 is the dog so sly looking8 ,is that little mass of curly white wool a sceptic1 doubting his master's good resolutions8 7,sophia ,beale in ,good ,words1 ,july #ahie74 #aai ,ruskin1 in his classification of artists from this point of view1 calls them sensualists1 reserving the traditional title naturalists to the greatest men1 whose subject is infinite as nature1 their colour equally balanced splendour and sadness1 reaching occasionally the highest degrees of both1 and their chiaroscuro equally balanced between light and shade4 ,this class represents the proper mean4 ,in excess on one side are the purists 7,angelico1 ,perugino1 ,memlinc1 ,stothard71 who take the good and leave the evil4 ,the faces of their figures express no evil passions2 the skies of their landscapes are without storm2 the prevalent character of their colour is brightness1 and of their chiaroscuro fulness of light4 ,then in excess on the other side are the sensualists 7,salvator ,rosa1 ,caravaggio1 ,ribera71 who perceive and imitate evil only4 ,they cannot draw the trunk of a tree without blasting and shattering it1 nor a sky except covered with stormy clouds2 they delight in the beggary and brutality of the human race2 their colour is for the most part subdued or lurid1 and the greatest spaces of their pictures are occupied by darkness 7,stones of ,venice1 vol4 ii4 ch4 vi474 ,elsewhere1 ,ruskin speaks of ,caravaggio and ,ribera as the black slaves of painting 7,elements of ,drawing1 p4 #cag74 #abj ,this is the story told by ,dominici1 the ,neapolitan historian4 ,according to ,cean ,bermudez1 following ,palomino 7the ,spanish historian71 ,ribera died at ,naples honoured and rich4 #aba ,the tradition that he was a natural son of the ,barbarella family1 and in consequence called ,barbarelli1 appears to be unfounded4 #abb ,two figures of ,giorgione's are still traceable1 one of them 7wrote ,ruskin in #ahdf71 singularly uninjured1 is seen from far above and below the ,rialto1 flaming like the reflection of a sunset 7,modern ,painters vol4 i4 ed4 #c pt4 ii4 sec4 i4 ch4 vii4 #cj74 ,this beautiful figure was engraved by ,ruskin for his fifth volume2 he called her from her glowing colour the ,hesperid ,aegl4 #abc ,ruskin's seven are ,giorgione1 ,titian1 ,veronese1 ,tintoret1 ,correggio1 ,reynolds1 and ,turner 7,modern ,painters1 vol4 v4 pt4 ix4 ch4 xi1 #h1 n74 #abd ,a reaction in this respect is observable in the latest writer on ,giorgione 7,mr4 ,herbert ,cook in the ,great ,masters ,series71 who shows good cause for restoring many pictures to the master4 ,the ,national ,gallery1 he says 7p4 #ie71 affords unrivalled opportunity for studying the various phases of ,giorgione at different stages of his career4 ,nos4 #aafj and #aagc represent his earliest style2 ,no4 #aabc1 his later2 ,nos4 #bfi and #fcf are intermediate4 #abe ,a contemporary document1 recently discovered1 proves that the artist died of the plague4 7,see appendix to ,mr4 ,herbert ,cook's ,giorgione1 #aijj74 #abf ,lecture at ,oxford #ahhd 7reported in ,cook's ,studies in ,ruskin1 p4 #bea74 ,see also the ,traveller's edition of the ,stones of ,venice1 vol4 ii4 ch4 vi41 where the picture is described as one which unites every artistic quality for which the painting of ,venice has become renowned with a depth of symbolism and nobleness of manner exemplary of all that in any age of art has characterised its highest masters4 ,a copy of this masterpiece is in the collection of the ,arundel ,society1 now to be seen in the ,national ,gallery4 #abg ,in an interesting discussion with ,sir ,j4 ,e4 ,millais1 ,r4,a41 ,mr4 ,watts1 ,r4,a41 refers to the colours in this picture4 ,sir ,j4 ,millais had said that time and age are the greatest old masters1 and that old ,venetian colours were crude4 ,mr4 ,watts replied3 ,the colour of the best-preserved pictures by ,titian shows a marked distinction between light flesh tones and white drapery4 ,this is most distinctly seen in the small ',noli me ,tangere' in our ,national ,gallery1 in the so-called ',venus' of the ,tribune1 and in the ',flora' of the ,uffizi1 both in ,florence1 and in ,bronzino's ',all is ,vanity1' also in the ,national ,gallery 7#fea74 ,in the last-named picture1 for example1 the colour is as crude and the surface as bare of mystery as if it had been painted yesterday4 ,as a matter of fact1 white unquestionably tones down1 but never becomes colour2 indeed1 under favourable conditions1 and having due regard to what is underneath1 it changes very little4 ,in the ',noli me ,tangere1' to which ,i have referred1 the white sleeve of the ,magdalen is still a beautiful white1 quite different from the white of the fairest of ,titian's flesh--proving that ,titian never painted his flesh white 7,magazine of ,art1 ,january #ahhi74 #abh ,or possibly at ,vicenza4 ,see ,layard1 i4 #bhc n4 ,the words in the document relied upon to establish his birth at ,vicenza are ambiguous1 and may refer to his father4 #abi ,its ascription to ,botticelli's own hand is1 however1 questioned by many critics4 ,thus ,dr4 ,richter says1 ,i know of no authentic picture by ,botticelli in which the drawing of the hands and feet is so poor and coarse as are here1 for instance1 those of the ,infant ,saviour2 the type of the child is positively repulsive1 whereas in ,botticelli's own works it is pre-eminently in the representation of the ,infant ,christ that his great merits are strikingly apparent 7,lectures on the ,national ,gallery1 p4 #fb74 ,the child1 whether painted by ,botticelli or by another hand1 is undeniably ugly2 but the expression of the ,madonna1 and the figures of the ,baptist and the ,angel seem to me to show certainly the work of the master himself4 ,moreover1 the critics who dispute the authenticity of this picture admit that of ,no4 #iae4 ,yet1 as ,d4 ,s4 ,m4 says1 the mother here is the same person as the ,venus1 looking out of the picture with the same effect of gentle detachment1 circumscribed with the same draughtsman's lines2 the infant1 whose type ,dr4 ,richter finds 'positively repulsive1' is the same infant as the ,satyrs of the other picture1 and so all through 7,saturday ,review1 ,feb4 #ah1 #ahii74 ,on the back of the panel is written in the style of the #afth century the name of ,giuliano da ,san ,gallo1 the celebrated architect1 who was also a painter4 ,there are drawings from his hand in the ,british ,museum1 which show that he came from ,botticelli's school4 ,his name on the back of this picture proves1 it is argued1 that it is by him4 ,it may1 however1 very probably only signify that the picture formerly belonged to him4 #acj ,mr4 ,pater1 in a well-known passage1 gives a different explanation of the peculiar sentiment in ,botticelli's ,madonnas4 ,perhaps you have sometimes wondered why they attract you more and more1 and often come--although conformed to no obvious type of beauty--back to you when the ,madonnas of ,raphael and the ,virgins of ,fra ,angelico are forgotten4 ,at first1 contrasting them with those1 you may have thought that there was something even mean or abject in them1 for the lines of the face have little nobleness1 and the colour is wan4 ,for with ,botticelli she too1 though she holds in her hands the ',desire of all ,nations1' is one of those who are neither for ,god nor for his enemies 7see under ,,iii4 #aabf71 and her choice is on her face4 ,she shrinks from the presence of the ,divine ,child1 and pleads in unmistakable undertones for a warmer1 lower humanity 7,w4 ,h4 ,pater3 ,studies of the ,renaissance74 ,you promise heavens free from strife1 ,pure truth and perfect change of will2 ,but sweet1 sweet is this human life1 ,so sweet ,i fain would breathe it still4 ,your chilly stars ,i can forgo3 ,this warm1 kind world is all ,i know4 ,,ionica3 ,mimnermus in ,church4 #aca ,the moon of ,rome1 chaste as the icicle ,that's curdied by the frost from purest snow ,and hangs on ,dian's temple4 #acb ,the doors of the temple of two-headed ,janus at ,rome were always thrown open when the ,state was at war1 and only closed in time of peace4 #acc ,the whole1 or part1 of this picture was at one time freely ascribed to ,raphael2 but ,morelli has effectually disposed of the superstition by showing1 amongst other arguments1 that the drawings for ,tobias and the ,angel 7in the ,oxford ,university ,gallery and in the ,british ,museum7 are undoubtedly by ,perugino 7,italian ,art in the ,german ,galleries1 #ahhc1 p4 #bhi74 ,the ,oxford drawing is described and discussed1 on the assumption that it is by ,raphael1 in ,sir ,j4 ,c4 ,robinson's ,drawings by ,michael ,angelo and ,raffaello1 p4 #abi4 #acd ,for a record of his movements the reader may refer to ,morelli's ,italian ,masters in ,german ,galleries1 #ahhc1 pp4 #bhe-bia4 #ace ,vasari's bias against the ,umbrian master is too marked for any of his attacks to be accepted without corroboration4 #acf ,in a critique of ,f4 ,walker's ,fishmongers' ,stalls1 ,ruskin says3 ,if the reader will waste five minutes of his season in ,london in the ,national ,gallery1 he may see in the hand of ,perugino's ,tobias a fish worth all these on the boards together 7,arrows of the ,chace1 i4 #agg74 #acg ,with regard to the purist ideal it should be noticed that these fantasies of the earlier painters1 though they darkened faith1 never hardened feeling2 on the contrary1 the frankness of their unlikelihood proceeded mainly from the endeavour on the part of the painter to express1 not the actual fact1 but the enthusiastic state of his own feelings about the fact2 he covers the ,virgin's dress with gold1 not with any idea of representing the ,virgin as she ever was1 or ever will be seen1 but with a burning desire to show what his love and reverence would think fittest for her4 ,he erects for the stable a ,lombardic portico1 not because he supposes the ,lombardi to have built stables in ,palestine in the days of ,tiberius1 but to show that the manger in which ,christ was laid is1 in his eyes1 nobler than the grandest architecture in the world4 ,he fills his landscape with church spires and silver streams1 not because he supposes that either were in sight at ,bethlehem1 but to remind the beholder of the peaceful course and succeeding power of ,christianity 7,modern ,painters1 vol4 iii4 pt4 iv4 ch4 iv4 #aj74 ,for a different kind of feeling in naturalistic art1 see under #gdd4 #ach ,visitors who are interested in such points of connoisseurship may be glad of this summary with regard to the works ascribed in the ,official ,catalogue to the associated painters1 ,fra ,filippo ,lippi1 ,filippino ,lippi1 and ,botticelli4 ,the undisputed pictures of ,fra ,filippo are #bdh1 #fff1 and #ffg2 of ,filippino1 #bic and #ibg4 ,the pictures #eib and #ajcc have marked resemblances both to ,fra ,filippo1 ,filippino1 and to ,botticelli1 and are ascribed by different critics to one or other of those masters or pupils4 #eih and #aabd are often ascribed to a pupil of ,filippino2 the pictures #ehf and #ehi to a pupil of ,fra ,filippo4 ,the undisputed pictures of ,botticelli are #ajcd and #aabf4 ,the pictures #bbf1 #bge1 #ghb1 #iae1 and #iaf1 are all ascribed by some critics to a pupil of his only1 whilst to ,botticelli himself has now been ascribed the portrait #fbf1 formerly classed as ,unknown4 ,to a supposed painter1 christened by the critics ,amico di ,sandro1 #aabd and #adab are attributed4 #aci ,layard1 ii4 #fba4 ,similarly ,ruskin says3 ,the possession of the ,pisani ,veronese will happily enable the ,english public and the ,english artist to convince themselves how sincerity and simplicity in statements of fact1 power of draughtsmanship1 and joy in colour1 were associated in a perfect balance in the great workmen in ,venice 7,catalogue of the ,turner ,sketches and ,drawings1 #aheh1 p4 #aj74 ,as an instance of ,veronese's economical work--a sure sign of a great painter--,ruskin refers to the painting of the pearls on the breast of the nearer princess1 in our best ,paul ,veronese4 ,the lowest is about the size of a small hazel nut1 and falls on her rose-red dress4 ,any other but a ,venetian would have put a complete piece of white paint over the dress1 for the whole pearl1 and painted that into the colours of the stone4 ,but ,veronese knows beforehand that all the dark side of the pearl will reflect the red of the dress4 ,he will not put white over the red1 only to put red over the white again4 ,he leaves the actual dress for the dark side of the pearl1 and with two small separate touches1 one white1 another brown1 places its high light and shadow4 ,this he does with perfect care and calm3 but in two decisive seconds4 ,there is no dash nor display1 nor hurry1 nor error4 ,the exactly right thing is done in the exactly right place1 and not one atom of colour1 nor moment of time spent vainly4 ,look close at the two touches1--you wonder what they mean4 ,retire six feet from the picture--the pearl is there6 7,modern ,painters1 vol4 v4 pt4 viii4 ch4 iv4 #ah74 ,one of the chief delights which any one who really enjoys painting finds in that art as distinct from sculpture1 is in the exquisite inlaying or joiner's work of it1 the fitting of edge to edge with a manual skill1 precisely correspondent to the close application of crowded notes without the least slur1 in fine harp or piano-playing4 ,in many of the finest works of colour on a large scale1 there is even some admission of the quality given to a painted window by the dark lead bars between the pieces of glass4 ,both ,tintoret and ,veronese1 when they paint on dark grounds1 continually stop short with their tints just before they touch others1 leaving the dark ground showing between in a narrow bar4 ,in the ,paul ,veronese in the ,national ,gallery1 you will find every here and there pieces of outline which you would suppose were drawn with a brown pencil4 ,but no6 look close1 and you will find that they are the dark ground left between two tints1 brought close to each other without touching 7,lectures on ,landscape1 #fh74 ,elsewhere1 ,ruskin calls special attention to the painting of the drooped left hand of the princess1 holding her crown 7,academy ,notes1 #aheh1 p4 #df74 #adj ,an even more striking instance is to be found in ,veronese's picture of the ,last ,supper1 now in the ,academy of ,venice4 ,here too he introduced his favourite dog1 as well as dwarfs and armed retainers4 ,he was summoned before the ,inquisition for such irreverent anachronisms2 and the account of his cross-examination is most amusing and instructive reading4 ,a translation will be found in the appendix to ,ruskin's ,guide to the ,academy at ,venice4 #ada ,some readers may like to be referred to the passages in which ,ruskin discusses the place of the dog in art1 with special reference to ,veronese4 ,they are1 ,modern ,painters1 vol4 v4 pt4 ix4 ch4 vi41 and ,the ,eagle's ,nest1 i4 ch4 viii4 #adb ,richter 7,italian ,art in the ,national ,gallery1 p4 #gd7 disputes this4 ,the kneeling girls are1 he believes1 the artist's daughters1 whom he has also introduced into a picture in the ,louvre1 and the courtier presenting them is ,veronese himself4 #adc ,the pattern of the ,madonna's robe in this picture is worth notice--a good specimen of the treatment1 probably taken from ,persian examples1 of a ground sprinkled with conventional sprays of flowers spaced regularly 7,vacher74 #add ,the three portraits1 #ajbb1 #ajbc1 and #ajbe1 formerly in the ,casa ,fenaroli at ,brescia1 were there all attributed to ,moretto4 ,signor ,morelli was the first to recognise in the two former the hand and mind of ,moroni1 under whose name they were sold to the ,national ,gallery4 #ade ,mr4 ,dickes's ingenious and interesting explanation is now accepted by the authorities1 and there can be little doubt of its correctness4 ,the motto had previously been misread as which was interpreted by the desire of the extreme4 ,the picture was for many years in the possession of the ,martinengo ,cesaresco family1 and passed for a portrait of their ancestor ,count ,sciarra4 ,the motto was interpreted as referring to the ,count's desire to avenge the death of his father1 who had been assassinated4 ,the desire of the extreme1 the activity of a restless spirit1 was with the ,count to the end1 and he died fighting in ,france in the campaign which ended in a defeat of the ,huguenots at the battle of ,moncontour1 ,october #c1 #aefi4 ,but the ,count ,sciarra was a soldier-adventurer1 showing no characteristics accordant with the nobleman before us other than that1 according to a ,brescian historian1 his eyes gleamed with an unconquerable desire4 ,but the inscription is undoubtedly as given in the text1 the accents being all clearly marked4 ,the portrait is clearly not of a restless man of action1 so much as of a dilettante4 ,the dates of the ,count ,sciarra's career are also inconsistent with his being painted in this picture of ,moretto's best period4 ,the statements on behalf of the traditional identification made by the ,contessa ,evelyn ,martinengo ,cesaresco 7,athenum1 ,aug4 #ab1 #ahic7 do not touch the points4 #adf ,the feeling which one may thus find in these paintings of four centuries ago still lingers amongst the ,italian peasantry1 as readers of ,miss ,alexander's ,roadside ,songs and ,christ's ,folk in the ,apennine 7both edited by ,mr4 ,ruskin7 will know4 #adg ,it may be worth noting that1 according to the son of ,turner's friend1 ,trimmer1 this picture had an entire new sky painted at the desire of ,lawrence and other brother artists1 who1 when he had altered it1 said the picture was ruined 7,thornbury's ,life of ,turner1 i4 #age74 #adh ,dr4 ,richter1 in laying down the law to the contrary1 gives too narrow an interpretation to ,vasari's words4 ,the ,margaritone is certainly inferior to the best ,byzantine work1 but it adheres to the characteristics noticed above4 ,dr4 ,richter says3 ,this curious1 if uninteresting painter1 in all probability would never have emerged from his modest sphere of awkward provincialism into the full light of history but for the special praise bestowed upon him by his obliging countryman1 ,vasari4 ,the latter states definitely1 among other things1 that ,margaritone painted in the maniera greca2 nevertheless1 a single glance at the picture in the ,national ,gallery is sufficient to convince the beholder that in reality this is not the case4 ,margaritone's pictures appear to me to be drawn in the wild and grotesque style prevalent in ,italy during the early middle ages 7,lectures on the ,national ,gallery1 p4 #aa74 #adi ,dr4 ,richter ascribes all these pictures to the ,school of ,duccio 7see ,lectures on the ,national ,gallery1 pp4 #d-aj474 #aej ,so described in the ,official ,catalogue4 ,but is the female saint on the right wing of the triptych really ,st4 ,catherine of ,alexandria8 ,only the beginning of the inscription on either side of the figure containing the name can here still be deciphered4 ,it runs thus3 ,,sca 7,saint7 ,,al4 ,the reading ',catherine' thus apparently becomes inadmissible4 ,besides1 the emblems of this female saint are decidedly not those of ,catherine of ,alexandria1 who is always represented with a wheel as the emblem of her martyrdom1 while the saint in the picture before us holds in her right hand a palm branch 787 and in her left a small cross1 the emblem of confessors 7,richter's ,italian ,art in the ,national ,gallery1 p4 #i74 #aea ,this head is said to bear a marked resemblance to ,mr4 ,swinburne as a young man 7see ,w4 ,b4 ,scott's ,autobiographical ,notes1 ii4 #ah74 #aeb ,it was a practice at ,italian weddings that the bride should be presented1 as part of her dowry1 with a coffer1 which was intended to hold her trousseau and wedding presents4 ,some very fine specimens of these cassoni may be seen in the ,south ,kensington ,museum4 ,they belong principally to the #adth1 #aeth1 and #afth centuries4 ,the typical cassone measured about six feet in length by two in height and two in breadth4 ,the front and ends were decorated with paintings or carvings4 ,the subjects depicted are either marriage scenes or stories borrowed from the ,scriptures1 from the classics1 or from ,petrarch4 ,many of the panel pictures in the ,national ,gallery once adorned these cassoni4 ,see1 for instance1 ,nos4 #abah and #abai4 ,a favourite subject was the allegory entitled ,the ,triumph of ,love1 ,chastity1 and ,death1 of which an excellent example is at ,south ,kensington4 ,the panel in this ,gallery1 ,no4 #aaif1 has a similar subject4 #aec ,this picture and the tondo of the same subject 7#ajcc7 are by many critics ascribed to ,botticelli4 ,in my opinion1 says ,morelli1 the two excellent but somewhat defaced pictures in the ,national ,gallery1 #eib and #ajcc1 are works not of ,filippino1 but of ,botticelli1 whose dramatic powers are well displayed here 7,italian ,masters in ,german ,galleries1 p4 #bcf74 ,for a full discussion leading to the same conclusion1 see ,monkhouse's ,in the ,national ,gallery1 p4 #gc4 #aed ,miss ,betham-,edwards1 on a visit to the painter at ,by1 was shown some sketches for ,the ,horse ,fair4 ',there you have a ,boulonnais1' ,i observed1 as we contemplated the study of a fine black cart-horse4 ,this remark gratified her4 ',i am glad to find a stranger so much interested in our cart-horses' 7,anglo-,french ,reminiscences1 ch4 xxv474 ,rosa ,bonheur's knowledge of the animal world of ,france was very wide and precise4 #aee ,this was ,rosa ,bonheur's own faith4 ,i believe1 she once said1 in a just ,god1 and a ,paradise of the just4 ,but religion 7i4e4 the religion of ,rome7 does not altogether satisfy me4 ,i hold it monstrous that animals are supposed to be without souls4 ,my poor lioness loved me4 ,thus she had more soul than certain human beings who do not know what it is to love anything4 #aef ,giulio ,romano did a little of everything for the ,dukes of ,mantua1--from painting the most delicate and improper little fresco for a bedchamber1 to restraining the ,po and ,mincio with immense dykes1 restoring ancient edifices and building new ones1 draining swamps and demolishing and reconstructing whole streets1 painting palaces and churches1 and designing the city slaughter-house 7,w4 ,d4 ,howells's ,italian ,journeys1 ,ducal ,mantua74 ,giulio's departure from ,rome to ,mantua was due to the scandal caused by the publication of some obscene designs of his 7see ,symonds1 v4 #cda74 #aeg ,the piece of ,st4 ,catherine's dress over her shoulders is painted on the under dress1 after that was dry4 ,all its value would have been lost1 had the slightest tint or trace of it been given previously4 ,this picture1 ,i think1 and certainly many of ,tintoret's1 are painted on dark grounds2 but this is to save time1 and with some loss to the future brightness of the colour 7,modern ,painters1 vol4 v4 pt4 viii4 ch4 iv4 #ag n474 #aeh ,robert ,browning1 however1 notes the bonne bourgeoisie of his pictures2 the dear common folk of his crowds1 divinely pure they all are1 but fresh from the streets and market-place 7,letters of ,robert and ,e4 ,b4 ,browning1 i4 #aig74 ,mr4 ,langton ,douglas in an illustrated monograph on ,fra ,angelico 7#aijj7 lays stress on the painter's strength and freedom as shown in the ,adoration of the ,magi at ,san ,marco1 or the ,san ,lorenzo giving alms in the studio of ,pope ,nicholas2 illustrates the influence of contemporary architecture and sculpture on his work2 and characterises him not as a saint with a happy knack of illustration1 but as an artist who happened to be a saint4 #aei ,this1 says ,mr4 ,hipkins of the present picture1 is the grandest and most extended medival band on record1 worthy of the heavenly ,host1 to declare the praises of the ,blessed ,trinity4 ,mr4 ,hipkins gives an interesting identification and description of the instruments employed4 ,to the left of the centre compartment we may find a viol1 a rebec1 a clarion1 trumpets1 harp1 cither1 double flute1 and psaltery--also a tambourine1 beaten with the hand1 a tabor1 and a portable organ4 ,in the centre1 under ,christ1 are two organs4 ,the player on the pipe and tabor1 left of the ,redeemer1 blows what seems to be a short ,french whistle4 ,next to this musician is a cymbal player4 ,the time beater is apparently no less required where time exists no more than he is in our terrestrial world2 such discipline of rhythm is hereby sanctified4 ,in the upper rows1 on the left hand of the ,redeemer1 we see one of those large guitar-viols which were used by the troubadours 7see further ,the ,hobby ,horse1 ,no4 #a1 #ahic1 pp4 #ad-af74 #afj ,the many small figures which are seen here surrounded by a celestial glory are so beautiful1 says ,vasari of this picture1 that they appear to be truly beings of paradise2 nor can he who approaches them be ever weary of regarding their beauty4 #afa ,now ascribed by many critics to ,bouts 7see #ghc74 #afb ,or more correctly1 ,piero dei' ,franceschi1 after the family name of his mother4 ,her ,christian name was ,romana1 and ,piero's father1 it has now been ascertained1 continued living during many years of his son's career4 ,the year of ,piero's birth is unknown4 #afc ,this is a more charitable judgment than contemporary documents would suggest4 ,in #adej ,fra ,filippo was thrown into prison for a debt which he denied1 and under torture confessed that he had forged the receipt4 ,he was deprived of his rectory1 and appealed to the ,pope1 who1 however1 confirmed the sentence1 in a brief in which the painter is accused of numerous and abominable wickednesses4 #afd ,it is interesting to note the cartellino1 or little card at the foot of the picture1 on which ,antonello inscribes his name and the date4 ,this cartellino was taken as a model by ,giovanni ,bellini and subsequent ,venetian artists 7see e4g4 #ahi and #bhj74 #afe ,comparing him with ,italian painters1 his period of activity is seen to be coincident with the earlier work of ,carpaccio and ,perugino2 he died while ,raphael was still a boy4 ,crowe and ,cavalcaselle have shown that ,memlinc's work was well known and appreciated among ,italian connoisseurs of the time4 #aff ,i venture to retain this title1 though the ,official ,catalogue assures us that it is but a pleasing illusion1 as the features and the general form of head have little or no resemblance to the quite authentic portraits of ,andrea at ,florence1 or to that engraved by ,vasari1 who was personally acquainted with the painter4 ,if 7adds the catalogue7 the object in the hands represents1 as it well may1 a piece of modelling-clay1 the subject of the portrait was probably a ,florentine sculptor4 ,in that case we may perhaps save our pleasing illusion by supposing that ,andrea interpreted the expression of a fellow-artist by his own experience4 ,but the case is by no means clear4 ,the earlier portrait in the ,uffizi is not very unlike ours4 ,in the later some resemblance remains1 though the face has coarsened4 ,but this is a matter on which every one must see resemblances or otherwise for himself4 7,reproductions will be found in the monograph on the painter in the ,great ,masters series4 ,the author1 ,h4 ,guinness1 considers the authenticity of our portrait to be beyond question1 p4 #bc74 #afg ,lucrezia's character has1 however1 been whitewashed of late years3 see ,gazette des ,beaux ,arts1 ,december #ahgf and three following months4 #afh ,this delightful picture1 which has hitherto been ascribed to ,bellini himself1 is now 7#ahih7 attributed in the official catalogue to ,catena 7see #bcd74 #afi ,the pet portrait of the lecturer was ,moroni's ',tailor4' ,luckily the original painting was in the ,national ,gallery1 and all interested could judge for themselves whether1 for simplicity1 expression1 drawing1 colour1 and above all1 soul1 the portrait had a rival 7,report of a lecture on ,portraiture by ,mr4 ,harry ,furniss74 #agj ,in a red-figured vase in the ,british ,museum 7,e #dgg in the ,third ,vase ,room7 there is a picture of this same subject4 ,the drawing1 says ,miss ,harrison1 is somewhat coarse1 and the painter seems to be struggling with a subject that is expressively too much for him4 ,procris sinks in death in an odd1 ill-drawn attitude2 her soul escapes in the form of a bird1 ,kephalos smites his head in despair1 the dog ,lailaps watches concerned4 ,erechtheus1 the old king-father1 is at hand to sympathise2 the curt archaic symbolism of attitude1 the utterance of mere gesture1 is at fault here4 ,the story was pregnant with modern suggestion4 ,it had to wait1 so to speak1 for the delicate imagination of the ,renaissance painter1 ,piero di ,cosimo1 to make us feel the contrast between the dead woman1 over-sentient1 passion-slain1 and the shaggy faun1 kindly perplexed1 and the dumb1 faithful dog2 between the soft slack peace of the woodland and the terrible tension of humanity 7,magazine of ,art1 #ahid1 p4 #fa74 #aga ,formerly ascribed to ,margaret van ,eyck4 #agb ,formerly ascribed to ,van der ,goes4 #agc ,the clouds that gather round the setting sun ,do take a sober colouring from an eye ,that hath kept watch o'er man's mortality4 ,,wordsworth4 #agd ,the existence of this supposed younger ,foppa1 and the date #adib 7rather than #aejb7 must be considered doubtful in view of the researches published by ,c4 ,j4 ,ffoulkes in the ,athenum1 ,february #ae1 #aijb4 #age ,velazquez has left a great number of striking pictures1 each containing a single figure4 ,the ,count de ,pourtals1 in the collection at ,paris 7from which this picture was bought in #ahfe71 has an excellent specimen of one of these studies1 called ',the ,dead ,orlando' 7,stirling's ,annals of the ,artists of ,spain1 #ahdh1 p4 #fhj74 ,other authorities ascribe the picture to ,valdes ,leal 7see #abia74 #agf ,among other points we may notice the beautiful landscape2 ,nothing can be more perfect in pictorial effect than the old wall1 the distant roofs1 the gleams of light on water1 and the exquisite tones of gray 7,gilbert's ,landscape in ,art1 p4 #bfc74 #agg ,it may be interesting to note what ,raphael's method actually was4 ,he writes to ,count ,baldassare ,castiglione1 in a complimentary way3 ,to paint a beautiful woman1 ,i must see several1 with this condition1 that your lordship be near me to select the loveliest4 ,but there being a dearth both of good judges and of beautiful women1 ,i make use of a certain idea that comes into my mind4 ,whether with benefit to art1 ,i know not2 but ,i strive to form such an ideal in my mind4 #agh ,readers of ,ruskin will remember the high praise accorded to ,richter's illustrations of the ,lord's ,prayer and other engravings in ,the ,elements of ,drawing4 #agi ,see their ,vittore ,carpaccio et la ,confrrie de ,sainte ,ursule1 pp4 #i-aj1 and ,vittore ,carpaccio1 ,le ,vite e le ,opere4 #ahj ,raphael was born in #adhc4 ,in #adia his mother died4 #aha ,pisano's dragon is a pleasant-looking animal1 wild-boar faced1 and smilingly showing his fangs1 as he crouches by the eminently gentlemanly ,st4 ,george in the silver-plated and gilt armour2 and a word in passing must be said for the lovely hog1 with a broad grin overspreading his countenance1 who accompanies the placid ,st4 ,anthony4 ,is not ,st4 ,george1 in the broad ,tuscan hat1 the personification of ,john ,inglesant as il ,cavaliere di ,san ,giorgio8 7,s4 ,beale in ,good ,words1 ,july #ahie74 #ahb ,a splendid example of the nave humour of the painter4 ,there is the father1 somewhat sly1 and the eldest son resembling him but less 'cute4 ,the next head is that of a jolly1 sandy-haired fellow4 ,then comes the reprobate1 with a sensual upper lip1 the only one in the family2 all the others have thin1 long slit mouths1 as well as long straight noses4 ,behind1 are the poor relations4 ,we see the good1 hard-working cousin1 who has found life too much for him2 the self-approving fellow1 who thanks ,god he is not as other men are2 and above him the man who1 if he has been saved from committing some terrible crime1 certainly owes his exemption to ,god's mercy1 not1 we may be sure1 to his own strength of will4 ,on the other side are the ladies of the family4 ,the severe mamma1 with flat brow1 a veritable ,mrs4 ,grundy4 ,the daughter1 evidently a worldling by the jewelled band round her forehead1 is praying1 because it is the business of the moment4 ,the easy-going maiden above her has taken to religious life because it affords her a certain amount of distinction1 with a little soul-saving4 ,behind1 is the old great-aunt1 a really pious soul1 who has adopted conventual life from a devout conviction that she could live better and do more good as a member of a community than dwelling in the world4 ,above1 are two fat-faced children1 both more or less bored2 and behind them is another1 fascinated by the jewels of her kinswomen 7,s4 ,beale in ,good ,words1 ,july #ahie74 #ahc ,see ,richter's ,italian ,art in the ,national ,gallery1 p4 #dd1 where a rsum of recent criticism and a facsimile of the ,albertina drawing will be found4 ,signor ,frizzoni1 cited with approval by ,richter1 says3 ,although the composition seems to me not in the least attractive1 nor even successful 7and for this very reason the picture might have been left unfinished71 yet ,i cannot but consider it to be an original1 and1 moreover1 a specially interesting one1 and worthy of being looked at closely by those who wish to study the master in the numerous characteristic features of his style4 ,in my opinion it is an early work by him2 and this becomes evident especially from the purity and delicacy in the features of one of the ,maries1 standing on the right side1 in which1 if ,i am not mistaken1 the pure types of his first master1 ,domenico ,ghirlandaio1 are much more perceptible than ,buonarroti's own grand style4 ,in other parts1 however1 the sculpturesque manner of modelling peculiar to him is not less noticeable--in the muscles1 sturdy as usual1 and in the prominent rendering of the corpse4 ,symonds1 on the other hand1 has no hesitation in rejecting the picture4 ,it is1 he says1 painful to believe that at any period of his life ,michelangelo could have produced a composition so discordant1 so unsatisfactory in some anatomical details1 so feelingless and ugly4 ,it bears indubitable traces of his influence2 that is apparent in the figure of the dead ,christ4 ,but this colossal nude1 with the massive chest and attenuated legs1 reminds us of his manner in old age2 whereas the rest of the picture shows no trace of that manner4 ,i am inclined to think that the ,entombment was the production of a second-rate craftsman1 working upon some design made by ,michelangelo at the advanced period when the ,passion of our ,lord occupied his thoughts in ,rome4 ,even so1 the spirit of the drawing must have been imperfectly assimilated2 and1 what is more puzzling1 the composition does not recall the style of ,michelangelo's old age4 ,the colouring1 so far as we can understand it1 rather suggests ,pontormo 7,the ,life of ,michelangelo1 #ahic1 i4 #fh74 ,sir ,edward ,poynter1 on the other hand1 will hear of no doubt3 ,there is1 he says1 no doubt whatever that this picture is the work of the great master4 ,the originality of the composition1 the magnificent dignity of the poses1 the perfection of the modelling1 combined with the profound knowledge and subtle play of the anatomical forms where the work is complete1 and the exquisite beauty of the drapery1 all stamp it as a work which1 if completed1 would have been one of the masterpieces of the world1 and possible to no one but the great master of design4 ,it is thought desirable to insist on the grand qualities of this picture1 because it has been ascribed to ,bandinelli1 a bombastic sculptor1 quite incapable either of the refinement or of the subtle feeling for nature which is evident in all the finished portions of this work 7,the ,national ,gallery1 i4 #gb74 #ahd ,according to one of the dramatic critics in the daily press1 ,sir ,henry ,irving in playing ,richelieu was made up to resemble closely this picture2 and 7added the critic7 the actor brought out the three sides of ,richelieu's character here depicted4 ,at times we see him as the pitiless1 unscrupulous man who forced himself from obscurity to a power greater than his monarch's2 at others we see the fine courteous gentleman who patronised literature1 founded the ,french ,academy1 and collaborated in half a dozen bad plays2 and there is also not a little of the paltry1 small-minded tyrant of whom ,corneille said-- ,il m'a trop fait de bien pour en dire du mal4 ,il m'a trop fait de mal pour en dire du bien4 #ahe ,see ,morelli's ,german ,galleries1 p4 #cic4 ,he dismisses the idea of an original ,vicentine ,school as one which cannot be entertained at all4 #ahf ,by ,gentile ,bellini1 and not by ,giovanni1 as stated in the ,catalogue4 ,the latter artist drew the ear of a different shape than did his brother ,gentile 7,morelli3 ,german ,galleries1 p4 #aj n474 ,if by ,gentile1 the signature is forged or altered4 #ahg ,i subjoin1 writes the poet to his mother 7,december #bc1 #ahhj71 a sonnet ,i have done on the ,michelangelo in the ,national ,gallery4 ,in this picture the ,virgin is withdrawing from the child the book which contains the prophecy of his sufferings--,i suppose that of ,isaiah4 ,the idea is a most beautiful one2 and behind the group are angels perusing a scroll4 ,shields was helpful to me in the interpretation of this 7,letters and ,memoir1 ii4 #cfe74 #ahh ,signed ,joannes ,bellini1 but by some critics ascribed to ,gentile ,bellini4 ,see ,frizzoni's ,arte ,italiana del ,rinascimento1 p4 #cad4 #ahi ,to the same effect1 ,sir ,edward ,poynter3 ,the painting of the green forest is the most perfectly beautiful piece of workmanship that ever was put into a picture 7,lectures on ,art1 p4 #abh74 #aij ,but see note on ,no4 #ec4 #aia ,unfortunately1 ,hobbema has allowed some one1 apparently ,wyntrank1 to put a few ducks into the foreground4 ,they are not wanted1 and the manipulation required to fit them in has caused the lower part of the picture to darken disagreeably 7,armstrong3 ,notes on the ,national ,gallery1 p4 #ch74 #aib ,ruskin speaks of him as an artist first-rate in an inferior line 7,on the ,old ,road1 i4 #eeh74 #aic ,some of ,mr4 ,gladstone's purchases for the ,national ,gallery are noticed in the introduction to ,appendix ,,ii4 ,the ,ansidei ,madonna was also purchased by a special vote when he was in power4 ,the ,gallery owes the present picture to ,mr4 ,disraeli's taste4 ,i happened1 says ,sir ,william ,fraser in his ,disraeli and his ,day1 to be at the saleroom in ,king ,street3 the crowd was considerable4 ,a picture was on the easel for sale2 ,i did not know the name of the painter3 the subject1 ',the ,nativity1' of the pre-,raphaelite school4 ,i was so charmed with it that ,i bid up to two thousand pounds4 ,i then felt that ,i could not trust my judgment further3 that ,i might be mistaken3 and that the picture might be 'run up' for trade purposes4 ,it was bought for #bdae4 ,a few days afterwards ,i met ,mr4 ,c4 ,having noticed him in the crowd1 ,i said1 ',do you happen to know who bought that ,francesca8' ',i did4 ,disraeli told me to buy it for the ,national ,gallery4' #aid ,the fondness of the ,old ,masters for the brute creation is illustrated in this picture1 as in so many others4 ,the ox is evidently fascinated by the music2 the ass is disturbed and brays fiercely4 ,note also the goldfinch upon the roof4 #aie ,the painter must1 for the present1 remain as an unknown ,umbrian1 almost equally influenced by ,pinturicchio and ,signorelli1 and with peculiar qualities of simple grace and romance1 which give his work an extremely individual character 7,cruttwell's ,signorelli1 p4 #aag74 #aif ,english readers will find some account1 with occasional translations1 of ,poliziano's poem in ,symonds's ,sketches and ,studies in ,italy and ,greece1 ii4 #ccd1 and ,renaissance1 iv4 #cej4 ,symonds1 had already remarked that much of the poem is like a picture of ,botticelli4 ,the same painter's ,birth of ,venus may have been suggested by stanza #ii of ,poliziano1 though the peculiar sentiment of that famous picture is the painter's own4 ,see also under #iaf4 #aig ,we venture to ask1 says ,dr4 ,richter1 is this really an ,italian picture8 7,italian ,art in the ,national ,gallery1 p4 #hg74 #aih ,the figures are by ,tiepolo 7see under #aaib74 #aii ,visitors who have been to ,venice will remember that ,carpaccio trusts for the chief splendour of any festa in cities to the patterns of the draperies hung out of windows 7,bible of ,amiens1 p4 #c74 #bjj ,or1 according to ,mr4 ,berenson1 of ,alvise ,vivarini and ,lotto 7see his ,lorenzo ,lotto1 pp4 #aac1 #cjd74 #bja ,it was exhibited at the ,old ,masters exhibition in #ahgc as a ,raphael4 ,mr4 ,ruskin1 who had noticed it there1 wrote to ,mr4 ,fairfax ,murray1 ,please look at the ,raphael1 and tell me how far the colour may have changed on ,st4 ,john's shoulder and in ,judas' dress1 and how far the fantastic shot silks of this last are absolutely as they were4 #bjb ,it is a repetition with but slight variations of the ,medici picture in the ,uffizi4 #bjc ,the early ,italian masters felt themselves so indebted to1 and formed by1 the master-craftsman who had mainly disciplined their fingers1 whether in work on gold or marble1 that they practically considered him their father1 and took his name rather than their own2 so that most of the great ,italian workmen are now known1 not by their own names1 but by those of their masters 7or of their native towns or villages--these being recognised as masters also71 the master being himself often entirely forgotten by the public1 and eclipsed by his pupil2 but immortal in his pupil1 and named in his name4444 ,all which ,i beg you to take to heart and meditate on concerning ,mastership and ,pupilage 7,fors ,clavigera1 #ahgb1 xxii4 #c1 #d74 ,vasari's story may be true1 says ,dr4 ,richter1 even though no contemporary record of a goldsmith called ,botticello has been found4 ,we know1 however1 that he had a brother1 ,giovanni ,battista1 a carpenter and frame-maker of some repute1 nicknamed ,botticegli1 i4e4 ',little ,barrel'2 this nickname may have been inherited by the younger brother 7,lectures on the ,national ,gallery1 p4 #dh74 #bjd ,see ,richter's ,lectures on the ,national ,gallery for the list1 p4 #df4 #bje ,reference may be made also to ,mr4 ,swinburne's ,notes on ,designs of the ,old ,masters at ,florence 7first published in the ,fortnightly ,review for ,july #ahfh71 in which he speaks of the faint and almost painful grace which gives a distinct value and curious charm to all the works of ,botticelli4 ,at an auction in #ahfg ,d4 ,g4 ,rossetti picked up a ,botticelli for #bj4 ,if he had not something to do1 writes his brother1 with the vogue which soon afterwards began to attach to that fascinating master1 ,i am under a misapprehension4 ,pater's essay first appeared in the ,fortnightly ,review of ,august #ahgj4 ,ruskin's first mention of ,botticelli was in a lecture delivered at ,oxford during the ,lent ,term1 #ahga4 ,carpaccio had been proclaimed in a lecture of the preceding year1 and it became a standing joke among the profane to ask who was ,ruskin's last greatest painter4 ,it was in answer thereto that ,mr4 ,bourdillon wrote3 ,to us this star or that seems bright1 ,and oft some headlong meteor's flight ,holds for awhile our raptured sight4 ,but he discerns each noble star2 ,the least is only the most far1 ,whose worlds1 may be1 the mightiest are4 #bjf ,the dress appears to have been originally crimson or pink4 ,if so1 it has faded to so agreeable a tone that one could hardly wish it otherwise 7,poynter74 #bjg ,the visitor should contrast ,canaletto's painting of still water with ,turner's 7see under #ece74 #bjh ,upon asking how he had been taught the art of a cognoscento so very suddenly1 he assured me that nothing was more easy4 ,the whole secret consisted in a strict adherence to two rules3 the one1 always to observe that the picture might have been better if the painter had taken more pains2 and the other to praise the works of ,pietro ,perugino 7,vicar of ,wakefield1 ch4 xx474 #bji ,the author of the catalogue of the ,burlington ,fine ,arts ,club's ,exhibition of #ahih maintains that the two side panels are later in date than the central panel1 and have no connection with it 7p4 xxxvii474 #baj ,sir ,walter ,armstrong attributes ,no4 #ajgi to ,david4 ,the ,national ,gallery possesses one of the best of ,david's authenticated works 7#ajde71 and a comparison between it and the ,adoration of the ,magi1 numbered #ajgi1 goes far to prove them to be by one hand4 ,compare1 for instance1 the figure of the beggar in the one picture with that of ,st4 ,joseph in shadow behind the ,virgin1 in the other4 ,and the evidence of style is confirmed by a curious discovery that ,i happened to make one bright day1 when the glass was off the latter picture4 ,low down in the left-hand corner the word ,,ouvvater is written in a way that precludes the notion of forgery1 for it has been scratched with1 perhaps1 the butt end of a brush1 while the paint was still wet1 so that the red under-painting shows through the letters4 ,david was born at ,ouwater1 or ,oudewater1 about #adej1 and did not migrate to ,bruges till #adhd 7,notes on the ,national ,gallery1 p4 #bi74 #baa ,see ,morley's ,diderot1 ii4 #fb4 ,yet he cannot refuse to concede about one of ,boucher's pictures that after all he would be glad to possess it4 ,every time you saw it1 he says1 you would find fault with it1 yet you would go on looking at it4 ,this is perhaps what the severest modern amateur1 as he strolls carelessly through the ,french school at his leisure1 would not in his heart care to deny4 #bab ,ruskin speaks under the head of typical beauty 7of beauty1 that is1 as typical of divine attributes7 of the absolute necessity in pictures for some suggestion of infinity4 ,escape1 ,hope1 ,infinity1 by whatever conventionalism sought1 the device is the same in all1 the instinct constant 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 i4 ch4 v4 #g1 #h74 #bac ,ruskin finds ,leonardo's landscape unconvincing4 ,in realisation of detail he verges on the ornamental2 in his rock outlines he has all the deficiencies and little of the feeling of the earlier men4 ,the rocks are grotesque without being ideal1 and extraordinary without being impressive4 ,the forms of rock in ,leonardo's celebrated ',vierge aux ,rochers' are literally no better than those on a china plate 7,modern ,painters1 vol4 i4 pt4 ii4 sec4 i4 ch4 vii4 #ac2 ,edinburgh ,lectures on ,architecture and ,painting1 p4 #aeg74 ,a high authority on the ,alpine region1 ,mr4 ,douglas ,freshfield1 has suggested that the originals of ,leonardo's backgrounds are to be found among the mountains between ,val ,sassina and the ,lago di ,lecco3 ,the last spurs of the ,alps are here singularly picturesque4 ,the bold forms of the ,corno di ,canzo and ,monte ,baro break down to display the shining pools of the ,laghi di ,pusiano and d' ,annone4 ,hither ,leonardo may have come1 and looking across the narrow lake or from beside some smaller pool or stream at the stiff upright rocks of the ,grigna and the ,resegone1 have conceived the strange backgrounds with which we are all familiar 7,italian ,alps1 #ahge1 p4 #abf74 ,mr4 ,freshfield's suggestion is borne out by ,leonardo's own topographical notes1 since published4 ,he had visited the district and specially remarks upon its fantastic rocks4 #bad ,when in the ,hamilton ,collection1 this picture was ascribed to ,giorgione4 ,some critics strongly dispute the ascription 7see1 e4g41 ,richter's ,italian ,art in the ,national ,gallery1 p4 #hg71 others accept it 7see1 e4g41 an article in the ,times1 ,july #bf1 #ahhb74 ,sir ,edward ,poynter says3 ,the qualities of colour and painting in this picture so closely resemble those of the famous ',fte ,champtre' by ,giorgione in the ,louvre1 that it is difficult not to believe that the two pictures are by the same hand1 and that1 if the ,louvre picture is rightly named1 the original attribution to ,giorgione may be correct 7,national ,gallery1 i4 #bd74 ,mr4 ,herbert ,cook is of the same opinion3 ,the figures1 with their compactly built and rounded limbs1 are such as ,giorgione loved to model1 the sweep of draperies and the splendid line indicate a consummate master1 the idyllic landscape is just such as we see in the ,louvre picture and elsewhere1 the glow and splendour of the whole reveal a master of tone and colouring 7,giorgione1 p4 #id74 ,as an illustration of the uncertainty of criticism it may be interesting to append the observations on ,sir ,e4 ,poynter's remarks made by a writer in the ,daily ,telegraph of ,dec4 #bi1 #ahii3 ,in reality no two works belonging to more or less the same period of ,venetian art could be more utterly different4 ,the ,hamilton ,palace picture is a soulless and second-rate production1 dating a good many years later than the ,louvre idyll1 wholly different from it in handling1 and remarkable only for its beautiful golden tone4 ,the ,louvre ',fte ,champtre'--a late example of the divine master--is one of the loveliest and most characteristic pieces produced in the early prime of ,venetian painting4 ,should the ',venus and ,adonis' be set down to ,giorgione1 the misrepresentation in the ,national ,gallery of a unique figure in art would be complete4 #bae ,by ,mr4 ,berenson to ,amico di ,sandro4 #baf ,the figures are ill-proportioned and want expression and character4 ,they are more probably by a scholar or imitator 7,layard's ,kugler1 vol4 i4 p4 #bhi74 #bag ,critics of the modern school assert that the picture was not executed by ,botticelli1 even if it was designed by him2 it bears1 they say1 no trace of his style 7see1 e4g41 ,richter's ,lectures and ,frizzoni's ,arte ,italiana del ,rinascimento74 ,ruskin was on the same side3 ,i hope you know ,botticelli well enough1 he wrote to ,mr4 ,fairfax ,murray 7,february #ad1 #ahgc71 not to think you'll have to copy stuff like that arms-akimbo thing4 ,by the way1 what have they all got1 like truncheons8 ,they look like a lot of opera-directors4 ,dr4 ,uhlmann in his work on ,botticelli ascribes the picture to ,botticini2 ,vasari1 he thinks1 confused the two painters1--a theory for which there is no sort of proof4 ,there is only one work of ,botticini which has been identified with certainty4 ,it is at ,empoli1 and was executed in #adij1 or fifteen years at least before this picture4 ,vasari's account is precise1 and is confirmed1 as we have seen1 by historical records4 ,very convincing internal proofs are necessary to overthrow this external evidence4 ,where are such proofs8 ,the idea of the picture is entirely in accordance with what we know of ,botticelli4 ,the wonderful energy of the angels and the boldness of the design attest his invention 7,monkhouse's ,in the ,national ,gallery1 p4 #fd74 ,the case in this sense is very well put by ,mr4 ,maurice ,hewlett in the ,academy of ,january #i1 #ahib4 ,he points out among other things that the picture agrees with the general spirit of ,botticelli's designs for the ,paradiso4 #bah ,some account of the poem is given in an appendix to vol4 v4 of ,symonds's ,renaissance in ,italy4 #bai ,the traveller will find a convenient handbook to these frescoes in ,mr4 ,j4 ,l4 ,bevir's ,visitor's ,guide to ,orvieto4 #bbj ,it came from the ,hamilton sale 7#ahhb71 and was bought for the small price of #aeg3ajs4 #bba ,owing to the similarity of initials ,,ivo the picture was ascribed by its former owner to ,isaac van ,ostade1 who1 however1 died in #afdi4 #bbb ,materials for such comparison--which is not the least interesting of the many lines of study offered by a collection of pictures--are provided in ,mrs4 ,jameson's books1 or may be formed still better by every student for himself by a collection of photographs4 ,a capital series of articles by ,mr4 ,grant ,allen in the ,pall ,mall ,magazine of #ahie traced1 in a few of the most popular subjects1 the process of ,evolution in ,early ,italian ,art4 #bbc ,visitors to ,venice will remember a beautiful use of this arrangement on the southern side of the ,rialto1 the ,dove forming the keystone of the arch4 #bbd ,a piece of paper of the last century1 glued to the back of this panel1 contains a memorandum in now faded ink1 in the handwriting of the great-grandfather of ,signor ,g4 ,molfini 7from whom the picture was bought in ,genoa in #ahhc71 to the following effect3--,antonello of ,messina1 a city of ,sicily1 a famous painter4444 ,and this is his portrait1 painted by himself1 as was to be seen by an inscription below it which ,i1 in order to reduce it 7i4e4 the picture7 to a better shape1 sawed away4 ,some traces of further writing are now illegible4 #bbe ,ford ,madox ,brown1 who was not one to be impressed by any authority1 has some very scathing remarks on this picture3 ,bad in colour1 in drawing1 in grouping1 and in expression1 with the figure of ,jesus falling on its nose1 this work seems to shine solely by reason of the varnish with which it has recently been so polished up 7,magazine of ,art1 #ahij1 p4 #ace74 #bbf ,he enumerates them in an official return of his property3 ,further1 ,i have a monkey1 moreover1 a raven which can talk1 and which ,i keep by me in order that he may teach from his cage a theological jackass also to speak4 ,item3 an owl to frighten the witches1 two peacocks1 two dogs1 a sparrow-hawk1 and other birds of prey1 six fowls1 eighteen chickens1 two moor-fowl1 and many other birds1 to name all of which would only cause confusion4 #bbg ,according to ,nonius ,marcellus3 ,by old ,roman law1 brides used to bring three asses 7pennies71 and to give one1 which they held in the hand1 to the bridegroom1 as though to purchase him2 to place another1 which they held in the foot1 on the hearth of the family ,lares2 and to put the third in their pocket and rattle it at the next cross-road4 #bbh ,see1 however1 for some deductions afterwards made from this estimate1 ibid4 vol4 iv4 pt4 v4 ch4 iii4 #f1 #g4 #bbi ,elsewhere ,ruskin makes some exception in favour of ,ary ,scheffer3 ,though one of the heads of the ,mud sentiment school1 he does draw and feel very beautifully and deeply 7,letters on ,art and ,literature1 p4 #cg74 #bcj ,it was placed in their chapel in the church of ,s4 ,lorenzo in that city4 ,there it remained till #agfd1 when it was bought for the ,duke of ,marlborough1 and a copy replaced the original in the chapel4 #bca ,this picture and ,van ,dyck's ,charles the ,first 7#aagb7 were bought in #ahhd from the ,duke of ,marlborough for #hg1ejj4 ,sir ,f4 ,burton1 the ,director of the ,national ,gallery1 had valued them at #aae1ejj and #ca1ejj severally4 ,i remember once hearing ,mr4 ,gladstone refer to this matter4 ,his economic conscience seemed to give him some qualms on the score of the unprecedented price4 ,but he took comfort in the fact that1 large as was the price actually paid1 the price asked by the owner1 as also the valuation of the ,director1 was very much larger4 ,at any rate1 he said with a smile1 ,i saved the taxpayers #de1jjj on this ,raphael1 by not listening to the advice of the ,director of the ,gallery4 ,the purchase had been pressed upon the ,government by all sorts and conditions of men4 ,the ,royal ,academy memorialised ,mr4 ,gladstone1 and pleaded especially for the ,raphael--a work produced in that happy period in which the reverent purity and the serene grace of the master's earliest work are already mellowing into the fuller dignity of his middle style4 ,the ,trustees of the ,national ,gallery declared that the purchase would at once raise the ,collection to a rank second to none1 and superior to most1 of the great ,continental ,galleries2 whilst a memorial from members of ,parliament of all parties1 after referring to the ,raphael as the finest in point of colouring that ever came from his hand1 assured ,mr4 ,gladstone that their constituents and the whole nation will approve and applaud a departure from the hard line of severe economy4 ,it appears from ,the ,life and ,correspondence of ,mr4 ,childers 7ii4 #afc71 who was ,chancellor of the ,exchequer at the time1 that the purchase was first suggested by ,queen ,victoria4 #bcb ,sir ,edward ,poynter4 ,the luminous quality of the picture conquered ,mr4 ,ruskin4 ,after one of his last visits to the ,national ,gallery1 he said to me3 ,the new ,raphael is certainly lovely--quite the loveliest ,raphael in the world4 ,the ',san ,sisto' is dark and brown beside it4 #bcc ,in this matter of the open sky also the ,ansidei ,madonna is curiously transitional4 ,raphael1 says ,ruskin 7ibid4 #aj71 in his fall1 betrayed the faith he had received from his father and his master1 and substituted for the radiant sky of the ,madonna del ,cardellino1 the chamber-wall of the ,madonna della ,sediola1 and the brown wainscot of the ,baldacchino4 ,here we have both--the ,baldacchino and the open sky behind4 #bcd ,mr4 ,monkhouse suggests alternative explanations4 ,who is the figure on the throne8 ,is he meant for some intellectual ,dives1 learning too late that happiness exists not in luxury or knowledge8 ,is he the poet1 musing in sadness and mental solitude on the mysteries of life1 who cannot taste of its fruit or listen to its music1 unconscious of the brute forces symbolised by the panther1 and the vanity of human pride imaged by the peacock on the dead branch2 or is he a philosopher imparting wisdom to the young8 ,what matter1 the picture charms like nature1 because we cannot fathom it 7,in the ,national ,gallery1 p4 #bcd74 ,in the case of ,giorgione's frescoes at ,venice1 ,vasari frankly gave it up3 ,i1 for my part1 have never been able to understand what they mean1 nor1 with all the inquiries that ,i have made1 could ,i ever find any one who did understand1 or could explain them to me4 ,but the theory that the subject in ,renaissance pictures meant nothing--that details were treated from a purely pictorial point of view--is1 as ,dr4 ,richter has well observed1 more convenient than correct4 ,the clue to many of these unknown subjects is to be found in classical or ,italian literature4 ,bellini's allegorical compositions have recently been thus interpreted4 ,titian's so-called ,sacred and ,profane ,love has been identified by ,herr ,franz ,wickhoff as an illustration of the story of ,medea as told in the seventh book of the ,argonautica of ,valerius ,flaccus1 and the same author has also found the key to several works ascribed to ,giorgione4 #bce ,dr4 ,richter1 who found these pictures in a ,veronese palace1 points out that the architecture in the background represents the old tower of the castle of ,mantua 7,art ,journal1 ,feb4 #ahie74 ,it has1 however1 been urged amongst other objections that the eagle on the banners belongs to neither of the two houses4 ,perhaps1 therefore1 the subject of the pictures is purely imaginary or borrowed from some romance of the time4 #bcf ,see note on ,no4 #eia4 #bcg ,one portrait1 however1 was found by ,mr4 ,petrie1 not fixed over the face of the mummy1 but framed and glazed for hanging on the wall of a tomb4 ,the frame1 now in the ,british ,museum1 is very like what is called an ,oxford frame4 #bch ,two other members of the family are known as painters--,ambrosius1 brother of the younger ,hans2 and ,sigmund1 brother of the elder4 ,a portrait ascribed to the latter is in our ,gallery1 ,no4 #gbb4 #bci ,the picture is painted on ten boards joined vertically2 and it is interesting to speculate how far the composition may have been directed by the necessity of avoiding any joint in the faces4 #bdj ,cf4 what ,ruskin says of the glorious severity of ,holbein's portraits 7,modern ,painters1 vol4 ii4 pt4 iii4 sec4 #a4 ch4 xiv4 #ai74 #bda ,the contrast between the picture as it was before being cleaned and as it is now is very great4 ,the accessories have come out in astonishing clearness1 and the crucifix in the left-hand corner has been unveiled4 ,the dingy green of the curtain background has given place to a rich damask1 and the gown of the younger man--which ,wornum described as brownish green--is now seen to be not green at all4 ,mr4 ,dyer1 to whose art this successful restoration was due1 removed the obscuring dirt and varnish entirely by manual friction4 #bdb ,several pages would be required to give a rsum of all the theories propounded1 and of all the pros and cons in each case4 ,an account of the principal theories was given in the fourth edition of this ,handbook1 and the story forms an entertaining chapter in the curiosities of criticism4 ,the most elaborately sustained of the theories is that which identifies the ambassadors with the ,counts ,palatine ,otto ,henry and his brother ,philip 7see the monograph on the picture by ,w4 ,f4 ,dickes74 #bdc ,the following is the text of the document3-- ,remarques sur le suject d'un tableau excellent des ,srs4 d',inteville ,polizy1 et de ,george de ,selve4#bdd ,en ce tableau est represent au naturel ,messire ,jean de ,d ,intevile chevalier sieur de ,polizy prs de ,bar-sur-seyne ,bailly de ,troyes1 qui fut ,ambassadeur en ,angleterre pour le ,roy ,franois premier ez annes #aecb #aecc de puis ,gouverneur de ,monsieur ,charles de ,france second filz diceluy ,roy1 le quel ,charles mourut a forest monstier en l'an #aede1 le dict sr4 de ,d ,intevile en l'an #aeee1 sepultur en l'eglise du dict ,polizy4 ,est aussi represent audict tableau ,messire ,george de ,selve ,evesque de ,lavaur personnage de grandes lettres fort vertueux1 qui fut ,ambassadeur pres de ,l ,empereur ,charles cinquiesme1 le diet ,evesque ,filz de ,messire ,jean de ,selve premier president au parlement de ,paris1 iceluy sr4 ,evesque deced en l'an #aeda ayant des la susdicte anne #aecb ou #aecc pass en ,angleterre par permission du ,roy pour visiter le susdict sieur de ,d ,intevile son intime amy de toute sa famile1 eux deux ayantz rencontrez en ,angleterre un excellent peinctre holandois1 l'employrent pour faire iceluy tableau qui a est soigneusement conserv au mesme lieu de ,polizy iusques en l'an #afec4 #bdd ,evesque de ,lavour 7sic7 contenant leurs emplois1 et tems de leur deceds4 #bde ,the words in the choir-book are thus identified by ,mr4 ,eastlake 7see a very interesting letter to the ,times1 #agth ,august #ahia74 ,on the left-hand page3-- ,kom ,heiliger ,geyst herzegott erfll mit deiner gnaden und 787 deiner gleubge hertz mut un sin dein brustig lib entzd in ihn4 ,o herz durch deines lichtes glast 787 zdem glaube versamlet hast das volck aller welt zunge 444787 dir herzu lob gesungen 444 gesungen 444 ,on the right-hand page3-- ,mensch wiltu 787 leben seliguch und bei ,gott blibene ,solch 787 halten die zehen gebot die uns gebeut unser ,gott 444 unser 444 ,it seems to have been assumed1 adds ,mr4 ,eastlake1 that the choir-book is a ,protestant one1 and therefore inconsistent with the presence of the silver crucifix recently revealed in the left-hand upper corner of the picture4 ,but it is evident that the hymn or anthem above mentioned is merely a paraphrase of the well-known ',veni ,sancte ,spiritus1' which for ages past has appeared in the ,roman ,catholic breviary for use on ,whit ,sunday or the ,feast of ,pentecost1 and still survives in the ,anglican ,ordination ,service4 ,the music in the book has been identified by ,mr4 ,w4 ,b4 ,squire1 of the ,british ,museum1 as the counterpoint sung by the tenor in ,johann ,walther's setting for the ,wittenberg hymn-book of #aebd4 ,mr4 ,squire adds his opinion that ,holbein chose those compositions for copying in the picture1 on account of the bearing which the words had upon either the individuals portrayed1 or some incident connected with them1 and intended to be commemorated 7,letter to the ,times1 #adth ,november #ahia74 ,miss ,hervey finds an explanation in the fact that the ,bishop of ,lavaur was devoted to the cause of religious re-union between the ,roman ,catholic and the ,reformed ,churches4 ,the doctrine expressed by the two hymns was common to all the churches4 #bdf ,for further particulars the reader is referred to ,holbein's ',ambassadors'3 the ,picture and the ,men1 by ,mary ,f4 ,s4 ,hervey 7#aijj74 ,miss ,hervey gives an interesting account of her identification of the sitters1 and many curious speculations as to the details of the picture4 #bdg ,it has been suggested by some high authorities that the lower portion of the picture was probably left to some pupil to finish2 for the ,admiral's legs are very flabbily drawn4 ,they look as if there were no bone or muscle in them1 but only sawdust or padding4 ,seor de ,bereute1 in spite of the very definite history of the picture given by ,palomino1 attributes the whole work not to ,velazquez but to his pupil and son-in-law1 ,j4 ,b4 del ,mazo 7#acjh74 ,if this be correct1 ,mazo was another ,velazquez4 ,there is nothing in ,mazo's known works to justify such an estimate of his powers4 ,mazo1 still in his early youth1 had in #afcd married a daughter of ,velazquez1 and had only recently got a subordinate place in ,philip's court4 ,it is hard to believe that he could have painted this superb picture when only about #be years of age1 or that ,philip would have entrusted him with the portrait of a favourite when he had beside him his trusty ,court painter1 ,velazquez 7,quarterly ,review1 ,april #ahii1 p4 #eba74 #bdh ,congratulate me 7he wrote to his old friend and colleague1 ,sir ,h4 ,a4 ,layard7 on a real trouvaille4 ,the picture ,i bought at ,g4 ,bentinck's sale has come out splendidly1 and is in first-rate condition4 ,burton is greatly struck with it4 ,it is a wonderful bit of luck to have picked up so fine a picture from among so many of the cognoscenti4 ,no wonder that ,sir ,william ,gregory1 who bought his pictures so cheap1 was aghast at the large and even fancy price which the nation sometimes has to pay4 ,the cost of them1 he writes of the ,longford pictures 7,nos4 #acad-acaf7 makes me blush when ,i think of it4 #bdi ,the composition1 however1 has been blamed on the ground that the square picture on the wall interferes with the girl's head in a very awkward manner4 ,the ,cupid represented in that picture is also very clumsy4 ,a correspondent replying to these criticisms writes3 ,the composition depends not upon the rhythm of the lines1 but upon the arrangement of patches of colour1 somewhat in the manner of the ,japanese4 ,dutch painters often represented inferior pictures upon the walls of their interiors1 perhaps as a kind of humorous contrast to their own masterpieces4 ,see1 for instance1 the daub in ,de ,hooch's picture in the ,national ,gallery 7,no4 #hcd74 #bej ,by ,mr4 ,berenson ascribed to ,amico di ,sandro4 #bea ,hung on each side of the great ,vandyck1 on the east wall of the principal ,dutch and ,flemish room1 they have given the completing touch to that collection of chefs d'oeuvre1 and made it now beyond question the finest wall of masterpieces of those schools in ,europe 7,sir ,edward ,poynter's speech at the ,royal ,academy ,banquet1 #ahii74 #beb ,the purchase for the nation was at one time in jeopardy4 ,early in #ahii the two pictures were offered by ,lord de ,saumarez to the ,national ,gallery for the sum of #ab1ejj4 ,a special grant was obtained from ,her ,majesty's ,treasury for this sum on the condition that the ,trustees should forego the annual grant for #ahii-aijj1 estimated at #ejjj4 ,lord de ,saumarez found1 however1 that he had no power to sell the pictures without an order from the ,court of ,chancery1 and having been subsequently offered the sum of #ae1jjj for these two pictures1 the ,court decided they could only be sold to the ,national ,gallery for an advance on the sum offered4 ,the ,trustees1 therefore1 offered the sum of #ae1jej1 for which the ,court awarded them to the ,trustees4 ,towards the balance of the purchase money1 amounting to #beej1 two of the ,trustees1 ,mr4 ,alfred de ,rothschild and ,mr4 ,heseltine1 liberally contributed #ejj each1 and the remainder1 amounting to #aeej1 was paid out of the grant for the year #ahih-ii4 #bec ,mr4 ,roger ,fry 7in ,the ,pilot1 ,jan4 #e1 #aija7 attributes our picture1 which he calls a distressing production1 to some journeyman painter who treated ,fra ,bartolommeo's design in the spirit of the earlier furniture painters1 but without their charm and navet4 #bed ,his early pictures have only a hint of personal expression4 ,some of his ,madonnas are still almost ,byzantine in their hieratic solemnity4 ,it is possible to follow ,giovanni ,bellini's career almost from year to year by the increase of personal expression in his figures and landscapes 7,mary ,logan3 ,guide to the ,italian ,pictures at ,hampton ,court1 p4 #i74 #bee ,see ,bernhard ,berenson's ,lorenzo ,lotto1 #ahie1 pp4 #ba-abj4 #bef ,see ,mr4 ,herbert ,cook's ,giorgione1 pp4 #fh-gd4 #beg ,that fine picture came from the ,manfrini ,palace at ,venice2 and though by some called a bad and late copy 7,mndler1 ,beitrge zu ,b4's ,cicerone1 #ahgj1 p4 #fa7 is by others highly praised4 ,thus ,waagen1 in his ,treasures of ,art in ,great ,britain 7vol4 iii4 #ahed1 p4 #ai71 in describing the ,cobham ,hall pictures1 says of the picture now in the ,national ,gallery that it agrees essentially with the fine portrait in the ,manfrini collection at ,venice4 ,but the tone of the flesh is heavier here1 and the grey colour of the dress unites too much with the grey ground1 while in the ,manfrini picture1 the brown tones of the dress stand out decidedly from it4 #beh ,see the ,second ,annual ,report of the ,national ,art ,collections ,fund1 #aijf1 pp4 #ce1 #cf4 ,until the matter was cleared up by the researches of ,seor de ,beruete1 summarised in that ,report1 it was supposed that our picture was one of five mythologies painted by ,velazquez for the ,gallery of ,mirrors in the ,alcazar of ,madrid1 two of which perished in the great fire of #agcd4 ,knowledge of this fire was doubtless the origin of a suggestion that our picture also had been damaged and repainted4 ,there was correspondence on this subject1 and on others connected with the picture1 in the ,times of ,november and ,december #aije and the early part of #aijf4 #bei ,the intermediate processes by which the price of the picture rose from #cj1ejj to #de1jjj have not been disclosed4 ,towards the latter sum1 the largest contributions were--,an ,englishman #aj1jjj2 ,lord ,michelham1 #hjjj2 and ,messrs4 ,agnew1 #ebej4 #bfj ,see pp4 #ge-gh of ,the ,barbizon ,school1 by ,d4 ,c4 ,thomson1 from whose translation ,i borrow a few sentences4 #bfa ,according to ,william ,morris1 most visitors to the ,gallery are apt to pass by some of its principal treasures4 ,if ordinary people go to our ,national ,gallery1 the thing which they want to see is the ,blenheim ,raphael1 which1 though well done1 is a very dull picture to any one not an artist4 ,while1 when ,holbein shows them the ,danish princess of the sixteenth century yet living on the canvas 4442 when ,van ,eyck opens a window for them into ,bruges of the fourteenth century2 when ,botticelli shows them ,heaven as it lived in the hearts of men before theology was dead1 these things produce no impression on them1 not so much even as to stimulate their curiosity and make them ask what 'tis all about2 because these things were done to be looked at1 and to make the eyes tell the mind tales of the past1 the present1 and the future 7,mackail's ,life of ,william ,morris1 ii4 #bgc74 #bfb ,the precise nature of the transaction was this3--,lady ,carlisle received in cash #dj1jjj and the ,treasury paid the death-duties 7#bggf74 ,of these sums1 the ,national ,gallery funds contributed #ae1jjj2 the ,national ,art-,collections' ,fund1 #aj1jjj2 and the ,treasury #ag1ggf 7see ,house of ,commons ,debate1 ,february #bh1 #aiab74 ,,pictures ,,on ,,loan ,,the ,,holy ,,family4 ,b4 ,fungai 7,sienese3 about #adfj-aeaf74 ,see #acca4 ,this picture1 not yet numbered1 is lent by the ,victoria and ,albert 7,south ,kensington7 ,museum4 ,it is generally characteristic of ,fungai1 but the figure of the ,infant ,christ is not pleasing4 ,lent by ,mr4 ,pierpont ,morgan4 ,,the ,,madonna ,,di ,,santi ,,antonio4 ,raphael 7,urbino3 #adhc-aebj74 ,see #aaga4 ,in the same city 7says ,vasari7--the city of ,perugia1 for which also the ,ansidei ,madonna was painted--,raphael was commissioned to paint a picture of ,our ,lady by the nuns of ,sant' ,antonio of ,padua2 the ,infant ,christ is in the lap of the ,virgin and is fully clothed1 as it pleased those simple and pious ladies that he should be2 on each side of ,our ,lady are figures of saints1 ,san ,pietro1 namely1 with ,san ,paolo1 ,santa ,cecilia1 and ,santa ,catarina4 ,to these two holy virgins the master has given the most lovely features and the most graceful attitudes2 he has also adorned them with the most fanciful and varied head-dresses that could be imagined--a very unusual thing at that time4 ,in a lunette above this picture he painted a figure of the ,almighty ,father1 which is extremely fine1 and on the predella are three scenes from the history of ,christ1 in very small figures4444 ,the whole work is without doubt very admirable2 it is full of devout feeling1 and is held in the utmost veneration by the nuns for whom it was painted4 ,it is very highly commended by all painters likewise4 ,the small scenes which formed the predella have been dispersed2#bfc for the rest1 the picture thus described by ,vasari is before us4 ,vasari dates the work #aeje1 but it is now commonly ascribed to the years #aejg-h1 after ,raphael had experienced the influence of ,fra ,bartolommeo2 it would thus be a little later than the ,ansidei ,madonna4 ,the history of the picture is long and eventful4 ,in #afgg the nuns obtained permission to sell it1 to pay their debts and because the surface was in some parts flaking away4 ,the central panel and the lunette 7forming the picture as it now is7 were bought by ,antonio ,bigazzini1 a nobleman of ,perugia1 for a sum of about #ejj4 ,shortly afterwards1 the picture passed into the hands of the great ,colonna family at ,rome1 and it is often called ,the ,colonna ,raphael4 ,the fortunes of the picture now became part of those of modern ,italian history4 ,in the last century1 the picture had been bought by ,francis ,,ii41 ,king of ,naples4 ,it was a great favourite of his1 and was always kept in his bedroom in the ,royal ,palace4 ,when the revolution of #ahfj came1 and the king was driven out of ,naples1 the ,raphael accompanied him on his wanderings1 and the king succeeded in conveying it in safety to the fortress of ,gaeta4 ,when ,gaeta fell in #ahfa1 and the king went into exile1 he again took the picture with him1 and it was safely transported to ,spain4 ,the king was accompanied in his flight by the financier and factotum1 formerly ,spanish ,minister at ,naples1 upon whom he had conferred the title of ,duke of ,ripalda4 ,to him the king in some way pledged the picture1 and for a time it became known as the ,ripalda ,raphael4 ,its history next becomes connected with the secular jealousies of ,england and ,france4 ,in #ahfg ,sir ,j4 ,c4 ,robinson saw the picture at ,madrid1 and received a hint that it might possibly be for sale4 ,sir ,william ,boxall1 the ,director of our ,gallery1 went to inspect the picture1 which was then in fine condition2 and ,disraeli authorised the trustees to buy it4 ,negotiations were commenced on the basis of #bj1jjj2 but the ,duke of ,ripalda was a friend of the ,empress ,eugnie1 and the knowledge that ,england was in the market inspired a counter-bid of #dj1jjj from ,france4 ,the outbreak of the ,prussian ,war caused a hitch in the negotiations2 and the picture1 which had been sent to ,paris1 underwent rigorous restoration4 ,the ,colonna ,raphael1 wrote ,sir ,william ,gregory 7,may #ahgj71 was1 a few months ago1 one of the most perfect and important pictures of that master4 ,in an evil moment it had been submitted to the cleaner1 and a piteous spectacle it now is in the eyes of gods and men4 ,it is said that on the old frame being removed1 the picture fell to the ground in three pieces4 ,this is confirmed by the extraordinary winking appearance of the eye of one of the female saints1 through which unfortunately one of the cracks runs1 and which therefore had to be repainted by a modern hand4 ,ruskin1 perhaps unaware of these repaintings or believing that they could be removed1 strongly urged the acquisition of the picture for the nation 7,works1 xxii4 #adj1 xxxiv4 #eab74 ,but the authorities would not entertain the idea1 and the picture1 refused both by the ,louvre and by the ,national ,gallery1 returned1 unpurchased and unhonoured1 into the hands of the ,duke4 ,in #ahhf it was lent to the ,south ,kensington ,museum and there it remained for several years1 until ,mr4 ,martin ,colnaghi bought it from the representatives of the late ,king of ,naples4 ,the ,parisian repaintings were removed1 and the picture was restored to much of its pristine beauty4 ,ultimately it passed into the possession of ,mr4 ,pierpont ,morgan 7at the price1 it is said1 of #ajj1jjj71 and by him it is for the present lent to the ,national ,gallery4 ,,the ,,adoration ,,of ,,the ,,magi4 ,unknown 7,spanish3 end of #aeth century74 ,signed ,lo ,fil de ,mestre ,rodrigo4 ,lent by the ,victoria and ,albert ,museum4 ,illustration ,,footnotes3 #bfc ,in addition to the three scenes mentioned by ,vasari there were two single figures1 of ,st4 ,francis and ,st4 ,anthony of ,padua respectively3 these are in the ,dulwich ,gallery4 ,,copies ,,from ,,the ,,old ,,masters ,i4--,,velazquez ,one collection is of fifty-nine copies in oil-colour1 on a reduced scale1 of pictures by ,velazquez in the ,prado ,gallery1 at ,madrid1 presented by ,lord ,savile4 ,they were painted by ,mr4 ,chidley ,molony1 an ,english gentleman who first went to ,spain as an officer in the army of ,general ,evans1 and subsequently settled at ,madrid1 where he was a great favourite and well known1 especially to the ,english ,colony4 ,the following are the subjects of these copies3-- #a4 ,the ,adoration of the ,magi4 #b4 ,the ,crucifixion4 #c4 ,the ,coronation of the ,virgin4 #d4 ,st4 ,anthony visiting ,st4 ,pablo4 #e4 ,a ,group of ,rustics drinking 7the picture known as ,los ,borrachos74 #f4 ,the ,forge of ,vulcan4 #g4 ,the ,surrender of ,breda 7the picture known as ,las ,lanzas74 #h4 ,the ,tapestry ,fabric of ,st4 ,isabel at ,madrid 7the picture known as ,las ,hilanderas74 #i4 ,velazquez in his painting room1 with various members of the ,royal ,family and their ,attendants 7the picture known as ,las ,meninas74 #aj4 ,mercury and ,argus4 #aa4 ,equestrian ,portrait of ,king ,philip ,,iii4 #ab4 ,equestrian ,portrait of ,queen ,margarita de ,austria 7wife of ,philip ,,iii474 #ac4 ,equestrian ,portrait of ,king ,philip ,,iv4 #ad4 ,equestrian ,portrait of ,queen ,isabel de ,borbon 7first wife of ,philip ,,iv474 #ae4 ,equestrian ,portrait of ,prince ,baltasar ,carlos1 as a child4 #af4 ,equestrian ,portrait of the ,duke of ,olivares4 #ag4 ,portrait of ,philip ,,iv4 as a young man1 in court dress4 #ah4 ,portrait of the ,infanta of ,spain1 ,doa ,maria1 ,queen of ,hungary 7sister of ,philip ,,iv474 #ai4 ,portrait of the ,infante1 ,don ,carlos1 second son of ,philip ,,iii41 in court dress4 #bj4 ,portrait of ,king ,philip ,,iv4 in hunting dress4 #ba4 ,portrait of the ,infante1 ,don ,fernando de ,austria 7brother of ,philip ,,iv471 in hunting dress4 #bb4 ,portrait of ,prince ,baltasar ,carlos1 at the age of six1 in hunting dress4 #bc4 ,portrait of ,king ,philip ,,iv41 at the age of fifty 7871 clad in half armour4 #bd4 ,portrait of ,doa ,mariana de ,austria 7second wife of ,philip ,,iv474 #be4 ,king ,philip ,,iv4 kneeling at prayer4 #bf4 ,queen ,mariana de ,austria1 second wife of ,philip ,,iv41 kneeling at prayer4 #bg4 ,portrait of ,prince ,baltasar ,carlos1 son of ,philip ,,iv41 at the age of fourteen1 in court dress4 #bh4 ,portrait of the ,infanta1 ,maria ,teresa de ,austria1 daughter of ,philip ,,iv4 and afterwards ,queen of ,france4 #bi4 ,portrait 7bust length7 of the ,cordovan poet1 ,don ,louis de ,gngora y ,argote4 #cj4 ,portrait of ,doa ,juana ,pacheco1 wife of the author 7bust length2 in profile74 #ca4 ,portrait of a ,girl 7daughter of ,velazquez874 #cb4 ,portrait of a ,girl 7another daughter of ,velazquez874 #cc4 ,portrait of a middle-aged ,lady 7half length74 #cd4 ,portrait of ,don ,antonio ,alonso ,pimentel1 ninth ,count of ,benavente1 ,groom of the ,bedchamber to ,king ,philip ,,iv4 #ce4 ,portrait of the ,sculptor1 ,martinez ,montanes 7half length74 #cf4 ,portrait of ,pablillos de ,valladolid1 a ,jester of ,king ,philip ,,iv4 #cg4 ,portrait of ,pernia1 a ,jester of ,king ,philip ,,iv4 7commonly known as the ,portrait of ,barbarroja74 #ch4 ,portrait of a ,jester of ,king ,philip ,,iv41 nicknamed ,don ,juan de ,austria4 #ci4 ,portrait of a ,dwarf of ,king ,philip ,,iv41 called ,el ,primo4 #dj4 ,portrait of a ,dwarf of ,king ,philip ,,iv4 7,sebastian de ,morra87 #da4 ,portrait of ,don ,antonio1 an ,english 787 ,dwarf of ,king ,philip ,,iv4 7with a mastiff74 #db4 ,the ,boy of ,vallecas4 #dc4 ,the ,idiot of ,coria4 #dd4 sop4 #de4 ,menippus4 #df4 ,the ,god ,mars4 #dg4 ,portrait of a ,man 7bust length74 #dh4 ,portrait of a ,man 7bust length74 #di4 ,portrait of ,alonso ,martinez de ,espinar1 ,groom of the ,bedchamber to ,prince ,baltasar ,carlos 7bust length74 #ej4 ,view in the ,garden of the ,villa ,medici1 ,rome4 #ea4 ,view in the ,garden of the ,villa ,medici1 ,rome4 #eb4 ,view of the ,calle de la ,reina in ,aranjuez1 with a ,royal ,cavalcade on the road4 #ec4 ,study of an old ,man's head1 in profile4 #ed4 ,study of an old ,man's head 7a smaller copy74 #ee4 ,portrait of ,philip ,,iv41 in court dress4 #ef4 ,portrait of ,prince ,baltasar ,carlos1 as a child1 in court dress4 #eg4 ,a ,group of ,figures1 presumably painted by ,velazquez1 in the foreground of a ,view of ,zaragoza1 by ,juan ,bautista ,martinez del ,mazo4 #eh4 ,another group of ,figures in the same picture4 #ei4 ,portrait of ,doa ,mariana de ,austria1 second wife of ,philip ,,iv41 dressed in mourning 7now attributed to ,juan ,b4 ,m4 del ,mazo74 ,,ii4--,,rembrandt ,a second collection 7also presented by ,lord ,savile7 consists of forty copies1 painted in oil-colour1 on a reduced scale by ,herr ,paul ,roemer1 from pictures by ,rembrandt in the ,imperial ,gallery of the ,hermitage1 ,st4 ,petersburg4 ,the subjects are as follows3-- ,enclosed in one ,frame-- #a4 ,the ,denial of ,st4 ,peter4 #b4 ,portrait of ,rembrandt's ,mother2 half length2 seated1 holding a book on her knees4 #c4 ,portrait of ,rembrandt's ,mother2 half length2 seated4 #d4 ,portrait of a young ,warrior in armour4 #e4 ,portrait of an aged ,jew2 half length2 seated4 #f4 ,portrait of a ,man2 half length2 standing4 #g4 ,portrait of a ,woman2 half length2 seated4 #h4 ,portrait of the ,rabbi ,manasseh ben ,israel2 seated4 #i4 ,a young female ,servant1 with a broom4 #aj4 ,le ,benedicite4 7,a ,peasant family saying grace47 ,enclosed in one ,frame-- #aa4 ,abraham at ,table with the ,angels4 #ab4 ,jacob's elder ,sons showing him ,joseph's garment4 #ac4 ,potiphar's ,wife accusing ,joseph4 #ad4 ,the ,parable of the ,labourers in the ,vineyard4 #ae4 ,the ,incredulity of ,st4 ,thomas4 #af4 ,portrait of ,rembrandt's ,mother2 half length2 seated4 #ag4 ,portrait of a young ,jewess1 crowned with flowers4 #ah4 ,portrait of a ,turk2 half length4 #ai4 ,portrait of a ,man4 #bj4 ,portrait of a young ,man1 with long fair hair4 #ba4 ,portrait of a young ,man1 dressed in black4 #bb4 ,portrait of an old ,man4 ,enclosed in one ,frame-- #bc4 ,the ,sacrifice of ,abraham4 #bd4 ,the ,holy ,family4 #be4 ,the ,return of the ,prodigal ,son4 #bf4 ,dana4 #bg4 ,portrait of an old ,officer4 #bh4 ,a ,young ,girl at her ,toilet4 #bi4 ,portrait of a ,man4 #cj4 ,portrait of a ,woman4 #ca4 ,a ,landscape2 with figures representing the journey to ,emmaus4 #cb4 ,view on the ,rhine4 #cc4 ,the ,toilet of a young ,jewish ,girl4 ,enclosed in one ,frame-- #cd4 ,the ,disgrace of ,haman4 #ce4 ,the ,descent from the ,cross4 #cf4 ,portrait of ,lieven ,willemszon van ,copenol1 the ,calligrapher4 #cg4 ,the ,mother of ,rembrandt2 half length2 seated4 #ch4 ,portrait of an aged ,jew4 #ci4 ,portrait of an old ,man4 #dj4 ,a ,nun teaching a ,child to read4 ,,iii4--,,murillo1 ,,etc4 ,a third collection 7presented by ,dr4 ,e4 ,j4 ,longton1 of ,southport7 consists of forty-five small water-colour copies1 by ,w4 ,west1 from pictures by old masters1 principally in the ,prado ,gallery at ,madrid4 ,the following are the subjects3-- ,after ,murillo-- #a4 ,the ,adoration of the ,shepherds4 ,prado1 ,madrid4 #b4 ,st4 ,elizabeth of ,hungary tending the ,sick4 ,academy of ,st4 ,fernando1 ,madrid4 #c4 ,the ,dream of the ,roman ,senator and his ,wife4 ,ibid4 #d4 ,the ,roman ,senator and his ,wife telling their ,dream to ,pope ,liberius4 ,ibid4 #e4 ,st4 ,thomas of ,villanueva giving alms4 ,museum1 ,seville4 #f4 ,christ on the ,cross1 supported by ,st4 ,francis4 ,ibid4 #g4 ,,ss4 ,justa and ,rufina4 ,ibid4 #h4 ,st4 ,anthony with the ,infant ,saviour4 ,museum1 ,seville4 #i4 ,st4 ,felix restoring the ,infant ,christ to the ,virgin4 ,ibid4 #aj4 ,la ,vergen de la ,servilleta4 ,ibid4 #aa4 ,moses striking the ,rock in ,horeb4 ,la ,caridad1 ,seville4 #ab4 ,st4 ,john the ,baptist as a ,child1 with the ,lamb4 ,ibid4 #ac4 ,the ,charity of ,st4 ,juan de ,dios4 ,ibid4 ,after ,zurbaran 787 #ad4 ,a ,legendary ,subject4 ,after ,velazquez-- #ae4 ,los ,borrachos 7,the ,tipplers74 ,prado1 ,madrid4 #af4 ,portrait of ,philip ,,iv4 7with a ,dog74 ,ibid4 #ag4 ,prince ,balthazar as a ,boy on his ,pony4 ,ibid4 #ah4 ,portrait of the ,infanta ,doa ,margarita4 ,ibid4 #ai4 ,portrait of a ,male ,dwarf1 with a ,dog4 ,ibid4 #bj4 ,las ,meninas 7,the ,maids of ,honour72 ,velazquez in his ,studio painting the ,infanta ,margarita ,maria4 ,ibid4 #ba4 ,equestrian ,portrait of ,philip ,,iv4 ,ibid4 #bb4 ,portrait of the ,earl of ,nottingham4 ,ibid4 ,after ,titian-- #bc4 ,portrait of ,philip ,,ii4 as a ,young ,man4 ,ibid4 #bd4 ,equestrian ,portrait of ,charles4 ,ibid4 #be4 ,the ,bacchanal4 ,ibid4 #bf4 ,portrait of ,charles ,v41 with a ,dog4 ,ibid4 #bg4 ,portrait of an ,officer4 ,after ,rubens-- #bh4 ,the ,three ,graces4 ,ibid4 #bi4 ,the ,garden of ,love4 ,ibid4 ,after ,van ,dyck-- #cj4 ,the ,betrayal of ,christ4 ,ibid4 #ca4 ,portrait of ,henry1 ,count de ,berg4 ,ibid4 #cb4 ,portrait of a ,cavalier4 ,ibid4 ,after ,ribera-- #cc4 ,jacob receiving ,isaac's ,blessing4 ,ibid4 #cd4 ,jacob's ,dream4 ,ibid4 ,after ,jordaens-- #ce4 ,family ,group in a ,garden4 ,ibid4 ,after ,raphael-- #cf4 ,the ,holy ,family 7,la ,perla74 ,prado1 ,madrid4 #cg4 ,the ,holy ,family 7,la ,rosa74 ,ibid4 #ch4 ,the ,holy ,family 7,del ,lagarto74 ,ibid4 #ci4 ,christ bearing the ,cross 7,lo ,spasimo74 ,ibid4 ,after ,correggio-- #dj4 ,noli me tangere4 ,ibid4 ,after ,claude-- #da4 ,landscape1 with ,st4 ,mary ,magdalen kneeling4 ,ibid4 ,after ,giorgione-- #db4 ,the ,virgin and ,child1 with ,st4 ,bridget4 ,ibid4 ,after ,rembrandt-- #dc4 ,queen ,artemisia4 ,ibid4 ,after ,sir ,a4 ,more-- #dd4 ,queen ,mary of ,england4 ,ibid4 ,after ,parmigiano-- #de4 ,portrait of a ,lady with three ,children 7probably ,riccarda ,malaspina1 ,wife of ,lorenzo ,cibo74 ,ibid4 ,,iv4--,,the ,,arundel ,,society',s ,,collection ,the ,arundel ,society was formed in #ahdi in order to meet a revived interest in art by suitable instruction4 ,in the case of early ,italian art1 the materials for such instruction were abundant1 but scattered1 little accessible1 and1 in some instances1 passing away4 ,the ,society set itself to secure engravings and other records of works of art which came within the description just given4 ,a large collection of water-copies from the ,old ,masters was thus accumulated1 and the ,collection was in #ahig deposited in the ,national ,gallery on loan4 ,two years later1 the ,society was wound up1 and the collection was given to the nation4 ,it is of great interest and value to all students of medival art4 ,many of the ,arundel copies are familiar from reproductions in chromo-lithography4 ,the latter1 as a well-known critic has remarked1 although they undoubtedly did good service in their time by calling attention to the less known and less easily available masterpieces of the earlier ,italian art1 were often enough lamentable caricatures of the things which they professed to represent4 ,the drawings themselves are1 however1 in many cases1 of an exquisite accuracy1 of which the reproductions give little or no idea4 ,of course1 when the attempt is made to copy in this medium the great achievements of ,giovanni ,bellini1 ,giorgione1 ,titian1 ,palma ,vecchio1 ,paolo ,veronese1--or even of such earlier colourists as the ,van ,eycks and ,memlinc1--failure1 more or less complete1 must inevitably be the result4 ,it would be difficult1 on the other hand1 to overestimate the value of such copies as those of the famous frescoes of ,mantegna in the ,church of the ,eremitani at ,padua1 those of ,benozzo ,gozzoli at ,san ,gimignano and ,montefalco1 of ,piero della ,francesca at ,arezzo1 or of the great galaxy of ,quattrocento painters--,perugino1 ,pinturicchio1 ,botticelli1 ,ghirlandajo1 ,signorelli1 ,cosimo ,rosselli1 and ,piero di ,cosimo--who worked in the ,sixtine ,chapel before ,michelangelo came to dwarf and efface them with his stupendous ceiling1 and1 thirty years later on1 with his ',last ,judgment4' ,for the purposes of study and comparison these copies1 lent by the ,arundel ,society1 fulfil much the same role as does a good museum of casts from antique masterpieces4 ,they do not enable the student of art to form a complete idea of the originals1 any more than the copies of the ,pheidian and ,praxitelean sculptures do2 but they enlarge his view of the scope and significance of ,italian and ,netherlandish art in their greatest phases1 and happily they fill up gaps which must occur even in the most various and representative collection1 such as is the ,national ,gallery4#bfd ,it is hoped that the following catalogue may serve to bring before the notice of visitors the importance of a collection which deserves much greater attention than it has hitherto received4 ,the artists represented are arranged alphabetically1 with references to such of them as are also represented by original work in the ,national ,gallery4 ,after the title of each work1 information is given as to the nature of the original from which the copy is made1 and the place where the original is4 ,the numerals after each picture refer to the numbers at present on the frames4 ,,albertinelli 7see under #fde74 ,the ,visitation 7#aa73 picture1 ,uffizi1 ,florence4 ,,andrea ,,del ,,castagno 7see under #aach74 ,the ,last ,supper 7#abj73 fresco1 ,convent ,s4 ,apollonia1 ,florence4 ,,angelico1 ,,fra 7see under #ffc74 ,christ and ,magdalen 7#ea73 fresco1 ,convent of ,s4 ,marco1 ,florence4 ,christ at ,emmaus 7#gf73 ,the ,transfiguration 7#di73 ,the ,crucifixion 7#ia73 ,the ,entombment 7#ej73 ,the ,marys at the ,sepulchre 7#ec73 ,madonna and ,child1 etc4 7#fe73 ,the ,presentation 7#ed73 ,the ,annunciation3 ,coronation of the ,virgin3 ,christ as a ,pilgrim 7#gj73 ,ordination of ,st4 ,stephen 7#ee73 fresco1 ,vatican1 ,rome4 ,adoration of the ,magi 7#aff73 ,lives of ,,ss4 ,stephen and ,lawrence 7#abh1 #aca1 #acd1 #aic1 #aid1 etc473 frescoes1 ,chapel of ,st4 ,lawrence1 ,vatican4 ,the remote little chapel containing ,fra ,angelico's masterpieces4 ,without seeing it1 no one can have any conception of the strength and freedom of the artist4 ,these frescoes are the highest expression of that which the friar for many years had been striving after4 ,they are an anthology of his artistic virtues 7,fra ,angelico1 by ,langton ,douglas3 see pp4 #ada-aeh for a full discussion of them74 ,,avanzo1 ,,jacopo ,d' 7,veronese3 painted #acgg74 ,st4 ,lucy and her ,judges 7#cf73 fresco1 ,s4 ,antonio1 ,padua4 ,martyrdom of ,st4 ,george 7#ahc73 fresco1 ,s4 ,giorgio1 ,padua4 ,,bartolommeo1 ,,fra 7see under #afid74 ,christ at ,emmaus 7#gb73 fresco1 ,s4 ,marco1 ,florence4 ,vision of ,st4 ,dominic 7#de73 ,virgin and ,child 7#bd73 ,noli me tangere3 ,,bellini1 ,,giovanni 7see under #ahi74 ,virgin and ,child 7#fb73 picture1 ,frari1 ,venice4 ,the art of ,bellini is centrally represented by two pictures at ,venice3 one the ,madonna in the sacristy of the ,frari with two saints beside her1 and ten angels at her feet2 the second1 the ,madonna with four ,saints over the second altar of ,san ,zaccaria4 ,in the first of these the figures are under life size1 and it represents the most perfect kind of picture for rooms2 in which1 since it is intended to be seen close to the spectator1 every right kind of finish possible to the hand may be wisely lavished2 yet which is not a miniature1 nor in any wise petty or ignoble1 etc4 7,ruskin3 ,relation between ,michael ,angelo and ,tintoret1 p4 #ad74 ,,boccaccio ,,boccaccino 7see under #hjf74 ,christ among the ,doctors 7#eg73 fresco1 ,cathedral1 ,cremona4 ,,botticelli 7see under #ajcd74 ,spring 7#hf73 picture1 ,belle ,arti1 ,florence4 ,the most probable explanation of the allegory is this3--,the picture represents a masque or joust of ,spring given by ,giuliano de' ,medici in honour of his mistress1 ,la ,simonetta ,vespucei1 who is here represented as ,spring1 ,giuliano himself figuring as ,mercury4 ,in the centre is ,venus with ,cupid above her head1 pointing an arrow at ,giuliano4 ,shortly after the joust1 ,giuliano was murdered1 and ,la ,simonetta died4 ,the death-like figure to the extreme left1 breathing upon ,spring1 represents the premonition of these coming disasters4 ,simonetta was a favourite model of ,botticelli's1 the same slender and long-throated lady appearing in many of his works1 though sometimes spiritualised almost past recognition 7cf4 ,ariadne ,florentina1 ,appendix iv42 and a sonnet by ,d4 ,g4 ,rossetti describing this picture74 ,destruction of ,korah1 ,dathan1 and ,abiram 7#ahj73 fresco1 ,sistine ,chapel4 ,moses at the ,well 7#ahe73 fresco1 ,sistine ,chapel4 ,the ,temptation 7#aaj73 ,venus rising from the ,sea 7#hg73 picture1 ,uffizi1 ,florence4 ,for an interesting description and interpretation of this picture1 see ,pater's ,studies in the ,history of the ,renaissance3 ,the light is cold--mere ,sunless dawn2 but a later painter would have cloyed you with sunshine2 and you can see the better for that quietness in the morning air each long promontory as it slopes down to the water's edge4 ,men go forth to their labours until the evening2 but she is awake before them1 and you might think that the sorrow in her face was at the thought of the whole long day of love yet to come4 ,an emblematical figure of the wind blows hard across the grey water1 moving forward the dainty-tipped shell on which she sails1 the sea 'showing his teeth' as it moves in their lines of foam1 and sucking in one by one the falling roses4444 ,what is unmistakable is the sadness with which ,botticelli has conceived the ,goddess of ,pleasure as the depositary of a great power over the lives of men4 ,giovanna ,tornabuoni and the ,graces4 ,lorenzo ,tornabuoni and the ,liberal ,arts4 ,copies from the frescoes formerly in the ,villa ,lemmi1 near ,florence1 now in the ,louvre3 for a description of them1 see ,ruskin's ,art of ,england1 #fi4 ,,buffalmacco 7,florentine3 #abfb-acea74 ,raising of ,lazarus 7#baf73 fresco1 ,assisi4 ,,carpaccio 7see under #gej74 ,st4 ,george baptizing the ,princess 7#gi73 picture1 ,s4 ,giorgio degli ,schiavoni1 ,venice4 ,st4 ,jerome in his study 7#hi73 ,the ,calling of ,st4 ,matthew 7#gg73 ,st4 ,george and the ,dragon 7#aij73 ,see for full descriptions of these pictures ,ruskin's ,st4 ,mark's ,rest1 ,shrine of the ,slaves4 ,st4 ,vitale and ,saints 7#bei72 picture1 ,church ,s4 ,vitale1 ,venice4 ,signed1 and dated #aead4 ,an admirable example of the master4 ,,cimabue 7see under #efe74 ,frescoes in the upper church of ,assisi 7#acg-aee74 ,in these works there is an evident struggle in the mind of the artist to give to traditional form the expression of a living intention2 but all that belongs to a closer imitation of nature in her individual peculiarities--all that belongs to the conception of characteristic or graceful action1--is still wanting4 ,the form of the countenance is alike throughout2 the expression1 as conveyed by mien1 always constrained4 ,yet1 notwithstanding all these defects1 these works must be regarded as having been mainly instrumental in opening a new path to the free exercise of art4--,kugler4 ,,domenico ,,di ,,bartolo 7,,sienese3 died #addi74 ,copies from two of the frescoes in the ,hospital of ,s4 ,maria della ,scala1 at ,siena 7,nos4 #a and #f of the series1 ,the ,rearing1 ,education1 and ,marriage of ,foundlings1 and ,pope ,celestine's approval of the building of the ,hospital74 ,d,,rer1 ,,albert 7see under #aich74 ,st4 ,john and ,st4 ,peter 7#ii73 picture1 ,pinakothek1 ,munich4 ,st4 ,mark and ,st4 ,paul 7#ajc73 ,adoration of the ,trinity 7#aja73 picture1 ,belvedere1 ,vienna4 ,,eyck1 ,,van1 ,the ,brothers 7see under #ahf74 ,adoration of the ,lamb 7#ajg73 altar-piece1 ,cathedral1 ,ghent4 ,this famous picture has been put together1 in the copy1 from the originals1 which are now distributed among ,ghent 7three central panels71 ,brussels 7the ,adam and ,eve71 and ,berlin 7the remaining panels74 ,,foligno1 ,,niccolo ,,da 7see under #aajg74 ,virgin and ,child 7#dj73 altar-piece1 ,gualdo ,tadino1 ,umbria4 ,,forli1 ,,melozzo ,,da 7see under #gee74 ,pope ,sixtus ,,vi4 7#ch73 fresco1 ,vatican ,gallery1 ,rome4 ,angels 7#fh1 #gf1 #bjf1 #bag73 fresco1 sacristy1 ,st4 ,peter's1 ,rome4 ,,francesca1 ,,piero ,,della 7see under #ffe74 ,the ,resurrection 7#cb73 fresco1 ,palazzo ,communale1 ,borgo ,san ,sepolcro4 ,battle for the ,recovery of the ,true ,cross 7#agh73 fresco1 ,s4 ,francesco1 ,arezzo4 ,st4 ,helena finding the ,true ,cross3 fresco1 ,s4 ,francesco1 ,arezzo4 ,dream of ,constantine 7#afa73 fresco1 ,s4 ,francesco1 ,arezzo4 ,the movement and life in the compositions1 the variety in the expressions of the numerous figures1 their energy of action1 and the grand treatment of the draperies1 are all equally remarkable4--,kugler4 ,,francia 7see under #ahj74 ,marriage of ,st4 ,cecilia3 fresco1 ,st4 ,cecilia1 ,bologna4 ,burial of ,st4 ,cecilia3 ,,gaddi1 ,,agnolo 7,florentine3 died #acif74 ,nativity of the ,virgin 7#bjg73 fresco1 cathedral of ,prato4 ,betrothal 7#agi73 ,,gaddi1 ,,taddeo 7see under #bae74 ,adoration of the ,magi 7#aac73 fresco1 lower church1 ,assisi4 ,,ghirlandajo 7see under #abcj74 ,calling of the ,apostles 7#aae73 fresco1 ,sistine ,chapel1 ,rome4 ,the ,last ,supper 7#hh73 fresco1 ,ognissanti1 ,florence4 ,st4 ,john the ,baptist 7#ij73 fresco1 ,s4 ,maria ,novella1 ,florence4 ,zacharias ,naming his ,son 7#ib73 ,birth of the ,baptist 7#aaa73 ,angel appearing to ,zacharias 7#acb73 ,baptism of ,christ 7#aei73 ,expulsion of ,joachim 7#aga73 ,birth of the ,virgin 7#agb73 ,marriage of the ,virgin 7#age73 ,the ,salutation 7#aie73 ,massacre of the ,innocents 7#aif73 ,presentation in the ,temple 7#bbf73 ,for a criticism of ,ghirlandajo's frescoes in this church1 see ,ruskin's ,mornings in ,florence1 pp4 #be1 #bf4 ,the ,emperor ,augustus and the ,sibyl 7#hd73 fresco1 ,s4 ,trinita1 ,florence4 ,death of ,st4 ,francis of ,assisi3 fresco1 ,s4 ,trinita1 ,florence4 ,death of ,s4 ,fina 7#dg73 fresco1 ,cappella ,s4 ,fina1 ,s4 ,gimignano4 ,burial of ,s4 ,fina 7#aeh73 ,,giorgione 7see under #bfi74 ,virgin and ,child 7#i73 altar-piece ,castelfranco4 ,this according to ,ruskin1 is one of the two most perfect pictures in existence2 alone in the world1 as an imaginative representation of ,christianity1 with a monk and a soldier on either side1 the soldier bearing the white cross of everlasting peace on the purple ground of former darkness4--,oxford ,lecture1 reported in ,cook's ,studies in ,ruskin1 p4 #bea4 ,for a further description of the picture1 see ,stones of ,venice1 ,travellers' edition1 ii4 pp4 #agg-agi4 ,,giotto 7see under #efh74 ,the ,life of ,st4 ,francis 7#b1 #ie1 #aii-bje1 #bae-bbj73 frescoes1 upper church of ,s4 ,francesco1 ,assisi4 ,the ,virtues3 frescoes1 lower church of ,s4 ,francesco1 ,assisi4 ,here1 in the cradle of ,florentine art1 the young ,giotto worked out his apprenticeship as a painter4 ,for ,ruskin's estimate of ,giotto's work at ,assisi1 see ,fors ,clavigera for #ahgg4 ,vices and ,virtues 7#hb ,a1 etc473 frescoes1 ,arena ,chapel1 ,padua4 ,piet3 ,,gozzoli 7see under #bhc74 ,scenes from the ,life of ,st4 ,francis 7#bjh1 #bbb1 #bdb1 #bfg73 frescoes1 church ,s4 ,francesco1 ,montefalco4 ,virgin and ,child 7#ig73 altar-piece1 church of ,s4 ,francesco1 ,montefalco4 ,scenes from the ,life of ,st4 ,agostino 7#df1 #bbd1 #bdc1 #bdd73 frescoes1 church ,s4 ,agostino1 ,s4 ,gimignano4 ,the ,journey of the ,three ,kings to ,bethlehem 7#cg1 #ci1 #da1 #abc1 #bdh73 frescoes1 ,riccardi ,palace1 ,florence4 ,the chapel in the ,palazzo ,medici1 now ,riccardi1 is made the scene of the journey1 represented in a sumptuous procession of knights1 squires1 and pages1 with dogs and hunting leopards4 ,he has also introduced portraits of various members of the ,medici family and of some of the principal citizens of ,florence4--,kugler's ,italian ,schools1 i4 #afd4 ,marriage of ,isaac and ,rebecca3 fresco1 ,campo ,santo1 ,pisa4 ,,guido ,,da ,,siena4 ,virgin and ,child 7#bda73 picture1 ,s4 ,domenico1 ,siena4 ,stated on an inscription to have been painted in #abba4 ,relying on the date1 the ,sienese have disputed the claims of the ,florentines to have been the regenerators of ,italian art4 ,but it has been proved that the numerals have been tampered with1 the true date being #abha4 ,,holbein 7see under #acad74 ,the ,meier ,madonna 7#ajb73 picture1 ,palace ,princess ,charles1 ,darmstadt4 ,this is from the original1 of which there is a celebrated copy at ,dresden4 ,the received tradition respecting the ,holbein ,madonna is beautiful1 and ,i believe the interpretation to be true4 ,a father and a mother have prayed to her for the life of their sick child4 ,she appears to them1 her own ,christ in her arms4 ,she puts down her ,christ beside them--takes their child into her arms instead4 ,it lies down upon her bosom1 and stretches its hand to its father and mother1 saying farewell4--,ruskin's ,on the ,old ,road1 i4 pp4 #bcd1 #bce4 ,,libri1 ,,girolamo ,,dai 7see under #gdh74 ,virgin and ,child 7#dd73 picture1 ,s4 ,giorgio1 ,verona4 ,,leonardo ,,da ,,vinci 7see under #ajic74 ,virgin and ,child3 fresco1 ,st4 ,onofrio1 ,rome4 ,,lippi1 ,,fra ,,filippo 7see under #fff74 ,virgin and ,child 7#cd73 picture1 ,uffizi1 ,florence4 ,virgin and ,child 7#ajj73 picture1 ,belle ,arti1 ,florence4 ,this is one of the four pictures selected by ,mr4 ,ruskin for his series of ,lesson ,photographs4--,see ,fors ,clavigera1 #ahge1 pp4 #cjg-caj2 #ahgf1 p4 #ahg4 ,burial of ,st4 ,stephen 7#bch73 fresco1 cathedral of ,prato4 ,heads from frescoes 7#aeg1 #agj73 ,,lippi1 ,,filippino 7see under #bic74 ,virgin and ,child 7#ff73 fresco1 cathedral1 ,prato4 ,vision of ,s4 ,bernard 7#a73 altar-piece1 ,badia1 ,florence4 ,glorification of ,st4 ,thomas ,aquinas1 two heads from3 fresco 7#aeg72 ,cappella1 ,carafa1 ,s4 ,maria sopra ,minerva1 ,rome4 ,for a description of this remarkable fresco1 barbarously restored and repainted in #ahgd1 see ,kugler's ,italian ,schools of ,painting1 i4 #afj4 ,st4 ,peter delivered from prison3 fresco1 ,brancacci chapel1 ,carmine1 ,florence4 ,st4 ,peter and ,st4 ,paul before ,nero1 and ,martyrdom of ,st4 ,peter3 fresco1 ,brancacci chapel1 ,carmine1 ,florence4 ,st4 ,peter visited by ,st4 ,paul3 fresco1 ,brancacci chapel1 ,carmine1 ,florence4 ,see also ,masaccio and ,masolino2 the ,arundel ,society's ascriptions are here followed1 but the ascription of these frescoes to one or other of the three artists1 ,filippino ,lippi1 ,masaccio1 and ,masolino is doubtful4 ,,lorenzetti1 ,,pietro 7see under #aaac74 ,the ,deposition 7#bi73 fresco1 lower church1 ,assisi4 ,good ,government3 frescoes1 ,palazzo ,pubblico1 ,siena4 ,,lorenzo1 ,,fiorenzo ,,di 7see under #aajc74 ,events in the ,life of ,st4 ,bernardino 7#cj1 #bbi1 #bcj73 pictures1 ,pinacoteca1 ,perugia4 ,,luini 7see under #ah74 ,ippolita ,sforza in prayer1 with attendant saints 7#gd73 fresco1 ,s4 ,maurizio1 ,milan4 ,donor and ,saints 7#bff73 fresco1 ,s4 ,maurizio1 ,milan4 ,st4 ,catherine 7#bfh73 fresco1 ,santuario della ,madonna1 ,saronno4 ,st4 ,apollonia 7#bfj73 ,head of an ,attendant 7#abe73 ,head of the ,virgin 7#aag73 ,marriage of the ,virgin3 ,adoration of the ,magi3 ,christ among the ,doctors3 ,presentation3 ,madonna and ,child 7#afj73 fresco1 ,s4 ,maria degli ,angioli1 ,lugano4 ,in a side chapel to the right of the entrance4 ,one of the loveliest little pictures in ,italy4 ,it is dated #aecj1 and is probably the last work which the golden hand of ,luini bequeathed to the world4--,lund's ,como and ,italian ,lake-land1 p4 #dcb4 ,,mantegna 7see under #bgd74 ,the ,histories of ,,ss4 ,james and ,christopher 7#ch1 #db1 #bbg1 #bcj1 #bcf1 #bci72 frescoes1 ,eremitani ,chapel1 ,padua4 ,the most important works of ,mantegna's youth4 ,his early frescoes in the ,eremitani look as though they had been painted from statues or clay models1 carefully selected for the grandeur of their forms1 the nobility of their attitudes1 and the complicated beauty of their drapery4--,symonds3 ,renaissance1 iii4 #aig4 ,,masaccio 7,florentine3 #adja-adbh74 ,st4 ,peter and ,st4 ,john giving alms3 fresco1 ,brancacci ,chapel1 ,carmine1 ,florence4 ,st4 ,peter and ,st4 ,john healing the sick3 fresco1 ,brancacci ,chapel1 ,carmine1 ,florence4 ,st4 ,peter preaching3 fresco1 ,brancacci ,chapel1 ,carmine1 ,florence4 ,the ,expulsion from ,paradise3 ,the ,tribute ,money3 ,st4 ,peter and ,st4 ,paul raising the ,king's son3 fresco1 ,brancacci ,chapel1 ,carmine1 ,florence4 ,homage of ,st4 ,peter3 fresco1 ,brancacci ,chapel1 ,carmine1 ,florence4 ,for ,masaccio1 as the first naturalist in landscape1 see ,ruskin's notices of the frescoes in ,modern ,painters1 vols4 i4 and iii4 ,,masolino 7,florentine3 #achc-addg74 ,the ,history of the ,baptist 7#aai1 #abg1 #afi1 #baa73 frescoes1 ,castiglione d' ,olona 7near ,varese74 ,the ,prophet ,isaiah 7#afg73 fresco1 ,castiglione d' ,olona 7near ,varese74 ,the ,temptation3 fresco1 ,castiglione d' ,olona 7near ,varese74 ,st4 ,peter and ,st4 ,john raising ,petronilla3 fresco1 ,brancacci ,chapel1 ,carmine1 ,florence4 ,tommaso di ,cristoforo ,fini1 known as ,masolino da ,panicale1 from the place of his birth1 is supposed to have been the teacher of ,masaccio4 ,he was for some time in the service of ,cardinal ,branda ,castiglione4 ,these frescoes1 on one of which he inscribed his name1 were executed #adbf-adcg4 ,they indicate a careful study of nature1 though the type of composition is still that of the #adth century4 ,,meister ,,wilhelm 7see under #fhg74 ,virgin and ,child 7#ajd73 picture1 collection ,archbp4 of ,cologne4 ,,memlinc 7see under #fhf74 ,panels from ,triptych 7#aje73 ,hospital ,st4 ,john1 ,bruges4 ,crucifixion 7#ajf73 triptych1 ,lbeck ,cathedral4 ,,memmi1 ,,simone 7,sienese3 born #abhc74 ,annunciation 7#gh73 picture1 ,louvre1 ,paris4 ,death-bed of ,st4 ,martin 7#bgg73 fresco1 church ,s4 ,francesco1 ,assisi4 ,investiture of ,st4 ,martin3 fresco1 church ,s4 ,francesco1 ,assisi4 ,st4 ,martin renouncing the ,emperor's service 7#abd73 fresco1 church ,s4 ,francesco1 ,assisi4 ,the real name of this ,sienese painter was ,simone ,martini4 ,he is celebrated by ,petrarch3 ,i have known two painters1 he writes1 talented both and excellent1 ,giotto of ,florence and ,simone of ,siena4 ,,michael ,,angelo 7see under #gij74 ,delphic ,sibyl 7#bj73 fresco1 ,sistine ,chapel1 ,rome4 ,persic ,sibyl 7#bfb73 ,ezekiel 7#ag73 ,jeremiah 7#af73 ,for ,ruskin's criticism of these frescoes1 see 7among other places7 ,ariadne ,florentina1 ch4 iv4 ,,montagna 7see under #hjb74 ,st4 ,john ,baptist and ,st4 ,benedict 7#f73 picture1 ,,ss4 ,nazzaro e ,celso1 ,verona4 ,,ss4 ,nazzaro e ,celso 7#h73 picture1 ,,ss4 ,nazzaro e ,celso1 ,verona4 ,st4 ,blaise led to execution3 ,,morando 7see under #gce74 ,the ,deposition 7#hj73 picture1 ,municipal ,museum1 ,verona4 ,,pacchiarotto 7see under #ahdi74 ,st4 ,catherine and ,st4 ,agnes 7#aj73 fresco1 oratory of ,s4 ,catherine1 ,siena4 ,,palma ,,vecchio 7see under #fcf74 ,virgin and ,child 7#bab73 picture1 church ,s4 ,stefano1 ,vicenza4 ,s4 ,lucia stands on the left2 on the right1 ,st4 ,george in armour with his banner--a grand figure recalling the ,s4 ,liberale in ,giorgione's picture at ,castelfranco4 ,one of ,palma's finest works4 ,,perugino 7see under #bhh74 ,christ's charge to ,peter 7#ef73 fresco1 ,sistine ,chapel1 ,rome4 ,baptism of ,christ 7#aha73 ,moses and the ,angel 7#aig73 ,attributed by ,morelli to ,pinturicchio3 see ,german ,galleries1 p4 #bfd4 ,adoration of the ,magi 7#if73 fresco1 ,s4 ,maria de' ,bianchi1 ,citt della ,pieve4 ,crucifixion 7#e73 fresco1 ,s4 ,maria ,maddalena de ,pazzi1 ,florence4 ,marriage of the ,virgin 7#gc73 fresco1 ,convent of ,s4 ,girolamo1 ,spello4 ,martyrdom of ,st4 ,sebastian 7#bh73 fresco1 chapel of convent at ,panicale4 ,nativity and ,adoration 7#g73 fresco ,s4 ,francesco del ,monte1 ,perugia4 ,the ,transfiguration 7#d73 fresco1 ,sala del ,cambio1 ,perugia4 ,,peruzzi 7see under #bah74 ,augustus and the ,sibyl 7#bej73 fresco1 church of ,fonte ,giusta1 ,siena4 ,peruzzi imparted to this picture1 says ,lanzi1 such a divine enthusiasm that ,raffaelle himself never surpassed him in his treatment of this subject4 ,,pinturicchio 7see under #fic74 ,glorification of ,st4 ,bernardino 7#ahf73 fresco1 church of ,aracoeli1 ,rome4 ,burial of ,st4 ,bernardino 7#acj73 fresco1 church of ,aracoeli1 ,rome4 ,somewhat slight and hard in execution1 but full of expression and individual life4--,kugler4 ,betrothal of ,frederick ,,iii4 7#ge73 fresco1 ,piccolomini ,library1 ,siena4 ,piccolomini receiving a ,cardinal's hat 7#ga73 fresco1 ,piccolomini ,library1 ,siena4 ,a drawing of the interior of the ,piccolomini ,library1 showing ,pinturicchio's frescoes 7#dc74 ,the ,nativity 7#hb73 fresco1 ,s4 ,maria del ,popolo1 ,rome4 ,st4 ,catherine of ,alexandria 7#ei73 fresco1 ,appartamenti ,borgia1 ,vatican4 ,virgin in ,glory 7#c73 altar-piece at ,monte ,oliveto4 ,annunciation3 fresco1 ,cathedral1 ,spello4 ,nativity3 ,christ among the doctors3 ,,pordenone 7see #bgb74 ,adoration of the ,magi 7#agf73 fresco1 castle of ,coll' ,alto1 near ,conegliano4 ,flight into ,egypt 7#bbe73 fresco1 castle of ,coll' ,alto1 near ,conegliano4 ,,raphael 7see under #aaga74 ,philosophy 7#bb73 fresco1 in one of the ,stanze1 ,vatican4 ,poetry 7#be73 ,poets on ,mt4 ,parnassus 7#ba73 ,st4 ,peter delivered from ,prison 7#ai73 ,theology 7#bc73 ,justice 7#bf73 ,expulsion of ,heliodorus 7#bac73 ,mass of ,bolsena 7#aba73 ,these frescoes1 in one of the chambers of the ,vatican1 are those by which1 according to ,ruskin1 ,raphael wrote upon its walls the ,mene1 ,tekel1 ,upharsin of the ,arts of ,christianity4 ,see ,edinburgh ,lectures on ,architecture and ,painting1 pp4 #bac1 #bad4 ,the ,four ,sibyls 7#fc73 fresco1 ,s4 ,maria della ,pace1 ,rome4 ,,roman ,,wall ,,painting4 ,the ,nursing of ,bacchus 7#ac73 ,farnesina ,gardens1 ,rome4 ,,romanino 7see under #big74 ,visit of ,christian ,,ii41 ,king of ,denmark1 in #adge to ,bartolomeo ,colleoni 7#eh1 #ahb1 #ahh1 #bbh1 #bcd1 #bdj73 frescoes1 ,castle of ,malpaga1 near ,bergamo4 ,there is perhaps no edifice of the kind which gives so complete an idea of the residence of a great ,italian nobleman in the middle ages4 ,the frescoes are fully described in ,mr4 ,oscar ,browning's ,life of ,bartolomeo ,colleoni1 published by the ,arundel ,society in #ahia4 ,these pictures are extremely interesting as showing the manners and customs of the time2 and we cannot but feel that an age which could have crowded into so short a space so many scenes replete with life and colour1 with dignity and magnificence1 must be worthy of our study4 ,romanino1 the reputed author of the frescoes1 was born ten years after the events which they portray4 ,he must1 therefore1 have worked from the family records of what occurred1 although in his own age the life of chivalry was not altogether dead4 ,it is more probable1 however1 that they were executed by one of his pupils4 ,,rosselli1 ,,cosimo 7,florentine3 #adci-aejg74 ,worship of the ,golden ,calf 7#ace73 fresco1 ,sistine ,chapel1 ,rome4 ,the ,last ,supper 7#ahd73 ,passage of the ,red ,sea 7#aib73 ,sermon on the ,mount 7#aih73 ,the latter is the most successful4 ,the landscape and perhaps other parts are by his pupil1 ,piero di ,cosimo4 ,to ,rosselli was formerly attributed ,no4 #bbg in our ,gallery4 ,,santi1 ,,giovanni 7see under #gea74 ,nativity and ,resurrection 7#d73 fresco1 ,st4 ,domenico1 ,cagli4 ,,sarto1 ,,andrea ,,del 7see under #fij74 ,the ,last ,supper 7#abb73 fresco1 ,s4 ,salvi1 ,florence4 ,a celebrated work in a convent1 now a lunatic asylum1 near ,florence3 commissioned in #aeai1 finished in #aebg4 ,described and highly praised by ,vasari 7iii4 #bbd71 who says that the beauty of the fresco saved the convent from destruction during the siege of ,florence in #aebi-cj4 ,charity 7#id73 fresco1 cloisters of ,campagnia dello ,scalzo1 ,florence4 ,this fresco is the subject of an interesting dissertation by ,max ,mller1 published by the ,fine ,art ,society1 #ahhg4 ,st4 ,john ,baptist preaching 7#ic73 fresco1 cloisters of ,campagnia dello ,scalzo1 ,florence4 ,birth of the ,virgin 7#ea73 fresco1 ,annunziata1 ,florence4 ,procession of the ,magi 7#cc73 fresco1 ,annunziata1 ,florence4 ,st4 ,filippo ,benizzi 7#eb73 ,madonna del ,saco3 ,,signorelli 7see under #aabh74 ,scenes from ,life of ,moses 7#fj73 fresco1 ,sistine ,chapel1 ,rome4 ,st4 ,benedict receiving the true ,king ,totila 7#add73 fresco1 ,monte ,oliveto4 ,st4 ,benedict receiving the false ,king ,totila 7#beg73 fresco1 ,monte ,oliveto4 ,for a description of these frescoes at ,monte ,oliveto1 see ,maud ,cruttwell's ,luca ,signorelli1 p4 #eh4 ,the ,crowning of the ,elect 7#afe73 fresco1 cathedral1 ,orvieto4 ,portraits of ,dante and ,virgil 7from the same73 ,for a description of these see ,bevir's ,visitor's ,guide to ,orvieto1 p4 #dc1 etc4 ,,sodoma 7see under #aadd74 ,presentation of ,,ss4 ,placidas and ,maurus to ,st4 ,benedict 7#bcc73 fresco1 ,monte ,oliveto4 ,st4 ,benedict ,preaching 7#ih73 fresco1 ,monte ,oliveto4 ,christ 7#ab73 fresco1 convent of ,s4 ,anna1 near ,siena4 ,christ bound to the ,column 7#fa73 picture1 ,academy1 ,siena4 ,swoon of ,st4 ,catherine 7#fi73 fresco1 ,s4 ,domenico1 ,siena4 ,vision of ,st4 ,catherine 7#fd73 ,presentation of the ,virgin 7#bfc73 fresco1 ,s4 ,bernardino1 ,siena4 ,,tiepolo 7see under #aaib74 ,anthony and ,cleopatra 7#afb1 #afh73 frescoes1 ,palazzo ,labia1 ,venice4 ,the best of ,tiepolo's works4 ,his frescoes in the ,palazzo ,labia1 representing the embarkation of ,anthony and ,cleopatra on the ,cydnus1 and their famous banquet at ,canopus1 are worthy to be classed with the finest decorative work of ,paolo ,veronese4--,j4 ,a4 ,symonds3 ,century ,guild ,hobby ,horse1 ,april #ahhi4 ,,timoteo ,,della ,,vite 7,ferrarese3 #adfi-aebc74 ,the ,magdalen 7#bfe73 picture1 ,pinacoteca1 ,bologna4 ,by the first master of ,raphael4 ,the picture is mentioned by ,vasari 7iii4 #aad73 ,she is standing upright1 her vestment is a short mantle1 but the figure is covered principally with the long hair1 which falls to her feet2 and this is so beautiful and natural that1 while observing it1 one cannot but fancy that the light silky tresses are stirred by the wind4 ,the countenance1 also1 has the most divine beauty of expression1 and clearly exhibits the love which this ,saint bore to her ,lord4 ,,titian 7see under #d74 ,miracles of ,st4 ,anthony of ,padua 7#ad1 #acc73 frescoes1 ,scuola del ,santo1 ,padua4 ,,tura1 ,,cosimo 7see under #ggb74 ,triumph of ,venus 7#aab73 fresco1 ,schifanoia ,palace1 ,ferrara4 ,triumph of ,minerva 7#abi73 ,,unknown ,,painter4 ,richard ,,ii4 before the ,madonna 7#bg73 picture1 ,wilton ,house4 ,,vasco1 ,,fernandez 7,gran ,vasco7 7,portuguese3 born #aeeb74 ,st4 ,peter enthroned as ,pope 7#dh73 picture1 sacristy of the cathedral1 ,vizen1 ,portugal4 ,,veronese1 ,,paolo 7see under #bf74 ,allegorical ,subjects1 ,justice1 ,temperance1 etc4 7#ae1 #ah1 #aee1 #aef73 frescoes1 ,villa ,giacomelli1 ,masr4 ,this villa1 built by ,palladio for ,daniele ,barbara in #aehj1 is reached from ,cornuda1 a station on the line between ,treviso and ,belluno4 ,it contains some of ,veronese's most beautiful wall-paintings4 ,,viterbo1 ,,lorenzo ,,di 7painted #afdh74 ,betrothal of the ,virgin 7#fg73 fresco1 ,s4 ,maria della ,verita1 ,viterbo4 ,presentation3 fresco1 ,s4 ,maria della ,verita1 ,viterbo4 99 99 99 99 99 ,there is also a copy1 presented by ,mrs4 ,bywater1 of ,domenico ,veneziano's ,madonna and ,child 7,no4 #abae74 ,,sculptures ,,and ,,marbles ,many of the sculptures belonging to the ,national ,gallery have been removed to the ,hall of ,sculpture at the ,tate ,gallery or to the ,national ,portrait ,gallery4 ,among those that remain in ,trafalgar ,square are3-- ,,the ,,dying ,,alexander 7in the ,vestibule74--,a ,renaissance copy in ,egyptian porphyry of the bust1 in the ,uffizi at ,florence1 known as ,the ,dying ,alexander4 ,the bust is now generally recognised as the work of a ,pergamene sculptor1 and is supposed to represent a youthful giant4 ,the influence of the ,alexander type is in any case noticeable in this fine work2 a type embodying the traces of human passion1 the imperfection of human longing1 the divine despair1 which attach to the highest mortal natures because they are high and because they are mortal4--,presented by ,mr4 ,henry ,yates ,thompson4 ,,bust ,,of ,,mantegna4--,a plaster cast from the bust of ,mantegna in the ,mantegna ,chapel at ,mantua3 see the description quoted under #bgd4--,presented by ,mr4 ,henry ,vaughan4 ,illustration ,,footnotes3 #bfd ,among works of illustration produced of late years1 the publications of the ,arundel ,society1 says ,ruskin1 hold the first rank in purpose and principle1 having been from the beginning conducted by a council of gentlemen in the purest endeavour for public utility1 and absolutely without taint of self-interest1 or encumbrance of operation by personal or national jealousy4 ,failing often1 as could not but be the case when their task was one of supreme difficulty1 and before unattempted1 they have yet on the whole been successful in producing the most instructive and historically valuable series of engravings that have ever been put within reach of the public4444 ,i learned more from the ,arundel copy than in the chapel itself2 for the daily companionship with the engraving taught me subtleties in the composition which had escaped me in the multitudinous interest of visits to the actual fresco 7,stones of ,venice1 ,travellers' edition1 ii1 #agf2 and ,ariadne ,florentina1 ,appendix1 p4 #bdf74 ,,appendix ,i ,,index ,,list ,,of ,,painters ,,with ,,the ,,subjects ,,of ,,their ,,pictures4 ,in the following list all the painters 7of ,foreign ,schools7 represented in the ,national ,gallery are enumerated4 ,painters only represented by pictures belonging to1 but now removed from1 the ,gallery are not included4 ,the painters are given in alphabetical order1 and are cited by the names by which they are most commonly known4 ,but where such names differ from the proper patronymics1 the latter are also given1 with references to the former4 ,similar double references are given in other cases where doubt is likely to arise4 ,in the case of names with the prefix de or van1 the painter should be looked for under the initial letter of his surname3 e4g4 ,van ,dyck under ,dyck1 ,van de ,cappelle under ,cappelle4 ,pictures by unknown artists will be found under the schools to which they severally belong3 ,dutch1 ,florentine1 etc4 ,in the case of painters represented by several pictures1 the first reference after each name is to the page in the ,handbook where some general account of the painter will be found4 ,the references after each picture are to the official number on its frame1 under which number the description of the picture will be found in the preceding catalogue4 ,agii1 ,a4 ,cordelle ,marriage of ,st4 ,catherine1 #adji ,agnolo1 ,andrea d'4 ,see ,sarto ,albertinelli ,virgin and ,child1 #fde ,aldegrever1 ,h4 ,young ,man 7portrait71 #abcb ,allegri4 ,see ,correggio ,allori1 ,alessandro1 p4 xix ,portrait of a ,lady1 #fej ,allori1 ,cristofano ,a ,lady 7portrait71 #ba ,alunno4 ,see ,niccolo da ,foligno ,amberger1 ,christoph ,portrait of a ,young ,man1 #bfjd ,ambrogio4 ,see ,predis ,amerighi4 ,see ,caravaggio ,angelico1 ,fra1 p4 #cbi ,adoration of the ,magi1 #ehb ,the ,resurrection1 #ffc ,angelico1 ,school of ,the ,annunciation1 #adjf ,angelo di ,taddeo ,gaddi1 p4 xix ,coronation of ,virgin1 #efh ,antonello da ,messina1 p4 #cdc ,crucifixion1 #aaff ,his own ,portrait1 #aada ,st4 ,jerome1 #adah ,salvator ,mundi1 #fgc ,aretino4 ,see ,spinello ,assisi1 ,andrea d'4 ,see ,ingegno ,avercamp1 ,h4 van1 p4 #fcc ,winter ,scenes1 #acdf1 #adgi ,bacchiacca1 ,il ,history of ,joseph1 #abah1 #abai ,bakhuizen1 ,l41 p4 #bjd ,coast ,scene1 #hah ,estuary1 #ajjj ,gale1 #bbc ,mouth of ,thames1 #hai ,ships in a ,gale1 #addb ,baldung1 ,hans1 p4 #bbd ,a ,piet1 #adbg ,a ,senator 7portrait71 #bde ,barbarelli4 ,see ,giorgione ,barbieri4 ,see ,guercino ,barnaba da ,modena ,descent of ,holy ,ghost1 #adcg ,baroccio1 ,f4 ,madonna del ,gatto1 #bi ,bartolommeo1 ,fra ,virgin and ,child1 #afid ,basaiti1 ,marco1 p4 #bdd ,madonna of the ,meadow1 #eii ,st4 ,jerome reading1 #bha ,virgin and ,child1 #bdii ,young ,venetian 7portrait71 #bdih ,bassano1 ,il1 p4 #ahb ,a ,gentleman 7portrait71 #agc ,christ and the ,money ,changers1 #bbh ,the ,good ,samaritan1 #bgg ,bastiani1 ,lazzaro1 p4 #chh ,virgin and ,child1 #aiec ,see also #gej 7p4 xx7 ,bazzi4 ,see ,sodoma ,beccafumi1 ,domenico ,esther and ,ahasuerus1 #adcj ,beerestraaten1 ,j4 ,winter ,scene1 #acaa ,bega1 ,c4 ,p4 ,a ,philosopher1 #adha ,bellini1 ,gentile1 p4 #ehd ,g4 ,malatini 7portrait71 #abac ,st4 ,dominic1 #addj ,st4 ,peter ,martyr1 #hjh ,bellini1 ,giovanni1 p4 #aij ,agony in the ,garden1 #gbf ,blood of the ,redeemer1 #abcc ,circumcision1 #adee ,doge ,loredano1 #ahi ,madonna 7,pomegranate71 #bhj ,madonna and ,child 7fresco71 #afif ,st4 ,peter ,martyr 7landscape71 #hab4 ,see also #eii1 #hjh1 #addj 7pp4 xix xx7 ---- ,school of ,the ,doge ,mocenigo1 #gej ,beltraffio1 ,g4 ,a41 p4 #cge ,madonna and ,child1 #gbh ---- 7,columbine71 #bdif ,narcissus1 #bfgc ---- ,school of ,madonna and ,child1 #bjhi ,benozzo4 ,see ,gozzoli ,benson1 ,ambrosius1 p4 xix ,reading ,magdalen1 #fee ,benvenuti1 ,giov4 ,batt4 ,see ,ortolano ,benvenuto da ,siena1 p4 #dfb ,madonna and ,child1 #bdhb ---- 7with ,st4 ,peter and ,st4 ,nicholas71 #iji ,berchem1 ,n41 p4 #aej ,crossing the ,ford1 #bdj ,hurdy-,gurdy1 #ajjf ,italian ,landscape1 #ajjd ,landscape with ,ruin1 #hbj ,ploughing1 #ajje ,berck-,heyde1 ,g4 ,a41 p4 #fdd ,church ,interior1 #adea ,view in ,haarlem1 #adbj ,bertucci1 p4 #bde ,glorification of the ,virgin1 #bhb ,incredulity of ,st4 ,thomas1 #ajea ,betto1 ,bernardino di4 ,see ,pinturicchio ,bibiena1 ,f4 ,teatro ,farnese1 ,parma1 #icf ,bigio4 ,see ,franciabigio ,bigordi4 ,see ,ghirlandajo ,bissolo1 ,fr41 ascribed to ,a ,lady 7portrait71 #fca ,bles1 ,h41 ascribed to ,christ on the ,cross1 #gah ,the ,magdalen1 #gai ,boccaccino1 ,b4 ,procession to ,calvary1 #hjf ,boel1 ,pieter1 p4 xxi ,dogs and ,game1 #aijc ,bol1 ,f4 ,an ,astronomer 7portrait71 #fgi ,boltraffio4 ,see ,beltraffio ,bonfigli1 ,b4 ,adoration of ,magi1 #ahdc ,bonheur1 ,rosa ,the ,horse ,fair1 #fba ,bonifazio 7the elder7 ,madonna and ,child1 #abjb ,bono da ,ferrara ,st4 ,jerome in the ,desert1 #gga ,bonsignori1 ,f4 ,venetian ,senator 7portrait71 #gcf ,bonvicino4 ,see ,moretto ,bonvin1 ,f4 ,s4 ,village ,green in ,france1 #addh ,bordone1 ,paris1 p4 #cag ,daphnis and ,chloe1 #fcg ,lux ,mundi1 #ahde ,portrait of a ,lady1 #fgd ,portrait of a ,lady1 #bjig ,borgognone1 ,a41 p4 #bff ,a ,triptych1 #ajgg ,the two ,st4 ,catherines1 #bih ,virgin and ,child1 #adaj ,see also #ggi-ghj 7p4 xx7 ---- ,school of ,family ,portraits1 #ggi-ghj ,bosboom1 ,johannes ,interior of ,haarlem ,church1 #bgab ,bosch1 ,p4 van den ,woman scouring ,pans1 #beea ,both1 ,jan1 p4 #adg ,goatherds1 #ieg ,italian ,landscape1 #ief ---- #aiag ,judgment of ,paris1 #bji ,muleteers1 #ga ,walls of ,rome1 #ieh ,botticelli1 ,sandro1 p4 #die ,adoration of ,magi1 #eib ---- 7circular71 #ajcc ,madonna and ,child 7circular71 #bge ,mars and ,venus1 #iae ,nativity of ,christ1 #ajcd ,young ,man 7portrait71 #fbf ,see also #ghb1 #aabf 7p4 xx7 ---- ,school of ,adoration of ,magi1 #aabd ,florentine ,lady and ,symbolic ,angel1 #bjhb ,madonna and ,child1 #ghb ,virgin and ,child1 etc4 7circular71 #bbf ---- #bdig ---- with ,st4 ,john1 #adab ,see also #iaf 7p4 xx7 ,botticini1 ,francesco1 pp4 xix1 #ecfn4 ,assumption of the ,virgin1 #aabf ,raphael and ,tobias1 #gha ,st4 ,jerome in the ,desert1 #bbg ,boucher1 ,f4 ,pan and ,syrinx1 #ajij ,boudin1 ,l4 ,e4 ,squall from the ,west1 #bgeh ,trouville ,harbour1 #bjgh ,bourdon1 ,sebastien ,return of the ,ark1 #fd ,bouts1 ,albrecht1 p4 xx ,christ ,crowned with ,thorns1 #ajhc ,bouts1 ,dierick1 pp4 xix1 #gbg ,deposition in the ,tomb1 #ffd ,madonna and ,child ,enthroned1 #ggd ,portrait of a ,man1 #idc ,virgin and ,child1 #beie ,brekelenham1 ,q41 p4 #fbh ,afternoon ,nap1 #beej ,interior1 #acbi ,tailor's ,shop1 #bedi ,british ,school4 ,see #afeb 7p4 xxi7 ,bronzino1 ,angelo1 p4 #cbb ,piero de' ,medici1 #acbc ,portrait of a ,boy1 #fdi ,venus1 ,cupid1 ,folly1 and ,time1 #fea ,see also #fej1 #fgj1 #gjd 7pp4 xix xx7 ---- ,school of ,bianca ,capello1 #bjhe ,cosimo ,i41 #gjd ,knight of ,st4 ,stephen1 #fgj ,brouwer1 ,adrian ,boors ,drinking1 #befi ,browne1 ,henriette ,a ,greek ,captive1 #aifi ,brueghel1 ,jan ,pan and ,syrinx1 #fei ,bruyn1 ,bartolomaus ,dr4 ,fuchsius1 #bfje ,buitenweg1 ,w4 ,landscape1 #bgca ,buonaccorso1 ,niccol di ,marriage of ,virgin1 #aaji ,buonarroti4 ,see ,michael ,angelo ,burgundian ,school ,louis ,,xi41 #bfab ,philip and ,margaret1 #bfac ,busi1 ,giovanni4 ,see ,cariani ,calame1 ,alexandre ,lake of ,thun1 #aghf ,calcar1 ,j4 ,s4 ,venetian ,gentleman and ,child1 #beig ,caliari4 ,see ,veronese1 ,paolo ,callot1 ,james ,tartarus 7drawing71 #bgeg ,campaa1 ,pedro ,christ preaching in the ,temple1 #abda ,campi1 ,giulio ,a ,musician1 #beaa ,campin1 ,robert1 p4 #gbi ,virgin and ,child1 #bfji ---- with ,angels1 #bfjh ---- ,school of ,christ ,appearing1 #ajhf ,death of the ,virgin1 #feh ,the ,magdalen1 #fed ,canaletto1 p4 #afc ,eton ,college1 #idb ,rotunda at ,ranelagh1 #adbi ,ruins1 #ace ,venice2 ,canal ,reggio1 #ajeh ,ducal ,palace1 #idj ,grand ,canal1 #bead ,grimani ,palace1 #ida ,piazza ,s4 ,marco1 #beae ,piazzetta1 #ici ,procuratie ,nuove1 #beaf ,regatta1 #ich ,san ,pietro in ,castello1 #ajei ,san ,simeone ,piccolo1 #afc ,scuola della ,carit1 #abg ,scuola di ,san ,rocco1 #icg ,cappelle1 ,jan van de1 p4 #ddh ,a ,calm1 #behg ,coast ,scenes1 #hfe1 #behf ,dutch ,galliot1 #behh ,river ,scenes1 #ifd1 #ife1 and #iff ,shipping1 #ifg ,caravaggio ,christ at ,emmaus1 #agb ,cariani1 p4 #ehb ,an ,italian ,nobleman1 #bdid ,madonna and ,child1 #abjc ,vierge aux ,lauriers1 #bdie ---- ascribed to ,death of ,peter ,martyr1 #da ,carpaccio1 ,vittore4 ,see #gej ,carracci1 ,agostino1 p4 #afh ,cephalus and ,aurora1 #adg ,galatea1 #adh ,carracci1 ,annibale1 p4 #fh ,bacchus and ,silenus1 #id ,domine quo vadis8 #i ,erminia and the ,shepherds1 #hh ,landscape with ,figures 7lake71 #ef ---- 7,giustiniani71 #fc ,man with a ,beard1 #baje ,st4 ,john in the ,wilderness1 #be ,silenus1 #ic ,temptation of ,st4 ,anthony1 #aih ,carracci1 ,ludovico ,entombment of ,christ1 #hf ,susannah and the ,elders1 #bh ,carucci4 ,see ,pontormo ,casentino4 ,see ,landini ,castagno1 ,andrea del ,the ,crucifixion1 #aach ,catena1 p4 #bah ,portrait of a ,young ,man1 #aaba ,st4 ,jerome in his ,study1 #fid ,warrior adoring1 #bcd ,cavallino1 ,b4 ,nativity1 #aaeg ,cavazzola4 ,see ,morando ,cesare da ,sesto1 p4 #gaj ,salome1 #bdhe ,virgin and ,child1 #bejd ,champaigne1 ,philippe de1 p4 #dah ,cardinal ,j4 ,f4 ,p4 de ,retz1 #bbia ,cardinal ,richelieu 7heads71 #gih ,cardinal ,richelieu 7full length71 #addi ,chardin1 ,j4 ,b4 ,s41 p4 #eii ,la ,fontaine1 #affd ,still ,life1 #abeh ,charnay1 ,armand ,parc de ,sansac1 #bbij ,chimenti1 ,j41 da ,empoli ,san ,zenobio1 #abhb ,cima da ,conegliano1 p4 #bgj ,david and ,jonathan1 #beje ,ecce ,homo6 #acaj ,incredulity of ,st4 ,thomas1 #haf ,madonna and ,child 7goldfinch71 #fcd ,madonna1 #cjj ,st4 ,jerome in the ,desert1 #aabj ,virgin and ,child1 #bejf ,cimabue ,madonna and ,child1 #efe ,cione1 ,andrea di4 ,see ,orcagna ,claude ,lorrain1 p4 #eg ,annunciation 7or ,angel and ,hagar71 #fa ,cave of ,adullam1 #f ,cephalus and ,procris1 #b ,classical ,landscape1 #ajah ,death of ,procris1 #ee ,isaac and ,rebecca1 #ab ,landscape 7,study of ,trees71 #eh ,narcissus and ,echo1 #ai ,seaport3 ,queen of ,sheba1 #ad ,seaport3 ,st4 ,ursula1 #cj ---- ,sunset1 #e ,view in ,rome1 #acai ,clays1 ,p4 ,j41 p4 #dbe ,dutch ,shipping1 #had1 #hae ,clouet1 ,f41 ascribed to1 p4 #cbi ,boy 7portrait71 #aaij ,man 7portrait71 #ffj ,codde1 ,pieter1 p4 #gbd ,dutchman with ,wife and ,son1 #begf ,lady with ,mirror1 #behd ,cologne ,school4 ,see ,german ,conca1 ,sebastiano ,angel with ,keys1 #ahgj ,coques1 ,gonzales1 p4 #dbh ,family ,group1 #hba ,five ,senses1 ,the1 #aaad-aaah ,lady 7portrait71 #ajaa ,cordelle4 ,see ,agii ,corneille de ,lyons ,antoine de ,bourbon1 #bfaj ,a ,man in ,black1 #bfaa ,cornelissen1 ,j41 p4 #cbg ,gentleman and ,lady1 #feg ,duke ,ulricus1 #bbji ,corot1 ,j4 ,b4 ,c41 p4 #fih ,bent ,tree1 #bfbe ,cows in a ,marsh1 #bfcj ,evening on the ,lake1 #bfbg ,fisherman's ,hut1 #bfca ,flood1 #bfbi ,marsh of ,arleux1 #bace ,noon1 #bfbh ,wood ,gatherer1 #bfbf ,correggio1 p4 #fi ,ecce ,homo6 #ae ,magdalen1 #beab ,mercury1 ,cupid1 and ,venus1 #aj ,vierge au ,panier1 #bc ---- copies after ,agony in the ,garden1 #gf ,groups of ,heads1 #g1 #cg ,cosimo1 ,piero di1 p4 #cfj ,death of ,procris1 #fih ,francesco ,ferruccio1 #hie ,cossa1 ,francesco del ,st4 ,hyacinth1 ,dominican1 #eig ,costa1 ,giovanni ,carrara ,mountains1 #adic ,costa1 ,lorenzo ,madonna and ,child ,enthroned1 #fbi ,portrait of ,dr4 ,fiera1 #bjhc ,cotignola4 ,see ,zaganelli ,courbet1 ,gustave ,the ,sea1 #bgfg ,cranach1 ,lucas1 p4 #bed ,portrait of a ,man1 #aibe ,young ,lady 7portrait71 #bia ,credi1 ,lorenzo di1 p4 #bie ,costanza de' ,medici1 #bdij ,virgin adoring1 #fdh ,virgin and ,child1 #eic ,cristus1 ,petrus1 pp4 xx1 #gbf ,marco ,barbarigo1 #fif ,portrait of a ,man1 #beic ,crivelli1 ,carlo1 p4 #cjj ,annunciation1 #gci ,beato ,ferretti1 ,the1 #ffh ,dead ,christ1 ,the1 #fjb ,madonna and ,child 7swallow71 #gbd ---- 7large altar-piece71 #ghh ---- 7with ,st4 ,francis71 #hjg ,madonna in ,ecstasy1 #ijf ,st4 ,catherine and ,mary ,magdalene1 #ijg ,cuyp1 ,a41 p4 #acf ,boy holding ,horse1 #bedh ,cattle and ,figures 7,the ,large ,dort71 #ifa ---- 7,the ,small ,dort71 #ifb ---- 7small71 #abhi ---- 7large3 evening71 #ec ,cattle with ,herdsman1 #bedg ,horseman and ,cows1 #hbb ,landscape 7,lady and ,child71 #bedf ,man's ,portrait1 #gig ,on the ,meuse1 #hbc ,river ,scene1 #bede ,ruined ,castle1 #hbd ,study of a ,horse1 #afhc ,windmills1 #ifj ,dalmasio4 ,see ,lippo ,daubigny1 ,c4 ,f41 p4 #gcb ,alders1 #bfbc ,banks of a ,river1 #bfbb ,garden ,wall1 #bfbd ,willows1 #bfba ,david1 ,gerard1 p4 #ejb ,canon and ,patron ,saints1 #ajde ,marriage of ,st4 ,catherine1 #adcb ,st4 ,jerome1 #beif ,david1 ,g41 attributed to ,adoration of ,magi1 #ajgi ,deposition from the ,cross1 #ajgh ,david1 ,j4 ,l4 ,eliza ,bonaparte1 #bbag ,decker1 ,c4 ,g4 ,landscape1 #acda ,delacroix1 ,f4 ,v4 ,e4 ,attila1 #bbhi ,delaroche1 ,paul ,lady ,jane ,grey1 #aiji ,delen1 ,dirck van ,renaissance ,architecture1 #ajaj ,diana1 ,benedetto ,christ ,blessing1 #bgbe ,diaz de la ,pea1 p4 #fia ,common3 ,sunset1 #bfcc ,sunny ,days in the ,forest1 #bjeh ,the ,storm1 #bfcb ,dietrich1 ,j4 ,w4 ,e4 ,itinerant ,musicians1 #bje ,dolci1 ,carlo ,virgin and ,child1 #icd ,domenichino1 p4 #abh ,landscape 7,st4 ,george and ,dragon71 #ge ---- 7,tobias and ,angel71 #dh ,st4 ,jerome1 #he ,stoning of ,st4 ,stephen1 #gg ,domenico ,veneziano4 ,see ,veneziano ,dosso ,dossi1 p4 #cah ,adoration of ,magi1 #fdj ,muse and ,court ,poet1 #abcd ,dou1 ,gerard1 p4 #aic ,painter's own ,portrait1 #aib ,painter's ,wife 7portrait71 #ifh ,portrait of a ,lady1 #adae ,poulterer's ,shop1 #hbe ,dubbels1 ,h4 ,sea-,piece1 #adfb ,duccio1 p4 #bgg ,annunciation1 #aaci ,christ healing the ,blind1 #aadj ,madonna and ,child 7triptych71 #eff ,transfiguration1 #accj ,duchatel1 ,franois ,portrait of a ,boy1 #ahaj ,ducreux1 ,joseph ,his own ,portrait1 #bafb ,dughet4 ,see ,poussin1 ,gaspard ,dupr1 ,jules ,river ,scene1 #bfcd ,drer1 ,albrecht ,portrait of his ,father1 #aich ,dutch ,school 7artists unknown7 ,an ,art ,gallery1 #abhg ,interior of a ,stable1 #ahea ,madame van der ,goes1 #afeb 7see p4 xxi7 ,old ,woman ,sewing1 #acig ,portrait of a ,young ,man1 #afhj ,portrait of a ,gentleman1 #agjj ,duyster1 ,w4 ,c4 ,players at ,tric-,trac1 #achg ,soldiers ,quarrelling1 #achf ,dyck1 ,sir ,anthony van1 p4 #acj ,charles ,i4 7,blenheim portrait71 #aagb ,cornelius van der ,geest 7,gevartius71 #eb ,his own ,portrait1 #hgg ,marchesa ,cattaneo1 #badd ,marchese ,cattaneo1 #babg ,miraculous draught of ,fishes1 #fhj ,portrait of ,rubens1 #di ,study of ,horses1 #aef ,theodosius and ,st4 ,ambrose1 #ej ,for drawings by ,van ,dyck1 see #hgg ,a1 ,b ,dyckmans1 ,j4 ,l4 ,blind ,beggar1 #fjj ,eeckhout1 ,g4 van den ,the ,wine ,contract1 #adei ,elsheimer1 ,adam1 p4 #dhf ,st4 ,lawrence1 #ajad ,tobias and the ,angel1 #adbd ,emmanuel ,sts4 ,cosmas and ,damian1 #eid ,engelbertsz1 ,cornelis4 ,see #gad p4 xx ,ercole da ,ferrara4 ,see ,grandi ,everdingen1 ,allart van ,landscape1 #agja ,eyck1 ,jan van1 p4 #ahg ,jan ,arnolfini and ,wife1 #ahf ,man's ,portrait1 #bbb ---- 7,leal ,souvenir71 #bij ,fabritius1 ,b4 ,adoration of ,shepherds1 #acch ,birth of ,st4 ,john1 #acci ,fantin-,latour1 ,h41 p4 #fhi ,apples1 #bacd ,mr4 and ,mrs4 ,edwin ,edwards1 #aieb ,roses1 #bacc ,study of ,flowers1 #afhf ,fava1 ,giangiacomo4 ,see ,macrino d',alba ,ferrarese ,school 7artist unknown7 ,a ,battle ,piece1 #ajfb ,ferrari1 ,gaudenzio ,christ rising from the ,tomb1 #adfe ,fiammingo1 ,enrico ,man with a collar1 #bajd ,filipepi4 ,see ,botticelli ,fiorenzo di ,lorenzo ,altar-piece1 #aajc ,virgin and ,child1 #bdhc ,flemish ,school1 #aeth-#afth centuries 7artists unknown7 ,christ ,appearing1 #abhj ,count and ,st4 ,ambrose1 #bfd ,exhumation of ,st4 ,hubert1 #ghc ,head of ,john the ,baptist1 #ajhj ,lady with ,rosary1 #bfgj ,madonna and ,child 7book71 #bfe ---- 7curtain71 #gjh ,madonna ,enthroned1 #bfjf ,man and ,wife1 #fec ,man with ,medallion1 #bfjg ,man with a ,ring1 #bfjb ,portrait of a ,lady1 #adcc ,portrait of a ,man 7gold chain71 #idg ---- 7praying71 #ajha ---- 7skull71 #ajcf ,portrait of a ,young ,man 7praying71 #ajfc ,portrait of a ,monk1 #gaj ,virgin and ,child1 with ,st4 ,elizabeth1 #ajhi ,see also #fif1 #gji1 #ggd1 #idc1 #ajag1 #ajgh1 #ajgi1 #ajhc1 #ajhf1 #adai1 #adcc 7pp4 xx xxi7 ,florentine ,school1 #aeth century 7artists unknown7 ,amor and ,castitas1 #aaif ,savonarola 7portrait71 #acja ,virgin and ,child1 #bejh ,young ,man in ,black1 #bjhd ,see also #bbg1 #bif1 #gha1 #aaii 7pp4 xix xx7 ,foligno1 ,niccol da ,crucifixion1 #aajg ,foppa1 ,vincenzo ,adoration of ,kings1 #gbi ,forli1 ,melozzo da ,rhetoric and ,music1 #gee1 #gef ,fragonard1 ,g4 ,h4 ,the ,happy ,mother1 #bfbj ,francesca1 ,piero della1 p4 #ccd ,baptism of ,christ1 #ffe ,lady's ,portrait1 #geh ,nativity1 #ijh ,st4 ,michael and ,dragon1 #gfi ,francesco di ,giorgio ,st4 ,dorothy1 #afhb ,francia1 p4 #ahd ,bartolommeo ,bianchini1 #bdhg ,piet 7lunette of above71 #ahj ,piet1 #bfga ,virgin and ,child 7altar-piece71 #agi ,virgin and ,child 7smaller71 #fch ,francia ,bigio ,portrait of a ,young ,man1 #ajce ,french ,school1 #aeth century 7artists unknown7 ,duchesse d',angoulme1 #bfag ,lady as ,mary ,magdalen1 #bfad ,legend of ,st4 ,giles1 #adai 7see p4 xxi7 ,madonna1 #acce ,mary1 ,queen of ,france1 #bfae ,portrait of a ,lady1 #bfaf ,virgin and ,child with ,angels1 #bfah ---- with ,saints1 #aici ,fungai1 ,b4 ,madonna and ,child1 #acca4 ,and see p4 #gdi ,fyt1 ,jan ,dead ,birds1 #ajjc ,see also #aijc 7p4 xxi7 ,gaddi1 ,taddeo1 ,school of1 p4 #baa4 ,see ,nos4 #bae1 #baf1 #egi1 #egi ,a 7and p4 xix7 ,gaetano4 ,see ,pulzone ,garofalo1 p4 #aea ,agony in the ,garden1 #fdb ,holy ,family1 #agj ,madonna and ,child 7altar-piece71 #fga ,vision of ,st4 ,augustine1 #ha ,geertgen ,tot ,sint ,jans1 p4 xx ,virgin and ,child 7triptych71 #ajhe ,gelle4 ,see ,claude ,gennari1 ,benedetto ,his own ,portrait1 #bajf ,gricault1 ,j4 ,l4 ,a4 ,t4 ,lithographs of ,horses1 #bdbc ,german3 ,school of ,cologne ,holy ,family1 #bfjc ,st4 ,peter and ,st4 ,dorothy1 #gjg ,sancta ,veronica1 #fhg ,see also ,lyversberg ,german3 ,westphalian ,school ,crucifixion1 #ajdi ,see also ,master of ,liesborn ,german ,schools1 #aeth-#afth century ,crucifixion1 #ajhh ,mocking of ,christ1 #ajhg ,portrait of a ,lady1 #gbb ,portrait of a ,medical ,professor1 #aie ,see also ,schongauer ,ghirlandajo1 ,domenico1 p4 #eia ,portrait of a ,girl1 #abcj ,portrait of a ,youth1 #abii ,the young ,florentine1 #bdhi ,ghirlandajo1 ,ridolfo ,girolamo ,benevieni1 #bdia ,procession to ,calvary1 #aadc ,giolfino ,niccolo ,giusti ,family1 #gdi ,giorgione1 p4 #bcj ,adoration of ,magi1 #aafj ,knight in ,armour1 #bfi ---- ,school of ,garden of ,love1 #icj ,unknown ,subject1 #aagc ,venus and ,adonis1 #aabc ,see also #aafj1 ,no4 #fcf 7p4 xix7 ,giotto1 ,school of1 p4 #bgh ,see also #bgf1 #efh 7p4 xix7 ,giovanni da ,milano1 p4 xix ,panels of altar-piece1 #egi ,a ,giovenone1 ,girolamo ,madonna and ,child1 #abie ,girolamo dai ,libri ,madonna and ,child1 with ,st4 ,anne1 #gdh ,girolamo da ,santa ,croce1 p4 #cac ,a ,saint1 #fcc ---- reading1 #fcb ,girolamo da ,treviso ,madonna and ,child1 ,enthroned1 #fbc ,gonzalez1 ,juan ,g4 ,earl of ,monmouth1 #bebg ,gossart4 ,see ,mabuse ,goya1 ,francesco1 p4 #ffj ,dr4 ,peral1 #aiea ,the ,bewitched1 #adgb ,the ,picnic1 #adga ,lady's ,portrait1 #adgc ,goyen1 ,jan van1 p4 #aff ,landscape1 #acg ,river ,scenes1 #aea1 #behj ,scene on the ,ice1 #begi ,stiff ,breeze1 #begg ,windmill1 #begh ,winter ,scene1 #acbg ,gozzoli1 ,benozzo1 p4 #bde ,virgin and ,child1 #bhc ,see also #eia 7p4 xix7 ---- ,school of ,rape of ,helen1 #eia ,virgin and ,child1 #bhfc ,grandi1 ,ercole di ,giulio1 p4 #eca ,conversion of ,st4 ,paul1 #gc ,madonna and ,child 7altar-piece71 #aaai ,greco4 ,see ,theotocopuli ,greek ,portraits3 #bnd cent4 ,a4,d4 ,eleven ,portraits1 #abfj-abgj ,greuze1 p4 #bje ,girl 7with apple71 #ajbj ---- 7with lamb71 #aaed ---- 7looking up71 #ajai ---- #bjf ,guardi1 ,francesco1 p4 #bjg ,buildings and ,figures1 #beag ,courtyard in ,venice1 #beai ,ducal ,palace1 #bjii ,gondola1 #aded ,gothic ,archway1 #beah ,piazza ,s4 ,marco1 #baj ---- 7awnings71 #bebe ,quay-side1 #bebj ,ruins1 #beba ,s4 ,maria della ,salute1 #bjih ,tower of ,mestre1 #bebd ,treasure-seekers1 #bebb ,view in ,venice1 #ajed ,view through ,archway1 #bebc ,guercino ,a ,piet1 #bb ,guido ,reni1 p4 #gc ,christ and ,st4 ,john1 #aia ,coronation of ,virgin1 #bad ,ecce ,homo6 #bga ,lot and his ,daughters1 #aic ,magdalen1 ,the1 #agg ,st4 ,jerome1 #aa ,susannah and the ,elders1 #aif ,hackaert1 ,jan ,stag ,hunt1 #hbi ,hals1 ,dirk ,an ,oyster ,supper1 #ajgd ,hals1 ,frans1 p4 #dij ,a ,family ,group1 #bbhe ,lady with fan1 #bebi ,man with glove1 #bebh ,man's ,portrait1 #abea ,woman's ,portrait1 #ajba ,harpignies1 ,henri ,flax ,trees1 ,villefranche1 #bbeg ,river ,scene1 #bbef ,heda1 ,w4 ,k4 ,fruit-piece1 #beib ,still ,life1 #adfi ,heem1 ,david de ,fruit and ,flowers1 #behb ,heimbach1 ,c4 ,w4 ,portrait of a ,youth1 #abdc ,helst1 ,barth4 van der1 p4 #afg ,lady's ,portrait1 #aicg ,young ,lady's ,portrait1 #abdh ,hemessen1 ,catharina van ,man's ,portrait1 #ajdb ,herrera1 ,francesco de ,christ disputing1 #afgf ,heyden1 ,jan van der1 p4 #ddh ,architectural ,scene1 #iib ,chteau1 #aiad ,church1 #aiae ,landscape1 #iic ,street in ,cologne1 #hff ,street in a ,town1 #iid ,hobbema1 p4 #cdg ,avenue1 ,middelharnis1 #hcj ,brederode ,castle1 #hca ,cottage in a ,wood1 #begj ,forest ,scenery1 #hcc ,path through a ,wood1 #bega ,showery ,weather1 #fhe ,village1 with ,watermills1 #hcb ,woody ,landscape1 #iie ,holbein1 ,hans1 p4 #fac ,christina of ,denmark1 #bdge ,the ,ambassadors1 #acad ,see also under #aie ,holbein1 ,sigmund4 ,see #gbb ,hondecoeter1 p4 #bjc ,domestic ,poultry1 #bjb ,geese and ,ducks1 #ajac ,study of ,foliage1 ,insects1 etc41 #abbb ,honthorst1 ,g4 van ,peasants1 #addd ,hooch1 ,pieter de1 p4 #daf ,dutch ,house 7courtyard7 #gid ---- 7courtyard and porch71 #hce ---- 7interior71 #hcd ,refusing the ,glass1 #beeb ,huchtenburgh1 ,johan van ,battle ,piece1 #baa ,huysman1 ,jacob ,isaak ,walton1 ,n4,p4,g41 #abe ,huysmans1 ,cornelis ,landscape1 #ied ,huysum1 ,jan van1 p4 #daf ,vase with flowers1 #gif ---- 7small71 #ajja ,ingegno1 ,l' ,madonna and ,child1 #abbj ,virgin and ,child1 with ,saints1 #bdhd ,ingres1 ,j4 ,a4 ,d4 ,madame ,malibran1 #bbah ,isabey1 ,eugne ,fish ,market1 ,dieppe1 #bgae ,grandfather's birthday1 #bgad ,israels1 ,josef1 p4 #gch ,shipwrecked ,mariner1 #bgcb ,the ,philosopher1 #bgac ,italian ,school1 #aeth cent4 ,virgin and ,child1 #adef ,italian ,school1 #afth cent4 7artists unknown7 ,an ,apostle1 #bgb ,portrait of ,knight of ,malta1 #icb ,see also #ajdh 7p4 xx7 ,jacopo ,di ,cione1 p4 xxi ,crucifixion1 #adfh ,janssens1 ,c41 p4 #fbf ,aglonius ,voon 7portrait71 #acbj ,cornelia ,remoens1 #acba ,portrait of a ,lady1 #becj ,jardin1 ,karel du1 p4 #dca ,figures and ,animals1 #hbf ,fording the ,stream1 #hbg ,landscape with ,cattle1 #hbh ,sheep and ,goats1 #ihe ,jordaens1 ,jacob ,baron de ,linter1 #ahie ,justus of ,padua ,coronation of ,virgin1 #gja ,keyser1 ,t4 de ,merchant and ,clerk1 #bab ,koninck1 ,p4 de1 p4 #dce ,view in ,holland1 #hcf ,view of the ,scheldt1 #igd ,la ,fargue ,market-place1 the ,hague1 #aiah ,lancret1 ,nicholas ,the ,four ,ages1 #aja-ajd ,landini1 ,jacopo1 p4 #bhg ,ascension of ,st4 ,john1 ,evangelist1 #ehj ,holy ,trinity and ,annunciation1 #ehj ,a ,lanini1 ,bernardino ,holy ,family1 #gjj ,leal4 ,see ,valdes ,le ,brun1 ,madame ,vige ,her own portrait1 #afec ,lely1 ,sir ,peter ,portrait of a ,girl1 #ajaf ,le ,nain ,a ,portrait ,group1 #adbe ,leonardo da ,vinci ,the ,virgin of the ,rocks1 #ajic ,lepine1 ,stanislas ,le ,pont de la ,tournelle1 #bgbg ,le ,sueur1 ,eustache ,holy ,family1 #adbb ,liberale de ,verona1 p4 #edh ,death of ,dido1 #accf ,virgin and ,child1 #aacd ,libri1 ,girolamo dai ,madonna1 ,child1 and ,st4 ,anne1 #gdh ,licinio1 ,b4 ,man's ,portrait1 #acji ,liesborn1 ,meister von ,adoration of ,magi1 #beh ,annunciation1 #bef ,christ on the ,cross1 #bei ,crucifixion1 #bfb ,purification1 #beg ,sts4 ,cosmas1 ,damianus1 and ,virgin1 #bfa ,three ,saints1 #bfj ----1 #bed ----1 #bee ,lievens1 ,jan ,anna ,maria van ,schurman1 #ajie ,lingelbach1 ,jan ,hay ,harvest1 #hcg ,lippi1 ,filippino1 p4 #beg ,angel ,adoring1 #ibg ,st4 ,francis in ,glory1 #eih ,virgin and ,child1 ,st4 ,jerome1 etc41 #bic ,see also #eib1 #ajcc1 #aabd1 #adab 7pp4 xix xx7 ,lippi1 ,fra ,filippo1 p4 #ccg ,annunciation1 #fff ,madonna and ,child1 #ehi ,st4 ,john and six ,saints1 #ffg ,vision of ,st4 ,bernard1 #bdh ,see also ,no4 #ehf ,lippo di ,dalmasii ,madonna and ,child1 #geb ,lochner1 ,stephen ,three ,saints1 #gje ,lodovico da ,parma ,bishop ,hugo of ,grenoble1 #fib ,lombard1 ,lambert ,the ,deposition1 #bff ,lombard ,school 7artist unknown7 ,dead ,christ1 #bai ,portrait of a ,young ,man1 #ajeb ,longhi1 ,pietro1 p4 #ebf ,andrea ,tron 7portrait71 #aajb ,domestic ,group1 #aajj ,exhibition of ,rhinoceros1 #aaja ,fortune ,teller1 #accd ,lorenzetti1 ,ambrogio ,heads of ,nuns1 #aadg ,lorenzetti1 ,pietro ,legendary ,subject1 #aaac ,lorenzo da ,san ,severino ,marriage of ,st4 ,catherine1 #bdi ,lorenzo1 ,il ,monaco1 p4 #fhc ,coronation of the ,virgin1 #ahig ,st4 ,john ,gualberto1 #bhfb ,various ,saints1 #bae1 #baf ,lotto1 ,lorenzo1 p4 #cfc ,family ,group1 #ajdg ,portraits of ,ag4 and ,nic4 della ,torre1 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,mansueti1 ,giovanni ,the ,crucifixion1 #adgh ,mantegna1 ,andrea1 p4 #bcf ,agony in the ,garden1 #adag ,samson and ,delilah1 #aade ,summer and ,autumn1 #aabe ,triumph of ,scipio1 #ijb ,virgin and ,child1 #bgd ,mantegna1 ,francesco1 p4 #cah ,noli me tangere1 #fci ,resurrection1 #aajf ,the ,holy ,women at the ,sepulchre1 #acha ,mantovano4 ,see ,rinaldo ,maratti1 ,carlo ,cardinal ,cerri1 #agd ,marco d' ,oggionno ,madonna1 #aadi ,margaritone ,virgin and ,child1 etc41 #efd ,marieschi1 ,jacopo ,towns and ,rivers1 #bajb1 #bajc ,marinus van ,romerswael ,two ,usurers1 #idd ,maris1 ,jacob ,drawbridge1 #bgaj ,mother and ,child1 #bgji ,marmion1 ,simon ,choir of ,angels1 #acjc ,st4 ,bertin1 #acjb ,martino da ,udine4 ,see ,pellegrino ,marziale1 ,marco1 p4 #dai ,circumcision1 #hjc ,madonna and ,child ,enthroned1 #hjd ,master of the ,death of the ,virgin ,holy ,family1 #bfjc ,matteo di ,giovanni1 p4 #efa ,assumption of the ,virgin1 #aaee ,ecco ,homo6 #bdg ,st4 ,sebastian1 #adfa ,mauve1 ,anton 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van der ,a ,hunting ,party1 #addg ,michael ,angelo1 p4 #daj ,dream of ,human ,life1 #h ,entombment1 #gij ,madonna1 etc41 #hji ,michel1 ,georges ,stormy ,landscape1 #bgei ,woodland ,scene1 #bbeh ,michele da ,verona ,coriolanus1 etc41 #abad ,miereveld1 ,m4 ,j4 van ,portrait of a ,lady1 #bbib ,mieris1 ,frans van1 p4 #dcf ,lady and ,parrot1 #hdj ,young ,astrologer1 #behi ,mieris1 ,willem van ,fish and ,poultry ,shop1 #hda ,milanese ,school1 #aeth-#afth century ,head of ,john the ,baptist1 #adch ,virgin and ,child1 #acjj ,millet1 ,j4 ,f4 ,the ,whisper1 #bfcf ,mocetto1 ,girolamo ,massacre of the ,innocents1 #abci1 #abdj ,modena4 ,see ,barnaba ,mola1 ,p4 ,f41 p4 #adf ,st4 ,john1 #fi ,the ,repose1 #afj ,molenaer1 ,jan ,miense ,musical ,pastime1 #abic ,mompers1 ,joos ,landscape1 #ajag ,montagna1 ,bart41 p4 #dai ,madonna and ,child 7asleep71 #ajih ---- 7with cherry71 #hjb ,morales1 ,luis de ,virgin and ,child1 #abbi ,morando1 ,paolo1 p4 #cgi ,madonna and ,child1 #ggg ,st4 ,roch with the ,angel1 #gce ,more1 ,sir ,antonio1 p4 #ebd ,portrait of a ,man1 #abca ---- ascribed to ,portrait of a ,man1 #ajid ,portrait of a ,lady1 #ahfj ,moretto1 ,il1 p4 #bfg ,angels1 #bjij1 #bjia ,italian ,nobleman1 #bii ,italian ,nobleman1 #ajbe ,st4 ,bernardino of ,siena1 #fbe ,st4 ,hippolytus1 #aafe ,st4 ,jerome1 #bjic ,st4 ,joseph1 #bjib ,morone1 ,domenico ,scenes at a ,tournament1 #abaa1 #abab ,morone1 ,francesco ,madonna and ,child1 #bhe ,moroni1 p4 #cei ,ecclesiastic 7portrait71 #ajbd ,il ,cavaliere1 #bjid ,italian ,lady 7portrait71 #ajbc ,italian ,nobleman 7portrait71 #ajbb ---- 7,longford picture71 #acaf ,lawyer 7portrait71 #gdb ,tailor 7portrait71 #fig ,mostaert1 ,jan ,see #gac 7p4 xx7 ,moucheron1 ,frdric de1 p4 #dcg ,garden ,scene1 #hdb ,landscape1 #aceb ,murillo1 p4 #gi ,boy ,drinking1 #abhf ,holy ,family1 #ac ,nativity of ,virgin1 #abeg ,st4 ,john and the ,lamb1 #agf ,spanish ,peasant ,boy1 #gd ,for ,copies from ,murillo1 see p4 #gee ,neeffs1 ,pieter1 p4 #dfh ,church ,interiors1 #ibd1 #bbje ,vespers1 #bbjf ,after ,vespers1 #bbjg ,neer1 ,aart van der1 p4 #aga ,canal ,scene1 #gcb ,dawn1 #bbhc ,evening ,landscape1 #aeb ,frost ,scene1 #ifi ---- #abhh ,landscape1 #becg ,moonlight ,scenes1 #bci1 #becf ,river ,scene1 #becd ,neer1 ,eglon ,h4 van der ,judith1 #bece ,netscher1 ,gaspard1 p4 #dcg ,blowing ,bubbles1 #hdc #ast ,earl of ,berkeley1 #accb ,lady and ,spinning ,wheel1 #hde ,maternal ,instruction1 #hdd ,niccol da ,foligno4 ,see ,foligno ,niccol di ,buonaccorso4 ,see ,buonaccorso ,niccol di ,pietro ,gerini1 p4 xix ,baptism of ,christ1 #egi ,ochtervelt1 ,j41 p4 #fii ,lady at her ,toilet1 #beec ,lady at a ,spinet1 #badc ,oggionno4 ,see ,marco ,oost1 ,jacob van ,portrait of a ,boy1 #aacg ,orcagna1 p4 #bha ,coronation of the ,virgin 7altar-piece71 #efi-egh ,st4 ,john the ,baptist1 etc41 #eha ,oriolo1 ,giovanni ,leonello1 d',este 7portrait71 #ggj ,orley1 ,bernard von ,madonna and ,child1 #gad ,see also #fee ,orsi1 ,lelio ,the ,walk to ,emmaus1 #adff ,ortolano1 ,l' ,st4 ,sebastian1 etc41 #ffi ,os1 ,jan van1 p4 #dhg ,fruit and ,flowers1 #achj ,fruit-piece1 #ajae ,ostade1 ,adrian van1 p4 #dch ,alchymist1 #hdf ,cobbler1 ,the1 #beda ,courtship1 #bedb ,hurdy-,gurdy1 #bedj ,man with a ,jug1 #bedc ,ostade1 ,isaak van1 p4 #ddj ,cart1 ,the1 #bedd ,farmyard1 #acdg ,frost ,scene1 #hdh ,frozen ,river1 #ifc ,village ,scene1 #hdg ,pacchia1 ,girolamo del ,madonna and ,child1 #bdf ,pacchiarotto1 ,j4 ,the ,nativity1 #ahdi ,padovanino1 p4 #adg ,boy with a ,bird1 #icc ,cornelia and her ,jewels1 #gj ,palamedes1 ,a4 ,a ,musical ,party1 #bege ,palma ,vecchio ,portrait of a ,poet1 #fcf ,palmezzano1 ,marco ,entombment1 #eif ,panini1 ,giov4 ,antonio ,a ,view in ,rome1 #ach ,pape1 ,abraham de ,cottage ,interior1 #abba ,parma4 ,see ,lodovico ,parmigiano ,vision of ,st4 ,jerome1 #cc ,passignano 7,domenico ,cresti7 ,portrait of ,galileo1 #bbid ,patinir1 ,joachim1 p4 #cgj ,flight into ,egypt1 #ajhd ,river ,scene1 #abih ,st4 ,agnes adoring1 #ide ,st4 ,christopher1 #gaf ,st4 ,john on ,patmos1 #gag ,visitation1 #ajhb ,see also #gae 7p4 xx7 ,pellegrino da ,san ,daniele ,madonna and ,child1 #ggh ,penni1 ,luca ,holy ,family1 #bbic ,perugino1 p4 #bdi ,adoration 7fresco71 #adda ,baptism of ,christ1 #adca ,virgin and ,child 7small71 #aha ---- 7archangel71 #bhh ---- 7,st4 ,francis1 etc471 #ajge ,peruzzi1 ,baldassare1 p4 #bab ,adoration of ,kings 7drawing71 #afg ---- 7picture71 #bah ,pesellino1 ,francesco ,the ,trinity1 #gbg ,piazza1 ,martino ,st4 ,john ,baptist1 #aaeb ,pier1 ,francesco ,fiorentino1 p4 xxi ,madonna and ,child1 #aaii ,piero della ,francesca4 ,see ,francesca ,piero di ,cosimo4 ,see ,cosimo ,pinturicchio1 p4 #cee ,madonna and ,child1 #gjc ,return of ,ulysses1 #iaa ,st4 ,catherine of ,alexandria1 #fic ,piombo1 ,sebastiano del1 p4 #ef ,daughter of ,herodias1 #bdic ,his own ,portrait and ,ippolito de' ,medici1 #bj ,holy ,family1 #adej ,portrait of ,lady as ,st4 ,agatha1 #bd ,resurrection of ,lazarus1 #a ,pippi4 ,see ,romano1 ,giulio ,pisano1 ,vittore1 p4 #dja ,st4 ,anthony and ,st4 ,george1 #ggf ,vision of ,st4 ,eustace1 #adcf ,poel1 ,egbert van der ,explosion at ,delft1 #ajfa ,poelenburgh1 ,cornelis van ,judgment of ,paris1 #bji ,river1 with women bathing1 #iee ,pollajuolo1 p4 #bee ,apollo and ,daphne1 #ibh ,martyrdom of ,st4 ,sebastian1 #bib ---- ,school of ,portrait of a ,lady1 #ehe ,ponte1 ,jacopo da4 ,see ,bassano ,pontormo1 ,jacopo da ,joseph and his ,brethren1 #aaca ---- ascribed to ,portrait of a ,man1 #aaej ,poorter1 ,w4 van de ,allegorical ,subject1 #abid ,pordenone4 ,see #bgb ,pot1 ,hendrik ,gerritsz ,convivial ,party1 #abgh ,potter1 ,paul1 p4 #ddj ,cattle in ,stormy ,landscape1 #behc ,landscape with ,cattle1 #hdi ,old ,grey ,hunter1 #ajji ,potter1 ,pieter ,stag ,hunt1 #ajjh ,pourbus1 ,frans1 the younger ,a ,military ,commander1 #bbie ,poussin1 ,charles ,pardon ,day in ,brittany1 #haj ,poussin1 ,gaspard1 p4 #ajb ,abraham and ,isaac1 #ca ,calling of ,abraham1 #aaei ,dido and neas1 #ie ,italian ,landscape1 #afa ,land ,storm1 #cf ,landscapes1 #bgbc1 #bgbd ,view near ,albano1 #fh ---- of ,la ,riccia1 #ih ,poussin1 ,nicolas1 p4 #aaf ,bacchanalian ,dance1 #fb ,bacchanalian ,festival1 #db ,cephalus and ,aurora1 #fe ,landscape1 #bfai ,nursing of ,bacchus1 #ci ,phocion1 #dj ,plague at ,ashdod1 #afe ,venus and ,satyrs1 #ia ,predis1 ,ambrogio de1 p4 #ffg ,bona of ,savoy1 #bbea ,portrait of a ,young ,man1 #affe ,wings of the altar-piece ,no4 #ajic1 #affa1 #affb ,previtali1 ,andrea1 p4 #ceh ,madonna and ,child 7with monk71 #fie ,madonna and ,child1 #bejj ,salvator ,mundi1 #beja ,prevost1 ,jan1 p4 xx ,virgin and ,child1 #gac ,pulzone1 ,scipione ,portrait of a ,cardinal1 #ajdh ,quast1 ,pieter ,cavalier1 #bhef ,raguineau1 ,a4 ,portrait of a ,youth1 #ahdh ,raibolini4 ,see ,francia ,raphael1 p4 #efg ,ansidei ,madonna1 #aaga ,bridgewater ,madonna 7copy71 #ibi ,garvagh ,madonna1 #gdd ,madonna di ,san ,sisto 7tracing71 #ffa ,madonna di ,sant' ,antonio1 p4 #gdi ,madonna of the ,tower1 #bjfi ,pope ,julius ,,ii4 7portrait71 #bg ,st4 ,catherine of ,alexandria1 #afh ,vision of a ,knight1 #bac ,ravesteijn1 ,a4 van ,lady's ,portrait1 #adbc ,rembrandt1 p4 #aba ,adoration of the ,shepherds1 #dg ,burgomaster1 #afgd ,capuchin ,friar 7portrait71 #aff ,christ before ,pilate1 #adjj ,christ taken down from the ,cross1 #dc ,diana ,bathing1 #bech ,his own ,portrait 7young71 #fgb ---- 7old71 #bba ,jew ,merchant 7portrait71 #ea ,jewish ,rabbi 7portrait71 #aij ,landscape 7,tobias and ,angel71 #gb ,man's ,portrait 7with collar71 #hej ---- 7date #afei71 #bdc ---- 7with cap71 #beci ,old ,lady's ,portrait 7dated #afcd71 #gge ---- 7,burgomaster's ,wife71 #afge ,woman ,bathing1 #ed ,woman's ,portrait 7dated #afff71 #bcg ,woman taken in ,adultery1 #de ,for copies from ,rembrandt1 see p4 #ged and ,no4 #bhi ,rembrandt1 ,school of ,christ blessing ,little ,children1 #geg ,reni4 ,see ,guido ,rhine1 ,school of the1 ,see #ajhj1 #ajhe 7p4 xx7 ,ribera4 ,see ,spagnoletto ,ricci1 ,sebastiano1 p4 #dda ,esther and ,ahasuerus1 #baja ,venus ,sleeping1 #hea ,rigaud1 ,hyacinthe1 p4 #dei ,cardinal ,fleury1 #ijc ,lulli and ,musicians1 #bjha ,rimini1 ,giovanni ,francesco da ,madonna and ,child1 #baah ,rinaldo ,mantovano1 p4 #cbj ,capture of ,carthagena1 etc41 #fdc ,rape of ,sabines1 etc41 #fdd ,roberti1 ,ercole de'1 p4 #edj ,adoration of the ,shepherds1 #adaa ,a ,concert1 #bdhf ,israelites gathering ,manna1 #abag ,the ,last ,supper1 #aabg ,robusti4 ,see ,tintoretto ,rokes1 ,hendrik4 ,see ,sorgh ,romanino1 p4 #bfd ,portrait of a ,man1 #bjif ,the ,nativity1 #big ,romano1 ,giulio1 p4 #cjf ,beatific ,vision of the ,magdalen1 #bbe ,infancy of ,jupiter1 #fbd ,romerswael4 ,see ,marinus ,rosa1 ,salvator1 p4 #aec ,hagar1 #bajg ,landscape and ,figures1 #abjf ,mercury and ,woodman 7landscape71 #hd ,river ,scene1 #ice ,tobias and ,angel 7landscape71 #haa ,rosselli1 ,cosimo4 ,see ,no4 #bbg ,rossi1 ,francesco ,charity1 #feb ,rottenhammer4 ,see #fei 7p4 xix7 ,rousseau1 ,p4 ,e4 ,thodore1 p4 #gjg ,river ,scene1 #bdci ,sunset at ,auvergne1 #bfce ,rousseau1 ,philippe ,the ,fish ,market1 #bdhj ,rubens1 p4 #aaa ,apotheosis of ,william the ,silent1 #ahg ,birth of ,venus 7design for salver71 #aaie ,brazen ,serpent1 #ei ,chapeau de ,poil1 #heb ,conversion of ,st4 ,bavon1 #eg ,diana and ,endymion1 #beih ,drawings1 #hec a-p ,holy ,family1 ,st4 ,george1 etc41 #fg ,horrors of ,war1 #bgi ,judgment of ,paris1 #aid ,landscape 7,chteau de ,stein71 #ff ---- 7sunset71 #aeg ,peace1 #df ,rape of the ,sabines1 #ch ,triumph of ,julius ,csar1 #bgh ,triumph of ,silenus1 #hec ,see also #fhj ,ruysch1 ,rachel ,flower-pieces1 #adde1 #addf ,ruysdael1 ,jacob1 p4 #cji ,bleaching ,ground1 #dd ,broken ,tree1 #iia ,cottage and ,haystack1 #befe ,cottage on a ,hill1 #befd ,entrance to the ,forest1 #befc ,forest ,scene1 #hed ,landscapes with ,waterfall1 #fbg1 #fbh1 #gcg ,landscape with ,ruins1 #gdf ,landscape with ,torrent1 #ihg ,old ,oak1 #ihh ,ruined ,castle1 #befb ,shore at ,scheveningen1 #acij ,skirts of a ,forest1 #beff ,stormy ,sea-piece1 #befg ,view near ,haarlem1 #iij1 #befa ,waterfall1 #hee ,watermills1 #ihf1 #ihi ,ruysdael1 ,salomon1 p4 #fcb ,fishing in the ,river1 #adci ,landscape1 #acdd ,ryckhaert1 ,martin ,landscape1 #acec ,saenredam1 ,pieter1 p4 #fhc ,interior of a ,church1 #ahif ,interior of ,st4 ,bavon1 #beca ,st4 ,aubin1 ,augustin de ,j4 ,b4 ,lalli 7engraving71 #bacf ,st4 ,aubin1 ,gabriel de ,une ,parade1 #babi ,safleven1 ,herman ,christ in ,peter's ,ship1 #bjfb ,salvi4 ,see ,sassoferrato ,salviati4 ,see ,rossi ,san ,daniele1 ,pellegrino da ,madonna and ,child1 #ggh ,san ,severino4 ,see ,lorenzo ,santa ,croce4 ,see ,girolamo ,santi1 ,giovanni ,madonna and ,child1 #gea ,sanzio4 ,see ,raphael ,sarto1 ,andrea del1 p4 #ceb ,his own ,portrait1 #fij ,holy ,family1 #ag ,sassetta1 ,stefano di ,giovanni ,heads of ,angels1 #ahdb 7p4 xxi7 ,sassoferrato1 p4 #bjc ,madonna and ,child1 #gdj ,madonna in ,prayer1 #bjj ,savoldo1 ,giov4 ,girolamo1 p4 #dfb ,mary ,magdalene at the ,sepulchre1 #ajca ,see also #acgg ,schalcken1 ,godfried1 p4 #bjb ,candle ,light1 #iii ,duet1 #iih ,lesbia and the ,sparrow1 #aii ,scouring the ,kettle1 #iig ,scheffer1 ,ary1 p4 #eff ,st4 ,augustine and ,st4 ,monica1 #aagj ,mrs4 ,r4 ,hollond 7portrait71 #aafi ,schiavone1 ,andrea ,jupiter and ,semele1 #adgf ,schiavone1 ,gregorio1 p4 #cab ,madonna and ,child1 #ijd ,madonna ,enthroned1 #fcj ,schongauer1 ,martin1 after ,see also #feh 7p4 xix7 ,schorel1 ,jan van1 p4 #cgb ,portrait of a ,lady1 #gba ,the ,repose1 #gbj ,segna di ,buonaventura ,a ,crucifixion1 #efg ,sellaio1 ,jacopo del1 p4 #gab ,venus and ,cupids1 #iaf ,virgin and ,child1 #bdib ,siberechts1 ,jan ,the ,water ,lane1 #bacj ,sienese ,school 7artists unknown7 ,marriage of the ,virgin1 #acag ,virgin ,enthroned1 #aajh ,signorelli1 ,luca1 p4 #eda ,adoration of the ,shepherds1 #aggf ,circumcision1 #aabh ,holy ,family1 #bdhh ,nativity1 #aacc ,triumph of ,chastity1 #iaj ,virgin crowned by angels1 #ahdg ,snyders1 ,frans ,fruit-piece1 #abeb ,snyers1 ,pieter ,still ,life1 #adja ,sodoma1 ,il1 p4 #eef ,ecce ,homo6 #accg ,madonna and ,child1 #aadd ,solario1 ,andrea da1 p4 #cgg ,giro4 ,cr4 ,longono 7portrait71 #gcd ,venetian ,senator 7portrait71 #ibc ,solario1 ,antonio da ,holy ,family1 #bejc ,sorgh1 ,hendrick1 p4 #ejg ,boors at ,cards1 #ajee ,two ,figures drinking1 #ajef ,spagna1 ,lo1 p4 #dic ,agony in the ,garden1 #ajcb ---- ascribed to ,agony in the ,garden1 #ahab ,ecce ,homo6 #fia ,spagnoletto1 p4 #bbj ,dead ,christ1 #bce ,shepherd with ,lamb1 #bdd ,spanish ,school ,adoration of ,magi1 p4 #gea ,peasant and ,child1 #bebf ,spinello1 ,aretino1 p4 #bhh ,rebel ,angels 7fresco fragments71 #abaf ,two ,apostles1 #bgf ,see also #eha1 #adfh 7pp4 xix1 xxi7 ,steen1 ,jan1 p4 #dde ,grace before meat1 #beeh ,interior1 #acgh ,merry-makers1 #beeg ,music ,master1 #hef ,oyster ,feast1 #beei ,pedlar1 #beef ,skittle ,players1 #befj ,terrace ,scene1 #adba ,woman ,asleep1 #beee ,steenwyck1 ,hendrick1 p4 #edg ,an ,interior1 #aacb ,church ,interiors1 #addc1 #bbjd ,steenwyck1 ,herman ,study of ,still ,life1 #abef ,stephan1 ,master4 ,see ,lochner ,storck1 ,abraham ,view on the ,maas1 #adf ,tacconi1 ,francesco ,virgin ,enthroned1 #bhf ,teniers1 ,david1 the elder1 p4 #dgf ,conversation1 #iej ,playing at ,bowls1 #iea ,rocky ,landscape1 #idi ,teniers1 the younger1 p4 #agb ,backgammon1 #bdb ,boors ,regaling1 #aeh ,card ,players1 #bfjj ,chteau at ,perck1 #hag ,country ,scene1 #hfa ,dives in ,hell1 #hfc ,four ,seasons1 #heg-hfj ,money ,changers1 #aee ,music ,party1 #aed ,old ,woman peeling ,pears1 #hje ,old ,woman reading1 #bfja ,surprise1 #hfb ,toper1 #iec ,village ,fte1 #ieb ,visit to the ,doctor1 #beii ,terburg1 ,gerard1 p4 #ddg ,guitar ,lesson1 #hfd ,man's ,portrait1 #acii ,peace of ,mnster1 #hif ,theotocopuli1 ,domenico1 p4 #ecc ,christ in the ,temple1 #adeg ,st4 ,jerome1 #aabb ,tiepolo1 ,giov4 ,battista1 p4 #egg ,deposition1 #accc ,designs for ,altar-pieces1 #aaib1 #aaic ,marriage of ,barbarossa1 #bajj ,virgin and ,child1 #beac ,tintoretto1 p4 #hd ,christ washing ,disciples' ,feet1 #aacj ,st4 ,george and the ,dragon1 #af ,the ,milky ,way1 #acac ,tisio4 ,see ,garofalo ,titian1 p4 #fc ,bacchus and ,ariadne1 #ce ,holy ,family 7landscape71 #d ,madonna and ,child1 ,st4 ,catherine1 etc41 #fce ,noli me ,tangere1 #bgj ,portrait of ,ariosto1 #aidd ,venus and ,adonis1 #cd ,see also #fcf 7p4 xix7 ---- ,school of ,concert1 #c ,rape of ,ganymede1 #cb ,tribute ,money1 #bbd ,treviso4 ,see ,girolamo ,troy1 ,j4 ,f4 de ,la ,main ,chaude1 #bbaf ,tura1 ,cosimo1 p4 #cii ,madonna and ,child1 #ggb ,st4 ,jerome in the ,desert1 #ggc ,the ,virgin ,mary1 #ije ,tuscan ,school4 ,see #ahdb 7p4 xxi7 ,ubertini4 ,see ,bacchiacca ,uccello1 ,paolo ,battle of ,sant' ,egidio1 #ehc ,ugolino da ,siena1 p4 #egf ,betrayal of ,christ1 #aahh ,procession to ,calvary1 #aahi ,umbrian ,school 7artists unknown7 ,griselda1 #iab-iad ,madonna and ,child1 #gjb ,marcus ,curtius1 #acjd ,portrait of ,raphael 7871 #beaj ,st4 ,catherine1 #fdf ,st4 ,ursula1 #fdg ,see also #ehe 7p4 xix7 ,unknown4 7,see under ,dutch1 ,ferrarese1 ,flemish1 ,florentine1 ,german1 ,greek1 ,italian1 ,milanese1 ,sienese1 ,tuscan1 ,umbrian1 ,venetian1 and ,veronese7 ,valdes1 ,leal1 ,juan de ,assumption of ,virgin1 #abia ,vallin1 ,jacques ,antoine ,dr4 ,forlenze 7portrait71 #bbhh ,vannucci1 ,pietro4 ,see ,perugino ,varotari4 ,see ,padovanino ,vecellio4 ,see ,titian ,velazquez1 p4 #aif ,admiral ,pulido ,pareja1 #acae ,christ at the ,column1 #aadh ,christ in the ,house of ,martha1 #acge ,dead ,warrior 7,el ,orlando ,muerto71 #gda ,philip ,,iv4 7portrait bust71 #gde ---- 7portrait2 full length71 #aabi ,venus and ,cupid1 #bjeg ,wild ,boar ,hunt1 #aig ,for copies from ,velazquez1 see p4 #geb ,see also #acgf1 #adcd 7p4 xxi7 ---- ascribed to ,betrothal1 #adcd ,duel in the ,prado 7sketch71 #acgf ,velde1 ,adrian van de1 p4 #ddi ,bay ,horse1 #ihc ,farm ,cottage1 #hfg ,ford1 #hfh ,forest ,scene1 #ihb ,frost ,scene1 #hfi ,landscape1 #acdh ,landscape and ,cattle1 #ihd ,the ,little ,farm1 #begb ,velde1 ,jan van de ,still ,life1 #abee ,velde1 ,willem van de1 the younger1 p4 #afi ,calm at ,sea1 #adi1 #begc ,calm at ,sea 7,sir ,r4 ,peel's71 #hgd ,coast ,scene1 #hga ,coast of ,scheveningen1 #hgc ,dutch ,ships of ,war1 #ihj ,gale1 #hgf ,gale at ,sea1 #aej ,light ,breeze1 #hge ,river ,scene1 #igh ,sea ,piece1 #igg ,shipping1 #igi ---- in a ,calm1 #hgj ---- off the ,coast1 #hgb ,storm at ,sea1 #iha ,windy ,day1 #begc ,venetian ,school 7artists unknown7 ,adoration of the ,shepherds1 #acgg ,landscape with ,nymphs1 #afie ,portrait of a ,lady1 #eie ,portraits of ,senators1 #adhi1 #adij ,see also #aaba 7p4 xx7 ,veneziano1 ,bartolommeo1 p4 #bdi ,portrait of a ,lady1 #bejg ,portrait of ,ludovico ,martinengo1 #bhg ,veneziano1 ,domenico1 p4 #cie ,heads of ,saints1 #gff ,madonna and ,child1 #abae ,venusti1 ,marcello1 p4 #egh ,christ and the ,traders1 #aaid ,virgin and ,child1 etc41 #abbg ,vermeer1 ,jan1 p4 #fcf ,young ,lady at the ,virginals1 #achc ,a ,lady at the ,virginals1 #befh ,see also #afii 7p4 xxi7 ---- attributed to ,a ,family ,group1 #bgfd ,the ,lesson1 #afii ,vermeulen1 ,andries ,scene on the ,ice1 #ahej ,vernet1 ,claude ,joseph1 p4 #bbb ,castle of ,sant' ,angelo1 #bcf ,mediterranean ,seaport1 #acic ,vernet1 ,horace ,napoleon ,i4 7portrait71 #abhe ,veronese1 ,paolo1 p4 #ie ,adoration of the ,magi1 #bfh ,consecration of ,st4 ,nicholas1 #bf ,family of ,darius1 #bid ,happy ,union1 #acbf ,magdalen and her ,jewels1 #ica ,rape of ,europa1 #ig ,respect1 #acbe ,scorn1 #acbd ,unfaithfulness1 #acah ,vision of ,st4 ,helena1 #ajda ,veronese1 ,paolo1 after ,see also #ig 7p4 xix7 ,veronese ,school 7artist unknown7 ,the ,clemency of ,trajan1 #aace1 #aacf ,verrocchio1 ,andrea ,virgin ,adoring1 #bif ,victoors1 ,jan ,village ,cobbler1 #acab ,vinci4 ,see ,leonardo ,vivarini1 ,alvise1 p4 #fhb ,madonna and ,child1 #ahgb ,man in ,black1 #bjie ,portrait of a ,youth1 #beji ,venetian ,gentleman1 #bfgb ,vivarini1 ,antonio1 p4 #cif ,sts4 ,francis and ,mark1 #abhd ,sts4 ,peter and ,jerome1 #gfh ,vivarini1 ,bartolommeo ,virgin and ,child1 #bhd ,vliet1 ,willem van der ,portrait of a ,jesuit1 #aafh ,walscappelle1 ,jacob ,flowers1 ,insects1 etc41 #ajjb ,weenix1 ,jan1 the younger ,dead ,game1 #bch ,weenix1 ,jan ,baptist ,hunting ,scene1 #ajif ,weier1 ,j4 ,battle ,scene1 #adgj ,werden1 ,meister van ,four ,saints1 #bej ---- #bea ,mass of ,st4 ,hubert1 #bec ,werff1 ,adrian van der ,his own portrait1 #affj ,wet1 ,jan de ,landscape1 #acdb ,weyden1 ,roger van der1 p4 #ccb ,ecce ,homo6 #gab ,mater ,dolorosa1 #gaa ,portrait of a ,lady1 #adcc ,see also #fed1 #ffd ,wils1 ,jan ,rocky ,landscape1 #ajjg ,witte1 ,emanuel1 de ,church ,interior1 #ajec ,wouwerman1 ,j4 ,landscape1 #acde ,wouwerman1 ,philips1 p4 #dec ,battle ,piece1 #igf ,bohemians1 #bbhb ,gathering ,faggots1 #hha ,interior of ,stable1 #hgi ,landscape1 #hhb ,pretty ,milkmaid1 #hgh ,sandbank1 #igc ,sea ,shore1 #hhj ,shoeing a ,horse1 #beed ,stag ,hunt1 #ige ,the ,bohemians1 #bbhb ,vedettes on the ,watch1 #ajfj ,wynants1 ,jan1 p4 #ded ,landscape 7crippled beggar71 #hhc ---- 7sand dunes71 #hhd ---- 7woman on donkey71 #iga ---- 7sportsman and dog71 #igb ,sandy ,lane1 #becc ,woman driving ,sheep1 #becb ,ysenbrandt1 ,adrian ,st4 ,mary ,magdalen1#behe ,zaganelli ,st4 ,sebastian1 #ajib ,zais1 ,giuseppe1 p4 #fjg ,river ,scene1 #abig ,rural ,landscape1 #abif ,zampieri4 ,see ,domenichino ,zoppo1 ,marco ,deposition in the ,tomb1 #eij ,zuccarelli ,gate of ,tower1 #bjhf ,pastoral ,landscape1 #bjhg ,zurbaran1 ,francisco1 p4 #baf ,adoration of the ,shepherds1 #bcb ,franciscan ,monk1 #bcj ,st4 ,margaret1 #aicj ,illustration ,,appendix ,,ii ,,index ,,list ,,of ,,pictures ,in this ,index all the pictures 7of ,foreign ,schools7 belonging to the ,national ,gallery are enumerated in the order of the numbers given to them on the frames and in the ,official ,catalogues4 ,following the title and painter of each picture1 there has been in previous editions of the ,handbook a reference to the room in the ,gallery in which the picture was hung2 but as the ,gallery is now1 and will for some time be1 under extensive rearrangement 7see above1 p4 xxv71 these references are for the present omitted4 ,several pictures belonging to the ,national ,gallery have1 however1 been removed on loan to other institutions 7under a ,treasury ,minute1 #ahfa1 and the ,national ,gallery ,loan ,act1 #ahhc74 ,these pictures are distinguished in the ,index by their titles being printed in italics2 whilst the name of the institution1 or 7in the case of provincial galleries7 the name of the town in which they are now to be seen is stated in the fourth column4 ,in the next two columns1 the manner and date of each picture's acquisition are given4 ,the names are those of the persons from whom the pictures were purchased1 or by whom they were given or bequeathed4 ,in the last column1 the prices paid for all the purchased pictures are given4 ,except where otherwise specified1 the funds out of which pictures were purchased have been provided by ,parliamentary ,grants4 ,the ,trustees have at their disposal other funds derived from the ,clarke1 ,lewis1 ,mackrell1 ,temple ,west1 and ,walker bequests4 7,the ,wheeler bequest is available for the purchase of ,english pictures only47 ,the letter ,c41 ,l41 ,m41 or ,w4 before the price in the last column denotes that the funds were derived from one or other of those bequests4 ,the dates of the appointment of successive ,keepers or ,directors are also given at their proper places in the ,index1 so that the curious reader may discover the use made by these officers of the funds at their disposal4 ,it should1 however1 be remembered that up to #ahee the responsibility for purchases rested rather with the ,trustees and the ,treasury than with the ,keeper4 ,the following is a summary of the cost of the pictures 7both ,british#bfe and ,foreign7 purchased up to the end of #aijf3-- _/ ,,purchased out of ,,parliamentary ,,grants4 ---------------------------------------- -------- ,pictures-- s4 d4 ---------------------------------------- -------- #ch 7,angerstein ,collection7 #eg1jjj #j #j #ca 7,lombardi-,baldi 7 #g1jce #j #j #cc 7,beaucousin 7 #i1bje #c #j #gg 7,peel7 #ge1jjj #j #j #dje 7,smaller ,purchases7 #ccb1jgc #h #e #b 7,blenheim ,collection7 #hg1ejj #j #j #c 7,longford 7 #be1jjj #j #j #d 7,lord ,northbrook7 #h1jjj #j #j #b 7,saumarez ,rembrandts7 #ad1jej #j #j #b 7,lord ,northampton7 #aj1jjj #j #j #b 7,genoa ,vandycks7 #be1jjj #j #j #a 7,lord ,talbot de ,malahide7 #be1jjj #j #j --- -------------- #fja pictures at a cost of #fhc1hfc #aa #e ,,purchased out of ,,private ,,bequests1 ,,etc4 ---------------------------------------- -------- ,pictures-- s4 d4 #ch ,clarke ,fund #aa1ibi #h #b #bi ,lewis #h1fff #i #j #ba ,walker #aj1jig #ag #f #aa ,wheeler #b1idj #j #j ,grant from ,lewis ,fund towards purchase of ,no4 #abdg #aea #aj #j ,gifts for ,longford ,pictures #cj1jjj #j #j ,rembrandts #a1jjj #j #j ,titian's ,ariosto #ba1jjj #j #j #a ,velasquez' ,venus #de1jjj #j #j --- -------------- #ajj pictures at a cost of #acj1ghe #e #b _/ ,it will be seen from this table that #gja pictures in all have been purchased at a total cost of #had1fdh3 #af3 #g1 an average of #aafb per picture4 ,a4 ,mr4 ,angerstein's ,collection 7#ch pictures7 was purchased in one lot for #eg1jjj4 7#a7 ,nos4 #i1 #ce1 and #fb were purchased together for #ijjj4 7#b7 ,nos4 #aj and #ae were purchased together for #aa1ejj4 7#c7 ,nos4 #ac and #ei were purchased together for #gcej4 7#d7 ,the ,krger ,collection 7#fd pictures7 was purchased in #ahed by1 and on the responsibility of1 the then ,chancellor of the ,exchequer 7,mr4 ,gladstone71 for #bhjj4 ,seventeen of them were originally hung in the ,gallery2 #aj were sent to ,dublin2 and the remaining #cg were sold at ,christie's in #aheg1 and realised #bdi3 #hs41 or #f3 #ads4 each4 ,of the #ag originally hung in the ,gallery1 all but #d were weeded out in #ahfb1 the rejected pictures being divided between ,dublin and the ,science and ,art ,department4 7#e7 ,nos4 #bhj1 #bhe1 and #bhf1 together with five others deposited in the ,national ,gallery of ,ireland1 and two which were sold at ,christie's for #acj3 #is41 were purchased from the ,baron ,galvagna1 ,venice1 for #bahi3 #af3 #aj4 7#f7 ,the ,lombardi-,baldi ,collection 7,florence71 #ca pictures1 was purchased in one lot for #gjce4 7#g7 ,the ,beaucousin ,collection of #df pictures 7#ac of which were not kept for the ,gallery7 was purchased at ,paris in one lot for #ibje3 #c3 #a4 7#h7 ,the ,peel ,collection of #gg pictures and #ah drawings was purchased in one lot for #ge1jjj4 ,key for ,where ,hung3 ,b ,bootle ,c ,chester ,e ,edinburgh ,d ,dublin ,g ,national ,gallery ,k ,south ,kensington ,n ,newport ,o ,oldham ,p ,national ,portrait ,gallery ,r ,greenock ,s ,stockport ,x ,exeter _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- ,mr4 ,william ,sebuier was appointed ,keeper in #ahbd4 #a,raising of ,lazarus4 ,seb4 del ,piombo ,g,p4 ,angerstein #ahbd ,a #b;,cephalus and ,procris,claude ,p4 #c;,a ,concert ,sch4 of ,titian,p4 #d;,holy ,family ,titian ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #e,seaport ,claude ,p4 ,angerstein #ahbd ,a #f;,cave of ,adullam ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #g;,group of ,heads ,aft4 ,p4 ,angerstein #ahbd ,a ,correggio #h;,dream of ,human ,life ,michael ,angelo ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #i;,domine quo vadis ,an4 ,carracci ,p4 ,hamlet #ahbf 7#a7 #aj,mercury1 ,venus1 ,correggio ,p4 ,ld4 #ahcd 7#b7 and ,cupid ,londonderry #aa,st4 ,jerome ,guido ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #ab;,isaac and ,rebecca ,claude ,p4 ,angerstein #ahbd ,a #ac;,holy ,family ,murillo ,p4 ,bulkeley #ahcg 7#c7 ,owen #ad,seaport ,claude ,p4 ,angerstein #ahbd ,a ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #ae;,ecce ,homo6 ,correggio ,g,p4 ,ld4 #ahcd 7#b7 ,londonderry #af,st4 ,george ,dragon ,tintoretto ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #ag;,holy ,family ,andrea del ,sarto,b4 #ah;,christ and the ,b4 ,luini ,b4 #ahca ,pharisees #ai,narcissus and ,echo ,claude ,g4 ,sir4 ,g4 #ahbf ,beaumont #bj;,ippolito de' ,medici ,s4 del ,piombo ,b4 ,rev4 ,w4 ,h4 #ahca and ,s4 del ,piombo ,carr #ba,portrait of a ,lady ,cristofano ,allori,b4 #bb;,dead ,christ ,guercino ,b4 #bc,la ,vierge au ,panier ,correggio ,p4 ,m4 ,perrier #ahbe #c1hjj #bd,portrait of a ,lady ,seb4 del ,piombo ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #be,st4 ,john in the ,an4 ,carracci ,p4 ,angerstein #ahbd ,a ,wilderness #bf,st4 ,nicholas ,p4 ,veronese ,g4 ,brit4 ,inst4#ahbf #bg;,julius ,,ii ,raphael ,p4 ,angerstein #ahbd ,a #bh,susannah ,l4 ,carracci ,p4 #bi,madonna del ,gatto ,baroccio ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #cj,st4 ,ursula ,claude ,p4 ,angerstein #ahbd ,a #ca,sacrifice of ,isaac ,g4 ,poussin ,p4 #cb,rape of ,ganymede ,sch4 of ,titian,p4 #cc,vision of ,st4 ,jerome,parmigiano ,g4 ,brit4 ,inst4#ahbf #cd,venus and ,adonis ,titian ,p4 ,angerstein #ahbd ,a #ce;,bacchus ,ariadne ,p4 ,hamlet #ahbf 7#a7 #cf,land ,storm ,g4 ,poussin ,p4 ,angerstein #ahbd ,a #cg;,group of ,heads ,aft4 ,correggio,p4 #ch,rape of the ,sabines ,rubens ,p4 #ci,nursing of ,bacchus ,n4 ,poussin ,b4 ,g4 ,j4 #ahca ,cholmondeley #dj,landscape3 ,phocion ,g4 ,sir ,g4 #ahbf ,beaumont #da;,death of ,peter ,asc4 to ,b4 ,rev4 ,w4 ,h4 #ahca ,martyr ,cariani ,carr #db;,bacchanalian ,scene ,n4 ,poussin ,p4 ,angerstein #ahbd ,a #dc;,deposition ,rembrandt ,g4 ,sir ,g4 #ahbf ,beaumont #dd;,bleaching ,ground ,j4 ,ruysdael ,b4 ,ld4 #ahdg ,farnborough #bffdd;,charity ,giulio ,romano ,k,b4 ,rev4 ,w4 ,h4 #ahca ,carr #de,woman taken in ,rembrandt ,g,p4 ,angerstein #ahbd ,a ,adultery #df;,blessings of ,peace ,rubens ,g4 ,lord #ahbh ,stafford #dg;,adoration of the ,rembrandt ,p4 ,angerstein #ahbd ,a ,shepherds #dh,tobias the ,angel ,domenichino ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #di,portrait of ,rubens ,van ,dyck ,p4 ,angerstein #ahbd ,a #ej,st4 ,ambrose and ,p4 ,theodosius #ea;,jew ,merchant ,rembrandt ,g4 ,sir ,g4 #ahbf ,beaumont #eb,portrait of ,van ,dyck ,p4 ,angerstein #ahbd ,a ,gevartius #ec;,evening ,landscape ,a4 ,cuyp ,p4 #ed,woman ,bathing ,rembrandt ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #ee;,death of ,procris ,claude ,g4 ,sir ,g4 #ahbf ,beaumont #ef,landscape ,an4 ,carracci ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #eg,st4 ,bavon ,rubens ,b4 #eh,study of ,trees ,claude ,g4 ,sir ,g4 #ahbf ,beaumont #ei,the ,brazen ,serpent ,rubens ,p4 ,bulkeley #ahcg 7#c7 ,owen #fj,tower of ,babel ,leandro ,d,b4 ,col4 ,ollney ,bassano #fa,landscape ,claude ,g,g4 ,sir ,g4 #ahbf ,beaumont #fb;,bacchanalian ,dance ,n4 ,poussin ,p4 ,hamlet 7#a7 #fc,landscape ,an4 ,carracci ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #fd,return of the ,ark ,s4 ,bourdon ,g4 ,sir ,g4 #ahbf ,beaumont #fe;,cephalus and ,aurora ,n4 ,poussin ,b4 ,g4 ,j4 #ahca ,cholmondeley #ff,landscape ,rubens ,g4 ,sir ,g4 #ahbf ,beaumont ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #fg;,holy ,family ,rubens ,g,p4 ,angerstein #ahbd ,a #fh,view near ,albano ,g4 ,poussin ,b4,rev4 ,w4 ,h4 #ahca #fi,st4 ,john ,preaching ,p4 ,f4 ,mola ,b4 ,carr #gj;,cornelia her ,padovanino ,b4 ,col4 ,ollney#ahcg jewels #ga,muleteers ,j4 ,both ,g4 ,sir ,g4 #ahbf ,beaumont #gb,tobias the ,angel ,rembrandt ,b4,rev4 ,w4 ,h4 #ahca #gc;,conversion of ,st4 ,asc4 to ,ercole,b4 ,carr #ahca ,paul di ,giulio ,grandi #gd,spanish ,boy ,murillo ,g4 ,m4 ,zachary #ahbf #ge,st4 ,george ,dragon ,domenichino ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #gf;,christ's ,agony ,aft4 ,correggio,p4 ,angerstein #ahbd ,a #gg,stoning of ,stephen ,domenichino ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #gh,landscape ,berchem ,b,b4 ,r4 ,frankum #ahfa #ha,st4 ,augustine ,garofalo ,g,b4 ,rev4 ,w4 ,h4 #ahca #hb;,holy ,family ,mazzolino ,b4 ,carr #hc,phineus ,n4 ,poussin ,d,g4 ,gen4 #ahcg ,thornton #hd,mercury ,woodman ,salvator ,rosa ,g,p4 ,george ,byng #a1fhj #he,st4 ,jerome ,domenichino ,b4 ,rev4 ,w4 ,h4 #ahca ,carr #hf,the ,entombment ,l4 ,carracci ,b4 ,col4 ,ollney#ahcg #hg,perseus ,guido ,d,g4 ,william ,,iv4#ahcf #hh;,erminia ,an4 ,carracci ,g,p4 ,angerstein #ahbd ,a #hi,portraits ,sustermans ,d,p4 #ij,venus and ,graces ,guido ,e,g4 ,william ,,iv4#ahcf #ia,sleeping ,venus ,n4 ,poussin ,g,b4 ,rev4 ,w4 ,h4 #ahca ,carr #ib;,cupid and ,psyche ,aless4 ,veronese ,k,b4 ,col4 ,ollney#ahcg #ic,silenus ,an4 ,carracci ,g,b4 ,rev4 ,w4 ,h4 #ahca ,carr #id;,bacchus and ,silenus ,p4 ,angerstein #ahbd ,a #ie;,dido and neas ,g4 ,poussin ,b4,rev4 ,w4 ,h4 #ahca #if;,ecce ,homo6 ,copy of ,s4 ,k ,carr ,correggio #ig,rape of ,europa ,p4 ,veronese ,g,b4 #ih,la ,riccia ,g4 ,poussin ,b4 #aja;,infancy ,lancret ,b4 ,col4 ,ollney#ahcg #ajb,youth ,b4 #ajc,manhood ,b4 #ajd;,age ,b4 #abe;,izaak ,walton ,huysman ,p,b4 ,rev4 ,dr4 #ahch ,hawes #abg,view in ,venice ,canaletto ,g,g4 ,sir ,g4 #ahbf ,beaumont #acd,landscape ,decker ,x,b4 ,col4 ,ollney#ahcg #ace,landscape with ,ruins,canaletto ,g,g4 #acg,landscape ,jan van ,goyen ,b4 #ach;,ancient ,ruins ,panini ,b4 #adj,portrait of a ,lady,van der ,helst ,r,b4 #ada,palace of ,dido ,steenwyck ,d,b4 #ade,portrait of a ,man ,asc4 to ,helst ,e,b4 #adf,view on the ,maas ,abraham ,storck ,g,b4 #adg;,cephalus and ,aurora ,ag4 ,carracci ,g4,ld4 #adh;,galatea ,g4 ,ellesmere #adi;,a ,calm ,w4 van de ,velde ,b4,ld4 #ahch #aej;,a ,gale ,b4,farnborough #aea,river ,scene ,jan van ,goyen ,b4 ,mrs4 ,hodges#aheb #aea,leda#bfg ,p4 ,f4 ,mola ,b4,ld4 #ahch #aeb;,evening ,landscape ,a4 van der ,neer ,b4,farnborough #aec,the ,little ,nurse ,maes ,b4 #aed;,a ,music ,party ,d4 ,teniers 7jr47,b4 #aee,money-changers ,b4 #aef,study of ,horses ,van ,dyck ,b4 #aeg,landscape ,rubens ,b4 #aeh;,boors ,regaling ,d4 ,teniers 7jr47,b4 #aei;,dutch ,housewife ,maes ,b4 ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #afj;,a ,riposo ,p4 ,f4 ,mola ,g,b4,ld4 #ahch #afa,landscape ,g4 ,poussin ,b4,farnborough #afc,view in ,venice ,canaletto ,b4 #afd;,holy ,family ,jordaens ,d,g4,d4 of4 #afe,plague at ,ashdod ,n4 ,poussin ,g,g4 ,northumbd #aff;,capuchin ,friar ,rembrandt ,g4 #afg;,adoration of ,magi ,b4 ,peruzzi ,g4 ,lord ,vernon#ahci #afh,st4 ,catherine ,raphael ,p4 ,beckford #afi;,holy ,family ,mazzolino ,p4 #g1cej #agj ,garofalo ,p4 #agb,supper at ,emmaus ,caravaggio ,g4 ,lord ,vernon #agc,male ,portrait ,il ,bassano ,g4 ,h4 ,g4 #agd;,a ,cardinal ,c4 ,maratti ,g4 ,knight #age;,john ,milton ,van der ,plaas ,p,g4 ,c4 ,lofft #agf,st4 ,john the ,lamb ,murillo ,g,p4,sir ,s4 #ahdj #b1ajj #agg,the ,magdalen ,guido ,reni ,p4 ,clark #dcj #aj #agi,virgin and ,child ,francia ,p4 ,duke of #ahda #c1ejj #ahj;,a ,piet ,p4 ,lucca #aha,virgin and ,child ,perugino ,p4 ,beckford #hjj #ahd;,a ,young ,lady ,n4 ,lucidel ,p4 ,col4 #aheh #bjj ,baillie ,sir ,c4 ,l4 7then ,mr47 ,eastlake was appointed ,keeper in #ahdc4 #ahf,portraits of ,jan ,jan van ,eyck ,g,p4 ,general ,hay#ahdb #fcj ,arnolfini ,wife #ahg;,apotheosis of ,rubens ,p4 ,lord ,eldin #ahdc #bjj ,william the ,taciturn #ahi,the ,doge ,loredano ,gio4 ,bellini ,p4 ,beckford #ahdd #fcj #aij;,a ,jewish ,rabbi ,rembrandt ,p4 ,j4 ,harman #dgc #aa #aia;,christ and ,st4 ,john ,guido ,reni ,p4 #dji #aj #aib;,his own ,portrait ,gerard ,dou ,p4 #aca #e #aic,lot his ,daughters ,guido ,reni ,p4 ,penrice #a1fhj #aid;,judgment of ,paris ,rubens ,p4 #d1bjj #aie;,a ,medical ,professor ,german ,school ,p4 ,rochard #ahde #fcj #aif,susannah ,elders ,guido ,reni ,p4 ,penrice #a1bfj #aig,wild ,boar ,hunt ,velazquez ,p4 ,lord ,cowley#ahdf #b1bjj #aih,st4 ,anthony ,an4 ,carracci ,p4 ,ld4 #ghg #aj ,dartmouth #aii,lesbia ,schalcken ,b4 ,r4 ,simmons #bjj,madonna ,sassoferrato ,b4 #bja,seaport ,c4 ,j4 ,vernet ,d,b4 #bjb;,domestic ,poultry ,hondecoeter ,g,b4 #bjc;,conventual ,charity,van ,harp ,c,b4 #bjd;,dutch ,shipping ,bakhuizen ,b4 #bje;,itinerant ,musicians ,dietrich ,g,b4 #bjf;,head of a ,girl ,greuze ,b4 #bjg,the ,idle ,servant ,maes ,b4 #bjh,landscape ,breenberg ,r,b4 #bji;,judgment of ,paris ,both ,g,b4 ,poelenburgh #baj,view in ,venice ,guardi ,b4 #baa;,a ,battle ,huchtenburg ,b4 #bab,merchant and ,clerk ,de ,keyser ,b4 ,mr4 ,thomas ,uwins1 ,r4,a41 was appointed ,keeper in #ahdg4 #bac,vision of a ,knight ,raphael ,g,p4 ,rev4 ,t4 #ahdg #a1jej ,egerton #bad;,coronation of ,virgin,guido ,reni ,b4 ,w4 ,wells #bae,saints ,lorenzo ,g4 ,w4 #ahdh #baf ,monaco ,g4 ,coningham #bah;,adoration of ,magi ,b4 ,peruzzi ,g4 ,e4 #ahdi ,higginson #bai;,dead ,christ ,lombard ,school,g4 ,sir ,w4 ,c4 ,trevelyan ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #bfh,landscape with ,g4 ,poussin ,g,g4 ,philip #ahdi ,figures ,pusey #bfh ,g4 #bba;,his own ,portrait ,rembrandt ,p4 ,visct4 #ahea #dcj #aj #bbb;,a ,man's ,portrait ,jan van ,eyck ,p4 ,midleton #cfe #bbc;,a ,gale ,bakhuizen ,b4 ,c4 ,l4 ,bredel #bbd,the ,tribute ,money ,sch4 of ,titian,p4 ,marshal #aheb #b1fjd ,soult #bbe,vision of the ,giulio ,romano ,g4 ,ld4 ,magdalen ,overstone #bbf,virgin and ,child ,sch4 of ,p4 ,j4 ,h4 ,brown#ahee #cca #ac ,botticelli #bbg,s4 ,jerome ,botticini ,p4 ,conte #aad #ag ,ricasoli #bbh;,christ and the ,il ,bassano ,g4 ,p4 ,l4 ,hinds#ahec ,money-changers #bcj;,a ,franciscan ,monk ,zurbaran ,p4 ,king ,louis #bfe #bcb;,adoration of the ,p4 ,philippe #b1jej ,shepherds #bcd,warrior adoring ,catena ,p4 ,s4 ,woodburn #ebe ,infant ,christ #bce;,dead ,christ ,spagnoletto ,g4 ,d4 ,barclay #bcf;,castle of ,st4 ,angelo,c4 ,j4 ,vernet ,g4 ,lady ,simpkinson #bcg;,a ,woman's ,portrait ,rembrandt ,b4 ,lord #ahed #bch;,dead ,game ,jan ,weenix1 jr4 ,b4 ,colborne #bci,moonlight ,scene ,a4 van der ,neer ,b4 #bdj;,crossing the ,ford ,berchem ,b4 #bdb;,game of ,backgammon ,d4 ,teniers 7jr47,b4 #bdc;,an ,old ,man ,rembrandt ,b4 #bdd,shepherd with ,lamb ,spagnoletto ,b4 #bde;,a ,senator ,hans ,baldung ,p4 ,m4 de #ade #g #bdf,madonna and ,child ,pacchia ,p4 ,bammeville #ib #h #bdg;,ecce ,homo6 ,m4 di ,giovanni ,p4 #ee #ac #bdh,vision of ,s4 ,bernard,filippo ,lippi ,p4 #djj #bdi,marriage of ,s4 ,lorenzo di ,s4 ,p4 #cic #ae ,catherine of ,siena ,severino #bej;,four ,saints ,meister v4 ,p4 ,herr ,krger 7#d7 #bea ,werden ,p4 ,minden #beb;,conversion of ,s4 ,p4 ,hubert #bec,mass of ,s4 ,hubert ,p4 #bed,three ,saints ,meister v4 ,p4 #bee ,liesborn ,p4 #bef,the ,annunciation ,p4 #beg,the ,purification ,p4 #beh;,adoration of ,magi ,p4 #bei;,christ on the ,cross ,p4 #bfj,three ,saints ,p4 #bfa ,p4 #bfb,the ,crucifixion ,sch4 of ,p4 #bfc;,coronation of the ,the younger ,d,p4 ,virgin #bfd,penitent and ,saint ,flemish ,school,g,p4 #bfe,virgin and ,child ,p4 #bff,the ,deposition from ,lambert ,lombard ,p4 the ,cross ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- ,sir ,c4 ,l4 ,eastlake1 ,p4,r4,a41 was appointed ,director in #ahee4 #bfh;,adoration of ,magi ,p4 ,veronese ,g,p4 ,sig4 #ahee #a1igg ,toffoli #bfi;,a ,knight in ,armour ,giorgione ,b4 ,samuel #bgj,noli me ,tangere ,titian ,b4 ,rogers #bga;,ecce ,homo6 ,guido ,reni ,b4 #bgb;,an ,apostle ,italian ,school,g4 ,cav4 ,vallati #bgd,virgin and ,child ,a4 ,mantegna ,p4 ,sig4 #a1abe #ab ,roverselli #bge,virgin and ,child ,botticelli ,p4 ,g4 ,bianconi #aei #aa #f #bgf,sts4 ,john ,paul ,spinello ,aretino,p4 ,samuel #ahef #gh #ae #bgg,the ,good ,samaritan ,il ,bassano ,p4 ,rogers #bda #aj #bgh,triumph of ,csar ,rubens ,p4 #a1ajb #aj #bgi;,horrors of ,war ,p4 #baj #bhj,madonna and ,child ,gio4 ,bellini ,p4 ,baron #ahee 7#e7 ,galvagna #bha,st4 ,jerome ,reading ,basaiti ,p4 ,m4 #dc #ac #a ,marcovich #bhb;,glorification of the,bertucci ,p4 ,lord ,orford#ahef #fea ,virgin #bhc,virgin and ,child ,benozzo ,gozzoli ,p4 ,casa #ahee #acg #af #h ,rinuccini #bhd,madonna and ,child ,b4 ,vivarini ,p4 ,conte degl' #ig ,algarotti #bhe ,f4 ,morone ,p4 ,baron 7#e7 #bhf ,tacconi ,p4 ,galvagna #bhg,lodovico ,martinengo ,bart4 ,veneziano ,p4 ,conte ,g4 #dh #aj ,pisani #bhh,virgin and ,child ,perugino ,p4 ,duke ,melzi #ahef #c1ega #h #g #bhi,the ,night ,watch ,gerrit ,lundens ,b4 ,rev4 ,t4 #aheg ,halford #bij;,a ,man's ,portrait ,jan van ,eyck ,p4 ,h4 ,carl #ahi #aa ,ross #bia,portrait of a ,girl ,lucas ,cranach ,p4 ,lord #ej #h ,shrewsbury #bib,st4 ,sebastian ,pollajuolo ,p4 ,marchese #c1aee #d #f ,pucci #bic,virgin and ,child ,filippino ,lippi ,p4 ,cav4 ,gius4 #fbg #h ,rucellai #bid;,family of ,darius ,p4 ,veronese ,p4 ,conte ,v4 #ac1fej ,pisani #bie;,christ and ,virgin ,quentin ,metsys ,p4 ,king of #acg #ab #i ,holland #bif,virgin ,adoring ,verrocchio ,p4 ,sig4 #dee #af #h ,contugi #big,the ,nativity ,il ,romanino ,p4 ,conte #hjd ,avveroldi #bih,the two ,s4 ,borgognone ,p4 ,sig4 ,taddeo #dcj ,catherines #bii;,an ,italian ,nobleman ,il ,moretto ,p4 ,henfry #aheh #cfj #cjj,madonna and ,child ,cima da ,p4 ,m4 ,roussele #cci #f #e ,conegliano #efd,virgin and ,child ,margaritone ,p4 ,lombardi- #aheg 7#f7 #efe,madonna and ,child ,cimabue ,p4 ,baldi ,gal4 #eff ,duccio ,p4 #efg;,christ on the ,cross ,segna di ,p4 ,buonaventura #efh;,coronation of the ,sch4 of ,gaddi ,p4 ,virgin #efi ,orcagna ,p4 #egj,the ,trinity ,p4 #ega;,angels ,adoring ,p4 #egb ,p4 #egc,the ,nativity ,p4 #egd;,adoration of ,magi ,p4 #ege,the ,resurrection ,p4 #egf,the ,three ,maries ,p4 #egg,the ,ascension ,p4 #egh,the ,holy ,spirit ,p4 #egi,the ,baptism of ,niccolo di ,p4 ,christ ,pietro ,gerini #egi;,a ,g4 da ,milano ,p4 #ehj;,assumption of ,st4 ,jacopo ,landini ,p4 ,john #ehj;,a ,p4 ,b #eha,saints ,orcagna ,p4 ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #ehb;,adoration of ,magi ,fra ,angelico ,g,p4 ,lombardi- #aheg 7#f7 #ehc;,battle of ,sant' ,paolo ,uccello ,p4 ,baldi ,gal4 ,egidio #ehd,various ,saints ,sch4 of ,a4 ,e,p4 del ,castagno #ehe,portrait of a ,lady ,sch4 of ,pollaiulo,g,p4 #ehf,madonna and ,child ,macchiavelli ,g,p4 #ehg,saints ,sch4 of ,lippi ,e,p4 #ehh,st4 ,mark and ,d,p4 ,st4 ,augustine #ehi,virgin and ,child ,filippo ,lippi ,g,p4 #eij;,christ in the ,tomb ,marco ,zoppo ,p4 #eia,rape of ,helen ,sch4 of ,gozzoli,p4 #eib;,adoration of ,magi ,botticelli ,p4 #eic,virgin and ,child ,lorenzo di ,credi,p4 #eid,st4 ,cosmo and ,st4 ,emmanuel ,p4 ,damian #eie,portrait of a ,lady ,venetian ,school,p4 ,sig4 #aheh #bad #ah ,menchetti #eif,the ,entombment ,palmezzano ,p4 ,sig4 #ecg #d #g ,gismondi #eig,st4 ,vincentius ,f4 ,cossa ,p4 ,marchese ,g4 ,ferrer ,costabili #bjb #af #aj #eih,st4 ,francis ,filippino ,lippi ,p4 #eii,madonna of ,meadow ,basaiti ,p4 ,sig4 ,a4 #aheh #fda #i #d ,farina #fjj,the ,blind ,beggar ,dyckmans ,b4 ,miss ,jane #ahei ,clarke #fjb;,a ,piet ,crivelli ,p4 ,cav4 #cjc ,vallati #fba;,horse ,fair ,rosa ,bonheur ,b4 ,jacob ,bell #fbb7,see note below7#bfi #fbc,madonna and ,child ,girolamo da ,p4 ,ld4 #dgb #aj ,treviso ,northwick #fbd;,infancy of ,jupiter ,giulio ,romano ,p4 #ibj #fbe;,an ,altar-,piece ,il ,moretto ,p4 #egg #aj #fbf,portrait of a ,man ,botticelli ,p4 #ajh #c #fbg,waterfall ,j4 ,ruysdael ,p4 ,count #a1ahg #ae #f #fbh ,p4 ,stolberg #a1jfi #ae #c #fbi,madonna and ,child ,lorenzo ,costa ,p4 ,m4 ,reiset #hhj #fcj ,g4 ,schiavone ,p4 ,beaucousin #ahfj 7#g7 #fca,portrait of a ,lady ,asc4 to ,bissolo,p4 ,coll4 #fcb;,a ,saint ,girolamo da ,p4 #fcc ,santa ,croce,p4 #fcd,madonna of ,goldfinch,cima da ,p4 ,conegliano #fce,the ,repose ,titian ,p4 #fcf,portrait of a ,poet ,palma ,vecchio ,p4 #fcg;,daphnis and ,chloe ,paris ,bordone ,p4 #fch,virgin and ,child ,francia ,p4 #fci,noli me tangere ,f4 ,mantegna ,p4 #fdj;,adoration of ,magi ,dosso ,dossi ,p4 #fda,the ,woman taken ,mazzolino ,p4 in ,adultery #fdb;,christ's ,agony ,garofalo ,p4 #fdc,the ,capture of ,asc4 to ,p4 ,carthagena ,rinaldo #fdd,the ,rape of the ,mantovano ,p4 ,sabines #fde,virgin and ,child ,albertinelli ,p4 #fdf,st4 ,catherine ,umbrian ,school,p4 #fdg,st4 ,ursula ,p4 #fdh,virgin and ,child ,lorenzo di ,credi,p4 #fdi,portrait of a ,boy ,an4 ,bronzino ,p4 #fej,portrait of a ,lady ,alessandro ,allori,p4 #fea;,all is ,vanity ,an4 ,bronzino ,p4 ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #feb;,charity ,salviati ,g,p4 ,beaucousin #ahfj 7#g7 #fec;,husband and ,wife ,flemish ,school,p4 ,coll4 #fed,the ,magdalen ,sch4 of ,r4 ,p4 ,campin #fee ,a4 ,benson ,p4 #fef;,a ,man's ,portrait ,mabuse ,p4 #feg;,husband and ,wife ,j4 ,cornelissen ,p4 #feh,the ,death of the ,sch4 of ,r4 ,p4 ,virgin ,campin #fei,pan and ,syrinx ,brueghel ,p4 #ffj;,a ,man's ,portrait ,asc4 to ,clouet,p4 #ffa;,a ,tracing of the ,after ,raphael ,g4 ,colnaghi ,madonna di ,san and ,co4 ,sisto #ffc,the ,resurrection ,fra ,angelico ,p4 ,sig4 ,g4 #c1ejj ,valentini #ffd;,entombment of ,d4 ,bouts ,p4 ,guicciardi #abj #ad #f ,christ ,family #ffe;,baptism of ,christ ,p4 della ,p4 ,sig4 #ahfa #bda #aj ,francesca ,uzielli #fff,the ,annunciation ,filippo ,lippi ,g4 ,sir ,c4 ,l4 ,eastlake #ffg,st4 ,john the ,baptist ,p4 ,a4 ,barker and ,saints #ffh,the ,beato ,ferretti ,crivelli ,p4 #b1ejj #ffi,st4 ,sebastian1 ,st4 ,l',ortolano ,p4 ,roch1 and ,st4 ,demetrius #fgj;,a ,knight ,bronzino ,sch4 ,g4 ,g4 ,f4 ,watts1 ,r4,a4 #fga,madonna and ,child ,garofalo ,p4 ,conte ,a4 #ahfj #gfc #af ,mazza #fgb;,his own ,portrait ,rembrandt ,p4 ,,mm4 de #ahfa #hjj ,richemont #fgc,salvator ,mundi ,a4 da ,messina ,p4 ,cav4 ,isola #afj #fgd,portrait of a ,lady ,paris ,bordone ,p4 ,duca di #beg #ac #a ,cardinale #fgi;,an ,astronomer ,f4 ,bol ,g4 ,miss ,e4 ,a4 #ahfb ,benett #fhj,the ,miraculous ,van ,dyck ,p4 ,cav4 #ahfa #bbj ,draught of ,fishes ,carelli #fhe,showery ,weather ,hobbema ,p4 ,g4 ,h4 #ahfb #a1ege ,phillips #fhf,madonna and ,child ,memlinc ,p4 ,j4 ,p4 ,weyer #gei #fhg,the ,sancta ,veronica ,cologne ,school,p4 #afe #fij;,his own ,portrait ,andrea del ,p4 ,sig4 ,n4 #bgj #b ,sarto ,puccini #fia;,ecce ,homo6 ,asc4 to ,spagna,g4 ,sir ,w4 #fib,st4 ,hugo of ,grenoble,ludovico da ,b4 ,moore ,parma #fic,st4 ,catherine ,pinturicchio ,b4 #fid,st4 ,jerome in ,study ,catena ,p4 ,manfrini #fie,madonna and ,child ,previtali ,p4 ,gallery1 #a1jdg #af #b #fif,marco ,barbarigo ,petrus ,cristus ,p4 ,venice #fig,portrait of a ,tailor,moroni ,p4 ,sig4 ,f4 #ahfb #cbj ,frizzoni de ,salis #fih,the ,death of ,procris,piero di ,cosimo ,p4 ,sig4 ,f4 #aga #f #c ,lombardi #fii;,agostino and ,niccolo,lorenzo ,lotto ,p4 ,sig4 ,g4 #cbj ,della ,torre ,morelli #gjj,the ,holy ,family ,lanini ,p4 ,g4 ,h4 #ahfc #a1bjj ,phillips #gja;,coronation of the ,justus of ,padua ,g4 ,queen ,virgin ,victoria #gjb,madonna and ,child ,umbrian ,school,g4 #gjc ,pinturicchio ,g4 #gjd,portrait of ,cosmo ,i4,bronzino ,sch4 ,g4 #gje,three ,saints ,asc4 to ,g4 ,stephan ,lochner #gjf,the ,presentation ,master of the ,g4 ,lyversberg ,passion ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #gjg,st4 ,peter and ,st4 ,cologne ,school,g,g4 ,queen #ahfc ,dorothy ,victoria #gjh,madonna and ,child ,flemish ,school,g4 #gji ,memlinc ,g4 #gaj;,a ,monk ,flemish ,school,g4 #gaa,mater ,dolorosa ,r4 ,weyden ,g4 #gab;,ecce ,homo6 ,g4 #gac,madonna and ,child ,jan ,prevost ,g4 #gad,mother and ,child ,b4 van ,orley ,g4 #gae,the ,crucifixion ,quentin ,metsys ,g4 #gaf,st4 ,christopher ,j4 ,patinir ,g4 #gag,st4 ,john in ,patmos ,g4 #gah,the ,crucifixion ,asc4 to ,h4 ,bles,g4 #gai,the ,magdalen ,g4 #gbj;,a ,repose ,schorel ,g4 #gba,portrait of a ,lady ,g4 #gbb,portrait of a ,lady ,german ,school ,g4 #gbc7,see note below7#bgj #gbd,madonna della ,crivelli ,p4 ,conte ,l4 de#ahfbb1ahb #aa #e ,rondine ,sanctis #gbf;,christ's ,agony ,gio4 ,bellini ,p4 ,rev4 ,w4 #ahfc #fcj #gbg,the ,trinity ,pesellino ,p4 ,davenport #b1ajj #gbh,madonna and ,child ,beltraffio ,p4 ,bromley #dfb #gbi;,adoration of ,kings ,foppa ,p4 #abg #a #gcb;,canal ,scene ,a4 van der ,neer ,p4 ,lord #ahfd #hjj ,shaftesbury #gcd;,a ,milanese ,lawyer ,andrea ,solario ,p4 ,sig4 ,g4 #ahfc #fcf #c #i ,baslini #gce,st4 ,roch and the ,paolo ,morando ,p4 ,dr4 ,c4 #ahfd ,angel ,bernasconi #hhj #gcf;,a ,venetian ,senator ,bonsignori ,p4 #gcg,waterfall ,j4 ,ruysdael ,b4 ,j4 ,m4 #gch;,incident in a ,c4 ,p4 ,tschaggeny,o,b4 ,oppenheim ,battle #gci,the ,annunciation ,crivelli ,g,g4 ,lord ,taunton #gdj,madonna and ,child ,sassoferrato ,p4 ,sig4 ,jenne1 #chj ,venice #gda;,a ,dead ,warrior ,asc4 to ,p4 ,pourtals #ahfe #a1edi #d #f ,velazquez ,coll41 #gdb,portrait of a ,lawyer,moroni ,p4 ,paris #ebh #h #f #gdd;,garvagh ,madonna ,raphael ,p4 ,lord #i1jjj ,garvagh #gde,philip ,,iv4 of ,spain ,velazquez ,p4 ,m4 ,emm4 #a1bjj #gdf,landscape1 with ,ruin,ruysdael ,p4 ,sano #gdg,st4 ,john and ,st4 ,asc4 to ,p4 #dhj ,lawrence ,memlinc #gdh,madonna and ,child ,girolamo dai ,p4 ,the ,conti #ahfd with ,st4 ,anne ,libri ,monga1 #a1ehj #gdi,the ,giusti ,family ,n4 ,giolfino ,p4 ,verona #gej,the ,doge ,l4 ,bastiani ,p4 ,conte ,a4 #ahfe #c1djj ,gio-,mocenigo ,mocenigo #gea,madonna and ,child ,giovanni ,santi ,p4 ,sig4 ,m4 #abj #geb ,lippo ,dalmasii ,p4 ,gualandi #djj #gec,on the ,road to ,altobello ,p4 ,conte ,c4 #ahfd #cbj ,emmaus ,melone ,castelbarco1 ,milan ,sir ,william 7then ,mr47 ,boxall was appointed ,director in #ahff4 #gee,rhetoric ,melozzo da ,forli,g,p4 ,w4 ,spence #ahff #fjj #gef,music ,p4 #geg;,christ blessing ,sch4 of ,p4 ,herr4 #g1jjj ,little ,children ,rembrandt ,suermondt ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #geh;,countess ,palma of ,piero della ,g,p4 ,sig4 ,egidj #ahff #afj ,urbino ,francesca #gff;,head of a ,saint ,dom4 ,veneziano ,p4 ,lady #ahfg #bg #aj ,eastlake #gfg ,p4 #bg #aj #gfh,st4 ,peter and ,st4 ,antonio ,vivarini,p4 #dj ,jerome #gfi,st4 ,michael and the della ,francesca ,p4 #ej ,dragon #ggj,leonello ,d',este ,giovanni ,oriolo ,p4 #be #gga,st4 ,jerome ,bono ,p4 #ee #ggb,madonna and ,child ,cosimo ,tura ,p4 #afj #ggc,st4 ,jerome ,p4 #ge #ggd,madonna and ,child ,d4 ,bouts ,p4 #bbe #gge;,an ,old ,woman ,rembrandt ,p4 #a1bjj #ggf,st4 ,anthony and ,st4 ,vittore ,pisano ,g4 ,george #ggg,madonna and ,child ,paolo ,morando ,p4 ,count #ijj ,l4 ,portalupi #ggh ,pellegrino da ,p4 ,sig4 #aab ,san ,daniele ,v4 ,azzola #ggi;,family ,portraits ,borgognone ,p4 ,sig4 ,baslini #afj #ghj ,p4 #gha,raphael and ,tobias ,asc4 to ,p4 ,count #a1jjj ,botticini ,galli ,tassi #ghb,madonna and ,child ,botticelli ,sch4,p4 #ghc;,exhumation of ,st4 ,flemish ,school,p4 ,lady #ahfh #a1ejj ,hubert ,eastlake #ghh;,an ,altar-,piece ,crivelli ,p4 ,g4 ,h4 #ahfh #c1cfj ,phillips #gij,the ,entombment ,michael ,angelo ,p4 ,r4 #b1jjj ,macpherson #gid;,dutch ,courtyard ,p4 de ,hooch ,p4 ,m4 #ahfi #a1gbb ,delessert #gif,vase of ,flowers ,j4 van ,huysum ,p4 ,c4 ,j4 #ijj ,nieuwenhuys #gig;,a ,man's ,portrait ,a4 ,cuyp ,p4 #ijj #gih;,cardinal ,richelieu ,p4 de ,champaigne,g4 ,a4,w4 ,franks #hjb,madonna of the ,b4 ,montagna ,p4 ,sig4 ,g4 #ahfi #ahj #ah ,cherry ,baslini #hjc,the ,circumcision ,marco ,marziale ,p4 #a1jje #hjd,madonna and ,child ,p4 #ejb #aj #hje,peeling ,pears ,d4 ,teniers 7jr47,p4 ,g4 ,h4 #ahgj #fjj ,phillips #hjf,the ,procession to ,b4 ,boccaccino ,p4 ,sig4 ,g4 #cjj ,calvary ,baslini #hjg,madonna and ,child ,crivelli ,g4 ,marchioness of ,westminster #hjh,st4 ,peter ,martyr ,gentile ,bellini ,p4 ,sig4 ,g4 #bhj ,baslini #hji,the ,holy ,family ,michael ,angelo ,p4 ,ld4 ,taunton #b1jjj #haj,pardon ,day in ,c4 ,poussin ,g4 ,r4 ,e4 ,lofft ,brittany #haa,tobias and the ,salvator ,rosa ,g4 ,wynn ,ellis ,angel #hab;,death of ,p4 ,martyr ,gio4 ,bellini ,g4 ,lady ,eastlake #had;,a ,calm ,p4 ,j4 ,clays ,n,b4 ,j4 ,m4 ,parsons #hae;,flushing ,g,b4 #haf,the ,incredulity of ,cima da ,p4 ,hospital of#ahga #a1hjj ,st4 ,thomas ,conegliano ,st4 ,francesco #hag,the ,chteau of ,d4 ,teniers 7jr7 ,p4 ,c4 ,j4 #a1jjj ,teniers at ,perck ,nieuwenhuys #hah;,coast ,scene ,bakhuizen ,p4 ,sir ,robert 7#c7 ,peel #hai,mouth of the ,thames ,p4 #hbj,landscape with ,ruin ,berchem ,p4 #hba;,a ,family ,group ,gonzales ,coques ,p4 #hbb;,evening ,landscape ,a4 ,cuyp ,p4 #hbc,on the ,meuse ,p4 #hbd,ruined ,castle ,p4 #hbe,poulterer's ,shop ,gerard ,dou ,p4 #hbf,landscape1 ,animals ,k4 du ,jardin ,p4 #hbg,the ,ford ,p4 #hbh,landscape ,cattle ,p4 ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #hbi,stag ,hunt ,jan ,hackaert ,g,p4 ,sir ,robert #ahga 7#h7 ,peel #hcj,the ,avenue ,hobbema ,p4 #hca;,brederode ,castle ,p4 #hcb,water ,mills ,p4 #hcc;,forest ,scene ,p4 #hcd;,dutch ,interior ,p4 de ,hooch ,p4 #hce;,court of a ,house ,p4 #hcf,view in ,holland ,p4 de ,koninck ,p4 #hcg;,hay ,harvest ,j4 ,lingelbach ,p4 #hch,the ,duet ,g4 ,metsu ,p4 #hci,the ,music ,lesson ,p4 #hdj,lady feeding ,parrot ,frans van ,mieris,p4 #hda;,fish ,poultry ,shop ,w4 van ,mieris ,p4 #hdb;,garden ,scene ,f4 ,moucheron ,p4 #hdc;,blowing ,bubbles ,g4 ,netscher ,p4 #hdd,maternal ,instruction ,p4 #hde,spinning ,wheel ,p4 #hdf,the ,alchymist ,a4 van ,ostade ,p4 #hdg,village ,scene ,i4 van ,ostade ,p4 #hdh,skating ,scene ,p4 #hdi,landscape ,cattle ,paul ,potter ,p4 #hej,man's ,portrait ,rembrandt ,p4 #hea,venus ,sleeping ,seb4 ,ricci ,p4 #heb;,chapeau de ,poil ,rubens ,p4 #hec,triumph of ,silenus ,p4 #hec ,a-,p4,studies ,rubens ,p4 #hed;,forest ,scene ,j4 ,ruysdael ,p4 #hee,waterfall ,p4 #hef,the ,music ,master ,jan ,steen ,p4 #heg,the ,four ,seasons ,d4 ,teniers 7jr47,p4 #heh ,p4 #hei ,p4 #hfj ,p4 #hfa;,country ,scene ,p4 #hfb,the ,surprise ,p4 #hfc,rich ,man in ,hell ,p4 #hfd,the ,guitar ,lesson ,terburg ,p4 #hfe;,coast ,scene ,van de ,cappelle ,p4 #hff,street in ,cologne ,van der ,heyden ,p4 #hfg;,farm ,cottage ,a4 van de ,velde ,p4 #hfh,the ,ford ,p4 #hfi;,frost ,scene ,p4 #hgj,shipping in a ,calm ,w4 van de ,velde ,p4 #hga;,bathing ,p4 #hgb,shipping off ,p4 the ,coast #hgc ,p4 #hgd;,a ,calm at ,sea ,p4 #hge;,a ,light ,breeze ,p4 #hgf;,a ,gale ,p4 #hgg;,his own ,portrait ,van ,dyck ,p4 #hgg ,a1 ,b4,studies ,p4 #hgh,pretty ,milkmaid ,p4 ,wouwerman ,p4 #hgi;,interior of a ,stable ,p4 #hhj,on the ,sea ,shore ,p4 #hha;,gathering ,faggots ,p4 #hhb,landscape ,p4 #hhc;,beggar by ,roadside ,jan ,wynants ,p4 #hhd,sand ,dunes ,p4 #hie;,francesco ,ferruccio ,piero di ,cosimo ,b4 ,sir ,a4 ,sterling #hif,the ,peace of ,mnster,terburg ,g4 ,sir ,r4 ,wallace #ija,landscape ,jan ,looten ,b,b4 ,mrs4 ,j4 ,h4 #ahgc ,jewer #ijb,triumph of ,scipio ,a4 ,mantegna ,g,p4 ,captain #a1ejj ,vivian ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- ,sir ,frederick ,w4 7then ,mr47 ,burton was appointed ,director in #ahgd4 #ijc;,cardinal ,fleury ,h4 ,rigaud ,g,g4 ,mrs4 #ahgd ,charles ,fox #ijd,madonna and ,child ,g4 ,schiavone ,p4 ,a4 ,barker #ahi #ije,madonna in ,prayer ,cosimo ,tura ,p4 #hd #aj #ijf,madonna in ,ecstasy ,crivelli ,p4 #egg #aj #ijg,st4 ,catherine and ,p4 #baj ,mary ,magdalene #ijh,the ,nativity ,p4 della ,p4 #b1dae ,francesca #bgaiji,the ,madonna of ,benvenuto da ,p4 #eeh #ab the ,white ,rose ,siena #iaj,the ,triumph of ,luca ,signorelli ,p4 #hdj ,chastity #iaa,ulysses and ,penelope,pinturicchio ,p4 #b1aeb #aj #iab,the ,story of ,umbrian ,school,p4 #baj ,griselda #iac ,p4 #bda #iad ,p4 #bgc #iae,mars and ,venus ,botticelli ,p4 #a1jej #iaf,venus with ,cupids ,j4 del ,sellaio ,p4 #a1fbg #aj #ibj,orpheus ,r4 ,savery ,r,b4 ,s4 ,j4 ,ainsley #ibc;,a ,venetian ,senator ,andrea ,solario ,g,p4 ,sig4 ,g4 #ahge #a1hhj ,baslini #ibd;,gothic ,interior ,pieter ,neeffs ,g4 ,h4 ,h4 ,howorth #ibg;,angel ,adoring ,filippino ,lippi ,b4 ,wynn ,ellis #ahgf #ibh;,apollo and ,daphne ,asc4 to ,b4 ,pollajuolo #ibi;,bridgewater ,after ,raphael ,b4 ,madonna #icj,the ,garden of ,love ,sch4 of ,b4 ,giorgione #ica,magdalen and her ,italian ,school,b4 ,jewels #icb;,a ,knight of ,malta ,italian ,school,b4 #icc;,boy with ,dove ,padovanino ,b4 #icd,madonna and ,child ,carlo ,dolci ,b4 #ice,river ,scene ,salvator ,rosa ,b4 #icf;,farnese ,theatre1 ,ferd4 ,bibiena ,b4 ,parma #icg,scuola di ,san ,rocco ,canaletto ,b4 #ich,regatta on the ,grand ,b4 ,canal #ici,venice3 ,piazzetta ,b4 #idj,the ,ducal ,palace ,b4 #ida,the ,grimani ,palace ,b4 #idb;,eton ,college ,b4 #idc;,a ,portrait ,d4 ,bouts ,b4 #idd,two ,usurers ,marinus van ,b4 ,romerswael #ide,st4 ,agnes ,j4 ,patinir ,b4 #idf;,a ,man's ,portrait ,mabuse ,b4 #idg ,flemish ,school,b4 #idh,landscape ,rubens ,b,b4 #idi,landscape3 ,gipsies ,d4 ,teniers ,g,b4 7sen47 #iej,village ,gossips ,b4 #iea,playing at ,bowls ,b4 #ieb;,a ,village ,fte ,d4 ,teniers 7jr47,b4 #iec,the ,toper ,b4 #ied;,a ,landscape ,corn4 ,huysmans ,b4 #iee,women ,bathing ,poelenburgh ,b4 #ief;,italian ,landscape ,j4 ,both ,b4 ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #ieg;,goatherds ,j4 ,both ,g,b4 ,wynn ,ellis #ahgf #ieh,outside ,rome ,b4 #iei,river ,scene ,r,b4 #ifj,windmills ,a4 ,cuyp ,n,b4 #ifa,the ,large ,dort ,b4 #ifb,the ,small ,dort ,b4 #ifc,skating ,scene ,i4 van ,ostade ,b4 #ifd,river ,scene ,van de ,cappelle ,b4 #ife,river ,scene1 with ,b4 ,barge #iff;,dutch ,shipping ,b4 #ifg,river ,scene ,b4 #ifh;,his ,wife's ,portrait ,gerard ,dou ,b4 #ifi;,a ,frost ,scene ,a4 van der ,neer ,b4 #igj,the ,drowsy ,landlady ,g4 ,metsu ,b4 #iga,landscape ,jan ,wynants ,b4 #igb ,b4 #igc,sandbank ,p4 ,wouwerman ,b4 #igd;,antwerp ,cathedral ,p4 ,de ,koninck ,b4 #ige,stag ,hunt ,p4 ,wouwerman ,b4 #igf;,battle ,scene ,b4 #igg,sea ,piece ,w4 van de ,velde ,b4 #igh,river ,scene ,b4 #igi;,a ,stiff ,breeze ,b4 #ihj;,dutch ,shipping ,b4 #iha;,a ,storm at ,sea ,b4 #ihb;,forest ,scene ,a4 van de ,velde ,b4 #ihc;,bay ,horse ,b4 #ihd;,cattle ,b4 #ihe,sheep and ,goats ,k4 du ,jardin ,b4 #ihf,watermills ,j4 ,ruysdael ,b4 #ihg,rocky ,torrent ,b4 #ihh;,an ,old ,oak ,b4 #ihi;,bleachers ,b4 #iij,wooded ,prospect ,b4 #iia,the ,broken ,tree ,b4 #iib;,gothic and ,classic ,van der ,heyden ,b4 ,buildings #iic,landscape ,b4 #iid,street in a ,town ,b4 #iie,woody ,landscape ,hobbema ,b4 #iif;,castle on a ,hill ,g,b4 #iig,scouring the ,kettle ,schalcken ,n,b4 #iih,the ,duet ,b4 #iii;,candle ,light ,b4 #ajjj;,an ,estuary ,bakhuizen ,b4 #ajja;,flower-,piece ,j4 ,van ,huysum ,b4 #ajjb ,walscappelle ,b4 #ajjc;,dead ,birds ,jan ,fyt ,b4 #ajjd;,italian ,landscape ,berchem 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,c4 ,duyster ,p4 ,romer #ahic ,williams #abej #achg,players at ,tric-,trac ,p4 #acij,sea-,piece ,j4 ,ruysdael ,p4 ,mildmay #cjde ,sale #acic;,a ,seaport ,c4 ,j4 ,vernet ,g4 ,mrs4 ,tarratt #acig,old ,woman ,sewing ,dutch ,school ,g4 ,mr4 ,h4 ,j4 #ahid ,pfungst #acii,man's ,portrait ,terburg ,p4 ,eastlake #ged ,sale #adjj;,christ before ,pilate,rembrandt ,p4 #bebgg #adja,still ,life ,p4 ,snyers ,p4 ,s4 ,richards #age #adjf,the ,annunciation ,sch4 of ,angelico,p4 ,lawrie #aejj ,mr4 7now ,sir7 ,e4 ,j4 ,poynter1 ,p4,r4,a41 was appointed ,director ,may #h1 #ahid4 #adji,marriage of ,st4 ,a4 ,c4 ,agii ,g,p4 ,eastlake #ahid;,c4 #beb ,catherine ,sale ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #adaj,virgin and ,child ,borgognone ,g,p4 ,eastlake #ahid #dda ,sale #adaa;,adoration of the ,ercole ,roberti ,p4 #dic #aj ,shepherds1 etc4 #adab,virgin and ,child ,sch4 ,botticelli,p4 #gef #adae;,anna ,maria van ,gerard ,dou ,p4 ,mr4 ,h4 #abj ,schurman ,buttery #adaf,virgin and ,child ,f4 ,mazzola ,p4 ,fairfax ,l4 #abj ,murray #adag;,agony in the ,garden ,a4 ,mantegna ,p4 ,earl of #aejj ,northbrook ,a ,illuminated ,initial ,g4 ,letter #adah,st4 ,jerome ,a4 da ,messina ,p4 #bejj #adai,legend of ,st4 ,giles ,french ,school ,p4 #bjjj #adbj,view in ,haarlem ,g4 ,a4 ,p4 ,mr4 ,adrian #dgb #aj ,berck-,heyde ,hope #adba;,a ,terrace ,scene ,jan ,steen ,p4 #hai #adbb,the ,holy ,family ,e4 ,le ,sueur ,g4 ,mr4 ,f4 ,t4 ,palgrave #adbc,lady's ,portrait ,a4 van ,g4 ,mr4 ,a4 ,ravesteijn ,fowell ,buxton #adbd,tobias and the ,angel,a4 ,elsheimer ,b4 ,mr4 ,s4 ,sanders #adbe,tasting ,le ,nain ,g4 ,mr4 ,lesser ,lesser #adbg;,a ,piet ,hans ,baldung ,p4 ,george ,l4 #fjj ,donaldson #adbi,the ,rotunda1 ,canaletto ,p4 ,mr4 ,h4 #abj ,ranelagh ,buttery #adcj;,architectural ,beccafumi ,g4 ,mr4 ,george ,subject ,salting #adca;,baptism of ,christ ,perugino ,p4 ,rome #djj #adcb,marriage of ,gerard ,david ,b4 ,mrs4 ,lyne #ahie ,st4 ,catherine ,stephens #adcc,lady's ,portrait ,r4 ,weyden ,b4 #adcd;,a ,betrothal ,velazquez ,g4 ,lord ,savile #adcf,the ,vision of ,vittore ,pisano ,p4 ,earl of #cjjj ,st4 ,eustace ,ashburnham #adcg;,descent of the ,holy ,barnaba ,p4 ,mr4 ,c4 #fj ,ghost da ,modena ,simpson #adch;,head of ,john the ,milanese ,school,p4 ,mr4 ,j4 ,c4 ,w4 #adj #g #f ,baptist ,watt #adci;,fishing in the ,river,s4 ,ruysdael ,from ,south ,kensington ,museum #addj,st4 ,dominic ,gentile ,bellini #adda;,a ,fresco ,perugino #addb,ships in a ,gale ,bakhuizen #addc;,interior of a ,church,h4 ,steenwyck #addd,peasants ,warming ,g4 van ,honthorst ,themselves #adde;,flower-,piece ,rachel ,ruysch #addf #addg;,a ,hunting ,party ,a4 ,f4 van der ,p4 ,lyne #adg ,meulen ,stephens' ,sale #addh,village ,green in ,f4 ,s4 ,bonvin ,g4 ,mrs4 ,e4 ,france ,edwards #addi;,cardinal ,richelieu ,p4 de ,champaigne,g4 ,mr4 ,charles ,butler #adej,the ,holy ,family ,seb4 del ,piombo ,p4 ,earl of #bjjj ,northbrook #adea;,interior of a ,church,g4 ,a4 ,p4 ,lord #ebe ,berck-,heyde ,clifden's ,sale #aded;,a ,gondola ,guardi ,p4 #fi #f #adee,the ,circumcision ,gio4 ,bellini ,g4 ,earl of ,carlisle #adef,virgin and ,child ,italian ,school,g4 ,mr4 ,john ,p4 ,heseltine #adeg;,christ in the ,temple,d4 ,theotocopuli ,g4 ,sir ,j4 ,c4 ,robinson #adei,the ,wine ,contract ,g4 van den ,p4 ,colnaghi #ejf #b ,eeckhout #adfa,st4 ,sebastian ,m4 di ,giovanni ,p4 ,florence #ega 7,bardini7 ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #adfb;,a ,sea ,piece ,h4 ,dubbels ,g,g4 ,mr4 ,arthur #ahie ,kay #adfe;,christ rising from ,gaudenzio ,p4 ,milan #bae the ,tomb ,ferrari 7,scarpa ,sale7 #adff,the ,walk to ,emmaus ,lelio ,orsi ,p4 #be #adfh,the ,crucifixion ,j4 di ,cione ,b4 ,rev4 ,j4 ,h4 #ahif ,ash #adfi,still ,life ,w4 ,k4 ,heda ,g4 ,mr4 ,h4 ,j4 ,pfungst #adgj;,battle ,scene ,j4 ,weier ,g4 ,sir ,a4 ,w4 ,franks #adga,the ,picnic ,f4 ,goya ,p4 ,duke de #bfe ,osuna #adgb,the ,bewitched ,p4 #adgc,lady's ,portrait ,p4 ,don ,a4 de #dje ,urzaiz #adgf;,jupiter and ,semele ,a4 ,schiavone ,p4 ,lord #db ,leighton's ,sale #adgh,the ,crucifixion ,g4 ,mansueti ,p4 ,london #dcf #adgi;,a ,winter ,scene ,h4 ,avercamp ,p4 ,mr4 ,j4 ,st4 ,l4 #hi ,hens #adha;,a ,philosopher ,c4 ,p4 ,bega ,g4 ,martin ,colnaghi #adhi,venetian ,senator ,venetian ,school,from ,south ,kensington #adij #adic,landscape1 ,carrara ,g4 ,costa ,g4 ,body of #ahig ,mountains ,subscribers #adie;,christ ,disputing ,mazzolino ,p4 ,messrs4 #cej ,agnew #afeb,mad4 van der ,goes ,dutch ,school ,b4 ,miss ,brown #afec,portrait of the ,mme4 ,vige ,le ,p4 ,mr4 ,s4 ,t4 #fjj ,artist ,brun ,smith #affj ,adrian van der ,g4 ,sir ,e4 #ahih ,werff ,malet1 ,g4,c4,b4 #affa ,wings of ,no4 #ajic;,ambrogio de ,p4 ,duke ,melzi1 #bafj #affb ,predis ,milan #affd,la ,fontaine ,j4 ,b4 ,s4 ,chardin,p4 ,mons4 #gba ,sortais1 ,paris #affe,portrait of a ,young ,amb4 de ,predis ,p4 ,mr4 ,fuller #aejj ,man ,maitland #afgd,portrait of a ,rembrandt ,p4 ,lord #ahii ,burgomaster de ,saumarez #afge,portrait of an ,old ,p4 #ae1jejbgh ,lady #afgf;,christ disputing ,francesco de ,b4 ,mrs4 with the ,doctors ,herrera ,alexander ,lang ,elder #afhj,portrait of a ,young ,dutch ,school ,p4 ,mr4 ,horace #bhj ,man ,buttery #afhb,virgin and ,child ,francesco di ,p4 ,messrs4 #adj ,giorgio ,agnew 7,bardini ,coll47 #afhc,study of a ,horse ,a4 ,cuyp ,from ,south ,kensington #afhf,study of ,flowers ,fantin-,latour ,g4 ,mrs4 ,e4 ,edwards #afhi;,a ,man and ,wife ,mabuse ,p4 ,mr4 ,a4 ,h4 #aijj #djjj ,buttery #afid,virgin and ,child ,fra ,bartolommeo ,p4 ,cav4 ,l4 #haj ,landolfi 7,rome7 #afie,landscape with ,venetian ,school,from ,south ,nymphs ,kensington #afif,virgin and ,child ,gio4 ,bellini ,g4 ,lady ,layard #afii,the ,lesson ,asc4 to ,vermeer,g4 ,mr4 ,fairfax ,murray #agjj,portrait of a ,dutch ,school ,b4 ,miss ,gentleman ,pilbrow #agja,landscape ,allart van ,g4 ,mr4 ,g4 ,h4 ,everdingen ,boughton1 ,r4,a4 #aggf,the ,adoration of the,luca ,signorelli ,p4 ,colnaghi #dej ,shepherds #aghf,lake of ,thun ,a4 ,calame ,b4 ,h4 ,vaughan #ahaj,portrait of a ,boy ,f4 ,duchatel ,b4 #ahab;,agony in the ,garden ,asc4 to ,spagna,b4 #ahdb;,heads of ,angels ,sassetta ,b4 ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #ahdc;,adoration of the ,b4 ,bonfigli ,g,p4 ,prof4 #aija #chb #aj ,magi ,volpi1 ,florence #ahde,the ,light of the ,paris ,bordone ,g4 ,mrs4 ,wood ,world #ahdg,virgin crowned by ,luca ,signorelli ,p4 ,prof4 #bffg #aj ,angels ,volpi1 ,florence #ahdh,portrait of a ,youth ,a4 ,raguineau ,p4 ,noseda1 #cej ,milan #ahdi,the ,nativity ,j4 ,pacchiarotto ,p4 ,agnew #ejj #ahej,scene on the ,ice ,vermeulen ,b4 ,miss ,s4 ,gaught #ahea;,inside of a ,stable ,dutch ,school ,b4 #ahfj,portrait of a ,lady,asc4 ,sir ,a4 ,more,b4 ,miss ,julia #ahif ,gordon #ahgj;,angel with ,keys ,conca ,lent by ,s4 ,k4 #ahig ,mus4 #ahgb,virgin and ,child ,alv4 ,vivarini ,g4 ,c4 ,loeser #ahih #ahie;,baron de ,linter of ,jacob ,jordaens ,p4 ,t4 ,h4 ,ward4#aijb;,c4 #abjj ,namur #ahif;,interior of a ,church,p4 ,saenredam ,g4 ,mr4 ,arthur ,kay #ahig;,coronation of the ,lorenzo ,p4 ,galli-,dunn1 ,c4#bgci #ac #h ,virgin ,monaco ,florence #aijc,landscape and ,pieter ,boel ,g4 ,sir ,e4 ,game ,durning- ,lawrence #aiji;,execution of ,lady ,p4 ,delaroche ,b4 ,lord ,jane ,grey ,cheylesmore #aiad;,chteau in ,holland ,van der ,heyden ,b4 ,sir ,j4 ,carmichael #aiae;,church and ,b4 ,marketplace #aiag;,italian ,landscape ,jan ,both ,b4 ,lord ,cheylesmore #aiah,market-place1 the ,la ,fargue ,p4 ,hon4 ,c4 #aijc,l4 #cjj ,hague ,sclater-,booth #aibe,portrait of a ,man ,lucas ,cranach ,g4 ,j4 ,p4 ,heseltine #aicj,st4 ,margaret ,zurbaran ,p4 ,lord ,c4 #ajjj ,northampton #aicg,portrait of a ,lady ,b4 van der ,p4 #aijd ,helst #aich,portrait of his ,a4 ,drer ,p4 #aj1jjj ,father #aici,virgin and ,child ,french ,school ,p4 ,agnew ,l4 #id #ad #aidd,portrait of ,titian ,p4 ,sir ,g4 #cj1jjjbgi ,ariosto ,donaldson #aiea;,dr4 ,peral ,goya ,g4 #aieb,mr4 and ,mrs4 ,e4 ,fantin-,latour ,g4 ,mrs4 ,e4 ,edwards ,edwards ,sir ,edward ,poynter1 ,p4,r4,a41 retired on ,december #ca1 #aijd2 and the post of ,director was left vacant for eighteen months4 ,sir ,charles ,holroyd was appointed to it on ,june #aa1 #aijf4 #aiec,virgin and ,child ,l4 ,bastiani ,g,g4 ,art #aije ,collection ,fund #aifi;,greek ,captive ,h4 ,browne ,b4 ,c4 ,fraser #bjeg,venus and ,cupid ,velazquez ,g4 ,art #aijf ,collection ,fund #bjeh,sunny ,days in the ,diaz ,g4 ,exors4 ,forest ,charles ,hastie #bjfb;,christ in ,peter's ,saftleven ,g4 ,c4 ,l4 ,ship ,eastlake #bjfi,madonna of the ,raphael ,g4 ,miss ,eva ,tower ,mackintosh #bjgh,trouville ,boudin ,g4 ,art ,collection ,fund #bjha,lulli and ,musicians ,h4 ,rigaud ,p4 ,coulanges #b1jjj ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #bjhb;,florentine ,lady ,sch4 ,botticelli,g #bjhc;,dr4 ,fiera ,lorenzo ,costa #bjhd,young ,man in ,black ,florentine #bjhe;,bianca ,capello ,bronzino ,sch4 #bjhf;,gate and ,tower ,zuccarelli #bjhg,pastoral ,landscape #bjhh;,christ ,teaching ,b4 ,luini #bjhi,madonna and ,child ,beltraffio ,sch4 #bjij;,an ,angel ,il ,moretto #bjia #bjib,st4 ,joseph #bjic,st4 ,jerome #bjid;,il ,cavaliere ,moroni ,b4 ,nos4 #bjhb- #bjie,man in ,black ,alv4 ,vivarini #bajg1 being #bjif,man with a ,beard ,il ,romanino the ,john #bjig,lady with ,carnations,paris ,bordone ,samuel ,collection1 were bequeathed by#aijf #bjih,salute1 ,venice ,guardi ,miss ,louisa #bjii;,ducal ,palace1 and ,miss ,venice ,lucy ,cohen #bajj,marriage of ,tiepolo ,barbarossa #baja;,esther and ,ahasuerus,seb4 ,ricci #bajb,town and ,river ,marieschi #bajc #bajd,man with ,collar ,enrico ,fiammingo #baje,man with a ,beard ,an4 ,carracci #bajf,portrait of the ,b4 ,gennari ,artist #bajg;,hagar ,salvator ,rosa #baah,madonna and ,child ,g4 ,f4 da ,rimini ,g4 ,george #aijg ,salting #babg,the ,marchesa ,van ,dyck ,p4 ,colnaghi #ac1ejja ,cattaneo #babi,the ,parade ,g4 de ,st4 ,aubin ,p4 ,agnew ,l4 #ii #ae #j #bacj,the ,water ,lane ,jan ,siberechts ,g4 ,j4 ,p4 ,heseltine #bacc,roses ,fantin-,latour ,b4 ,mrs4 ,edwin ,edwards #bacd;,apples ,b4 #bace,the ,marsh of ,arleux ,corot ,b4 #bacf,lulli the ,musician ,a4 de ,st4 ,aubin ,g4 ,comtesse de ,coullanges #badc,lady at a ,spinet ,j4 ,ochtervelt ,g4 ,henry ,pfungst #badd,the ,marchesa ,van ,dyck ,p4 ,colnaghi #ac1ejjbhj ,cattaneo #bafb;,his own ,portrait ,joseph ,ducreux ,p4 ,shepherd ,l4 #ej #bafc,the ,magdalen ,mabuse ,p4 ,t4 ,h4 ,mack ,l4 #cj #bbjd;,church ,interior ,hendr4 ,steenwyck,b4 ,h4 ,c4 ,bunning #bbje;,church ,interior ,pieter ,neeffs ,b4 #bbjf,vespers ,b4 #bbjg;,after ,vespers ,b4 #bbji;,duke ,ulricus ,j4 ,cornelissen ,g4 ,mrs4 ,eastlake #bbaa;,jacqueline ,mabuse ,p4 ,lewis ,fund #aijh #bbaf,la ,main ,chaude ,troy ,g4 ,col4 ,lyons #bbag;,elisa ,bonaparte ,j4 ,l4 ,david ,p4 ,lewis ,fund #bbah,mme4 ,malibran ,ingres ,p4 #bbea;,bona of ,savoy ,amb4 de ,predis ,g4 ,sir ,g4 ,donaldson #bbef,river ,scene ,harpignies ,g4 ,miss ,m',ghee #bbeg;,ilex ,trees ,g4 #bbeh,woodland ,scene ,g4 ,michel ,p4 ,lewis ,fund #bbha,madonna ,lotto ,b4 ,colnaghi #bbhb;,bohemians ,p4 ,wouwerman ,b4 #bbhc;,dawn ,a4 van der ,neer ,b4 #bbhe;,family ,group ,frans ,hals ,p4 ,lord ,talbot #be1jjj ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #bbhh;,dr4 ,forlenze ,j4 ,a4 ,vallin ,g,g4 ,f4 ,ml #aijh #bbhi;,attila ,delacroix ,g4 #bbij,parc de ,sansac ,a4 ,charnay ,g4 ,the ,artist #bbia;,cardinal de ,retz ,p4 de ,champaigne,b4 ,g4 ,fielder #bbib;,a ,lady ,mirevelt ,b4 #bbic;,holy ,family ,asc4 to ,penni ,b4 #bbid;,galileo ,passignano ,b4 #bbie;,a ,commander ,pourbus1 ,jun4 ,b4 #bdbc;,horses 7lithographs7,gricault ,g4 ,e4 ,houghton#ahih #bdci,river ,scene ,t4 ,rousseau ,g4 ,h4 ,velten #aiji #bdge;,duchess of ,milan ,holbein #bha;,duke of #gb1jjj ,norfolk #bdhj;,fish ,market ,p4 ,rousseau ,g4 ,h4 ,l4 ,florence #bdhb,virgin and ,child ,benvenuto ,b4 ,george #aiaj da ,siena ,salting #bdhc ,f4 de ,lorenzo ,b4 #bdhd ,l',ingegno ,b4 #bdhe,salome ,cesare da ,sesto ,b4 #bdhf;,a ,concert ,ercole ,roberti ,b4 #bdhg;,b4 ,bianchini ,francia ,b4 #bdhh;,holy ,family ,luca ,signorelli ,b4 #bdhi,young ,florentine ,d4 ,ghirlandajo ,b4 #bdij;,costanza de' ,medici ,lorenzo di ,credi,b4 #bdia;,girolamo ,benevieni ,r4 ,ghirlandajo ,b4 #bdib,virgin and ,child ,j4 del ,sellaio ,b4 #bdic,salome ,s4 del ,piombo ,b4 #bdid;,italian ,gentleman ,cariani ,b4 #bdie,virgin and ,child ,b4 #bdif ,beltraffio ,b4 #bdig ,botticelli ,sch4,b4 #bdih,young ,venetian ,basaiti ,b4 #bdii,virgin and ,child ,b4 #bejj ,previtali ,b4 #beja,salvator ,mundi ,b4 #bejb,virgin and ,child ,b4 ,mainardi ,b4 #bejc;,holy ,family ,a4 da ,solario ,b4 #bejd,virgin and ,child ,cesare da ,sesto ,b4 #beje;,david and ,jonathan ,cima da ,b4 ,conegliano #bejf,virgin and ,child ,b4 #bejg;,a ,lady ,bart4 ,veneziano ,b4 #bejh,virgin and ,child ,florentine ,b4 #beji;,a ,youth ,alv4 ,vivarini ,b4 #beaj,raphael 787 ,umbrian ,school,b4 #beaa;,a ,musician ,giulio ,campi ,b4 #beab,the ,magdalen ,correggio ,b4 #beac,virgin and ,child ,tiepolo ,b4 #bead;,grand ,canal ,canaletto ,b4 #beae,piazza ,s4 ,marco ,b4 #beaf,procuratie ,b4 #beag;,buildings ,guardi ,b4 #beah;,archway ,b4 #beai;,courtyard ,b4 #bebj,quay-side ,b4 #beba,rains ,b4 #bebb,treasure-seekers ,b4 #bebc;,archway ,b4 #bebd,tower of ,mestre ,b4 #bebe,piazza ,s4 ,marco ,b4 #bebf,peasant and ,child ,spanish ,b4 #bebg;,earl of ,monmouth ,j4 ,g4 ,gonzalez ,b4 #bebh,man with ,glove ,frans ,hals ,b4 #bebi,lady with ,fan ,b4 #becj;,a ,lady ,c4 ,janssens ,b4 ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #beca,st4 ,bavon1 ,haarlem ,p4 ,saenredam ,g,b4 ,george #aiaj ,salting #becb,woman and ,sheep ,jan ,wynants ,b4 #becc,sandy ,lane ,b4 #becd,river ,scene ,a4 van der ,neer ,b4 #bece;,judith ,e4 van der ,neer ,b4 #becf,moonlight ,a4 van der ,neer ,b4 #becg,landscape ,b4 #bech;,diana ,bathing ,rembrandt ,b4 #beci,man with ,cap ,b4 #bedj,the ,hurdy-,gurdy ,a4 van ,ostade ,b4 #beda,the ,cobbler ,b4 #bedb;,courtship ,b4 #bedc,man with ,jug ,b4 #bedd,the ,cart ,i4 van ,ostade ,b4 #bede,river ,scene ,a4 ,cuyp ,b4 #bedf,lady and ,child ,b4 #bedg;,cattle ,b4 #bedh;,grey ,horse ,b4 #bedi,tailor's ,shop ,q4 ,brekelenham ,b4 #beej;,afternoon ,nap ,b4 #beea,scouring ,pans ,p4 van der ,b4 ,bosch #beeb,refusing the ,glass ,p4 de ,hooch ,b4 #beec;,a ,lady's ,toilet ,j4 ,ochtervelt ,b4 #beed,saddling a ,horse ,p4 ,wouwerman ,b4 #beee,woman ,asleep ,jan ,steen ,b4 #beef,the ,pedlar ,b4 #beeg,merry-,makers ,b4 #beeh;,grace before ,meat ,b4 #beei,oyster ,feast ,b4 #befj,skittle ,players ,b4 #befa,view near ,haarlem ,j4 ,ruysdael ,b4 #befb,ruined ,castle ,b4 #befc;,forest ,entrance ,b4 #befd;,a ,cottage ,b4 #befe;,haystack ,b4 #beff;,a ,forest ,b4 #befg,sea-piece ,b4 #befh,lady at ,virginals ,jan ,vermeer ,b4 #befi;,boors ,drinking ,a4 ,brouwer ,b4 #begj,woody ,landscape ,hobbema ,b4 #bega ,b4 #begb,the ,little ,farm ,a4 van de ,velde ,b4 #begc,sea-piece ,w4 van de ,velde ,b4 #begd;,a ,calm ,b4 #bege,musical ,party ,a4 ,palamedes ,b4 #begf;,family ,group ,pieter ,codde ,b4 #begg,soft ,breeze ,jan van ,goyen ,b4 #begh,windmill ,b4 #begi,the ,siene ,b4 #behj,river ,scene ,b4 #beha;,a4 van ,leuwenhoek ,maes ,b4 #behb;,fruit and ,flowers ,david de ,heem ,b4 #behc;,cattle ,paul ,potter ,b4 #behd,lady with ,mirror ,pieter ,codde ,b4 #behe,st4 ,mary ,magdalene ,a4 ,ysenbrandt ,b4 #behf;,coast ,scene ,van de ,cappelle ,b4 #behg;,a ,calm ,b4 #behh;,dutch ,galliot ,b4 #behi,young ,astrologer ,frans van ,b4 ,mieris #beij,woman at a ,window ,g4 ,metsu ,b4 #beia,the ,forge ,b4 ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #beib;,fruit ,piece ,w4 ,k4 ,heda ,g,b4 ,george #aiaj ,salting #beic,man's ,portrait ,petrus ,cristus ,b4 #beid;,duke of ,cleves ,memlinc ,b4 #beie,virgin and ,child ,d4 ,bouts ,b4 #beif,st4 ,jerome ,gerard ,david ,b4 #beig,venetian ,gentleman ,j4 ,s4 ,calcar ,b4 #beih;,diana and ,endymion ,rubens ,b4 #beii,the ,doctor ,d4 ,teniers 7jr47,b4 #bfjj;,card ,player ,b4 #bfja,old ,woman ,reading ,b4 #bfjb,man with ,ring ,flemish ,school,b4 #bfjc,virgin and ,child ,cologne ,school,b4 #bfjd,young ,man ,c4 ,amberger ,b4 #bfje;,dr4 ,fuchsius ,b4 ,bruyn ,b4 #bfjf,madonna ,enthroned ,flemish ,school,b4 #bfjg,man with ,medallion ,b4 #bfjh,virgin and ,child ,r4 ,campin ,b4 #bfji ,b4 #bfaj;,a4 de ,bourbon ,corneille ,b4 #bfaa,man in ,black ,b4 #bfab,louis ,,xi4 ,burgundian ,b4 #bfac,philip and ,margaret ,b4 #bfad,mary ,magdalene ,french ,school ,b4 #bfae,mary of ,france ,b4 #bfaf;,a ,lady ,b4 #bfag;,duchess d',angoulme ,french ,school ,b4 #bfah,virgin and ,child ,b4 #bfai,landscape ,n4 ,poussin ,b4 #bfbj,the ,happy ,mother ,fragonard ,b4 #bfba,willows ,daubigny ,b4 #bfbb,river ,scene ,b4 #bfbc;,alders ,b4 #bfbd;,garden ,wall ,b4 #bfbe,the ,bent ,tree ,corot ,b4 #bfbf,wood ,gatherer ,b4 #bfbg;,evening on ,lake ,b4 #bfbh,noon ,b4 #bfbi;,a ,ford ,b4 #bfcj;,cows and ,marsh ,b4 #bfca;,fisherman's ,hut ,b4 #bfcb,the ,storm ,diaz ,b4 #bfcc,stormy ,sunset ,b4 #bfcd,river ,scene ,dupr ,b4 #bfce,sunset3 ,auvergne ,t4 ,rousseau ,b4 #bfcf,the ,whisper ,millet ,b4 #bffi,st4 ,clement and de ,jean ,perral ,b4 ,donor ,matre #bfgj,lady with ,rosary ,flemish ,school,b4 #bfga;,a ,piet ,francia ,b4 #bfgb,venetian ,gentleman ,alv4 ,vivarini ,b4 #bfgc,narcissus ,beltraffio ,b4 #bgji,mother and ,child ,j4 ,maris ,g4 ,j4 ,c4 ,j4 ,drucker #bgaj;,drawbridge ,g4 #bgaa,watering ,horses ,mauve ,g4 #bgab;,haarlem ,church ,bosboom ,g4 #bgac,the ,philosopher ,israels ,g4 #bgad;,grandfather's ,birthday,isabey ,g4 #bgae;,fishmarket ,g4 #bgbc,landscape ,asc4 to ,g4 ,g4 ,p4 ,pusey #ahdi #bgbd ,roussin ,g4 #bgbe;,christ ,blessing ,b4 ,diana ,g4 ,sir ,c4 #aiaj ,phillips #bgbg,pont de la ,tournelle,s4 ,lepine ,g4 ,j4 ,c4 ,j4 ,drucker #bgca,landscape ,buitenweg ,p4 ,lord ,w4 #ajj ,northbrook ---------------------------------------- ------------------------------- _/ ,h ,how ,acquired4 ,no4 ,,subject4 ,,painter4 u,p4 ,purchased4,when ,price4 n,g4 ,given4 g,b4,bequeathed4 ---------------------------------------- ------------------------------- #bgcb,shipwrecked ,mariner ,israels ,g4 ,mrs4 ,a4 #aiaj ,young #bgeg,tartarus ,callot ,g4 ,miss #ahhd ,appleyard #bgeh;,a ,squall ,boudin ,g4 ,t4 ,w4 ,bacon#aiaj #bgei,stormy ,landscape ,g4 ,michel ,g4 #bgfd;,family ,group ,asc4 to ,vermeer,p4 ,m4 ,c4 #ajjj ,flersheim #bgfg,the ,sea ,courbet ,g4 ,j4 ,p4 #aiaa ,heseltine #bgij,the ,magi ,mabuse #bhb,lady #dj1jjj ,carlisle #bhef;,cavalier ,p4 ,quast ,b4 ,mrs4 ,c4 ,l4 ,eastlake #bhfb;,john ,gualberto ,lorenzo ,monaco ,g4 ,h4 ,wagner #aiab #bhfc,virgin and ,child ,sch4 ,gozzoli ,g4 ---------------------------------------- ------------------------------- ,printed by ,r4 ,r4 ,,clark1 ,,limited1 ,edinburgh4 ,,books ,,on ,,art ,a ,,popular ,,handbook ,,to ,,the ,,national ,,gallery4 ,including ,notes collected from the ,works of ,mr4 ,ruskin4 ,by ,sir ,,edward ,t4 ,,cook4 ,revised and rearranged throughout4 ,in two vols4 ,crown #hvo4 ,thin paper4 ,leather binding4 ,vol4 ,i4 ,,foreign ,,schools4 ,eighth ,edition4 #ajs4 net4 ,vol4 ,,ii4 ,,british ,,schools 7including the ,tate ,gallery74 ,sixth ,edition4 #ajs4 net4 ,,popular ,,handbook ,,to ,,the ,,greek ,,and ,,roman ,,antiquities ,,in ,,the ,,british ,,museum4 ,by ,sir ,e4 ,t4 ,,cook4 ,crown #hvo4 #ajs4 net4 ,,the ,,venetian ,,school ,,of ,,painting4 ,by ,,evelyn ,,march ,,phillipps4 ,illustrated4 #hvo4 #gs4 #f;d4 net4 ,,albrecht ,d,,rer4 ,his ,life1 and a ,selection of his ,works1 with ,explanatory ,comments by ,dr4 ,,friedrich ,n,,chter4 ,translated by ,,lucy ,d4 ,,williams4 ,with #ed ,plates 7#a in colour74 ,imperial #dto4 #fs4 net4 ,,the ,,training ,,of ,,the ,,memory ,,in ,,art ,,and ,,the ,,education ,,of ,,the ,,artist4 ,by ,,lecoq ,,de ,,boisbaudran4 ,translated by ,l4 ,d4 ,,luard4 ,with an ,introduction by ,prof4 ,,selwyn ,,image1 ,m4,a4 ,illustrated4 #hvo4 #fs4 net4 ,,individuality ,,and ,,art4 ,by ,,herbert ,e4 ,a4 ,,furst4 ,illustrated4 ,extra ,crown #hvo4 #cs4 #f;d4 net4 ,works by ,dr4 ,,yrj ,,hirn ,,the ,,origins ,,of ,,art4 ,a ,psychological and ,sociological ,inquiry4 ,by ,,yrj ,,hirn4 #hvo4 #ajs4 net4 ,,the ,,sacred ,,shrine4 ,a ,study of the ,poetry and ,art of the ,catholic ,church4 #hvo4 #ads4 net4 ,,memorials ,,of ,,edward ,,burne-,,jones4 ,by ,g4 ,b4-,j4 ,with #da ,photogravure ,plates and other ,illustrations4 ,second ,edition4 ,two vols4 #hvo4 #cjs4 net4 ,cheaper ,edition4 ,with #b ,photogravure ,plates and other ,illustrations4 ,two vols4 #hvo4 #ajs4 net4 ,,pre-,,raphaelitism ,,and ,,the ,,pre-,,raphaelite ,,brotherhood4 ,by ,w4 ,,holman ,,hunt4 ,illustrated4 ,two vols4 #hvo4 #dbs4 net4 ,works by ,sir ,,hubert ,,von ,,herkomer1 ,r4,a4 ,a ,,certain ,,phase ,,of ,,lithography4 ,a ,lecture4 #dto4 #aes4 net4 ,,the ,,herkomers4 ,vol4 ,i4 ,library ,edition4 ,with #f ,illustrations4 #hvo4 #gs4 #f;d4 net4 ,large ,paper ,edition1 with #bh ,illustrations4 #dto4 #bes4 net4 ,vol4 ,,ii4 ,with #h ,illustrations4 #hvo4 #gs4 #f;d4 net4 99 99 99 99 99 ,,the ,,practice ,,of ,,water ,,colour ,,painting4 ,illustrated by the work of ,modern ,artists4 ,by ,a4 ,l4 ,,baldry4 ,with #cg ,illustrations in ,colour by distinguished ,artists4 ,crown #dto4 #abs4 net4 ,a ,,history ,,of ,,old ,,sheffield ,,plate4 ,by ,,frederick ,,bradbury4 ,illustrated4 ,demy #dto4 #b3 #bs4 net4 ,,the ,,french ,,pastellists ,,of ,,the ,,eighteenth ,,century4 ,by ,,haldane ,,macfall4 ,edited by ,t4 ,,leman ,,hare4 ,with #dj ,plates in ,colour and #ab in ,black4 ,demy #dto4 #dbs4 net4 ,,macmillan ,,and ,,co41 ,,ltd41 ,,london4 ,,footnotes3 #bfe ,pictures bought out of the ,chantrey ,bequest are not included4 ,for these see ,vol4 ,,ii4 #bff ,the number of this picture has now been given to the foregoing1 which has only recently been exhibited4 #bfg ,this picture does not appear in the ,official ,catalogue2 nor can ,i find any trace1 in the ,director's ,annual ,reports1 of what was done with it4 ,its number has now been given to the foregoing picture1 which has only recently been exhibited4 #bfh ,the donor was informed when he offered these two pictures that they were too large1 in view of the limited wall-space then at the disposal of the ,gallery1 to be placed in the rooms to which the public were admitted4 ,the pictures were presented on those terms1 and for many years were not numbered or incorporated in the ,official ,catalogue4 ,they are now ,nos4 #bgbc1 #bgbd4 #bfi ,no4 #fbb appears to have been missed in the official numbering4 #bgj ,no4 #gbc appears to have been missed in the official numbering4 #bga ,the central portion of this triptych was bought in #ahgd for #ebe4 ,the two side panels were bought in #ahgh1 at the sale of ,mr4 ,barker's pictures1 for #cc3abs41 and were added to the central compartment under the same number 7#iji74 #bgb #abbd from public ,funds1 #aea3ajs4 from ,lewis ,fund4 #bgc #acac and #acah were purchased together for #bejj4 #bgd #be1jjj from a ,parliamentary ,grant2 #cj1jjj from private gifts 7see p4 xv47 #bge #acac and #acah were purchased together for #bejj4 #bgf #acbd and #acbf were purchased together for #bejj4 #bgg ,under the terms of ,sir ,c4 ,eastlake's will these pictures were offered to the ,national ,gallery at the prices which he paid for them4 #bgh ,this sum was made up as follows3--,special ,grant from the ,treasury1 #ab1ejj2 from the ,annual ,grant for #ahih-ii1 #aeej2 gifts by ,mr4 ,alfred de ,rothschild and ,mr4 ,heseltine1 #ejj each4 #bgi #ijjj from the ,parliamentary grant2 the remainder subscribed by ,mr4 ,w4 ,w4 ,astor1 ,mr4 ,a4 ,beit1 ,lord ,burton1 ,lord ,iveagh1 ,mr4 ,j4 ,pierpont ,morgan1 and ,lady ,wantage4 #bhj ,to this sum ,messrs4 ,colnaghi contributed #ajjj4 #bha ,presented by the ,national ,art-,collections ,fund with the aid of a grant from the ,government of #aj1jjj4 #bhb ,the ,national ,gallery funds provided #ae1jjj2 the ,treasury made a special grant of #ae1jjj2 and the ,national ,art-,collections ,fund contributed #aj1jjj4 99 99 99 99 99 ,transcriber's ,notes3 ,obvious spelling typos corrected4 ,italic is enclosed in underscores4 ,bold is enclosed in equals4 ,symbol3 hand pointing right has been replaced with --4 ,removed first ,,macmillan ,,and ,,co41 ,,ltd41 ,,london from the books on art section as it is redundant4 ,p4 xix through xxi is a list of updates4 ,author mostly used see also notation in the ,,index ,,list ,,of ,,painters for the old reference4 ,added same notation to missed index entries4 ,added similar ,see also references to the ,,numerical ,,catalogue4 ,also updated ,,index ,,list ,,of ,,pictures where the author missed4 ,moved ,portrait of a ,young ,man1 #ajeb from ,milanese ,school to ,lombard ,school 7artist unknown7 in ,,index ,,list ,,of ,,painters to agree with ,,numerical ,,catalogue ,,index ,,list ,,of ,,pictures4 ,moved ,adoration of the ,magi1 #ehb from ,angelico1 ,school of to ,angelico1 ,fra1 p4 #cbi in ,,index ,,list ,,of ,,painters to agree with ,,numerical ,,catalogue ,,index ,,list ,,of ,,pictures4 ,added ,judgment of ,paris1 #bji to ,poelenburgh1 ,cornelis van in ,,index ,,list ,,of ,,painters to agree with ,,numerical ,,catalogue and ,,index ,,list ,,of ,,pictures4 ,moved ,scene on the ,ice1 #ahej from ,meulen ,a4 ,f4 van der to ,vermeulen1 ,andries in ,,index ,,list ,,of ,,painters to agree with ,,numerical ,,catalogue and ,,index ,,list ,,of ,,pictures4 ,moved ,interior of a ,stable1 #ahea from ,meulen ,a4 ,f4 van der to ,dutch ,school 7artists unknown7 in ,,index ,,list ,,of ,,painters to agree with ,,numerical ,,catalogue and ,,index ,,list ,,of ,,pictures4