file which includes the original illustrations4 ,see #fcgai-;h4htm or #fcgai-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#fcgai_/pg#fcgai-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#fc gai_/fcgai-;h4zip7 ,images of the original pages are available through ,internet ,archive4 ,see https3_/_/archive4org_/details_/louvrefi ftyplate#jjkonorich ,some characters might not display properly in this ,,utf-#h text file 7e4g41 empty squares74 ,if so1 the reader should consult the html version or the original page images noted above4 ,transcriber's note3 ,text enclosed by underscores is in italics 7italics74 ,,the ,,louvre3 ,,fifty ,,plates ,,in ,,colour ,illustration3 ,,plate ,,iv4--,,leonardo ,,da ,,vinci 7#adeb-aeai7 ,,florentine ,,school ,no4 #afja4--,,portrait ,,of ,,mona ,,lisa 7,la ,joconde7 ,the portrait of ,lisa di ,anton ,maria di ,noldo ,gherardini1 third wife of ,francesco di ,bartolommeo de ,zenobi del ,giocondo4 ,she is seated in a chair on which her left arm rests1 her right hand superposed on the left4 ,she is turned three-quarters to her right4 ,her hair1 divided in the centre and seen under a transparent veil1 falls in curls on her shoulders2 her dark almond-shaped eyes look out at the spectator2 the mouth is smiling4 ,she wears a dark-green dress with golden-brown sleeves2 a dark cloak is draped over her shoulders4 ,the background is formed by a mountainous landscape full of incident4 ,painted in tempera on panel1 and restored in oil4 #b ft4 #f in4 #a ft4 #i in4 7#jgi #jec47 ,,the ,,louvre3 ,,fifty ,,plates ,,in ,,colour by ,,paul ,g4 ,,konody and ,,maurice ,w4 ,,brockwell ,joint-,authors of 8,the ,national ,gallery3 ,one ,hundred ,plates in ,colour0 ,editor3 ,t4 ,leman ,hare ,illustration ,new ,york ,dodge ,publishing ,company #bad-bbj ,east #bcrd ,street ,,preface ,those who wish to make a thorough1 comprehensive1 and systematic study of the pictures of the great national collection contained in the ,louvre1 which extend from the early years of the fourteenth century down to almost the present day1 will be well advised to deal with the artists by the countries1 schools1 and periods to which they belong4 ,that is the scheme which we have followed here4 ,we do not hesitate to refer to painters1 especially those of the ,italian schools1 under the names by which they are generally known to modern critics1 as opposed to those under which they are officially catalogued by the ,louvre authorities4 ,thus1 ,raphael1 ,titian1 and ,giulio ,romano1 and not ,santi1 ,vecelli1 and ,pippi1 are the names which we shall use in this book4 ,special attention is drawn to the fact that the official attributions of a certain number of the pictures1 mainly of the ,italian schools1 and notably several by ,raphael1 ,leonardo da ,vinci1 and ,titian1 are not accepted by us4 ,the authors of any critical book on a large national collection which includes several hundred ,italian paintings of varying importance must of necessity be under heavy obligations to ,mr4 ,berenson1 whose scholarly1 scientific1 and constructive criticism1 following on that of ,morelli1 has entirely revolutionised the study of ,italian art4 ,it will be noticed that in many instances the dates used in these pages do not coincide with those given in the official ,catalogues and repeated in a large number of text-books1 while in a few cases it has been thought desirable to draw the attention of the student to the questionable accuracy of some of the titles and 8pedigrees40 ,the illustrations which have been selected represent1 as far as possible1 the whole range of the art of each country and school comprised within the limits of the fifteenth to the nineteenth centuries4 ,the ,plates are arranged in the order in which reference is made to them in the text1 but it has been found impossible to place them opposite the pages on which the critical remarks are given4 ,in the descriptions of the pictures the terms right and left are used in reference to the right and left of the spectator1 unless the text obviously implies the contrary4 ,moreover1 in the titles of pictures containing the ,madonna and several ,saints1 the names of the ,saints are given in the order they occupy in the composition regarded from left to right4 ,the titles we have used are descriptive rather than mere translations of those contained in the official ,catalogue4 ,the official numbers are those marked in large figures and placed at the top of the frames2 the numbers in small figures affixed to the bottom left corner of some of the frames are obsolete4 ,the surface measures of the pictures are for convenience given in feet and inches as well as in metres1 the height preceding the width4 ,the technical conditions as to panel or canvas and tempera or oil are also noted4 ,most of the ,rooms containing pictures are open3-- #a4 ,on ,sundays all the year round1 #aj a4m4 to #d p4m4 #b4 ,on ,tuesdays1 ,wednesdays1 ,fridays1 and ,saturdays from ,april #a to ,september #cj1 #i a4m4 to #e p4m4 #c4 ,on ,tuesdays1 ,wednesdays1 ,fridays1 and ,saturdays from ,october #a to ,march #ca1 #aj a4m4 to #d p4m4 #d4 ,on ,thursdays in the ,summer ,months1 #a p4m4 to #e p4m41 and in the ,winter ,months1 #a p4m4 to #d p4m4 #e4 ,rooms ,,ix4-,,xiii41 which contain ,french pictures and ,rooms ,,xix4-,,xxxv41 which contain ,flemish and ,dutch pictures are not open before eleven o'clock4 #f4 ,the ,louvre is closed on ,mondays all the year round1 and on ,january #a1 ,july #ad1 and ,ascension ,day2 it is also closed on the ,feast of the ,assumption 7,august #ae71 ,all ,saints ,day 7,november #a71 and ,christmas ,day1 unless these last three days fall on a ,sunday4 ,,contents ,,page ,,preface v ,,introduction #a ,,early ,,sienese ,,school #ae ,,duccio',s ,,followers #af ,,the ,,florentine ,,school #ai ,,the ,,giottesques #bj ,,fra ,,angelico #bc ,,paolo ,,uccello #bf ,,the ,,goldsmith ,,painters #cb ,,leonardo ,,da ,,vinci #cd ,,mona ,,lisa #cf ,,botticelli #ci ,,albertinelli #dc ,,andrea ,,del ,,sarto #de ,,the ,,later ,,sienese ,,school #di ,,the ,,umbrian ,,school #ec ,,perugino #ed ,,raphael #ef ,,the ,,venetian ,,school #fa ,,the ,,bellini #fb ,,giorgione #ff ,,titian #fh ,,titian',s ,,followers #gb ,,paolo ,,veronese #gd ,,the ,,paduan ,,school #gi ,,andrea ,,mantegna #hj ,,the ,,school ,,of ,,verona #he ,,the ,,school ,,of ,,ferrara #hi ,,the ,,school ,,of ,,milan #ic ,,andrea ,,solario #ie ,,bernardino ,,luini #if ,,the ,,school ,,of ,,lombardy #ii ,,the ,,school ,,of ,,ferrara-,,bologna #aja ,,the ,,school ,,of ,,cremona #ajc ,,the ,,school ,,of ,,brescia #aje ,,the ,,school ,,of ,,modena #ajg ,,the ,,school ,,of ,,vicenza #aji ,,the ,,school ,,of ,,vercelli #aaa ,,the ,,school ,,of ,,parma #aac ,,the ,,school ,,of ,,bologna #aae ,,the ,,decadent ,,schools #aag ,,the 8,,mannerists0 #aag ,,the 8,,eclectics0 #aah ,,the 8,,naturalists0 #abj ,,the ,,early ,,flemish ,,school #abc ,,jan ,,van ,,eyck #abd ,,the ,,school ,,of ,,tournai #abd ,,hans ,,memlinc #abe ,,memlinc',s 8,,virgin ,,and ,,child1 ,,with ,,donors0 #abg ,,gerard ,,david #abh ,,hieronymus ,,bosch #acj ,,the ,,antwerp ,,school #aca ,,barend ,,van ,,orley #acc ,,the ,,late ,,flemish ,,school #ace ,,pieter ,,brueghel #acf ,,jan ,,brueghel #acg ,,the ,,franck ,,family #ach ,,peter ,,paul ,,rubens #aci ,,rubens ,,at ,,antwerp #adj ,,the ,m,,dicis ,,series #adb ,m,,dicis ,,portraits #adc ,,late ,,works ,,by ,,rubens #ade ,,anthony ,,van ,,dyck #adf ,,van ,,dyck',s ,,second ,,antwerp ,,period #adg 8,,le ,,roi ,,la ,,chasse0 #adh ,,frans ,,snyders #adi ,,jacob ,,jordaens #aej ,,followers ,,of ,,rubens #aea ,,adriaen ,,brouwer #aeb ,,david ,,teniers #aec ,,philippe ,,de ,,champaigne #aee ,,van ,,der ,,meulen #aef ,,minor ,,flemish ,,painters #aef ,,the ,,german ,,school #aei 8,,the ,,master ,,of ,,the ,,bartholomew ,,altar0 #aei ,,cologne ,,painters #afj ,,albrecht ,d,,rer #afa ,d,,rer',s ,,followers #afb ,,lucas ,,cranach #afb ,,hans ,,holbein #afc ,,the ,,kratzer ,,portrait #afd ,,portrait ,,of ,,anne ,,of ,,cleves #aff ,,the ,,seventeenth ,,century #afg ,,the ,,eighteenth ,,century #afg ,,the ,,spanish ,,school #aga ,,luis ,,de ,,dalmau #aga ,,luis ,,morales #agb ,,el ,,greco #agc ,,the ,,school ,,of ,,seville #age ,,zurbar,n #agf ,,ribera #agg ,,velazquez #agi ,,the ,,infanta #aha ,,mariana ,,of ,,austria #ahb ,,copies ,,and ,,school ,,pictures #ahc ,,the 8,,meeting ,,of ,,thirteen ,,people0 #ahd ,,murillo #ahe 8,,the ,,immaculate ,,conception0 #ahf 8,,the ,,birth ,,of ,,the ,,virgin0 #ahg 8,,the ,,angels' ,,kitchen0 #ahh ,,the ,,school ,,of ,,madrid #ahi ,,goya #aia ,,the ,,dutch ,,school #aic ,,gerard ,,of ,,haarlem #aic ,,sir ,,antonis ,,mor #aie ,,spanish ,,oppression #aif ,,history ,,and ,,portrait ,,painters #aig ,,cornelis ,,janssen #aih ,,frans ,,hals #aih ,,dutch ,,independence #bja ,,rembrandt #bja ,,the ,,pupils ,,of ,,rembrandt #bje ,,van ,,der ,,helst #bje ,,genre ,,painters #bjg ,,adriaen ,,van ,,ostade #bjg ,,gerard ,,dou #bjh ,,dou',s ,,pupils #baj ,,gerard ,,terborch #baa ,,jan ,,steen #bab ,,pieter ,,de ,,hooch #bac ,,nicolas ,,maes #bad ,,gabriel ,,metsu #bae ,,landscape ,,painters #baf ,,aelbert ,,cuyp #bag ,,jacob ,,van ,,ruisdael #bah ,,hobbema #bai ,,philips ,,wouwerman #bai ,,the ,,italian ,,influence #bbj ,,architectural ,,painters #bba ,,marine ,,painters #bbb ,,still-,,life ,,painters #bbc ,,the ,,decline #bbd ,,the ,,early ,,french ,,school #bbg ,,the ,,ma,,tre ,,de ,,moulins #bbh ,,the ,,de ,,somz,e 8,,magdalen0 #bcj ,,jean ,,fouquet #bca ,,nicolas ,,froment #bcb ,,the ,,sixteenth-,,century ,,french ,,school #bce ,,jean ,,clouet',s ,,drawings #bce ,,fran,,ois ,,clouet #bcg ,,corneille ,,de ,,lyon #bch ,,the ,,school ,,of ,,fontainebleau #bci ,,jean ,,cousin #bdj ,,the ,,seventeenth-,,century ,,french ,,school #bdc ,,the ,,brothers ,,le ,,nain #bdd ,,nicolas ,,poussin #bde ,,claude ,,lorrain #bdg ,,le ,,sueur #bdh ,,charles ,,le ,,brun #bdi ,,pierre ,,mignard #bej ,,le ,,brun',s ,,followers #bea ,,battle ,,painters #bec ,,jean ,,jouvenet #bec ,,the ,,portrait ,,painters #bed ,,landscape ,,painters #beg ,,desportes #beh ,,the ,,eighteenth-,,century ,,french ,,school #bei ,,genre ,,painters #bei ,,raoux ,,and ,,de ,,troy #bfj ,,watteau #bfa ,,the ,,watteaus ,,in ,,the ,,la ,,caze ,,gallery #bfc ,,watteau',s ,,followers #bfc ,,the ,,van ,,loo ,,family #bfd ,,fran,,ois ,,boucher #bfe ,,sim,,on ,,chardin #bfg ,,fragonard #bfh ,,greuze #bfi ,,portrait ,,painters #bgj ,,tocqu1 ,,vestier1 ,,and ,l,,pici #bgj ,,mme4 ,,vig,e ,,le ,,brun #bgb ,,joseph ,,vernet #bgc ,,hubert ,,robert #bgc ,,jacques ,,louis ,,david #bge ,,the 8,,coronation0 ,,picture #bgf ,,baron ,g,,rard #bgg ,,baron ,,gros #bgh ,,pierre ,,prud',,hon #bgh ,,the ,,nineteenth-,,century ,,french ,,school #bgi ,g,,ricault #bgi ,,delacroix #bhj ,,delacroix',s ,,oriental ,,pictures #bhb ,,ingres #bhc ,,delaroche ,,and ,,scheffer #bhe ,,decamps #bhf ,,the ,,orientalists #bhg ,,regnault #bhh ,,academic ,,painters #bhh ,,michel ,,and ,,huet #bhi ,,the ,,barbizon ,,school #bij ,,corot #bij ,t4 ,,rousseau #bib ,c4 ,,troyon #bic ,j4 ,,dupr #bic ,,diaz #bid ,,daubigny #bie ,,millet #bif ,,daumier #bih ,,courbet #bih ,,meissonier #bii ,,ricard #cjj ,,manet #cja ,,the ,,british ,,school #cjc ,,constable ,,and ,,his ,,imitators #cjc ,,bonington #cje ,,raeburn #cjf ,,sir ,,thomas ,,lawrence #cjf ,,other ,,portrait ,,painters #cjg ,,list ,,of ,,illustrations ,,no4 ,,italian ,,schools ,,plate ,,page #afja ,,leonardo ,,da ,,vinci-- ,,portrait ,,of ,,mona ,,lisa 7,,la ,,joconde7 ,,iv ,frontispiece #achc ,,simone ,,martini-- ,,christ ,,bearing ,,his ,,cross ,i #af #acdd ,,fra ,,filippo ,,lippi-- ,,madonna ,,and ,,child1 ,,with ,,angels1 ,,and ,,two ,,ii #bh ,,abbots #acbb ,,domenico ,,ghirlandaio-- ,,portrait ,,of ,,an ,,old ,,man ,,and ,,his ,,grandson 78,,the ,,bottle-,,nosed ,,man07 ,,iii #cb #abig ,,botticelli-- ,,giovanna ,,degli ,,albizzi ,,and ,,the ,,three ,,graces ,v #dj #aeff;,a ,,perugino-- ,,st4 ,,sebastian ,,vi #ef #adif ,,raphael-- ,,la ,,belle ,,jardini,,re ,,vii #eh #aeje ,,raphael-- ,,portrait ,,of ,,baldassare ,,castiglione ,,viii #fj #aacd ,,antonello ,,da ,,messina-- ,,portrait ,,of ,a ,,condottiere ,,ix #fd #aacf ,,giorgione-- ,,pastoral ,,symphony ,x #ff #acii ,,palma ,,vecchio-- ,,the ,,adoration ,,of ,,the ,,shepherds1 ,,with ,a ,,female ,,donor ,,xi #fh #aeib ,,titian-- ,,the ,,man ,,with ,a ,,glove ,,xii #gj #aehd ,,titian-- ,,the ,,entombment ,,xiii #gd #acge ,,andrea ,,mantegna-- ,,parnassus ,,xiv #hj #aaag ,,correggio-- ,,the ,,mystic ,,marriage ,,of ,,st4 ,,catherine ,,xv #aab ,,flemish ,,school #aihf ,,jan ,,van ,,eyck-- ,,the ,,virgin ,,and ,,child1 ,,and ,,the ,,chancellor ,,rolin ,,xvi #abb #a ,,hans ,,memlinc-- ,,portrait ,,of ,,an ,,old ,,lady ,,xvii #abh #aieg ,,gerard ,,david-- ,,the ,,marriage ,,at ,,cana ,,xviii #acj #bjbi ,,quentin ,,matsys- ,,the ,,banker ,,and ,,his ,,wife ,,xix #acb #aiig ,,jan ,,mabuse-- ,,portrait ,,of ,,jean ,,carondelet ,,xx #acd #bjic ,,rubens-- ,,henry ,,iv4 ,,leaves ,,for ,,the ,,wars ,,xxi #add #baac ,,rubens-- ,,portrait ,,of ,h,l,,ne ,,fourment ,,and ,,two ,,of ,,her ,,children ,,xxii #adf #aifg ,,van ,,dyck-- ,,portrait ,,of ,,charles ,i4 ,,of ,,england ,,xxiii #adh ,,german ,,school #bgae ,,hans ,,holbein ,,the ,,younger-- ,,portrait ,,of ,,erasmus ,,xxiv #afd ,,spanish ,,school #agca ,,velazquez-- ,,portrait ,,of ,,the ,,infanta ,,margarita ,,xxv #ahj #agji ,,murillo-- ,,the ,,immaculate ,,conception ,,xxvi #ahf ,,dutch ,,school #bchd ,,frans ,,hals-- ,,the ,,gipsy ,,girl ,,xxvii #aih #bche ,,frans ,,hals-- ,,portrait ,,of ,a ,,lady ,,in ,,black ,,xxviii #bjj #beci ,,rembrandt-- ,,the ,,pilgrims ,,at ,,emmaus ,,xxix #bjb #bedg ,,rembrandt-- ,,portrait ,,of ,,hendrickje ,,stoffels ,,xxx #bjd #bcid ,,van ,,der ,,helst-- ,,the ,,shooting ,,prize ,,xxxi #bjf #bcdh ,,gerard ,,dou-- ,,the ,,dropsical ,,woman ,,xxxii #bjh #behi ,,terborch-- ,,the ,,concert ,,xxxiii #baj #behj ,,jan ,,steen-- ,,bad ,,company ,,xxxiv #bab #bdae ,,pieter ,,de ,,hooch-- ,,dutch ,,interior1 ,,with ,a ,,lady ,,playing ,,cards ,,xxxv #bad #bdef ,,jan ,,ver ,,meer-- ,,the ,,lace-,,maker ,,xxxvi #baf ,,french ,,school #gcd ,,nicolas ,,poussin-- ,,the ,,shepherds ,,in ,,arcadia ,,xxxvii #bdf #cag ,,claude-- ,,view ,,of ,a ,,seaport ,,xxxviii #bdh #ihb ,,watteau-- ,,the ,,embarkation ,,for ,,the ,,island ,,of ,,cythera ,,xxxix #bfb #cf ,,boucher-- ,,vulcan ,,presenting ,,arms ,,to ,,venus ,,xl #bff #ib ,,chardin-- ,,grace ,,before ,,meat ,,xli #bfh #bia ,,fragonard-- ,,the ,,music ,,lesson ,,xlii #bgj #cgb ,,greuze-- ,,the ,,broken ,,pitcher ,,xliii #bgb #ebb ,,mme4 ,,vig,e ,,le ,,brun-- ,,portrait ,,of ,,the ,,artist ,,and ,,her ,,daughter ,,xliv #bgd #aii ,,david-- ,,portrait ,,of ,,mme4 ,r,,camier ,,xlv #bgf #cch ,g,,ricault-- ,,the ,,raft ,,of ,,the 8,,medusa0 ,,xlvi #bhj #bjg ,,delacroix-- ,,dante ,,and ,,virgil ,,xlvii #bhb #dbb ,,ingres-- ,,the ,,spring ,,xlviii #bhd #bhja ,,corot-- ,,the ,,dell ,,xlix #bib #bhfg ,,dupr-- ,,the ,,pond ,l #bid #bhah ,,daubigny-- ,,the ,,weir ,,gate ,,at ,,optevoz ,,li #bif #fdd ,,millet-- ,,women ,,gleaning ,,lii #bih #fac;,a ,,manet-- ,,olympia ,,liii #cjb ,,english ,,school #ahji ,,constable-- ,,hampstead ,,heath ,,liv #cjd #a ,this picture has not yet received an official number4 ,,introduction ,to form a just appreciation of the magnificent collection of paintings which the ,louvre to-day contains would require an exhaustive study which might be spread over a term of years spent in the famous ,french capital itself4 ,in the limited space at our disposal we can only touch lightly upon the historical events1 the sociological causes1 the grandeur of royalty1 and the taste of the people1 all of which contributed towards bringing about the formation of the great ,muse ,national du ,louvre as we now know it4 ,it has been our endeavour to throw into prominent relief the outstanding features in the history of the ,gallery and to sketch them in chronological order4 ,the architectural claims of the building1 its priceless collections of statuary and of objets d'art of every age do not here immediately concern us2 it is to the formation of the superb collection of paintings that we primarily desire to call our readers' attention4 ,a small part of the building which is to-day known as the ,louvre was first occupied as a royal residence by ,philippe-,auguste 7reigned #aahj-abbc71 who converted a hunting-seat of the early ,french kings on this site into a feudal fortress with a strong donjon or keep1 the exact plan of which may still be traced by the white line marked since #ahfh on the pavement in the southwest corner of the old courtyard4 ,charles v4 7reigned #acfd-hj71 who may be regarded as the first royal collector of art treasures in ,france1 greatly enlarged the building of the ,old ,louvre as a residential palace2 he is also said to have decorated the building with statues and paintings which have long since disappeared4 ,the real foundations of the collection of la maison du ,roi were laid by ,franois ,i4 7reigned #aeae-dg71 who during his ,italian campaigns acquired a respect for art that proved to be an honour to his taste and a dowry for his country4 ,the sthetic movement had developed rapidly by #aeda1 when he laid the foundations of the present palace#b and had already begun to form a collection of easel pictures4 ,franois ,i4 invited to his court the master-painter ,leonardo da ,vinci 7#adeb-aeai71 who in #aeaf left his native land for ,france1 where he did the king little more than the compliment of dying in his realm1 although not1 as an unveracious tradition recounts1 in his arms4 ,andrea del ,sarto 7#adhf-aeca7 was also employed at the ,french court1 at which he arrived in #aeah4 ,giovanni ,battista ,rosso 7#adid-aeda71 a painter of little genius but great ability1 was summoned by ,franois ,i4 in #aecj to decorate the ,chteau at ,fontainebleau4 ,benvenuto ,cellini 7#aejj-ga71 the ,florentine goldsmith1 having 8determined to seek another country and better luck10 was yet one more artist who set out for ,france1 where1 between #aedj and #aedd1 he adorned the royal tables with objects precious in workmanship and material4 ,primaticcio 7#aejd-gj71 who is known to have cleaned at ,fontainebleau in #aecj four of the large reputed ,raphaels now in the ,louvre1 remained at the ,french court until his death4 ,the strict authenticity of these four pictures--,the ,holy ,family of ,francis ,i4 7,no4 #adih71 the ,st4 ,margaret 7,no4 #aeja71 the large ,st4 ,michael 7,no4 #aejd71 and the ,portrait of ,joan of ,arragon 7,no4 #aejg7--;does not here concern us4 ,franois ,i4 also possessed at this date1 among other notable pictures1 ,raphael's ,la ,belle ,jardinire 7,no4 #adif1 ,plate ,,vii471 ,leonardo da ,vinci's ,virgin of the ,rocks 7,no4 #aeii71 and the same artist's ,mona ,lisa or ,la ,joconde 7,no4 #afja1 ,plate ,,iv471 while the art of ,sebastiano del ,piombo1 ,andrea del ,sarto1 and other painters1 ,flemish as well as ,italian1 was well represented in the royal collection during his reign4 #b 8,franois ,i4 voulant avoir dans ,paris un palais digne de sa magnificence et ddaignant le vieux ,louvre et l'htel des ,tournelles1 amas irrgulier de tournelles 7tourelles7 et de pavillons gothiques1 avait fait dmolir1 ds #aebh1 la grosse tour du ,louvre1 ce donjon de ,philippe-,auguste duquel relevaient tous les fiefs du royaume4 ,c'tait dmolir l'histoire elle-mme2 c'tait la monarchie de la renaissance abattant la vieille royaut fodale40--,martin1 ,hist4 de ,france4 ,the example set by ,franois ,i4 was followed by his successor1 ,henri ,,ii4 7reigned #aedg-ei71 for whom ,niccol dell' ,abbate 7#aeae-ga71 an artist of secondary importance1 was working from #aeeb onwards4 ,henri ,,ii4's queen1 ,catherine de ,mdicis1 was also a patron of art1 being herself a collector of coins and medals4 ,to her influence was due the decoration of the ,chteau of ,fontainebleau and the erection of the ,palace of the ,tuileries1#c which was subsequently connected with the ,louvre by means of the ,long ,gallery1 now ,room ,,vi4 ,her eldest son1 ,franois ,,ii4 7reigned #aeei-fj71 the husband of ,mary ,queen of ,scots1 first converted the new buildings of the ,louvre into a royal residence4 ,henry ,,iv4 7reigned #aehi-afaj7 enlarged the ,tuileries1 and almost completed the ,long ,gallery1 which now contains such a large proportion of the pictures4 ,louis ,,xiii4 7reigned #aehi-afaj71 his eldest son1 seems to have taken little interest in the royal collection2 but his mother1 ,marie de ,mdicis1 invited ,rubens 7#aegg-afdj7 to ,paris to decorate the ,palace of the ,luxembourg with that series of imposing canvases representing her own life-history which are to-day seen to their best advantage in the ,salle ,rubens 7,room ,,xviii47 of the ,louvre4 #c ,an inscription on a tablet placed high up on the left of the ,pavillon ,sully records that ,franois ,i4 began the ,louvre in #aeda1 and ,catherine de ,mdicis the ,tuileries in #aefd4 ,no complete record has been found of the pictures which formed the royal collection previous to the year #afdb4 ,to that date belongs a meagre ,catalogue of the objects of art which then remained at ,fontainebleau1 but it is supposed that when ,louis ,,xiv4 7reigned #afdc-agae7 succeeded to the throne he inherited about one hundred pictures1 the property of the ,crown4 ,with his accession a new era in the history of art in ,france began4 ,meanwhile1 across the water1 a superb royal collection had been formed4 ,charles ,i4 of ,england 7reigned #afbe-di7 had begun his career as a patron of art before his accession1 with the acquisition of the paintings and statues collected by his deceased brother1 ,henry4 ,during his matrimonial visit to ,madrid in #afbc he was presented by ,philip ,,iv4 with ,titian's ,venus del ,pardo1 now in the ,louvre 7,no4 #aehg74 ,soon after his accession he began to collect systematically1 employing trusty agents to buy for him in different parts of ,europe4 ,his most notable purchase was that of the collection of the ,duke of ,mantua1 for which he paid #ah1bhj between #afbi and #afcb4 ,he is said to have possessed in all #agfj pictures by the date of his execution4 ,most of them were disposed of at auction by order of ,cromwell between #afdi and #afeb4 ,one of the most persistent bidders at the sale of ,charles ,i4's pictures was ,eberhard ,jabach1 a native of ,cologne1 who settled in ,paris and became a naturalised ,frenchman in #afdg4 ,he was an enthusiastic buyer of pictures1 and his collection soon surpassed that of the ,french king4 ,it was known to all ,french connoisseurs1 and was visited by all travellers of note4 ,in time1 however1 ,jabach's energies as a buyer exceeded his financial resources1 and when his debts amounted to #bgh1gah livres he offered his collection to ,louis ,,xiv41 who was most anxious to distinguish his reign by the formation of a gallery of pictures which should be in all respects worthy of it4 ,to this end he purchased ,eberhard ,jabach's collection1 paying #bbj1jjj livres for the #eedb drawings and #aja pictures which it contained4 ,the price originally asked by ,jabach was #dfc1dbe livres4 ,among the masterpieces thus acquired by the king were ,titian's ,entombment 7,no4 #aehd1 ,plate ,,xiii471 which ,jabach had had the good fortune to purchase from the ,english royal collection for the absurdly small sum of #abh1 and ,giorgione's ,pastoral ,symphony 7,no4 #aacf1 ,plate ,x471 which had also been among the treasures of the ,english ,crown4 ,to ,cardinal ,richelieu 7#aehe-afdb71 who founded the ,french ,academy in #afce1 at one time belonged ,andrea ,mantegna's ,parnassus 7,no4 #acge1 ,plate ,,xiv471 the same painter's ,wisdom victorious over the ,vices 7,no4 #acgf71 ,lorenzo ,costa's ,the ,court of ,isabella d',este in the ,garden of the ,muses 7,no4 #abfa71 and the same painter's ,mythological ,scene 7,no4 #abfb71 together with ,perugino's ,combat of ,love and ,chastity 7,no4 #aefg74 ,another important buyer at the sale of ,charles ,i4's collection was ,cardinal ,mazarin 7#afjb-fa71 who acquired several valuable pictures1 besides statuary1 tapestries1 and other fabrics4 ,of ,mazarin's pictures the ,louvre now possesses ,raphael's small ,st4 ,michael 7,no4 #aejb7 and a ,holy ,family 7,no4 #aace71 which is catalogued under the name of ,giorgione1 but it is more probably from the hand of ,cariani4 ,it is said that ,louis ,,xiv4 preferred the pictures of his own court-painter1 ,charles ,le ,brun1 to those of the ,venetian master1 ,paolo ,veronese1 whose large canvas1 ,the ,supper at ,emmaus 7,no4 #aaif71 was nevertheless acquired during his reign4 ,eight pictures by ,annibale ,carracci1 all of which are not now publicly exhibited in the ,louvre 7,nos4 #abah1 #abbj1 #abbb1 #abbf1 #abca-cd71 ,albani's ,diana and ,acton 7,no4 #aaaa71 nine compositions by ,guido ,reni 7,nos4 #adci-ee and #adeg71 and ten paintings by ,domenichino 7,nos4 #afji-aj and #afab-ai71 also enriched the royal collection during ,louis ,,xiv4's reign4 ,nor were the great ,french painters neglected4 ,the four pictures 7,nos4 #gcf-ci7 of ,the ,seasons1 by ,nicolas ,poussin1 which had been commissioned in #affj by the ,duc de ,richelieu for the decoration of the ,chteau de ,meudon1 together with four of the largest ,claudes now in the ,louvre 7,nos4 #cab1 #cad1 #caf1 #cag71 were obtained for the royal galleries by the ever-watchful ,colbert 7#afai-hc71 who had been appointed ,minister of ,finance on the death of ,mazarin 7#afjb-fa74 ,flemish art1 as seen in the stately pictures of ,van ,dyck1 was represented by seven examples 7,nos4 #aifa-fc1 #aigj1 #aigc-ge74 ,on the other hand1 ,louis ,,xiv4 is said to have failed altogether to appreciate the work of ,teniers and to have exclaimed1 when some of that artist's pictures were brought to his notice1 8tez-moi ces magots-l60 ,only one of the thirty-nine pictures by ,teniers now in the ,louvre1 the ,interior of a ,cottage 7,no4 #bafb71 passed into the ,gallery at that date4 ,the almost entire absence of ,dutch pictures is also to be noticed4 ,an event of extreme importance in this pompous reign was the institution of the ,french ,academy of ,arts1 in #afdh1 with ,charles ,le ,brun 7#afai-ij7 as ,director1 the despotic power which he exercised in art matters bringing about his further appointment as ,director of the ,gobelins tapestry works in #affj4 ,in #afha the ,crown pictures and other royal art treasures were brought to the ,louvre from ,versailles and were temporarily exhibited there1 the king paying a state visit to the capital on ,december #e to see his cabinet de tableaux4 ,we read that the walls of eleven rooms were covered up to the cornices4 ,the collection1 putting on one side all doubts as to strict authenticity1 included six paintings by ,correggio1 ten by ,leonardo da ,vinci1 eight by ,giorgione1 twenty-three by ,titian1 nineteen by ,a4 ,carracci1 twelve by ,guido ,reno1 and eighteen by ,paolo ,veronese4 ,these treasures1 however1 did not remain long at the ,louvre1 but were 8packed up1 loaded on rough carts1 and taken back over the paved roads to ,versailles10 which had now taken precedence over ,fontainebleau as a royal residence2 and at ,versailles the ,court mainly resided until the ,revolution1 although ,louis ,,xiv4 greatly enlarged the ,louvre ,palace and planted the ,tuileries ,gardens4 ,at the death of le ,roi ,soleil the ,crown pictures numbered #aejj4 ,the energy of ,louis ,,xiv4 was followed by the apathy of his degenerate successor1 ,louis ,,xv4 7reigned #agae-gd71 who1 however1 added #cjj pictures to the royal collection4 ,the ,virgin with the ,blue ,diadem or ,virgin with the ,veil 7,no4 #adig71 which still passes under the name of ,raphael1 was among the pictures which then passed out of the collection of the ,prince de ,carignan into the possession of the ,crown4 ,it was now a sorry moment for the pictures which1 8scattered through the interminable and then ill-kept country palaces of the ,french ,crown1 exposed to every injury of time1 ignorance1 and weather1 regarded at best in the light of old furniture and too often in that of old lumber1 pleaded in vain for respect and care4 ,no public ,catalogue told of their existence2 the generation that had talked of them had passed away2 it was nobody's business to ask for them1 and few actually knew where they were4 ,even the new-comers passed into the same void which had swallowed their predecessors40 ,some of the pictures previously recorded now disappeared completely1 without leaving a clue to their fate4 ,eventually1 in #agdf1 ,m4 de la ,fonte de ,saint-,yenne in a pamphlet directed public opinion to the fact that these ,crown pictures had for fifty years been hidden and neglected in 8une obscure prison de ,versailles40 ,as a result of this1 in #agej1 by the king's permission1 #aaj pictures selected from the different schools of painting were brought from ,versailles to the ,palais de ,luxembourg1 where the large canvases by ,rubens 7now in the ,salle ,rubens at the ,louvre7 were regarded as forming a centre d'tudes4 ,here for the first time1 and for two days only in the week1 they were shown under certain restrictions to a limited public4 ,in #aghe they were again removed to ,versailles4 ,although ,louis ,,xiv4's well-known grudge against ,holland probably accounted for the almost entire absence of ,dutch pictures from the ,crown possessions1 ,louis ,,xvi4 had the good taste to acquire works by ,aelbert ,cuyp 7,no4 #bcda1 ,landscape72 ,jan van ,goyen 7,no4 #bcge1 ,banks of a ,dutch ,river1 and ,no4 #bcgg1 ,a ,river in ,holland72 ,b4 van der ,helst 7,no4 #bcid1 ,the ,officers of the ,arquebusiers of ,st4 ,sebastian72 ,g4 ,metsu 7,no4 #bdfa1 ,the ,alchemist72 ,adriaen van ,ostade 7,no4 #bdie1 ,the ,painter's ,family81 and ,no4 #bdif1 ,the ,schoolmaster72 ,isaac van ,ostade 7,no4 #beaj1 ,a ,frozen ,canal in ,holland72 ,rembrandt 7,no4 #beci1 ,the ,pilgrims at ,emmaus1 ,no4 #bedj1 and ,no4 #beda1 ,the ,philosopher in ,meditation1 ,no4 #beee1 ,portrait of ,rembrandt aged72 ,jacob van ,ruisdael 7,no4 #beei1 ,landscape1 and ,no4 #befj1 ,sunny ,landscape72 ,terborgh 7,no4 #behg1 ,the ,military ,gallant72 and ,philips ,wouverman 7,no4 #bfba1 ,the ,prize ,ox1 and ,no4 #bfbe1 ,the ,stag ,hunt74 ,five of the less important of ,murillo's pictures now in the ,louvre 7,nos4 #agab-ae and ,no4 #agag7 were also acquired at this period1 and the series of twenty-two large canvases illustrating ,scenes from the ,life of ,st4 ,bruno by ,eustache ,le ,sueur were also purchased by ,louis ,,xvi4 ,from #agbe onwards the ,salon held its ,exhibitions in the ,salon ,carr 7,room ,,iv471 but after #ahdh this room was used only for ,paintings by the ,old ,masters4 ,in #agij a ,commission was appointed by the ,national ,assembly 8to register and watch over all that was most valuable10 and on ,may #bf1 #agia a decree was made that the ,louvre should be thenceforward dedicated to the conservation of objects of science and of art4 ,on ,august #bf of the same year a further ,commission was appointed by the ,national ,convention to inspect and gather together the treasures of art scattered through les maisons royales4 ,the ,convention decided that the 8,museum of the ,republic0 should be officially opened in the ,long ,gallery of the ,louvre on ,august #aj1 #agic1 and from ,november #h of the same year the ,museum was open to the inspection of the public three days in every ten4 ,this1 the first public exhibition of art treasures in the ,louvre1 was the foundation of the present institution4 ,the ,catalogue of this date contains reference to only #ecg pictures1 the greater number of which came from ,paris churches and national buildings4 ,the inhabitants of ,versailles now petitioned that their town should not be despoiled of its pictures1 8and so be deprived of its last attraction in the eyes of the world06 ,the ,louvre was now destined to become for a few years the temple of the spolia opima which the victorious ,french army brought home4 8,this system of levying pictures1 statues1 and other objects by means of treaties1 so called1 in which the conqueror dictated terms to those incapable of refusing them1 was a dishonourable novelty in the annals of modern warfare4 ,disdaining the usages of ,christian nations and overleaping especially the traditions of ,french courtesy and chivalry1 ,buonaparte turned back to the ages of pagan history for a precedent for his measures of spoliation40 ,by the ,treaty of ,bologna of ,june #bc1 #agif1 and the ,treaty of ,tolentino of ,february #ai1 #agig1 he became possessed of twenty pictures from ,modena1 twenty from ,parma1 forty from ,bologna1 ten from ,ferrara1 while ,rome1 ,piacenza1 ,cento1 ,ravenna1 ,rimini1 ,pesaro1 ,ancona1 ,loreto1 and ,perugia also had to yield up a portion of their treasures4 ,the first exhibition of this booty was held in the ,louvre in ,january #agih4 ,here1 during the next few years1 were gathered together many of the world's most famous pictures1 including ,raphael's ,st4 ,cecilia1 now in the ,bologna ,gallery2 ,correggio's ,st4 ,jerome and his ,madonna della ,scodella1 now in the ,parma ,gallery2 ,raphael's ,transfiguration1 now in the ,vatican1 and his ,madonna della ,sedia1 now in the ,pitti ,palace at ,florence2 ,domenichino's ,last ,communion of ,st4 ,jerome1 now in the ,vatican2 ,titian's ,martyrdom of ,st4 ,peter ,martyr1 destroyed by fire in #ahfg1 and his ,assumption1 now in the ,venice ,gallery2 ,van ,eyck's ,adoration of the ,lamb1 now dismembered and distributed between ,ghent1 ,berlin1 and ,brussels2 ,paris ,bordone's ,fisherman of ,st4 ,mark1 now in the ,venice ,gallery2 and ,paul ,potter's ,bull1 now at ,the ,hague4 8,here was seen the unexampled sight of twenty-five ,raphaels ranked together1 the great master complete in every period and walk of his art4 ,here twenty-three ,titians glowed in burning row4 ,here ,rubens revelled in no less than fifty-three pictures and in almost as many classes of subject4 ,van ,dyck followed his illustrious master with thirty-three works1 while thirty-one specimens of ,rembrandt's brush shed a golden atmosphere upon the walls4 ,the later ,italians especially were magnificently represented--thirty-six pictures by ,annibale ,carracci1 sixteen by ,domenichino2 twenty-three by ,guido2 including the largest altarpieces by each2 and twenty-six by ,guercino1 were perhaps the most popular part of the wondrous show40 ,however1 in ,september #ahae1 the pictures and other valuable works of art which ,france had plundered from her foes had to be given back1 and the spoliation of the ,louvre began4 ,in all1 #ebcc objects1 of which #bjfe were pictures1 were taken away from the ,royal ,museum by the ,allied ,powers4 ,an event rare in the history of public galleries took place in #ahac1 when the ,louvre received ,carpaccio's ,preaching of ,st4 ,stephen 7,no4 #abaa71 ,boltraffio's ,madonna of the ,casio ,family 7,no4 #aafi71 ,marco d',oggiono's ,holy ,family 7,no4 #achb71 ,moretto's ,st4 ,bernardino of ,siena and ,st4 ,louis of ,toulouse 7,no4 #aage71 and the same artist's ,st4 ,bonaventura and ,st4 ,anthony of ,padua 7,no4 #aagf71 in exchange for five pictures by ,rubens1 ,rembrandt1 ,van ,dyck1 and ,jordaens4 ,it is curious to notice that at this period very little importance was attached to ,italian primitives1 which were1 indeed1 deemed 8barbarous40 ,many beautiful works of the very early ,italian schools were actually not considered worth the trouble and expense of transport1 and were therefore left for the lasting glory of the ,louvre4 ,among them may be mentioned ,fra ,angelico's ,coronation of the ,virgin 7,no4 #abij72 the ,madonna and ,child and ,two ,saints1 7,no4 #aaad71 now officially ascribed to ,albertinelli2 ,bronzino's ,christ and the ,magdalene 7,no4 #aahc72 the ,madonna and ,angels 7,no4 #abfj71 which passes under the name of ,cimabue2 ,gentile da ,fabriano's ,presentation in the ,temple 7,no4 #abgh72 the ,coronation of the ,virgin 7,no4 #acjc71 still officially ascribed to ,raffaellino del ,garbo2 ,st4 ,francis of ,assisi receiving the ,stigmata 7,no4 #acab71 which still passes under the name of ,giotto2 ,benozzo ,gozzoli's ,triumph of ,st4 ,thomas ,aquinas 7,no4 #acai72 ,fra ,filippo ,lippi's ,madonna and ,child between ,two ,saints 7,no4 #acdd72 ,pesellino's two small predella pictures 7,no4 #adad72 ,piero di ,cosimo's ,coronation of the ,virgin 7,no4 #adaf72 ,the ,madonna in ,glory between ,st4 ,bernard and ,st4 ,mary ,magdalene 7,no4 #adhb71 which is still assigned to ,cosimo ,rosselli2 ,lorenzo di ,credi's ,madonna and ,child with ,st4 ,julian and ,st4 ,nicholas 7,no4 #abfc72 ,cima's ,madonna and ,child 7,no4 #abei72 ,vasari's ,annunciation 7,no4 #aege71 which is now in one of the storerooms of the ,louvre2 the ,ferrarese ,madonna and ,child with ,st4 ,quentin and ,st4 ,benedict 7,no4 #aafg71 which is still assigned to ,bianchi2 ,andrea ,mantegna's ,calvary 7,no4 #acgc7 and ,virgin of ,victory 7,no4 #acgd72 ,domenico ,ghirlandaio's ,visitation 7,no4 #acba72 and ,perugino's ,st4 ,paul 7,no4 #aeff74 ,further proof of the slight regard in which certain pictures that we cherish to-day were then held is afforded by the readiness with which the authorities sent two panels of ,mantegna's altarpiece1 the centre-part of which is now in the ,church of ,san ,zeno at ,verona1 to the ,museum at ,tours1 and parted with ,perugino's altarpieces to the public galleries of ,lyons and ,marseilles4 ,under ,louis ,,xviii4 7died #ahbd7 #aaa pictures were purchased for the national collection at a cost of #bf1gcj1 but during the reign of ,charles ,x4 7#ahbd-cj7 only #cj were acquired1 #beaa being expended on them4 ,an outlay of #bife by ,louis ,philippe 7reigned #ahcj-dh7 enriched the ,louvre with #cc more pictures1 but that king concentrated his efforts on the restoration and decoration of the ,chteau of ,versailles1 on which he spent #ddj1jjj4 ,in the early years of the ,second ,republic a large number of improvements were effected in the ,louvre1 and in #ahdh #hjjj was spent on restoring several of the rooms now hung with pictures1 which were first systematically arranged three years later4 ,although the ,museum had at that period an annual grant of #bjjj for the purchase of pictures1 special grants in aid were made from time to time1 notably on the occasion of the sale of ,marshal ,soult1 pictures from whose collection were acquired in #aheb for #bd1fab4 ,in this way ,murillo's ,immaculate ,conception 7,no4 #agji1 ,plate ,,xxvi47 passed to the ,louvre from the 8,plunder-master-,general0 of the ,spanish campaign4 ,during the ,second ,empire the ,muse du ,louvre acquired about #bjj ,italian primitives from the ,campana collection1 while seven years later it was further enriched by the important bequest by ,dr4 ,la ,caze of #bge paintings of different schools4 ,since #ahgj1 when the ,palace of the ,tuileries was destroyed1 the permanent collection has been increased by the purchase in #ahhc for #hjjj of the ,morris ,moore 8,raphael0 7,no4 #aeji71 which has since come to be universally regarded as a work by ,perugino2 while about #cjj other paintings of varying importance have also been acquired from time to time with ,government funds4 ,in recent years the national collection has benefited largely by the generosity of private donors1 among whom we may mention ,,mm4 ,duchtel1 ,gatteaux1 ,his de la ,salle1 ,lallemant1 ,maciet1 ,rodolphe ,kann1 ,sedelmeyer1 ,grandidier1 ,vandeul1 and several members of the ,rothschild family4 ,in #ahif1 by the sale of a large proportion of the ,crown jewels1 a ,caisse des ,muses was organised1 and the annual income devoted to the purchase of pictures notably increased4 ,a year later the ,socit des ,amis du ,louvre1 which corresponds to the ,national ,art-,collections ,fund in ,england1 was founded to assist in securing pictures and other works of art for the nation2 by that means the ,madonna and ,child 7,no4 #acjj;,a or #acjj;,b7 which passes under the name of ,piero dei ,franceschi was acquired by the ,louvre4 ,in ,may #aijj1 on the inauguration of the ,exposition ,universelle1 the opportunity was taken to rehang a large part of the collection1 and the ,galerie de ,mdicis 7,room ,,xviii47 and the eighteen small cabinets built round it were first used for the better exhibition of a large proportion of the ,flemish and ,dutch pictures4 ,shortly afterwards1 by the death of ,m4 ,thomy ,thiry1 an ,englishman who had become a naturalised ,frenchman1 over #ajj paintings1 mostly of the school of ,barbizon1 became an exceedingly valuable addition to the ,louvre1 and filled a void in the history of ,french painting in the nineteenth century4 ,during the last two years the most memorable purchases by the ,government have been that of ,chardin's ,child with a ,top 7,no4 #ij;,a71 which was acquired together with the same artist's ,young ,man with a ,violin 7,no4 #ij;,b7 for #ad1jjj1 and ,hans ,memlinc's ,portrait of an ,old ,lady 7,plate ,,xvii47 for #hjjj4 ,the national collection of the ,muse du ,louvre now includes in its ,catalogue nearly two thousand eight hundred oil and tempera paintings1 about four hundred of which have not been exhibited for many years4 ,,early ,,sienese ,,school ,this school of painting1 one of the earliest in the history of art in ,italy and probably the earliest with which the ordinary student of art in ,italy will concern himself1 was affected throughout the whole range of its history by the influence of the miniaturists4 ,it was characterised by navet1 and in the hands of its earliest painter1 ,duccio di ,buoninsegna 7#abee-acai71 strove to realise an effect of hieratic sumptuousness1 its precision and grace being that of 8a sanctuary swept and garnished40 ,the ,louvre possesses no picture by ,duccio1 who derived his technique from the ,byzantine miniaturists1 although he modified their methods4 ,standing between the old world and the new1 ,duccio occupied an important position at the head of the school of ,siena1 which in the early years of the fourteenth century set a noble example to the other towns and incipient schools of ,tuscany4 ,passing reference may here be made to the artistic aims and religious aspirations of the cities of ,rome1 ,pisa1 and ,arezzo1 but it is ,siena which stands out pre-eminently at this early date as interpreting scenes of quiet rapture and sacred peace1 its own social life being bound up in 8chivalry1 the meat of the eye10 and 8piety1 the wine of the soul40 ,both ,duccio1 who was first employed by the ,government of his native city as early as #abgh1 and ,cimabue1 his senior by fifteen years 7if we are to accept the much contested records71 have alike been hailed as the author of the ,rucellai ,madonna which still hangs in the ,church of ,s4 ,maria ,novella in ,florence4 ,this picture was a generation ago almost unanimously accepted by responsible critics as the work of the ,florentine painter1 and those who still advocate the claims of 8,florentinism0 are loath to destroy their cherished illusions4 ,it is not our duty here to bring forward the arguments in favour of its later ascription to ,duccio1 who1 we are led to believe1 painted it early in his career1 before he had learnt to free himself from the stiff gestures and ,byzantine types of a former tradition4 ,duccio1 it must be conceded1 never quite succeeded in giving to his compositions that sense of life1 character1 and design which we find in the works of ,giotto1 his junior by some twenty years1 who was the first artist to accomplish vast schemes of monumental decoration4 ,duccio1 however1 was the bearer of that torch which was to kindle the flame of religious art both in ,siena and ,florence4 ,nevertheless1 ,sienese painting was destined1 almost from the moment of its birth1 to show signs of dwindling into a school of trite copyists and shallow quietists4 ,early in the fourteenth century the lofty ideals manifested by emotional ,siena spread to scientific ,florence1 and by the beginning of the fifteenth century the city on the ,arno gave unmistakable signs of becoming the leading art centre in ,tuscany4 ,,duccio',s ,,followers ,the greatest of ,duccio's followers was ,simone ,martini 7#abhe8-acdd71 who was also slightly influenced by ,giotto4 ,simone1 whose ,christ bearing ,his ,cross 7,no4 #achc1 ,plate ,i47 is the earliest ,sienese picture in the ,louvre1 has been well described as 8a reactionary who made a whole beautiful world of his own40 ,in this small picture the colours stand out most clearly1 although the drawing and perspective are1 of course1 faulty4 ,it belongs to a series of which other panels are at ,antwerp and in the ,kaiser ,friedrich ,museum at ,berlin4 ,a ,crucifixion 7,no4 #affe7 that is catalogued as being by an unknown ,sienese artist may be attributed to ,ugolino da ,siena 7fl4 #abij-acbj72 it would seem to be the centre panel of a large and lost altarpiece4 ,illustration3 ,,plate ,i4--,,simone ,,martini 7#abhe8-acdd7 ,,sienese ,,school ,no4 #achc4--;,,christ ,,bearing ,,his ,,cross 7,jsus-,christ marchant au ,calvaire7 ,christ1 preceded by the executioner1 soldiers1 and two children1 is bearing ,his ,cross to ,calvary4 ,he is attended by a large crowd in which may be recognised the ,virgin ,mary1 in blue robes1 supported by ,st4 ,john2 ,st4 ,mary ,magdalene in red1 with her long hair falling over her shoulders1 raises her hands in grief4 ,painted in tempera on panel4 #aj in4 #d in4 7#jbe #jaj47 ,pietro ,lorenzetti 7fl4 #acje-ej7 was probably a pupil of ,duccio1 and was influenced by ,simone ,martini1 but ,pietro and his younger brother1 ,ambrogio ,lorenzetti 7#abhe8-acdh871 who represented a new movement and endeavoured to set forth the civic ideal1 are not represented in this collection4 ,simone ,martini's brother-in-law1 ,lippo ,memmi 7died #aceg871 is possibly the author of the ,st4 ,peter 7,no4 #aaeb71 a poor picture which is officially assigned to ,taddeo di ,bartolo 7#acfb8-adbb74 ,the art of the latter is1 in the opinion of ,mr4 ,berenson1 seen in the small ,crucifixion 7,no4 #afbb71 which the ,louvre authorities modestly catalogue as being by an unknown fourteenth-century ,italian painter4 ,to ,bartolo di ,maestro ,fredi 7#accj8-adaj71 who came under the influence of ,lippo ,memmi and the ,lorenzetti1 is given a ,presentation in the ,temple 7,no4 #aaea74 ,paolo di ,giovanni ,fei 7fl4 #acgb-adaj71 whose pictures are rarely met with out of ,italy1 may be regarded as the author of the ,madonna and ,saints 7,no4 #acad7 which is officially held to be by an unknown ,florentine painter of the school of ,giotto4 ,the ,louvre possesses no example of the art of ,sassetta 7#acib-adej71 who1 together with ,paolo di ,giovanni ,fei1 deeply impressed ,giovanni di ,paolo 7#adjc8-adhb74 ,the latter may be credited with the small panel 7,no4 #afei;,a7 which is officially entitled ,the ,entry of ,pope ,martin into the ,castle of ,saint ,angelo1 and included in the ,catalogue as being by an unknown ,florentine1 but labelled 8,school of ,masaccio40 ,there can be no doubt that this quaint little picture depicts ,pope ,gregory the ,great's ,vision of the ,archangel ,michael sheathing his ,sword over the ,castle of ,saint ,angelo4 ,according to the legend1 ,gregory had been indefatigable in nursing the plague-stricken in ,rome in the sixth century1 and while on his way at the head of a procession to offer up prayer for the cessation of the plague1 saw 8the warrior of ,god0 in the attitude here shown4 ,gregory1 after fleeing from those who wished to make him ,pope1 was elected to wear the papal tiara under the title of ,gregory the ,great4 ,he is chiefly known to us as having sent missionaries to preach the gospel in ,england1 having been moved to pity by seeing ,british captives exposed for sale in ,rome1 and for his arrangement of the music of the chants which are after him known as ,gregorians4 ,the official title of the picture1 on the other hand1 assumes that we have here ,pope ,martin ,v41 a man of saintly character1 making his entry into ,rome in #adba amid the acclamations of the people4 ,he had been elected ,pope in #adag on the deposition of ,john ,,xxiii4 ,by this time the art of ,siena had progressed some distance on the road that its religious aspirations and technical accomplishments indicated1 but it soon became evident that the more intellectual aims of ,florentine art were shaping the course of all the painters of ,italy4 ,,the ,,florentine ,,school ,although we have begun our study of the art of ,italy with a review of the ,sienese ,school1 which owes its importance to ,duccio1 the earliest ,italian picture in the ,louvre is the ,madonna and ,angels 7,no4 #abfj71 which may be accepted as a characteristic example of the type of picture that passes under the name of ,cimabue 7#abdj8-acjb74 ,giovanni ,cenni de' ,pepi1 to give him his full name1 has been hailed as 8the father of modern painting40 ,the ,louvre ,madonna1 which was formerly in the ,church of ,san ,francesco at ,pisa1 was carried off to ,paris by ,napoleon1 but not considered worth the trouble of repacking when in #ahae the ,allied ,armies called upon the ,french to surrender the pictorial spoils of war4 ,it is known that ,cimabue was working at ,pisa at the very end of his life1 and1 although he was engaged there as mosaicist rather than as a painter1 the provenance of this large painting1 which is executed in tempera on panel1 has to be taken into account in any discussion as to its strict authenticity4 ,it is certainly reminiscent of the ,rucellai ,madonna1 and shares much of its character4 ,the painter has repeated1 with certain modifications1 the ,byzantine type of ,madonna1 whose almond-shaped eyes and long1 bony fingers should be noticed4 ,it has been freely restored4 ,from the same church in ,pisa comes ,giotto's ,st4 ,francis of ,assisi receiving the ,stigmata 7,no4 #acab74 ,according to the descriptive account handed down to us by the unveracious ,vasari1 ,giotto 7#abff-accg7 was originally a shepherd boy whose latent talent was recognised by the discerning ,cimabue1 who forthwith took him as his pupil and taught him how to paint1 the boy's genius enabling him early to surpass his master4 ,although it would be rash unquestioningly to accept this archaic production as an authentic work by ,giotto1 it is one which any national collection would treasure4 ,it depicts the supreme event in the life of ,st4 ,francis1 when during his vision virtue passed from the wounded hands1 the wounded feet1 and the wounded side of the ,christ into the same parts of the saint's body4 ,in the predella are three scenes from the life of ,st4 ,francis3 7a7 ,pope ,innocent ,,iii4 dreaming that ,st4 ,peter reveals to him that unless the ,franciscan ,order is founded the ,church 7typified here by the ,church of ,s4 ,john ,lateran in ,rome7 will fall down2 7b7 ,the ,pope founding the ,order2 and 7c7 ,st4 ,francis1 wearing the brown robes of his ,order1 and preaching to the birds3 8,whenas ,st4 ,francis spake these words to them1 those birds began all of them to open their beaks1 and stretch their necks1 and spread their wings1 and reverently bend their heads down to the ground1 and by their acts and by their songs to show that the ,holy ,father gave them joy exceeding great40 ,,the ,,giottesques ,four school pictures 7,nos4 #acac1 #acae-acag7 illustrate the example set by ,giotto1 who influenced very strongly indeed all art-manifestation during the fourteenth century1 an age when the human body was denied all intrinsic significance4 ,his profound feeling1 gay colour1 high dramatic power1 and sense of form mark the emancipation of ,italian art from the rigid formalism of the ,byzantine manner4 ,he discovered a style which was admirably suited to the spirit of his time1 and developed for his own purposes a sense of perspective which he employed with considerable effect1 although he never really found a scientific statement of the artistic principles which he instinctively perceived4 ,his indefatigable energy and innate genius enabled him to distance his rivals and to bequeath to his countrymen a heritage which profoundly affected the art of ,italy4 ,foremost among his followers1 who imitated his mannerisms without understanding the full significance of his ideas1 was ,taddeo ,gaddi 7#acjj8-acff71 to whom are assigned in the official ,catalogue the predella pictures 7,no4 #acjb7 of 7a7 ,the ,death of ,st4 ,john the ,baptist1 7b7 ,calvary1 and 7c7 ,judas ,iscariot4 ,taddeo ,gaddi1 a painter and architect1 was the godson and pupil of ,giotto as well as the pupil of his father1 ,gaddo ,gaddi4 ,taddeo's desire to give suitable expression to each of his figures often resulted1 as in that of the daughter of ,herodias in the second of these panels1 in exaggeration4 ,taddeo's son1 ,agnolo ,gaddi 7#accc-acif71 who was described by ,ruskin as 8rather stupid in religious matters and high art10 may be the painter of the ,annunciation 7,no4 #acja71 in which we see the ,virgin seated in a loggia to the right of the picture4 ,the ,archangel ,gabriel announces1 by the gesture of the right hand1 that the ,virgin shall be the ,mother of the ,christ4 ,god the ,father is shown in the heavens4 ,notice the gold background and the mosaics of the loggia4 ,the mechanical methods and uninspired aims of the ,giottesques1 the artists who worked during the century which followed the death of ,giotto1 are well seen in the productions of ,lorenzo di ,bicci 7fl4 #acgj-adji71 his son ,bicci di ,lorenzo 7fl4 #acgc-adbd71 and his grandson ,neri di ,bicci 7#adai-adia74 ,neri is represented by a ,madonna and ,child 7,no4 #acig74 ,he might justly be described as a mere manufacturer of ,giottesque pictures to order4 ,he brought art down to the level of a trade1 his work being flat and his colour raw and inharmonious4 ,a ,virgin and ,infant ,christ 7,no4 #aefc71 inscribed 8,,tvrinvs ,,vannis ,,de ,,pisis ,,me ,,piqsit ,p10 is evidently by ,turino ,vanni 7fl4 #acij-acih71 a rare artist of this group of ,florentine painters4 ,the brief list of his pictures might be increased by having added to it a few panels at ,pisa and ,assisi1 which are erroneously ascribed to ,buffalmacco4 ,andrea ,orcagna 7#acjh8-acfh87 and his brother ,nardo are not represented in the ,louvre1 but we have a follower of ,agnolo ,gaddi in ,lorenzo ,monaco 7#acgj8-adbe71 who is seen to advantage in his ,christ in the ,garden of ,gethsemane and his ,holy ,women preparing the ,tomb 7,no4 #acdh;,a71 which is inscribed 8,,anno ,d,i #adjh10 and was formerly attributed to ,gentile da ,fabriano4 ,lorenzo ,monaco is officially credited with a triple picture 7,no4 #acdh7 of 7a7 ,st4 ,agnes with her lamb and a martyr's palm branch2 7b7 ,st4 ,lawrence1 the artist's name-saint1 holding in his right hand a book and palm branch1 and enthroned on a gridiron1 the symbol of his martyrdom2 and 7c7 ,st4 ,margaret1 the patron saint of ,woman as ,mother1 standing on the dragon4 ,lorenzo ,monaco1 who is reputed to have been the master of ,fra ,angelico1 usually depicts long1 slender1 and sinuous bodies4 ,below this picture hangs a small panel1 apparently part of the predella of an unidentified altarpiece4 ,it does not seem to be included in the official ,catalogue1 and has neither a number by which to identify it nor a label to denote its subject or authorship6 ,the picture has apparently never been referred to or described in any article or book4 ,it certainly represents the ,emperor ,heraclius carrying the ,true ,cross into ,jerusalem4 ,the picture appears to have been painted by ,giovanni del ,ponte 7fl4 #ache-adcg74 ,neither ,starnina 7#aced-adjh71 who took the traditions of ,early ,florentine painting to ,spain1 ,masolino 7fl4 #achc-adce71 who is rarely met with out of ,italy1 nor ,masaccio 7#adja-bh71 who may be said to have vitalised ,italian art1 is represented in the ,louvre4 ,tommaso ,masaccio1 the 8,hulking ,tom0 of ,browning1 gave to ,italy and the world the magnificent series of frescoes which still decorate the ,brancacci ,chapel of the ,carmine ,church in ,florence4 ,he imparted to his figures such natural movement1 vivacity of expression1 free attitudes1 simple draperies1 and excellent modelling that he entirely revolutionised the art of ,florence4 ,his figures are1 as ,vasari said1 8so lifelike that they seem to live and breathe40 ,this series of frescoes was studied with enthusiasm by all the great ,florentine painters2 ,leonardo1 ,raphael1 ,michelangelo1 and innumerable other artists derived the greatest possible benefit from them4 ,,fra ,,angelico ,on the threshold of the ,renaissance stands ,fra ,angelico 7#achg-adee71 who was trained in the school of miniaturists and influenced by ,lorenzo ,monaco and ,masaccio4 ,his life was devoted to 8the service of ,god1 the benefit of the world1 and his duty towards his neighbour10 as ,vasari says4 ,he regarded painting as one of the duties of the monastic life1 and never began to paint without first kneeling in prayer4 ,his pictures are aspirations towards heaven1 while the figures with which he peoples his saintly compositions have faces which show peace1 joy1 hope1 and communion with ,god4 ,they are clothed in draperies of the purest colours1 crowned with glories of burnished gold1 but are never dramatic in their action4 ,one of his best easel paintings outside ,florence1 where alone his art can be adequately studied1 is his early ,coronation of the ,virgin 7,no4 #abij74 ,this imposing1 if overcrowded1 composition is painted to the glory of ,god and in honour of the ,dominican ,order1 to which the painter belonged4 ,in the right bottom corner we see ,st4 ,agnes with her lamb1 next to her ,st4 ,catherine with her wheel1 above is ,st4 ,lawrence with his gridiron1 and to the latter's right ,st4 ,peter ,martyr in ,dominican robes and with wounded head4 ,in the foreground kneels ,st4 ,mary ,magdalene in red1 her box of ointment in her left hand4 ,st4 ,nicholas with the three golden balls at his feet1 ,st4 ,thomas ,aquinas in ,dominican robes and holding the theological book from which rays of golden light issue1 ,st4 ,louis 7,louis ,,ix41 ,king of ,france71 and ,st4 ,dominic himself--all help to swell the heavenly company4 ,in the predella1 or lower part1 of this panel picture are depicted ,scenes from the ,life of ,st4 ,dominic1 the founder of ,fra ,angelico's own ,order3 7a7 ,pope ,innocent ,,iii4 in his vision sees ,st4 ,dominic supporting the falling ,church2 7b7 the ,pope receives1 through the agency of ,st4 ,peter and ,st4 ,paul who hand him a staff and the ,gospel1 ,divine authority to found the ,dominican ,order2 7c7 the ,saint brings back to life a young noble named ,napoleon who had been trampled under foot by a horse2 7d7 ,christ in the tomb1 the ,virgin and ,st4 ,john2 7e7 ,st4 ,dominic challenges heretics whose books are consumed in the fire1 while his own book of the true ,gospel issues forth unhurt by the action of fire2 7f7 angels descend from heaven to feed the starving monastery of ,st4 ,sabina at ,rome immediately after ,st4 ,dominic has asked a blessing2 these two blue-clad figures are among the loveliest of all ,fra ,angelico's angelic beings1 and perhaps the most inspiring figures in the whole of the ,louvre collection2 7g7 the death of the ,saint at ,bologna and the passing of his soul up to heaven in accordance with the vision of the monk at ,brescia4 ,this early ,cinquecento panel picture1 which was formerly in the ,church of ,s4 ,domenico at ,fiesole1 near ,florence1 was painted before the ,beato went to beautify the cells of ,s4 ,marco with frescoes4 ,it is one of the best of the primitive pictures in the ,louvre4 ,from the hand of the same saintly painter are the ,adoring ,angel 7no ,no471 which until #aiji was in the ,victor ,gay collection1 the ,martyrdom of ,st4 ,cosmo and ,st4 ,damian 7,no4 #abic71 part of the predella of a dismembered altarpiece1 and the large fresco painting of the ,crucifixion 7,no4 #abid7 which hangs on the ,escalier ,daru4 ,the latter was purchased1 together with ,domenico ,ghirlandaio's ,bottle-nosed ,man 7,no4 #acbb1 ,plate ,,iii471 in #ahgi for #aifj4 ,the ,beheading of ,st4 ,john the ,baptist 7,no4 #abia7 and the ,resurrection 7,no4 #abid;,a7 are unauthentic4 ,in ,benozzo ,gozzoli 7#adbj-adih7 we have an assistant and follower of ,fra ,angelico4 ,he worked at different towns in ,italy1 notably at ,montefalco1 ,orvieto1 ,florence1 ,san ,gimignano1 ,rome1 and ,pisa1 where he died4 ,although his earlier work reminds us of ,fra ,angelico1 than whom he is much more dramatic and much less spiritual1 in later life he depicts the costumes and life of his time in a more realistic and objective manner4 ,his ,triumph of ,st4 ,thomas ,aquinas 7,no4 #acai71 which originally hung in the ,cathedral at ,pisa1 deals with a subject often met with in the art of the period4 ,the great ,dominican teacher1 whom the heathen philosophers1 ,aristotle on the left1 and ,plato on the right1 recognise as their master in philosophy1 is enthroned1 his books of theological learning on his knees4 ,at his feet1 subdued1 is ,guillaume de ,st4 ,amour1 the author of a book entitled ,de ,periculis ,novissimorum ,temporum1 in which he exposed the various abuses then prevalent among the mendicants4 ,the dramatic action seen in the lower part of the panel embraces ,pope ,alexander ,,iv4 presiding over the religious council of ,agnani1 and the envoys of ,st4 ,louis 7,louis ,,ix4 of ,france7 who took steps to end the religious conflicts of #abef4 ,a large altarpiece 7,no4 #acbj7 representing the ,madonna and ,child ,enthroned1 ,st4 ,cosmo1 ,st4 ,damian1 ,st4 ,jerome1 ,st4 ,john the ,baptist1 ,st4 ,francis d',assisi1 and ,st4 ,lawrence in the central panel is also assigned to ,benozzo4 ,the frame also contains seven predella pictures1 and at either end is the coat of arms of the ,medici family4 ,the great ,french ,museum1 which is weaker than the ,national ,gallery1 the ,berlin ,gallery1 and certain other national collections in ,italian primitives1 affords us no example of the art of ,andrea del ,castagno 7fl4 #adaj-adeg71 whose compositions are characterised by harsh colour1 hard lines1 and crude forms4 ,nor do we find here any painting by that very rare artist1 ,domenico ,veneziano 7#adjj8-adfa71 who1 it has been said1 was the first ,tuscan artist to work in an oil medium4 ,,paolo ,,uccello ,prominent among the masters who were influenced by ,donatello1 the sculptor1 and ,lorenzo ,ghiberti1 the first metal-worker in elegant forms1 is ,paolo di ,dono1 generally known as ,uccello4 ,his profound study and ultimate discovery of the laws of linear perspective was enhanced by the inquiries into the laws of aerial perspective that ,fra ,angelico studied so deeply4 ,paolo ,uccello 7#acig-adge7 was a pupil and assistant of ,lorenzo ,ghiberti1 who made the bronze doors for the ,east ,side of the ,baptistery at ,florence4 ,he gave himself up to the scientific study of perspective1 the principles of which he was one of the first to apply to painting1 thus rendering incalculable services to art4 ,in his ,battlepiece 7,no4 #abgc7 is seen a mounted soldier in armour with his sword drawn2 on the left are horsemen about to charge with couchant lances1 while on the right cavalry-men are drawn up awaiting orders1 their lances in rest4 ,the correctness of the perspective and the justice of the foreshortenings and the movements of the foot-men in the intervals of the cavalry mark an epoch in art4 ,this is the third and right-hand panel of the series of three battle-pictures which ,uccello painted for the ,casa ,medici 7now the ,riccardi ,palace7 in ,florence for ,cosimo de' ,medici about the year #adeg1 and not1 as the official ,catalogue asserts1 for the ,bartolini family4 ,the best preserved of these three large panel pictures illustrating the ,rout of ,san ,romano in #adcb is that in the ,national ,gallery 7,no4 #ehc71 while the second or centre panel of the series is now in the ,uffizi 7,no4 #eb74 ,the ,louvre panel is in a deplorable condition1 caused by long neglect4 ,uccello's ,portraits of ,giotto1 ,paolo ,uccello1 ,antonio ,manetti1 and ,filippo ,brunelleschi 7,no4 #abgb71 whose names are in this order on the panel1 is a work of considerable importance1 as marking an early stage in the development of portraiture4 ,this picture1 which is referred to at some length by ,vasari1 constitutes a historical document4 ,the ,italian chronicler tells us that ,uccello 8was a person of eccentric character and peculiar habits1 but he was a great lover of ability in those of his own art1 and1 to the end that their memory should remain to posterity1 he drew with his own hand on an oblong picture the portraits of five distinguished men1 which he kept in his house as a memorial of them4 ,the first of these portraits was that of the painter ,giotto1 as one who had given light and new life to the art2 the second was ,filippo di ,ser ,brunellesco1 for architecture2 the third was ,donatello1 for sculpture2 the fourth was himself1 for perspective and animals2 the fifth was his friend ,giovanni 7sic7 ,manetti1 for mathematics4 ,with this philosopher ,paolo conferred very frequently1 and held continual discourse with him concerning the problems of ,euclid40 ,manetti's real ,christian name1 ,antonio1 is correctly inscribed on the panel1 but is inaccurately given as ,giovanni by ,vasari and on the official label4 ,the ,st4 ,john the ,baptist as a ,child 7,no4 #abgd71 which hangs in the ,long ,gallery1 is labelled as a picture of the ,florentine school1 and catalogued as being by ,uccello4 ,it is perhaps by ,piero di ,cosimo4 ,we enter on the first period of the coming ,renaissance with ,fra ,filippo ,lippi 7#adjf-adfi71 who was trained in the best school of ,florentine painting4 ,he was a pupil of ,lorenzo ,monaco1 came under the influence of ,fra ,angelico1 and was affected by the magic spell of ,masaccio1 whom he must have seen at work in the ,brancacci ,chapel4 ,in the latter half of the ,quattrocento the cult of love and beauty was rapidly dethroning the more austere ideals of an earlier age4 ,filippo ,lippi's stormy and romantic career passes into a new phase with his residence at ,prato in #adeb4 ,four years later he was appointed ,chaplain to the nuns of ,s4 ,margherita in that town4 ,the year before his arrival in ,prato1 ,lucrezia and ,spinetta1 the orphan daughters 7aged eighteen and seventeen respectively7 of ,francesco ,buti1 had1 apparently much against their will1 been placed in the ,convent1 the abbess of which commissioned the ,frate to paint a picture of the ,madonna della ,cintola4 ,lucrezia posed to the painter-chaplain for the figure of the ,madonna in that picture4 ,on ,may #a1 #adef1 on the occasion of the exhibition of the ,holy ,girdle of the ,virgin1 a precious relic still preserved at ,prato1 the painter bore off ,lucrezia out of the safe keeping of the convent4 ,a short summary of these well-known facts is suggested by the view which is put forward in the official ,catalogue of the ,louvre1 to the effect that the ,madonna della ,cintola is to be identified with the ,nativity 7,no4 #acdc7 in this ,gallery4 ,the weight of evidence is against this theory2 in fact1 this large panel picture has little claim to be regarded as the work of ,fra ,filippo4 ,one critic has given it as his opinion that the ,nativity was begun by ,fra ,filippo and completed by ,fra ,diamante1 who succeeded him as ,chaplain at ,prato4 ,others have attributed the picture to ,pesellino1 ,baldovinetti1 and ,stefano da ,zevio respectively4 ,it seems to show the influence of ,andrea del ,castagno4 ,the official ,catalogue does not indicate the provenance of the picture1 although it implies that it came from the ,convent at ,prato at the time when it was brought to ,paris by ,napoleon4 ,there can be little doubt that the ,madonna della ,cintola is the painting thus named which still hangs in the place of honour in the ,municipal ,gallery at ,prato4 ,the ,louvre does1 however1 possess in the ,madonna and ,child with ,angels and ,two ,abbots 7,no4 #acdd1 ,plate ,,ii47 one of the best of the ,frate's creations1 although the colouring has suffered considerably4 ,it is an early work1 and was painted about #adcg for the ,barbadori ,chapel in ,santo ,spirito4 ,it contains beauty of line1 freshness of colour1 and much variety in the composition4 ,the cast of the draperies is ample and the motives are novel and bold1 the ,renaissance background throwing into prominent relief the soulful and ideal figure of the ,madonna4 ,the predella panels of this dismembered altarpiece1 for which ,fra ,filippo received forty gold florins1 are now in the ,accademia at ,florence4 ,they depict 7a7 ,st4 ,frediano deviating the ,course of the ,river ,serchio2 7b7 ,the ,virgin receiving the ,announcement of her ,coming ,decease2 and 7c7 ,st4 ,augustine in his ,study4 ,the ,madonna and ,child 7,no4 #acde7 is only a school picture4 ,illustration3 ,,plate ,,ii4--,,fra ,,filippo ,,lippi 7#adjf-adfi7 ,,florentine ,,school ,no4 #acdd4--,,madonna ,,and ,,child1 ,,with ,,angels ,,and ,,two ,,abbots 7,la ,vierge et l',enfant ,jsus entre deux abbs7 ,the ,virgin stands before the throne holding the ,infant ,christ to the adoration of two kneeling abbots and surrounded by six angels carrying lilies4 ,to the left a monk leans over the balustrade1 and two small child-angels flank the composition on either side4 ,painted in tempera on panel4 #g ft4 #a in4 #h ft4 #j in4 7#bag #bdd47 ,in #adeg1 the year that ,fra ,filippo's son ,filippino was born1 his household effects and box of colours were seized for debt4 ,he lived on until ,october #d1 #adfi1 when he died of a sudden and somewhat mysterious illness4 ,the ,frate1 who is the connecting link between ,masaccio1 the first blossom1 and ,raphael1 the full flower of ,florentine painting1 was the master of ,botticelli4 ,a small ,madonna and ,child 7,no4 #acde7 has little claim to be regarded as the work of ,fra ,filippo4 ,in our attempt to unravel the skein of ,italian art in this collection and to sketch its history in strict chronological order we may now consider two small predella panels of 7a7 ,st4 ,francis receiving the ,stigmata and 7b7 ,an ,incident in the ,life of ,st4 ,cosmo and ,st4 ,damian 7,no4 #adad7 by ,francesco ,pesellino 7#adbb-adeg74 ,the former deals with a subject we have already met with in this ,gallery 7,no4 #acab72 the latter is a new theme4 ,st4 ,cosmo and ,st4 ,damian were wealthy men and spent their time in doing charitable works as doctors without monetary reward1 and are thus sometimes known as 8the ,holy ,money-despisers40 ,according to the legend here represented1 a ,christian was one day praying to these saints in the church dedicated to them in ,rome in the fervent hope that he might be healed of cancer in the leg4 ,while thus at prayer he imagined that his leg was amputated and replaced by that of a dead ,moor4 ,in this small panel the saints are shown in the act of placing the black man's limb on the body of the ,christian1 who1 no doubt1 will before long be healed4 ,st4 ,cosmo and ,st4 ,damian being patron saints of the ,medici family are often met with in ,florentine art4 ,we have already in this collection looked at a picture 7,no4 #abic7 by ,fra ,angelico illustrating their martyrdom4 ,pesellino1 who studied the art of ,fra ,angelico1 ,masaccio1 and ,domenico ,veneziano1 and followed somewhat closely in the steps of ,fra ,filippo ,lippi1 can hardly have painted the small three-panel picture officially ascribed to him of 7a7 ,the ,dead ,christ1 7b7 ,a ,cardinal supporting the ,bodies of ,two ,men who have been hanged1 and 7c7 ,a ,cardinal appearing in a ,vision to a ,bishop4 ,this small work 7,no4 #adae71 which was formerly in the ,campana collection1 has been claimed by ,dr4 ,venturi and ,mr4 ,berenson to be by the ,umbrian artist1 ,fiorenzo di ,lorenzo4 ,the ,madonna and ,child and ,st4 ,augustin1 ,st4 ,john the ,baptist1 ,st4 ,anthony1 and ,st4 ,francis 7,no4 #affa71 which is officially catalogued as being by an ,unknown ,florentine artist1 and has been variously attributed to ,andrea del ,castagno1 ,fra ,filippo ,lippi1 and ,andrea ,verrocchio1 may be assigned to that nameless contemporary of ,pesellino whose artistic personality was a few years ago constructed by ,mrs4 ,berenson under the name of 8,compagno di ,pesellino40 ,the art of the ,umbrian artist1 ,piero dei ,franceschi 7#adae8-adib71 who is so well represented in the ,national ,gallery1 is not seen at the ,louvre1 where1 however1 a ,madonna and ,child passes under his name4 ,this panel 7the official number of which is given in the ,catalogue as #acjj;,b and on the frame as #acjj;,a7 was formerly in the ,duchtel collection before passing into that of the ,duc de la ,trmolle1 from whom it was purchased in #ahih for #ebjj by the ,socit des ,amis du ,louvre4 ,it was recognised over twelve years ago by ,m4 ,ary ,renan as the work of ,alessio ,baldovinetti 7#adbgadii71 who1 like ,piero dei ,franceschi1 was formed on ,domenico ,veneziano1 and was also influenced by the discoveries and methods of ,uccello4 ,crowe and ,cavalcaselle also had made that attribution before the question was taken up by ,mr4 ,berenson1 who on morphological and sthetic grounds unhesitatingly ascribes it to ,baldovinetti4 8,compared with ,baldovinetti10 writes ,mr4 ,berenson1 8,piero dei ,franceschi is sterner and harder and more monumental4 ,piero's ,madonnas have a fixed and severe physiognomy1 massive structure and immobile pose2 never a smile1 never a touch of tenderness40 ,how different from all this is the ,madonna by ,baldovinetti before us1 with her 8refined features and her pensive gaze of adoration--a look that unveils her inner life1 a look that will soon develop into the mystery which we feel in the face of ,leonardo da ,vinci's ,mona ,lisa40 ,vasari tells us that ,baldovinetti was 8extremely careful and exact in his work1 and of all the minuti which ,mother ,nature is capable of presenting1 he took pains to be the close imitator4 ,he delighted in the representation of landscape1 which he depicted with the utmost exactitude2 thus we find in his pictures rivers1 bridges1 rocks1 herbs1 fruits1 paths1 fields1 cities1 castles1 sands1 and objects innumerable of the same kind40 ,a goodly number of these are included in the background of this picture4 ,with ,antonio ,pollaiuolo 7#adbi-adih7 and his brother ,piero 7#addc-adif7 we enter on a more scientific era in ,florentine art4 ,masaccio had already advanced the study of the nude1 and the influence of ,donatello 7#achf-adff7 and other sculptors had drawn the attention of all art-workers to the fuller significance of the human form4 ,a more serious attempt was now made by the rising generation of sculptors and painters1 among whom ,antonio ,pollaiuolo and ,verrocchio 7#adce-adhh7 now played the leading parts1 to impart to the human figure a more exact physiological accuracy and so give it greater effectiveness4 ,the advance made by ,baldovinetti in landscape tended also to a more real sense of movement in a natural environment4 ,the ,louvre catalogues no picture under the name of either of the ,pollaiuoli1 but a ,madonna 7,no4 #acfg;,a7 here credited to ,bastiano ,mainardi was probably executed by ,piero1 who frequently worked on his elder brother's designs4 ,the influence of ,alessio ,baldovinetti is reflected in the pictures of ,cosimo ,rosselli 7#adcg-aejg74 ,nothing is officially ascribed to him in this collection1 but the ,annunciation1 with ,st4 ,john the ,baptist1 ,st4 ,anthony1 ,st4 ,catherine1 and ,st4 ,peter ,martyr 7,no4 #afef71 which is here catalogued as by an ,unknown fifteenth-century ,florentine painter1 is apparently his work4 ,it is inscribed with the date ,a4,d4,m4,,cccclxxiii4 ,,the ,,goldsmith ,,painters ,during the generation which preceded the activity of ,domenico ,ghirlandaio 7#addi-adid7 7who appears in the official ,catalogue under the name of ,grillandaio7 the art of the painter had often been combined with that of the architect and sculptor4 ,in time the influence of the goldsmith is seen in the inclination of the more prosaic painters1 among whom ,ghirlandaio holds an important place1 to subordinate the pictorial qualities of their compositions to the gold-worker's love of ornamental detail and fanciful jewellery4 ,paintings carried out in the goldsmith's shop thus contained in the action of the figures1 the treatment of the draperies1 and the fanciful head-dresses1 imitations of silver and bronze work4 ,domenico ,bigordi owed the name of ,ghirlandaio1 by which he is now generally known1 to his having been apprenticed to a goldsmith who acquired fame as a maker of the jewelled coronals 7ghirlande7 that became fashionable4 ,this pupil of ,alessio ,baldovinetti1 who was a craftsman quite as much as a painter1 is to-day best known by the large number of frescoes he painted in ,tuscany4 ,illustration3 ,,plate ,,iii4--,,domenico ,,ghirlandaio 7#addi-adid7 ,,florentine ,,school ,no4 #acbb4--,,portrait ,,of ,,an ,,old ,,man ,,and ,,his ,,grandson 78,,the ,,bottle-,,nosed ,,man07 7,portrait d'un ,vieillard et de son petit-fils7 ,an old man1 wearing a red robe edged with fur1 looks down tenderly at his golden-haired little grandson who lifts up his face to be kissed4 ,through an open casement is seen a landscape4 ,painted in tempera on panel4 #b ft4 #j in4 #a ft4 #f in4 7#jfb #jdf47 ,in ,ghirlandaio's ,visitation 7,no4 #acba7 the ,virgin1 her conventional robes fastened by a morse such as this goldsmith-painter repeatedly introduced into his pictures1 stoops to greet ,st4 ,elizabeth4 ,on the left is ,mary ,cleophas1 and from the right ,mary ,salome trips lightly on to the scene4 ,as always in a painting of this subject1 the principal figures are silhouetted against the arch in the background1 through which the sky is seen4 ,characteristic of ,ghirlandaio's paintings is the jewelled architecture which bears the date #adia1 three years previous to his death4 ,the ,catalogue suggests that this large picture was finished by either ,davide or ,benedetto1 the brothers and assistants of ,domenico1 but it is possible that his brother-in-law1 ,bastiano ,mainardi1 may have worked on it4 ,the ,french1 having pointed out to the ,duke of ,tuscany in #ahae that ,florence possessed many better examples of this painter's art1 were allowed to retain this panel picture1 which had been brought in #ahjf from the ,church of ,s4 ,maria ,maddalena dei ,pazzi at ,florence4 ,the delightful ,portrait of an ,old ,man and his ,grandson 7,no4 #acbb1 ,plate ,,iii471 which is usually known as ,the ,bottle-nosed ,man1 is an admirable study from life4 ,the winsome attitude of the little boy and the refined expression of the old man are very pleasing4 ,it is an incontrovertible1 but perhaps not obvious1 fact that mere physiological ugliness can in the hands of an accomplished artist be transformed into a medium of beauty4 ,the picture has unfortunately been damaged1 notably in the forehead of the principal figure4 ,the certainty of touch and the delicacy of the modelling indicate that this panel belongs to the last period of the artist's activity1 when he also executed the magnificent ,portrait of ,giovanna degli ,albizzi1 now in the collection of ,mr4 ,j4 ,pierpont ,morgan4 ,one of ,domenico's brothers1 ,benedetto ,ghirlandaio 7#adeh-adig7 is credited with a ,christ on the ,way to ,calvary 7,no4 #acbc74 ,his own son1 ,ridolfo 7#adhc-aefa71 painted the ,coronation of the ,virgin 7,no4 #acbd7 in #aejc1 the date being inscribed on the panel4 ,mainardi 7fl4 #adhb-aeac71 the brother-in-law1 pupil1 and imitator of ,domenico1 painted many pictures which usually pass under the name of his more illustrious relation4 ,this pupil has painted in the tondo of the ,madonna and ,child 7,no4 #acfg7 a morse somewhat similar to that seen in the ,visitation 7,no4 #acba74 ,in this same group of artists must be placed a nameless assistant of ,domenico4 ,his pictures have been grouped by ,mr4 ,berenson1 who calls him by the descriptive name of 8,alunno di ,domenico10 and tentatively identifies him with ,bartolommeo di ,giovanni1 of whom very little is known4 ,alunno di ,domenico is thus credited with having executed the companion pictures 7,no4 #adaf;,a and ,no4 #adaf;,b7 of the ,nuptials of ,thetis and ,peleus1 a pagan subject which suggests the advent of the decadence in ,florentine art4 ,these two panels are officially catalogued under the name of ,piero di ,cosimo4 ,,leonardo ,,da ,,vinci ,we now have to pass from the mediocre artists who worked in the school of ,domenico ,ghirlandaio to that great master1 ,leonardo da ,vinci 7#adeb-aeai71 whose work in the oil medium can nowhere be studied so profitably as in the ,louvre4 ,this many-sided genius was the natural and first-born son of a country notary1 and became a pupil of the sculptor-painter1 ,andrea del ,verrocchio1 in whose workshop he met ,botticelli1 ,lorenzo di ,credi1 and many less distinguished ,florentine painters4 ,his interests and occupations were so various that a detailed study of his life-work reveals him as scientist1 philosopher1 architect1 sculptor1 military engineer1 mathematician1 botanist1 and musician4 ,the ,annunciation 7catalogued as ,no4 #afjb;,a and labelled ,no4 #abfe71 which in the official ,catalogue is now only attributed to him after having long passed under the name of ,lorenzo di ,credi1 is doubtless an early work of about #adgb by ,leonardo4 ,some ten years later ,leonardo entered the service of ,lodovico ,sforza1 ,duke of ,milan1 in which city he shortly afterwards painted the ,virgin of the ,rocks 7,no4 #aeii74 ,this fine painting--whose virtues are concealed under a thick coat of chilled varnish--is reputed to have been in the collection of ,franois ,i41 although it has no continuous pedigree earlier than the year #afbe1 when it was in the royal collection at ,fontainebleau4 ,it is very similar to the painting of the same subject which the ,national ,gallery 7,no4 #ajic7 purchased in #ahhj for #ijjj4 ,the points of difference between the two versions are numerous but trifling4 ,the nimbi in the ,national ,gallery picture were added much later and are not found in the ,louvre panel1 which in the greater perfection of detail1 in the treatment of the foreground and the brushwork1 prove it to be an earlier and more authentic work4 ,a careful examination of the documents which came to light in the year #ahic shows that a dispute arose as to the price to be paid by the ,brotherhood of the ,conception of ,milan for the picture now in the ,louvre1 and that ,ambrogio da ,predis and ,leonardo da ,vinci petitioned the ,duke of ,milan to intervene4 ,it would seem that the ,national ,gallery picture was executed in great part by ,ambrogio1 who worked under the supervision of the great ,florentine master1 in #adid1 about twelve years later than the version in this collection4 ,leonardo's greatest contribution to ,florentine art consisted in his practice of the science of chiaroscuro1 the laws of which he was the first to fully investigate4 ,having begun his celebrated 8,treatise on ,painting0 and recommenced his work on the colossal equestrian statue of ,francesco ,sforza1 which at the moment of its destruction by the ,french bowmen in #aejj had earned him lasting fame as a sculptor1 ,leonardo undertook his chef d'uvre1 ,the ,last ,supper1 at ,milan4 ,executed in tempera on a badly prepared stucco ground1 the painting unfortunately soon began to perish1 and although it was restored in #aijh with great success by ,professor ,cavenaghi1 only a faint idea of its pristine beauty remains4 ,the ,louvre possesses a contemporary copy 7,no4 #afjc;,a7 of this fresco by ,marco d',oggiono1 which was commissioned by the ,constable de ,montmorency and long hung in the ,chteau d',ecouen4 ,a similar copy of ,leonardo's ,last ,supper was purchased from a grocer in ,milan in #agic for #fjj1 and is now in the ,royal ,academy1 ,london4 ,,mona ,,lisa ,when ,lodovico ,sforza was conquered by the ,french and his city occupied by them1 ,leonardo set out for ,mantua and ,florence4 ,it may have been in the spring or summer of #aejj that he began to work on the ,portrait of ,mona ,lisa 7,no4 #afja1 ,plate ,,iv47 which officially passes under the title of ,la ,joconde4 ,vasari says that ,leonardo worked on this picture for four years1 and finally left it unfinished4 ,the words of ,vasari must not be taken too literally4 ,we know1 in fact1 that ,leonardo did not work in ,florence for four consecutive years during the period to which the ,louvre's treasured picture belongs1 but in #aejb visited ,orvieto1 ,psaro1 and ,rimini1 acting as engineer to ,cesare ,borgia4 ,he probably began it in #aejj1 resumed work on it in #aejc1 and did not complete it until the following year4 ,this would make ,vasari's statement substantially correct4 ,the subject of this world-famous portrait was ,lisa di ,anton ,maria di ,noldo ,gherardini1 the third wife of ,francesco di ,bartolommeo de ,zenobi del ,giocondo1 whom she married in #adie4 ,it is from the surname of her husband that she derives the name of 8,la ,joconde0 by which her portrait is now officially known4 7,the title has nothing to do with any reference to her jocund outlook on life47 ,a ,french critic has shown that ,mona ,lisa's child died while this portrait was being painted4 8,whoever shall desire to see how far ,art can imitate ,nature10 says ,vasari1 8may do so to perfection in this head1 wherein every peculiarity that could be depicted by the utmost subtlety of the pencil has been faithfully reproduced4 ,the eyes have the lustrous brightness and moisture which is seen in life1 and around them are those pale1 red1 and slightly livid circles also proper to ,nature4 ,the nose1 with its beautiful and delicately roseate nostrils1 might be easily believed to be alive2 the mouth1 admirable in its outline1 has the lips uniting the rose tints of their colour with those of the face1 in the utmost perfection1 and the carnation of the cheek does not appear to be painted1 but truly flesh and blood40 ,this eulogistic criticism may seem to-day to be somewhat excessive1 but allowance must be made for the drastic restorations to which the panel has been subjected from time to time4 ,as early as #afbe it is recorded to have been in a bad condition4 ,tradition says that it was purchased by ,franois ,i4 for #djjj cus d'or1 equal to-day to about #ahjj1 and hung in the ,cabinet dor at ,fontainebleau4 ,cassiano del ,pozzo has left it on record that the ,duke of ,buckingham1 in #afbe1 when he was sent to escort ,henrietta ,maria to ,england as the bride of ,charles ,i41 expressed the hope that he might be permitted to take the picture back with him as a present from ,henri ,,iv4 of ,france1 who was with difficulty prevented by his courtiers from acting on the suggestion4 ,the picture was at ,versailles during the reign of ,louis ,,xiv441 and appeared in the ,louvre for the first time at the ,revolution4 ,in recent years it has been placed in an excellent frame of the period4 ,by ,may #aejf ,leonardo had returned to ,milan1 and there entered the service of the ,french king4 ,about #aejh-ab he seems to have worked upon the ,madonna1 ,infant ,christ1 and ,st4 ,anne 7,no4 #aeih71 which appears to have been in part executed by an assistant1 possibly ,salaino4 ,this large panel was purchased by ,cardinal ,richelieu in #afbi4 ,a sketch by ,leonardo for part of this picture is in the ,louvre 7,drawing ,no4 #cia72 other sketches are in the ,venice ,academy and in the ,royal ,library1 ,windsor4 ,the name of ,andrea ,salaino 7fl4 #adie-aeae7 has been put forward as the painter of the mysterious picture entitled ,st4 ,john the ,baptist 7,no4 #aeig71 which was evidently painted from a female model4 ,it is difficult to accept the view put forward by ,thophile ,gautier that in this androgynous figure we have 8another portrait of ,la ,joconde1 more mysterious1 more strange1 freed from material likeness1 and showing the soul through the veil of the body40 ,the picture passed into the collection of ,charles ,i4 from ,louis ,,xiii4 in exchange for ,holbein's ,portrait of ,erasmus 7,no4 #bgae1 ,plate ,,xxiv47 and a now unrecognisable ,holy ,family by ,titian1 but on the dispersal of the ,english king's collection was purchased for #adj by ,jabach1 from whom it ultimately passed to ,louis ,,xiv4 ,it is a ,milanese production1 but not1 in all probability1 from the hand of ,leonardo himself1 although officially so regarded4 ,the same criticism applies to the so-called ,portrait of ,lucrezia ,crivelli 7,no4 #afjj74 ,lucrezia was a lady-in-waiting to ,beatrice d',este1 and in #adif ,lodovico ,sforza became enamoured of her1 a historical event which has no bearing on the identity of this portrait or on its official1 although uncertain1 claim to strict authenticity4 ,it has also been described under the misleading title of ,la ,belle ,ferronnire1 apparently in reference to the wife of one ,ferron1 a blacksmith1 who had according to tradition been the mistress of ,franois ,i41 but was already dead when ,leonardo passed into the service of that king and came to ,france in #aeaf4 ,the picture's pedigree cannot be traced further back than #afde1 and the theories put forward in connection with it are largely conjectural4 ,it is1 however1 a ,milanese production of the school of ,leonardo4 ,the ,profile ,portrait of a ,woman 7,no4 #afje7 was also a century ago loosely described as the ,portrait of ,la ,belle ,ferronnire2 it is catalogued as a school picture1 but is regarded by ,mr4 ,berenson as the work of ,bernardino de' ,conti4 ,the same critic is of the opinion that the ,bacchus 7,no4 #afjb7 is 8based no doubt on a drawing by ,leonardo10 but the ,catalogue accepts it unhesitatingly4 ,it seems to have been originally intended as a ,st4 ,john the ,baptist with a staff1 and subsequently altered into a ,bacchus with a thyrsus4 ,the ,madonna and ,child 7,no4 #afjc;,a71 an attributed work1 is only an old ,flemish copy of a slightly warped panel picture of the ,madonna with the ,carnation 7,no4 #ajdj;,a7 at ,munich4 ,the ,madonna of the ,scales 7,no4 #afjd71 which still passes as a school picture1 has long been regarded by responsible critics as being by ,cesare da ,sesto1 a pupil of ,leonardo4 ,the ,holy ,family 7,no4 #afjf71 which was formerly in the ,his de la ,salle collection1 is not now exhibited4 ,in #aeaf1 within three years of his death1 the great ,florentine left ,italy for the ,manor ,house of ,cloux1 near ,amboise1 in ,touraine1 to enter the service of the ,french king4 ,his right hand was paralysed--he was left-handed and wrote from right to left--and his health was failing fast4 ,the end of that great life came on ,may #b1 #aeai1 when every one lamented the loss of a man and a painter 8whose like ,nature cannot produce a second time40 ,the ,madonna and ,child1 ,st4 ,julian1 and ,st4 ,nicholas 7,no4 #abfc7 is perhaps the masterpiece of ,lorenzo di ,credi 7#adef8-aecg71 who was another pupil of ,verrocchio4 ,he also painted the ,christ appearing to ,mary ,magdalene 7,no4 #abfd74 ,the ,annunciation 7,no4 #afjb;,a71 which was formerly assigned to ,lorenzo in the ,catalogue 7,no4 #abfe71 is1 as has already been pointed out1 an early work by ,leonardo da ,vinci4 ,,botticelli ,the ever-increasing regard in which pictures by ,botticelli 7#addd-aeaj7 are held is traceable to the fact that they show the mystic spirit of medival times mingled with a fantasy that is almost modern4 ,he was a pupil of ,fra ,filippo ,lippi1 and studied the more scientific methods which ,antonio ,pollaiuolo adopted in his treatment of the human figure4 ,painting in an age when poets penned canzones to many mistresses1 and lovelorn gallants spoke in impassioned verse of the great platonic emotions which stirred them to the depth of their love-tormented souls1 ,botticelli stands forward as the representative of the later years of the ,medicean age4 ,the mystic tendency of his genius1 his poetic imagination1 his highly developed sense of linear design1 and the charm of his colour impart to his works a delicacy and refinement which distinguish them from the works of his contemporaries1 pupils1 and imitators4 ,his fame had long been in eclipse when half a century ago ,ruskin rescued it from oblivion4 ,botticelli1 who now has become the object of a cult at the hands of fervent enthusiasts1 is1 however1 not to be ranked as a supreme master4 ,he cannot be placed on the same plane as ,leonardo1 ,michelangelo1 ,raphael1 and ,giorgione4 ,botticelli is inadequately represented at the ,louvre1 which possesses only two authentic paintings from his hand4 ,neither of these is on panel or canvas1 but in fresco4 ,he was commissioned in #adhf1 the year following his ,mars and ,venus in the ,national ,gallery 7,no4 #iae71 to execute two wall paintings 7,no4 #abig1 ,plate ,v41 and ,no4 #abih7 in the hall on the piano nobile of the ,villa ,lemmi1 at ,chiasso ,macerelli1 between ,fiesole and ,florence1 to commemorate the marriage of ,lorenzo ,tornabuoni and ,giovanna degli ,albizzi4 ,these exquisite1 but much injured1 frescoes were covered over with whitewash until #ahgc1 and in #ahhb they were removed from the wall and sold to the ,louvre for #ahfj4 ,in the first 7,no4 #abih7 of the series ,lorenzo ,tornabuoni1 as ,bridegroom1 is admitted into the ,circle of the ,liberal ,arts1 who give a gracious welcome to this friend of all the ,muses4 ,this fresco1 curiously enough1 is in the official ,catalogue regarded as only a school picture4 ,the second of these wonderful creations depicts ,giovanna ,tornabuoni and the ,three ,graces 7,no4 #abig1 ,plate ,v474 ,we see the ,three ,graces bringing to ,giovanna their gifts of ,chastity1 ,beauty1 and ,love1 depicted symbolically as flowers4 ,a tragic fate awaited the loving pair1 as ,giovanna died within a few years in childbirth1 while ,lorenzo was condemned to death in #adig for conspiracy4 ,illustration3 ,,plate ,v4--,,botticelli 7#addd-aeaj7 ,,florentine ,,school ,no4 #abig4--;,,giovanna ,,degli ,,albizzi ,,and ,,the ,,three ,,graces 7,giovanna ,albizzi et les ,trois ,grces ou les ,vertus7 ,to the right ,giovanna1 a young woman in a red-brown dress1 wearing a white veil on her golden hair and a necklace of pearls round her neck1 advances towards four lovely maidens clad in delicately-tinted robes4 ,she holds in her outstretched hands a white linen cloth into which the four maidens throw flowers symbolic of the ,virtues4 ,fresco painting detached from the wall4 #g ft4 #c in4 #i ft4 #d in4 7#bab #bhd47 ,the ,madonna and ,child and ,st4 ,john 7,no4 #abif71 which was formerly put forward by one critic as a 8work of ,botticelli's early years1 but showing collaboration10 and which is still catalogued as being by the master himself1 is now generally recognised as a school picture only4 ,the background is formed by cypresses and rosebushes4 ,the circular panel 7,no4 #abie71 which is still credited officially to ,sandro1 is only a copy of the ,madonna of the ,magnificat now in the ,uffizi at ,florence 7,no4 #abfg ,bis74 ,authenticity cannot be claimed for the ,fragment of a ,predella 7,no4 #acjj71 containing the figures of ,st4 ,peter ,martyr1 the ,virgin1 ,st4 ,elizabeth1 ,christ and the ,magdalene1 ,david1 ,st4 ,francis1 ,st4 ,dominic1 and ,st4 ,john the ,baptist4 ,the ,scene from the ,history of ,virginia 7,no4 #affb;,a or ,no4 #affb ,bis71 a cassone front1 and the ,portrait of a ,young ,man 7,no4 #affc71 which was purchased in #ahhb for #fjj1 are catalogued as being by an unknown ,florentine painter4 ,these have1 however1 been included by ,mr4 ,berenson among the numerous pictures painted by the nameless imitator of ,botticelli1 whom the eminent critic has identified under the significant name of 8,amico di ,sandro10 i4e4 8,the friend of ,sandro ,botticelli40 ,the ,madonna and ,child adored by ,angels 7,no4 #acjj;,a71 bequeathed by the ,baroness ,nathaniel de ,rothschild1 is regarded by the same high authority as a copy by ,jacopo del ,sellaio 7#addb8-adic71 a pupil of ,fra ,filippo ,lippi and an imitator of ,botticelli1 of a lost picture by 8,amico di ,sandro40 ,the unbeautiful ,venus 7,no4 #abii7 from the ,cardinal ,fesch and ,campana collections 7which is very similar to a picture 7,no4 #iaf7 in the ,national ,gallery71 the ,esther crowned by ,ahasuerus 7,no4 #afdc;,a71 and the ,st4 ,jerome 7,no4 #afeh71 must also be included among the mediocre works of ,sellaio4 ,in the same group of ,florentine painters is placed ,francesco ,botticini 7#addf-adig71 who worked under and was influenced by ,cosimo ,rosselli 7#adcg8-aejg72 the ,virgin in ,glory between the ,magdalene and ,st4 ,bernard 7,no4 #adhb7 is by ,botticini although placed under the name of ,rosselli in the ,catalogue4 ,many pictures by ,botticini pass in public galleries under the more illustrious name of ,botticelli4 ,from ,cosimo ,rosselli we naturally pass to his pupil ,piero di ,cosimo 7#adfb-aeba71 who derived great pleasure from the painting of such scenes from classic fable as enabled him to depict grotesque monsters1 strange animals1 and fantastic costume4 ,at first sight it might be assumed that the ,nuptials of ,thetis and ,peleus 7,no4 #adaf;,a and ,no4 #adaf;,b7 were from his brush2 but although these two panels pass under his name in the ,catalogue1 they are1 as we have seen1 by 8,alunno di ,domenico40 ,piero is represented in the ,louvre exclusively by religious pictures1 the most imposing of which is the ,coronation of the ,virgin1 with ,st4 ,jerome1 ,st4 ,francis1 ,st4 ,bonaventura1 and ,st4 ,louis of ,toulouse 7,no4 #adaf74 ,an unpleasing ,madonna 7,no4 #affb7 has long ago been assigned to ,piero di ,cosimo1 who is also the author of a ,st4 ,john the ,baptist as a ,child 7,no4 #abgd71 which is labelled with the name of ,uccello4 ,the two last pictures hang in the ,long ,gallery on either side of the door leading into ,room ,,vii4 ,the authorities catalogue as the work of ,raffaelino del ,garbo 7#adff-aebd7 the large ,coronation of the ,virgin1 with ,st4 ,benedict1 ,st4 ,salvi1 ,st4 ,john ,gualberto1 and ,st4 ,bernard degli ,uberti 7,no4 #acjc71 which is in reality the centre part of a large altarpiece by ,raffaelle dei ,carli 7#adgj-aebf871 who worked with ,garbo and his group4 ,the great ,french ,museum does not possess one of the only three easel paintings which are now assigned by the safest critics to ,michelangelo 7#adge-aefd71 who as a painter is best known for his fresco paintings in ,rome4 ,this collection is1 however1 fortunate enough to own the two sculptures of the ,slaves1 represented as fettered and overcome by grief at the death of ,pope ,julius ,,ii41 for whose tomb they were intended4 ,,albertinelli ,by the end of the fifteenth century1 ,florence had become the sthetic capital of ,italy1 and painters innumerable were plying their trade within her walls4 ,as they worked in close contact and unconsciously reflected the influences which beset them on every side1 it becomes increasingly difficult to assign to any given artist the execution of certain works4 ,the task becomes even more difficult1 and indeed thankless1 when one is brought face to face with such a composite picture as the ,madonna and ,child1 ,st4 ,jerome and ,st4 ,zenobius 7,no4 #aaad71 which is officially ascribed to ,albertinelli 7#adgd-aeae74 ,the leading authority on ,italian art has given it as his opinion that this large canvas1 which is inscribed3 ,,mariocti ,,debertinellis ,,opus 4 ,d4 ,m4 ,,dvi1 was 8begun by ,filippino ,lippi1 who laid in the ,st4 ,jerome1 while ,albertinelli was assisted by ,bugiardini in the execution of the rest1 especially in the child and landscape40 ,albertinelli was the intimate friend of ,fra ,bartolommeo1 whose partner he eventually became4 ,when it is remembered that ,albertinelli worked in the studio of ,cosimo ,rosselli with ,piero di ,cosimo1 who was the master of ,fra ,bartolommeo and had some influence on ,filippino ,lippi1 it will be recognised that it is only the discerning critic of wide experience and consummate flair that can detect the hand of various painters in a composite picture of this kind1 as ,mr4 ,berenson has done4 ,the ,christ appearing to the ,magdalene 7,no4 #aaae71 which passes officially as the work of ,albertinelli1 was most probably an early picture by ,fra ,bartolommeo 7#adgb-aeag71 who1 having like ,botticelli come under the spell of ,savonarola1 took the vows of a ,dominican in ,july #aejj1 and temporarily relinquished the professional activity of a painter4 ,the ,frate took up his brush again and1 while working between #aeji and #aeab as the partner of ,albertinelli1 achieved the large and imposing ,holy ,family1 with ,st4 ,peter1 ,st4 ,vincent1 ,st4 ,stephen1 and ,st4 ,catherine of ,siena on the left1 and ,st4 ,dominic1 ,st4 ,francis1 and ,st4 ,bartholomew on the right 7,no4 #aaed74 ,it is signed on the base of the throne1 in characteristic manner3 ,,orate ,,pro ,,pictore ,,mdxi ,,bartholome ,,floren4 ,,or4 ,,prae4 ,four years later he also completed his ,annunciation 7,no4 #aaec71 which is inscribed3 ,f4 ,bart ,floren or pre4 #aeae4 ,the introduction of ,st4 ,paul1 ,st4 ,john the ,baptist1 and ,st4 ,margaret on the left1 and ,st4 ,mary ,magdalene and ,st4 ,francis on the right1 tends to destroy the full significance of the principal theme4 ,fra ,bartolommeo's pictures helped to emancipate ,raphael from the mannerisms he had acquired from ,perugino2 they mark a late period in the ,renaissance art of ,florence4 ,he lived until #aeag1 when ,florentine painting was on the verge of a fast approaching decadence4 ,equally influential in the art of this period was ,filippino ,lippi 7#adeg-aejd71 whose tendency to over-ornamentation became more advanced in his later years4 ,in his fascinating pictures spiritual significance is at times sacrificed to a love of mere display1 the baroque flutterings of his draperies and the air of affectation that he sometimes imparted to his figures4 ,the ,louvre exhibits no example of the art of ,filippino which in its latest phase shows the early1 although unmistakable1 signs of decline4 ,,andrea ,,del ,,sarto ,the highly technical skill and mellow colouring of ,andrea del ,sarto 7#adhf-aeca7 have long been known in ,france1 where he was invited by ,franois ,i4 ,for that monarch he executed the ,charity 7,no4 #aead71 which1 having been transferred from panel to canvas by ,picault in #agej when the process was little understood1 suffered accordingly4 ,in its present state we can get little idea of the former brilliance of the picture which secured to the 8faultily faultless painter0 in #aeah--the year he arrived in ,france--a very considerable income4 ,it is inscribed3 ,,andreas ,,sartus ,,florentintus ,,me ,,pinxit ,,mdxviii4 ,a ,holy ,family 7,no #aeae71 by the same facile painter1 has been said by some to portray in the features of the ,virgin those of his own infamous wife ,lucrezia del ,fede4 ,it has been enlarged1 and has suffered in the operation4 ,less authentic are the ,holy ,family 7,no4 #aeaf71 which is said to bear the inscription3 ,,andrea ,,del ,,sarto ,,florentino ,,faciebat followed by a monogram1 and a lunette of the ,annunciation 7,no4 #aeag74 ,the ,portrait of ,andrea ,fausti1 which is given in the ,catalogue under the name of ,sarto1 and described as being the work of a pupil1 is held by some critics to have been painted by ,franciabigio 7#adhb-aebe71 who came under the influence of ,andrea4 ,the insignificant ,portrait of a ,young ,man 7,no4 #aejf71 which since #agji has passed under the quite fictitious title of the ,portrait of ,raphael1 and is indeed still catalogued under his name1 is an ill drawn and badly coloured production4 ,it seems to issue from the influences we have just outlined4 ,morelli regarded it as the work of ,bacchiacca 7#adid-aeeg71 who churned up reminiscences of ,andrea del ,sarto1 ,franciabigio1 and ,perugino4 ,mr4 ,berenson has tentatively assigned it to ,sogliani1 who imitated ,albertinelli and many other ,florentines4 ,an unattributed ,florentine ,portrait of a ,young ,man 7,no4 #afdd71 which has been enlarged about three inches all round1 had at one time or another been ascribed without much discrimination to ,raphael1 ,giorgione1 ,sebastiano del ,piombo1 ,francesco ,francia1 ,ridolfo ,ghirlandaio1 and ,franciabigio6 ,it is apparently from the hand of ,giuliano ,bugiardini 7#adge-aeed71 a mediocre artist who endeavoured to appropriate all the conflicting influences that he came under4 ,it has long been hung to the left of ,raphael's ,la ,belle ,jardinire4 ,a ,florentine painter of no great accomplishment or originality in the first half of the sixteenth century was ,jacopo da ,pontormo 7#adid-aeeg71 who painted the ,portrait of an ,engraver of ,precious ,stones 7,no4 #abda7 and the large ,holy ,family 7,no4 #abdj74 ,the ,visitation 7,no4 #abdb7 is a copy by a pupil of his fresco in the ,annunziata1 ,florence4 ,by another pupil1 ,agnolo ,bronzino 7#aejb-aegb71 are the ,christ and the ,magdalene 7,no4 #aahc71 not now exhibited1 and the ,portrait of a ,sculptor 7,no4 #aahd72 the ,holy ,family 7,no4 #aahc;,a or ,no4 #aahc;,b7 which was formerly in the ,vandeuil collection is only a copy4 ,giovanni ,battista ,rosso 7#adif-aeda71 who is called ,rosso ,fiorentino to distinguish him from ,francesco ,rosso 7,il ,salviati71 came to work at the ,french ,court about #aecj2 he painted a ,piet 7,no4 #adhe71 and a ,challenge of the ,pierides 7,no4 #adhf71 which are hung among the ,french pictures4 ,the ,portrait of a ,musician 7,no4 #afjh71 by ,paolo ,zacchia2 the ,madonna1 ,st4 ,john and ,st4 ,stephen 7,no4 #aacc71 by ,michelangelo ,anselmi2 the ,david overcoming ,goliath 7,no4 #adfb71 a repulsive production painted by ,daniele da ,volterra 7,ricciarelli7 on both sides of a large piece of slate2 a ,flight into ,egypt 7,no4 #abji71 by ,lodovico ,cardi 7,il ,cigoli71 and ,matteo ,rosselli's ,triumph of ,david 7,no4 #adhc71 are unworthy of comment4 ,they show unmistakably the characteristics of the ,decadence in full operation4 ,,the ,,later ,,sienese ,,school ,we have already sketched the earliest period of the art of ,siena1 and seen how for a brief space of time it dominated that of ,tuscany4 ,the greater precision of the ,florentine technique1 and the wider mental outlook of its artists in the fifteenth century1 placed it in the van before long4 ,sano di ,pietro 7#adjf-adha71 a pupil of ,sassetta1 undoubtedly painted the five small characteristic panels 7,no4 #aabh-cb71 which illustrate scenes from the ,life of ,st4 ,jerome1 and at one time formed the predella of a large altarpiece4 ,st4 ,jerome1 with others of his order who run away1 kneels under a portico of the monastery he founded at ,bethlehem1 and is extracting a thorn from the lion's paw4 ,according to the legend1 the lion was afterwards placed in charge of an ass which the monks employed to carry wood2 we see here that while the lion was asleep in the heat of the day under a clump of trees1 the ass was stolen by merchants4 ,st4 ,jerome naturally believed that the ass had not been carried off by a passing caravan1 but eaten by the lion1 who subsequently saw his old friend the ass in the possession of the same merchants that chanced to pass that way again4 ,the lion is here seen 7,no4 #aacj7 in the act of compelling1 one might almost say pushing1 the ass and the other beasts of burden laden with provisions back into the monastery1 while the merchants flee away in terror4 ,the ,louvre does not contain any work by ,vecchietta 7#adab-adhj71 who was architect as well as painter4 ,a ,birth of the ,virgin 7,no4 #affj71 catalogued as being by an unknown ,florentine artist1 is most probably from the hand of ,matteo di ,giovanni 7#adce8-adie71 who was most likely at one time a pupil of ,vecchietta4 ,another of the latter's pupils1 ,francesco di ,giorgio 7#adci-aejb71 perhaps executed the panel of the ,rape of ,europa 7,no4 #afdj;,a or ,no4 #afdj ,bis71 which the cataloguer relegates to the lengthy list of unattributed ,florentine works4 ,from these influences spring ,girolamo di ,benvenuto 7#adgj-aebd71 whose ,judgment of ,paris 7,no4 #affh7 passes in the ,catalogue as a late fifteenth century ,bolognese picture4 ,bernardino ,fungai 7#adfj-aeaf71 who trod in the steps of ,giovanni di ,paolo1 ,francesco di ,giorgio1 and the ,umbrian artist ,fiorenzo di ,lorenzo1 and yet evinced no real signs of development from within1 is unrepresented in this collection4 ,this rapid survey of the ,school of ,siena shows that it is not well exemplified in the ,louvre4 ,the third-rate painters1 ,pacchiarotto 7#adgd-aedj7 and ,beccafumi 7#adhf-aeea71 will not detain us4 ,another accomplished late ,sienese eclectic1 ,girolamo del ,pacchia 7#adgg-aece871 has been credited with a ,crucifixion 7,no4 #afdb71 but not by the official cataloguer4 ,sodoma 7#adgg-aeea7 also worked in ,siena4 ,towards the year #aeja other artists of the various schools of ,central ,italy1 including ,pinturicchio1 ,signorelli1 and ,perugino1 visited the city1 their advent bringing about an artistic revolution4 ,before long the religious fervour1 the delicate ornamentation1 the gesso-embellishment1 the drawing in the flat1 and the miniature-like delicacy of an earlier age became extinct4 ,the artistic glory of ,siena was dimmed1 and rapidly passed into a period of decadence4 ,among the last ,sienese artists of any distinction were ,baldassare ,peruzzi 7#adha-aecf71 an architect and painter1 and ,matteo ,balducci 7fl4 #aeji-aeec71 to whom we may perhaps ascribe the ,judgment of ,solomon 7,no4 #aega7 and the ,judgment of ,daniel 7,no4 #aegb74 ,in any case these pictures belong to the ,umbro-,sienese period of ,central ,italian art2 they are officially regarded as being by ,perugino himself4 ,when all originality had passed out of ,sienese painting1 ,francesco ,vanni 7#aefc8-afji7 produced his ,repose on the ,flight into ,egypt 7,no4 #aefa7 and the ,martyrdom of ,st4 ,irene 7,no4 #aefb74 ,,the ,,umbrian ,,school ,at the head of the various local centres of painting which form the school of ,umbria we must place ,alegretto ,nuzi 7died #ache71 whose works are very rarely met with in museums north of ,italy4 ,he inherited the best ,giottesque traditions1 and became the teacher of ,gentile da ,fabriano 7#acfj8-adbh71 an early master whose influence was more far-reaching and inspiring than we can to-day trace in any detail4 ,the ,louvre has the good fortune to contain a precious little predella panel of the ,presentation in the ,temple 7,no4 #abgh71 which is very decorative and exhibits a strongly marked appreciation of architecture4 ,it is the only separated panel from the predella of ,gentile's large and magnificent altarpiece of the ,adoration of the ,magi1 of #adbc1 which was seized by ,napoleon but was returned in #ahae4 ,it is now in the ,accademia at ,florence4 ,the ,miracle of ,st4 ,nicholas giving a ,dowry to the ,three ,daughters of a ,nobleman 7,no4 #afei71 which is officially classed among the unattributable works of the ,florentine school1 is now considered to be by ,giovanni ,francesco da ,rimini1 while the ,madonna and ,child 7,no4 #acjj;,a or #acjj;,b7 which is officially ascribed to ,piero dei ,franceschi1 the leading painter of his generation in the school of ,umbria1 must1 as we have seen1 be given to ,alessio ,baldovinetti of the ,florentine school4 ,again1 the three-panel picture 7,no4 #adae7 which is credited to ,pesellino of ,florence is in reality from the hand of the ,umbrian artist ,fiorenzo di ,lorenzo 7#addj-aeba74 ,the collection is not rich in the works of the earliest painters of this school1 but the ,birth of the ,virgin 7,no4 #aebe71 a detached panel from a lost or unidentified altarpiece by ,luca ,signorelli 7#adda-aebc71 gives us some idea of the great power of this influential master1 whose knowledge of composition and anatomy is best seen in his frescoes at ,orvieto4 ,signorelli's sense of complicated movement and crowded action mark an epoch in the art of ,umbria4 ,the ,fragment of a ,large ,picture 7,no4 #aebg7 seems to be imbued with his spirit1 but the large ,adoration of the ,magi 7,no4 #aebf7 which comes from ,citt di ,castello1 and a ,madonna and ,child with ,st4 ,louis of ,toulouse1 ,st4 ,catherine1 and other ,saints 7,no4 #aebh71 contain none of the vigorous originality of that master from whom even ,michelangelo did not disdain to borrow on occasion4 ,three predella panels 7,no4 #aabj7 have been dismembered from a large altarpiece by ,niccol da ,foligno1 and were originally painted for a side altar in the ,church of ,s4 ,niccol at ,foligno4 ,in the art of this over-emotional ,umbrian1 what is meant for deep religious feeling is by exaggeration almost transformed into grimacing passion4 ,,perugino ,niccol's most illustrious contemporary in this school was ,pietro ,perugino 7#addf-aebc74 ,over fifty of the religious pictures of this influential and accomplished master were carried off from ,central ,italy by ,napoleon4 ,he is well represented in this ,gallery4 ,the contemplative and deeply impressive pictures of his less mannered style are among the best pictures which ,umbria has given us1 but there is a tendency1 notably towards the end of his career1 to repeat his compositions1 only altering the attitude of a single figure1 and so exhibiting a marked lack of originality4 ,his early ,holy ,family with ,st4 ,rose and ,st4 ,catherine 7,no4 #aefd71 painted about #adia1 is a little cramped2 the tondo hardly provides sufficient space to contain the rather stiff figures1 and the treatment is unpleasantly conventional4 ,it also recalls the art of ,fiorenzo di ,lorenzo4 ,the ,st4 ,sebastian 7,no4 #aeff;,a1 ,plate ,,vi471 which is inscribed3 ,,sagitt ,,tv ,,infix ,,svnt ,,michi1 is a favourite subject with this master1 who painted it at least eight times on a large scale1 as well as in a miniature now lent to the ,national ,gallery by ,mr4 ,h4 ,yates ,thompson4 ,the ,holy ,family with ,st4 ,catherine 7,no4 #aefe7 is said to bear the characteristic signature3 ,,petrus ,,pervsinus ,,pinxit4 ,the ,combat of ,love and ,chastity 7,no4 #aefg7 was commissioned by ,isabella d',este1 ,duchess of ,mantua1 in #aeje1 and removed at the sack of that city in #afcj to the ,chteau of ,richelieu1 where it remained down to the ,revolution4 ,the ,st4 ,paul 7,no4 #aeff7 is a very late and not very attractive work4 ,in his best pictures ,perugino loved to paint a purist landscape with its buoyant spaciousness of view1 but too frequently his figures are insufficiently dramatic and have a tendency towards sentimentality4 ,a very late ,st4 ,sebastian 7,no4 #affh;,a71 which is on a much smaller scale than the subject of our illustration 7,plate ,,vi471 is officially catalogued as being by an ,unknown ,umbrian painter4 ,the ,apollo and ,marsyas 7,no4 #aeji71 which was purchased at ,christie's in #ahej for #gj by ,morris ,moore1 with an ascription to ,mantegna1 was in #ahhc sold to the ,louvre for #hjjj4 ,it long hung in the ,salon ,carr as a ,raphael1 but is now only attributed to him by the cataloguer4 ,this gem of ,umbrian art has successively been ascribed by critics to ,pintoricchio1 ,timoteo ,viti1 ,francesco ,francia1 and others1 but is to-day generally regarded as a very fine example of the art of ,perugino4 ,two pictures 7,no4 #aegc and ,no4 #aegc;,a7 of the ,madonna and ,child are by unidentifiable pupils of ,perugino4 ,one of the most recent acquisitions is a ,madonna by ,antoniazzo ,romano 7#addj8-aejh71 the gift of ,m4 ,lucien ,delamarre4 ,the art of ,pintoricchio 7#aded-aeac7 is shown in the ,madonna and ,child with ,st4 ,gregory and another ,saint 7,no4 #adag71 while ,lo ,spagna 7#adge8-aebh871 a pupil of ,perugino1 is represented by a ,nativity 7,no4 #aeci71 a ,madonna and ,child 7,no4 #aedj71 and by three small pictures illustrating the ,dead ,christ1 the ,virgin1 and ,st4 ,john 7,no4 #aefh71 ,st4 ,francis of ,assisi receiving the ,stigmata 7,no4 #aefi71 and ,st4 ,jerome in the ,desert 7,no4 #aegj74 ,a mediocre pupil of ,perugino and ,pintoricchio1 ,giannicola ,manni 7fl4 #adic-aedd71 is doubtless responsible for the ,baptism of ,christ 7,no4 #acfi71 the ,assumption 7,no4 #acgj71 the ,adoration of the ,magi 7,no4 #acga71 and the ,holy ,family 7#acgb7 which pass under his name4 ,the last-mentioned panel was attributed by ,villot1 apparently without much reason1 to ,l',ingegno4 ,,raphael ,the majority of the thirteen pictures which in the ,louvre are unreservedly catalogued under the great name of ,raphael 7#adhc-aebj7 certainly belong to his third or ,roman period1 and in many of them he obviously received a large amount of assistance from his pupil1 ,giulio ,romano4 ,it is this fact1 no doubt1 which has led the compiler of the ,catalogue to place the 8,divine ,urbinate0 in the ,roman school4 ,it will1 however1 be readily admitted that such a classification is both arbitrary and misleading4 ,illustration3 ,,plate ,,vi4--,,perugino 7#addf-aebc7 ,,umbrian ,,school ,no4 #aeff;,a4-,,st4 ,,sebastian 7,saint ,sbastien7 ,the ,saint stands with his hands behind his back bound to a pillar1 with his head raised towards heaven4 ,an arrow pierces his right arm and another his left breast4 ,the body is nude1 but for a white loin cloth striped with red and blue4 ,in the background is a rounded arch supported by two highly ornamented pillars4 ,through the archway is seen a beautiful landscape4 ,painted in tempera on panel4 ,signed3--8,,sagitt ,,tv ,,infix ,,svnt ,,michi40 #e ft4 #g in4 #c ft4 #aj in4 7#agj #aag47 ,although he lived but thirty-seven years1 ,raphael gave to the world a vast amount of art treasure4 ,brought up in ,urbino1 where his father1 ,giovanni ,santi1 was poet as well as painter1 he passed before he was fifteen under the direct influence of ,timoteo ,viti1 who had worked at ,bologna under ,francesco ,francia4 ,raphael became the pupil of ,perugino at ,perugia about #aejj1 and also worked as the assistant of ,pintoricchio4 ,his art being thus formed on the best ,umbrian tradition1 ,raphael in ,october #aejd left ,perugia for ,florence1 and it was only at that date that he began to acquire a distinctive style of his own4 ,during his second or ,florentine period he painted the ,st4 ,george and the ,dragon 7,no4 #aejc71 in which is seen the chivalrous knight mounted on a pure white steed2 his lance is broken in his combat with the monster1 and he is forced to use his sword1 while the little ,princess ,cleodolinda flees in abject terror into the background4 ,the very small panel of ,st4 ,michael 7,no4 #aejb71 which is a chessboard on the back1 was painted for ,guidobaldo1 ,duke of ,urbino1 and eventually passed into the collections of ,cardinal ,mazarin and ,louis ,,xiv4 ,the ,madonna and ,child which has come to be known as ,la ,belle ,jardinire 7,no4 #adif1 ,plate ,,vii47 is rather later than the ,madonna del ,gran' ,duca in the ,pitti ,palace1 the ,cardellino ,madonna in the ,uffizi1 and the ,ansidei ,madonna in the ,national ,gallery4 ,it is one of the most famous of ,raphael's saintly and ideal ,madonnas2 the pose of the figures is easy1 the treatment simple1 the colour exquisite4 ,the landscape background is poetic in feeling1 and conveys the mood which makes this one of ,raphael's most pleasing creations4 ,the thin feathery trees and the treatment of the ,virgin's hair are still ,peruginesque1 but the superiority of the pupil to the master is gradually making itself felt4 ,the ,infant ,christ is standing on the right foot of ,his mother4 ,tradition says that ,raphael entrusted to ,ridolfo ,ghirlandaio the task of painting in the blue of the ,virgin's garment4 ,the drapery is apparently inscribed3 ,,vrb4 ,,raphaello ,,mdvii4 ,after working for four years in ,florence1 ,raphael went in the summer of #aejh to ,rome1 where he achieved such a vast amount of work for ,popes ,julius ,,ii4 and ,leo ,x4 ,his work was increased by his appointment1 on the death of ,bramante in #aead1 as ,architect of ,st4 ,peter's and ,inspector of ,antiquities4 ,about #aeae-af ,raphael delighted to paint the ,portrait of ,baldassare ,castiglione 7,no4 #aeje1 ,plate ,,viii471 who was his lifelong friend and adviser as well as the author of ,il ,cortegiano4 ,this picture1 which is eloquent testimony to ,raphael's skill as a portrait painter1 was originally on wood1 but it was long ago transferred to canvas1 which has unfortunately abraded1 the paint having peeled off the hands4 ,after the death of ,castiglione in ,spain1 this picture which he had taken with him passed into the possession of the ,duke of ,mantua1 and thence into the collection of ,charles ,i41 where it seems to have been copied by ,rubens4 ,it subsequently became the property of a ,dutch amateur named ,van ,asselen1 and was copied by ,rembrandt4 ,later1 it was sold for #cejj florins to ,don ,alfonso ,lopez1 a collector at ,amsterdam1 and after figuring in the collection of ,mazarin was acquired by ,louis ,,xiv4 ,the ,holy ,family of ,francis ,i4 7,no4 #adih7 was commissioned by ,lorenzo de' ,medici and presented to the ,queen of ,franois ,i4 by ,pope ,leo ,x4 ,it was originally painted on wood1 and was forwarded to ,lyons on ,april #ai1 #aeah4 ,during the reign of ,louis ,,xiv4 it hung in the grand appartement at ,versailles1 and having been placed near a fireplace had to be relined4 ,it then had wings1 but they were destroyed at the time of the ,revolution4 ,although it is very ostentatiously signed ,,raphael ,,vrbinas ,,pingebat ,,mdxviii on the edge of the robe of the kneeling ,madonna1 there can be no question that it was only designed by ,raphael1 the execution being wholly or in great part carried out by the master's best pupil1 ,giulio ,romano4 ,in the ,sistine ,madonna and such works as ,raphael painted at this period entirely with his own hand we see that his technique had become masterly and his powers of composition had developed to the utmost4 ,compared with ,la ,belle ,jardinire of a decade earlier1 a greater knowledge of craftsmanship has been accompanied by a loss of purity and simplicity4 ,illustration3 ,,plate ,,vii4--,,raphael 7#adhc-aebj7 ,,umbrian ,,school ,no4 #adif4--,,la ,,belle ,,jardini,,re 7,la ,vierge dite ,la ,belle ,jardinire7 ,the ,virgin is seated in a flowery meadow4 ,she wears a red tunic edged with black1 yellow sleeves and a blue mantle2 a book is on her knees2 her fair hair is confined under a transparent veil4 ,she looks down to the left at the ,infant ,jesus1 who leans tenderly against her knee and draws her attention to the little ,st4 ,john the ,baptist who kneels to the right1 his reed cross in his right hand4 ,the background shows a landscape containing a small town with its church1 and a lake surrounded by mountains4 ,painted in oil on panel4 ,the signature seems to be3--8,,vrb4 ,,raphaello ,,mdvii40 #c ft4 #h in4 #b ft4 #g in4 7#abb #jhj47 ,two years before his death ,raphael had designed the large but by no means imposing ,st4 ,michael overcoming ,satan 7,no4 #aejd71 the execution of which on panel was certainly due to ,giulio ,romano4 ,it was a gift from ,lorenzo de' ,medici to ,franois ,i41 the original cartoon being presented by ,raphael to the ,duke of ,ferrara4 ,this picture1 like the ,holy ,family of ,francis ,i41 was originally protected by folding wings1 the inner sides of which were lined with green velvet1 while the outer were gilded and painted with arabesques4 ,the two pictures arrived at ,fontainebleau in ,july #aeah1 having been carried on the back of mules by way of ,florence and ,lyons4 ,as early as #aecj the ,st4 ,michael was restored by ,primaticcio and by many others subsequently1 notably in #ageb4 ,the picture was transferred to canvas by ,picault1 who received for his labours the large sum of #aa1ejj livres1 a sum quite out of proportion to its sthetic or financial value to-day4 ,it was again restored in #aggf1 #ahjj1 and #ahej4 ,it is signed in gilt characters on the edge of the ,archangel's tunic3 ,,raphael ,,vrbinas ,,pingebat ,,mdxviii4 ,the ,demon is not shown1 as in the early and small picture of the same subject 7,no4 #aejb71 as a dragon1 but as a half-human monster with horns and tail4 ,the foreshortening is undoubtedly clever1 but the picture is too instantaneous in its dramatic action4 ,in the course of time the high lights have gone down and the shadows darkened in the metallic-looking figure of the ,archangel4 ,the ,virgin with the ,blue ,diadem or the ,virgin with the ,veil 7,no4 #adig7 is one of at least ten pictures in this collection which were carried out by ,giulio ,romano 7#adib8-aedf74 ,it is here credited to ,raphael4 ,it has been repeatedly restored4 ,a very large number of replicas1 variants1 and old copies of this panel exist4 ,the following 8,raphaels0 may be regarded as the work of ,giulio3 the ,small ,holy ,family with ,st4 ,elizabeth 7,no4 #adii72 the much restored ,saint ,margaret 7,no4 #aeja72 the ,portrait of ,joan of ,arragon 7,no4 #aejg71 whom ,raphael apparently never saw2 and the ,portraits of ,two ,men seen to the ,bust 7which has been called ,raphael and his ,fencing ,master7 7,no4 #aejh74 ,giulio certainly painted the ,triumph of ,titus and ,vespasian 7,no4 #adbj71 the ,venus and ,vulcan 7,no4 #adba71 and the ,portrait of a ,man 7,no4 #adbb71 which are catalogued under his name1 and in all probability the three large ,cartoons entitled ,a ,triumph1 ,the ,triumph of ,scipio1 and ,the ,taking and ,burning of a ,city1 which hang on the ,escalier ,daru4 ,the ,circumcision 7,no4 #adch7 which figures officially under the name of the ,bolognese painter ,bartolommeo ,ramenghi 7,il ,bagnacavallo7 7#adhd-aedb7 is by ,giulio ,romano4 ,the fresco painting of ,the ,eternal ,father 7,no4 #aeab71 which is now inserted over the door of the ,salle des ,primitifs 7,room ,,vii471 was certainly executed during the lifetime of ,raphael1 and probably under his supervision4 ,it was painted for the chapel attached to the ,villa ,magliana1 a favourite hunting-box of ,pope ,leo ,x41 who commissioned it4 ,it was purchased in #ahgc for the large sum of #hbhj4 ,from the hand of ,giannicola ,manni 7fl4 #adic-aedd7 come the ,baptism of ,christ 7,no4 #acfi71 the ,assumption 7,no4 #acgj71 the ,adoration of the ,magi 7,no4 #acga71 and a ,holy ,family 7,no4 #acgb71 while a fully signed ,dead ,christ supported by ,two ,angels 7,no4 #adjj7 is by the mediocre ,umbrian artist ,marco ,palmezzano 7fl4 #adef-aech74 ,the latter's pupil1 ,zaganelli da ,cottignola 7#adfj8-aeca71 may have painted the ,christ bearing ,his ,cross 7,no4 #afda7 which is catalogued as an unattributable ,italian work4 ,illustration3 ,,plate ,,viii4--,,raphael 7#adhc-aebj7 ,,umbrian ,,school ,no4 #aeje4-,,portrait ,,of ,,baldassare ,,castiglione 7,portrait de ,balthazar ,castiglione1 ambassadeur et littrateur7 ,he is seen nearly in full face4 ,he wears a white linen under-garment1 an over-dress of black velvet with grey sleeves1 and a cap4 ,painted in oil on canvas4 #b ft4 #j in4 #b ft4 #b in4 7#jfb #jfg47 ,,the ,,venetian ,,school ,the conquest of ,byzantium during the ,fourth ,crusade by ,doge ,enrico ,dandolo in #abjd1 an epoch-making event in the history of ,venice and ,venetian art1 strengthened the intercourse between the ,east and the ,city of the ,lagoons4 ,at the same time it riveted the fetters of ,byzantinism on to the nascent art of ,venice1 to which it also imparted a sense of intense ,oriental colour4 ,the frescoes painted in ,tuscany on the lines of ,giottesque tradition and the environment under which its painters worked1 in time gave to the ,florentines a sense of line and form which produced a school of idealists3 on the other hand1 the colour-impressions created on the mind of the ,venetian painter by the relics from the ,east and the brilliant mosaics which he saw around him resulted eventually in the formation of a school of colourists with a realistic tendency4 ,it will cause little surprise that the ,louvre contains no polyptych by the very early ,venetians1 ,niccol ,semitecolo 7fl4 #acea-adjj71 ,jacobello del ,fiore 7died #adci71 and ,michele ,giambono 7fl4 #adbj-adfb74 ,the ,gallery possesses1 however1 a fourteenth-century ,venetian arched panel of the ,madonna and ,child 7,no4 #aeda7 which is attributed to ,stefano ,veneziano4 ,in the early fifteenth century the dominating influence exerted on the painters of ,venice was that of ,jacopo ,bellini 7#adjj8-adgj71 whose sons1 ,gentile and ,giovanni1 and son-in-law1 ,andrea ,mantegna1 were to shape the destinies of the school throughout the ,renaissance4 ,jacopo's drawing is seen in its full maturity in the ,sketch-book of about #adej which belongs to the ,louvre but is not publicly exhibited4 ,another ,sketch-book by him of about #adcj is one of the treasured possessions of the ,british ,museum4 ,jacopo had in early life been the pupil of ,gentile da ,fabriano1 who1 together with ,alegretto ,nuzi1 stands at the head of the ,umbrian school1 and of ,antonio ,pisanello 7#acig-adee71 the medallist-painter who played such an important part in the art of ,verona4 ,both ,gentile da ,fabriano and ,pisanello worked for a time at ,venice4 ,under the circumstances1 therefore1 it is not surprising to find that a ,madonna and ,child with a ,donor 7,no4 #aaei;,a1 formerly ,no4 #abgi and ,no4 #aga71 which is now justly ascribed in the ,catalogue to ,jacopo ,bellini1 was long assigned officially to ,gentile ,bellini1 although held by some critics to have been painted in the school of ,pisanello4 ,the name of the ,donor in this picture is given in the ,catalogue as ,leonello d',este and on the frame as ,pandolfo ,malatesta2 it would1 however1 seem to be the portrait of ,sigismondo ,malatesta4 ,four small triptychs 7,nos4 #abhj-hc7 from the ,campana collection still pass officially under the ambiguous designation of 8,school of ,gentile da ,fabriano02 they may1 however1 without much doubt be ascribed to ,antonio ,vivarini1 who remained outside the ,bellini sphere of influence1 and died about #adgj4 ,,the ,,bellini ,the sunny splendour of ,venetian painting reached its zenith in the bottega of the ,bellini4 ,gentile1 who was sent to ,constantinople with the authority of the ,republic in #adgi1 painted portraits1 ceremonial1 religious1 and historical pictures1 many of which are on a large scale1 while ,giovanni was for many years the greatest teacher and the most influential painter in ,venetian territory4 ,giovanni executed a large number of panels and canvases which in the period of his maturity exhibit a profound sense of dignity1 beauty1 religious feeling1 and rich deep colour4 ,most of those which are signed in a cartellino 8,,ioannes ,,bellinus0 7in capitals and1 of course1 in pigment of the period7 are authentic works from his own hand4 ,the majority of those which bear what to the unpractised eye might be taken for his personal signature1 but are only signed in uncials 78,ioannes ,bellinus071 must be regarded as mere studio productions4 ,in the sixteenth century no one was misled by these alternative methods of personal signature and studio-mark4 ,although the ,louvre authorities catalogue two pictures under the name of ,gentile and three under that of ,giovanni1 none of them is from the hand of either of these brothers4 ,bartolommeo ,vivarini of ,murano 7fl4 #adej-adii7 was the pupil of ,giovanni d',allemagna1 who worked in ,venice1 and ,antonio ,vivarini4 ,he painted a large panel of ,st4 ,john of ,capistrano 7,no4 #afjg71 which is signed and dated ,,opvs ,,bartholomei ,,vi,v,,arini ,,de ,,muraho--#adei4 ,alvise or ,luigi ,vivarini 7fl4 #adfa-aejc71 the nephew of ,bartolommeo1 was the last and most distinguished painter in the ,murano school4 ,he carried on the old traditions of ,early ,venetian art until the day when the rival school of the ,bellini had become supreme in ,venice1 and so had begun to prepare the way for the triumphs of the ,giorgionesque period--the golden age of ,venetian painting4 ,the ,portrait of a ,man 7,no4 #aeai71 catalogued under the name of ,savoldo 7#adhj8-aedh87 is by ,alvise4 ,this magnificent bust-length picture represents ,bernardo di ,salla1 who holds in his gloved right hand a paper inscribed 8,dono ,bnardo di ,salla40 ,it vividly recalls the ,portrait of a ,man with a ,hawk at ,windsor1 which1 although it traditionally but erroneously bears the name of ,leonardo da ,vinci and has been ascribed to ,savoldo1 is in all probability another of the rare portraits by ,alvise4 ,from the ,vivarini group issues ,carlo ,crivelli 7#adcj8-adic874 ,his morosely ascetic compositions1 with their elaborate draperies1 jewelled ornamentation1 and at times grotesque anatomy1 distinguish his polyptychs1 all of which are painted in tempera1 from those of any other painter in the whole range of art4 ,his large panel picture of ,st4 ,bernardino of ,siena 7,no4 #abfh7 is inscribed ,,opus ,,caroli ,,crivelli ,,veneti1 #adgg4 ,it belongs to his middle period1 and was painted nine years earlier than his magnificent ,annunciation1 now one of the gems of the ,national ,gallery 7,no4 #gci72 both these pictures came from the ,church of the ,annunziata at ,ascoli4 ,another painter who carried on the ,vivarini tradition but was influenced by ,giovanni ,bellini1 was ,giovanni ,battista ,cima 7#adfj8-aeag871 whose art is adequately shown in the ,madonna and ,child with ,st4 ,john the ,baptist and ,st4 ,mary ,magdalene 7,no4 #abei74 ,the signature ,,ioanis ,,bapt4 ,,coneglanes4 ,,opvs4 as well as the internal evidence of the picture show it to be an authentic work4 ,one of the best1 but until recent years one of the least known1 members of that brilliant group of painters who flourished at ,venice in the early half of the sixteenth century was ,lorenzo ,lotto 7#adhj-aeef74 ,he practised his art in many parts of ,italy1 and for that reason has been less generally known than many of his contemporaries4 ,he was a pupil of ,alvise ,vivarini1 but benefited largely by the example of ,giovanni ,bellini and ,giorgione4 ,his art is not well seen in the small ,st4 ,jerome 7,no4 #acej71 which is signed and dated 8,,lotvs #aejj0 and must therefore be one of his earliest and least ambitious works1 nor in his ,holy ,family 7,no4 #acea7 which was formerly attributed to ,dosso ,dossi4 ,replicas have been found of his ,christ and the ,woman taken in ,adultery 7,no4 #acdi74 ,illustration3 ,,plate ,,ix4--,,antonello ,,da ,,messina 7#adcj-adgi7 ,,venetian ,,school ,no4 #aacd4--,,portrait ,,of ,a ,,condottiere 7,portrait d'homme dit le ,condottiere7 ,bust portrait1 turned three-quarters to the left4 ,he wears a black doublet1 above the collar of which is visible the edge of a white linen under-garment4 ,under his cap is seen his zazzara of red-brown hair4 ,painted in oil on panel4 ,signed3 8#adgd ,antonellus ,messaneus me pinxit40 #a ft4 #a in4 #aa in4 7#jcc #jbh47 ,although we possess very detailed records of ,antonello da ,messina 7#adcj-adgi71 his movements and his life's work1 it is only in recent years that they have been studied with any care4 ,this ,sicilian-born artist obviously cannot have set out for ,flanders and there have learnt from ,jan van ,eyck 7who died in #adda7 the 8discovery0 of oil as a medium in painting1 as ,vasari tells us4 ,but he may have seen in ,italy a picture by the great ,northern artist and from it have acquired some facility in the use of oil and in finishing with glazes of oil panels which had been begun in tempera4 ,he was certainly in ,venice in #adge-gf1 if not earlier1 and his ,portrait of a ,condottiere 7,no4 #aacd1 ,plate ,,ix471 which is characteristically signed and dated #adgd ,antonellus ,messaneus me pinxit belongs to that period of his full maturity4 ,it was purchased at the ,pourtals-,gorgier sale in #ahfe for #dgfg4 ,in any case1 the discoveries with which ,antonello is credited within a few years completely revolutionised the methods of painting throughout ,italy1 and prepare us for the wonderful achievements of the later ,venetians1 who followed and improved upon the ,bellini tradition4 ,vittore ,carpaccio 7#adee8-aebf7 was1 like ,gentile ,bellini1 a painter of ,venetian ftes1 pageantry1 and religious pictures on an imposing scale4 ,nothing is known of ,carpaccio's artistic descent1 but his work shows traces of the influence of ,jacopo ,bellini and of ,lazzaro ,bastiani1 who was the head of a group of artists whose art was based on the tradition of such early painters as ,jacobello del ,fiore4 ,carpaccio's ,preaching of ,st4 ,stephen at ,jerusalem 7,no4 #abaa7 is one of the series of five incidents from the ,life of ,st4 ,stephen which were painted by this artist between #aeaa and #aebj for the ,scuola di ,s4 ,stefano at ,milan4 ,the others of the series are now in the ,milan ,gallery 7,no4 #agj--signed and dated #aeac71 at ,berlin 7,no4 #bc71 and at ,stuttgart4 ,the ,louvre obtained this canvas1 which varies from the others in size1 from the ,milan ,gallery in #ahac1 when together with ,boltraffio's ,madonna of the ,casio ,family 7,no4 #aafi7 and other pictures it was exchanged for works by ,rembrandt1 ,rubens1 ,van ,dyck1 and ,jordaens4 ,to ,vincenzo ,catena 7#ad448-aeca87 may be assigned1 on stylistic grounds1 the ,reception of a ,venetian ,ambassador at ,cairo in #aeab 7,no4 #aaeg74 ,in any case1 it cannot have been executed by ,gentile ,bellini1 as alleged in the ,catalogue1 as the audience here depicted did not take place until five years after that master's death6 ,another ,bellinesque painter was ,bartolommeo ,veneto 7fl4 #aeje-aeee74 ,we shall1 following the suggestion of ,venturi1 assign to him the excellent but officially unattributed ,portrait of a ,lady 7,no4 #afgc7 which hangs to the right of ,raphael's ,la ,belle ,jardinire4 ,,giorgione ,although a large number of really representative examples of the great lyricist ,giorgione 7#adgg-aeaj7 have not come down to us1 he is to be regarded as the greatest of the ,venetian artists1 and perhaps the most romantic painter that ,europe has ever known4 ,he was1 together with his illustrious contemporary ,titian1 a pupil of ,giovanni ,bellini4 ,his ,pastoral ,symphony 7,no4 #aacf1 ,plate ,x47 is one of the most beautiful idyllic groups in the whole range of painting1 and shows that ,giorgione could naively reveal the inner depths of thought and feeling and depict 8passionate souls in passionate bodies40 ,early in the sixteenth century the austere traditions of the ,bellinesque era were passing away4 ,giorgione now began to unseal the eyes of his contemporaries1 among whom ,titian occupied an important place1 to the 8life-giving and death-dealing waters of love10 making the landscape background of his lyrical compositions respond to the mood of the incident illustrated4 ,the ,pastoral ,symphony was acquired by ,charles ,i4 from the collection of the ,duke of ,mantua2 it then passed to ,jabach1 and subsequently to ,louis ,,xiv4 ,although it has been slightly restored and has from time to time been without any reason ascribed to ,titian1 ,sebastiano del ,piombo and a large number of ,venetian artists1 it is to-day recognised on all sides as an excellent example of ,giorgione4 ,illustration3 ,,plate ,x4--,,giorgione 7#adgg8-aeaj7 ,,venetian ,,school ,no4 #aacf4--,,pastoral ,,symphony 7,concert ,champtre7 ,two young men are seated on the grass2 the one1 wearing a green tunic with red sleeves1 a red cap and parti-coloured hose1 is playing on the lute2 his companion bends over to listen to him4 ,before them a nude woman1 her back turned to the spectator1 is seated holding a flute4 ,to the left another nude woman1 with a drapery across her left hip1 is drawing water at a fountain4 ,in the background to the right is seen a shepherd with his flock4 ,in the centre background are some houses4 ,painted in oil on canvas4 #c ft4 #g in4 #d ft4 #f in4 7#aaj #ach47 ,the same influences which formed the art of ,giorgione inspired the pictures of ,palma ,vecchio 7#adhj-aebh71 whose ,adoration of the ,shepherds with a ,female ,donor 7,no4 #acii1 ,plate ,,xi47 is brilliant in colour4 ,the signature in the right foreground of this canvas1 ,,tician1 is false4 ,palma left a large number of pictures unfinished at his death4 ,the ,visitation 7,no4 #aceb7 is an admirable example of the art of ,sebastiano del ,piombo 7#adhe-aedg71 and is signed ,,sebastianvs ,,venetvs ,,faciebat ,,romae ,,mdxxi4 ,it was purchased in the year indicated in the inscription by ,franois ,i41 who added it to his collection at ,fontainebleau1 whence it was removed by ,louis ,,xiv4 to ,versailles4 ,the canvas1 which has been a good deal injured1 has at some time been cut into three pieces4 ,the name by which this artist is generally known was derived from the office which he held late in life at the ,papal ,court4 ,there he forsook the traditions of his native school and gradually came under the influence of ,michelangelo4 ,in ,rome he also met ,raphael1 who was much impressed by his colour schemes3 the ,st4 ,john the ,baptist in the ,desert 7,no4 #aejj71 here catalogued under the name of ,raphael1 and a few pictures similarly attributed in other galleries1 were painted by ,sebastiano in his ,roman manner4 ,a prominent place among the less important artists generally included in this school must be accorded to ,cariani 7#adhj8-aedg874 ,a large proportion of the pictures of this ,bergamask painter usually pass under more imposing names1 and it is a remarkable fact that we do not find any work attributed to him in the official ,catalogue4 ,he1 however1 painted a ,holy ,family 7,no4 #aace71 here assigned to ,giorgione1 as well as the ,madonna and ,child and ,st4 ,sebastian 7,no4 #aaei7 given to ,giovanni ,bellini4 ,the ,portrait of ,two ,men 7,no4 #aaef71 which for no very apparent reason was once regarded as the portraits of ,gentile and ,giovanni ,bellini1 must be by ,cariani1 although still placed to the credit of ,gentile4 ,another of the less efficient pupils of ,giovanni ,bellini was ,niccol ,rondinelli 7fl4 #adhj-aejj71 whose ,madonna and ,child1 ,st4 ,peter1 and ,st4 ,sebastian 7,no4 #aaeh7 masquerades as a work by ,giovanni ,bellini1 whose full name1 ,,ioannes ,,bellinvs1 is inscribed in capitals 7not1 however1 placed in a cartellino7 on the parapet which runs across the front of the panel4 ,,titian ,although we have only limited space to deal with the differences of the critics as to the probable date of ,titian's birth1 we may point out that it was1 until recent times1 placed in the year #adgg4 ,mr4 ,herbert ,cook has1 however1 put forward a very strong case in favour of the year #adhi1 pointing out the remarkable fact that there is no record of ,titian earlier than ,dec4 #b1 #aeaa1 or1 according to the usual chronology1 until he was thirty-five years of age6 ,again1 ,l4 ,dolce1 in #aeeg1 wrote that ,titian was 8scarcely twenty years old when ,giorgione was painting the faade of the ,fondaco de' ,tedeschi02 and we know that ,titian was his assistant on that work in #aejg-h4 ,vasari also asserts1 as ,mr4 ,cook reminds us1 that the famous ,venetian was 8about seventy-six years old in #aeff-fg10 when he visited him in ,venice4 ,no reliance is to be placed on the date contained in the well-known letter which ,titian addressed to ,philip ,,ii4 in #aega1 as he evidently had a motive in referring to himself as 8an old servant of ninety-five40 ,there is1 however1 no doubt that ,titian died in #aegf4 ,illustration3 ,,plate ,,xi4--,,palma ,,vecchio 7#adhj-aebh7 ,,venetian ,,school ,no4 #acii4--,,the ,,adoration ,,of ,,the ,,shepherds1 ,,with ,a ,,female ,,donor 7,l',annonce aux ,bergers7 ,the ,virgin is seated and holds the ,infant ,jesus on a cradle formed of basket-work2 she wears a red robe with blue and green draperies and a white veil1 under which her brown hair is seen4 ,to her right ,st4 ,joseph is seated leaning on his staff2 before him a shepherd boy kneels in adoration to the ,infant ,christ4 ,to the left kneels the donatrice1 her hands folded4 ,in the ruined shed behind the ,holy ,family are the ox and ass4 ,to the right of the composition is a landscape background in which several figures appear4 ,a small group of angels in the sky4 ,painted in oil on canvas4 #d ft4 #g in4 #f ft4 #aa in4 7#adj #baj47 ,titian1 who was a native of ,cadore1 left his home at an early age for ,venice4 ,he was first placed as a pupil of ,sebastian ,zuccato1 a mosaicist and perhaps a painter2 he then seems to have worked in the studio of ,gentile ,bellini before passing into that of ,giovanni1 where he met ,giorgione4 ,titian1 like ,giotto1 has been called 8the ,father of modern painting40 ,the early ,florentine had provided his countrymen with a set of fundamental principles of art1 but it remained for the illustrious ,venetian to endow his contemporaries and artistic descendants with a more complete equipment and a new sense of pictorial effect4 ,the profound impression exerted by ,giorgione on the youthful ,titian inspired him to achieve those idyllic compositions and 8poesies0 which stand out so prominently among the world's pictures4 ,titian's earliest picture in the ,louvre is the ,virgin and ,child1 with ,st4 ,stephen1 ,st4 ,ambrose1 and ,st4 ,maurice 7,no4 #aegg71 of about #aejh-aeaj4 ,it is very reminiscent of a picture by ,titian in the ,vienna ,gallery 7,no4 #aff71 in which he has substituted ,st4 ,jerome for ,st4 ,ambrose4 ,no doubt can exist as to the authenticity of the so-called ,portrait of ,alfonso da ,ferrara and ,laura de' ,dianti 7,no4 #aeij71 but the title under which it has passed for many years is probably incorrect4 ,it was in the collection of ,charles ,i41 and was then described as 8,tytsian's ,mrs41 after the life by ,tytsian40 ,in the collection of ,jabach it was called ,la ,matresse du ,titien1 and as such was sold to ,louis ,,xiv4 for #ajj4 ,this picture would correctly be described under the less ambitious title of ,a ,woman at her ,toilet and a ,man holding ,two ,mirrors4 ,laura was the daughter of a hatter of ,ferrara4 ,she was persona grata at the court of ,alfonso ,i41 ,duke of ,ferrara 7reigned #aeje-aecd71 and there held the title of ,illustrissima ,donna ,laura ,eustochia d',este4 ,the ,duke's first wife1 ,anna ,sforza1 died in #adig1 when he was twenty-one years old4 ,in #aeja he married1 as his second wife1 ,lucrezia ,borgia 7died #aeai71 the natural daughter of ,pope ,alexander ,,vi4 ,it seems probable that shortly afterwards the ,duke took ,laura as his third wife1 and that she was painted by ,titian a little later4 ,the ,louvre picture 7,no4 #aeij7 appears on stylistic grounds to be a work of about #aeae-aeag4 ,a portrait which can be more certainly identified as that of ,laura is the single figure picture1 painted by ,titian about #aebc1 in the collection of ,sir ,frederick ,cook at ,richmond4 ,the influence of ,giorgione is still clearly seen in ,titian's ,man with a ,glove 7,no4 #aeib1 ,plate ,,xii474 ,it is a noble portrait of an unknown man2 the colour is rich1 and the light and shade are contrasted with great mastery2 the bare right hand and the gloved left holding the second glove are admirably modelled4 ,the canvas1 which seems to have been painted about #aeah1 is signed 8,,ticianvs ,f40 ,soon afterwards ,titian must have painted the ,portrait of a ,man in ,black with the ,thumb of his ,left ,hand in the ,belt of his ,doublet 7,no4 #aeia71 the ,madonna with the ,rabbit 7,no4 #aegh71 which is inscribed ,ticianus ,f41 and the magnificent ,entombment 7,no4 #aehd1 ,plate ,,xiii474 ,this priceless picture1 which was painted not later1 than #aebc for ,federigo ,gonzaga1 passed from ,mantua into the collection of ,charles ,i4 ,it was sold off by ,cromwell for #abh and1 after being one of the masterpieces for a few years in the collection of ,jabach1 was acquired by ,louis ,,xiv4 ,the deep religious feeling and the rich1 sonorous harmony of colour make this one of the world's most precious pictures4 ,notice the sunburnt arm of ,joseph of ,arimatha2 it is significant of the art of ,venice4 ,illustration3 ,,plate ,,xii4--,,titian 7#adhi8-aegf7 ,,venetian ,,school ,no4 #aeib4--,,the ,,man ,,with ,a ,,glove 7,l'homme au ,gant7 ,he is standing and seen nearly in full face1 the head turned three-quarters to the right1 the eyes directed to the right4 ,he wears a black costume with a white pleated under-garment1 a gold chain round his neck1 and white frills in his sleeves4 ,his right hand1 with a ring on the forefinger1 holds his girdle4 ,his left hand1 gloved and holding the second glove1 rests on a stone plinth4 ,painted in oil on canvas4 ,signed on the plinth3--8,,ticianvs4 ,f40 #c ft4 #c in4 #b ft4 #aa in4 7#ajj #jhi47 ,at an interval of about eight years we come to the ,st4 ,jerome 7,no4 #aehe71 a religious scene set1 curiously enough1 in a moonlight landscape1 which has darkened4 ,the exact interpretation to be placed upon the ,allegory in honour of ,alfonso d',avalos 7,no4 #aehi71 of about #aecc1 has been much discussed2 it is supposed to represent ,alfonso bidding farewell to his wife on his departure for the wars1 and entrusting her to the safe keeping of ,chastity1 ,cupid1 who bears a sheaf of arrows1 and a third figure4 ,the ,portrait of ,francis ,i4 7,no4 #aehh71 whom ,titian never saw1 appears to have been painted about #aecf from a medal1 and represents the ,king in profile4 ,franois ,i4 died in #aedg4 ,it belongs to the same period as the ,portrait of a ,man in ,damascened ,armour with a ,page holding his ,helmet in the collection of ,count ,potocki4 ,another portrait1 painted about #aedc1 represents a ,man with a ,black ,beard resting his ,hand on the ,ledge of a ,pilaster 7,no4 #aeic74 ,by this time ,titian's art was rapidly maturing1 as we see from his magnificent and imposing ,supper at ,emmaus 7,no4 #aeha7 of the same year4 ,it had passed from ,mantua to ,england before being acquired by that excellent connoisseur1 ,jabach4 ,it is said to be signed ,ticianus ,f41 while the ,christ ,crowned with ,thorns 7,no4 #aehc71 which was painted for a church in ,milan about #aeej1 is inscribed ,,titianvs ,f4 ,when ,charles ,i41 as ,prince of ,wales1 visited ,madrid in #afbc1 he was presented with the ,jupiter and ,antiope 7,no4 #aehg71 which has the alternative title of the ,venus del ,pardo4 ,it had been painted for ,philip ,,ii41 and had already escaped the fire which broke out in the ,prado4 ,jabach acquired it for #fjj guineas1 and passed it on to ,cardinal ,mazarin1 from whom it was acquired for #aj1jjj livres tournois by ,louis ,,xiv4 ,it escaped destruction by fire in the ,old ,louvre in #affa4 ,it has been very much repainted from time to time4 ,,titian',s ,,followers ,the ,madonna and ,child1 with ,st4 ,catherine 78 ,st4 ,agnes71 and ,st4 ,john the ,baptist as a ,child 7,no4 #aegi71 which has been enlarged by the addition of a strip of canvas down the left side1 contains a glimpse of the country near ,pieve di ,cadore1 the native place of ,titian4 ,fourteen of the twenty pictures here officially credited to him are to be regarded as authentic4 ,polidoro ,lanzani 7#aeae8-aefe71 an imitator of ,titian1 however1 painted the ,holy ,family with ,st4 ,john the ,baptist 7,no4 #aehj71 and the ,holy ,family and ,saints 7,no4 #aeif7 in the ,la ,caze ,room2 while ,andrea ,meldolla 7,schiavone71 who was a pupil of ,titian1 no doubt executed the ,ecce ,homo 7,no4 #aehb7 credited to the great ,venetian artist1 as well as the ,st4 ,john the ,baptist 7,no4 #aebd7 which is rightly assigned to him4 ,the ,german painter ,johan ,stephan von ,calcar1 who to ,italian biographers is known as ,giovanni ,calcar 7#adii-aedf71 was a pupil of ,titian4 ,he painted the imposing ,portrait of a ,man 7,no4 #aahe74 ,he is seen at half length standing1 and holding a letter in his right hand2 his left hand to his waist4 ,on a column in the background is painted the coat of arms1 reputed to be that of the ,buono family of ,venice1 which is repeated on the bezel of the ring on the forefinger of his left hand4 ,below his right hand is the inscription3 ,,anno #aedj ,,tatis #bf4 ,paris ,bordone 7#aejj-aegj71 who 8painted women with more of an eye on the fashion-plate than on the expression of their features10 is not the author of a ,portrait of a ,lady 7,no4 #aahj;,a71 nor of the ,portrait of a ,man and a ,child 7,no4 #aahj71 which seems to be a ,flemish rather than a ,venetian picture4 ,his ,vertumnus and ,pomona 7,no4 #aagh7 is less representative than his ,portrait 7so called7 of ,jeronimo ,croft 7,no4 #aagi74 ,it takes its title from the inscription1 8,spss4 ,domino ,jeronimo ,crofft 444 ,magior suo semper obsero 444 ,augusta10 which is written on the letter held in the right hand4 ,the last dying echo of the 8fire0 and poetry of ,giorgione is seen in some of the works of ,bonifazio ,veronese 7#adhg-aeec71 who was also a pupil of ,palma4 ,bonifazio is now regarded as a single individual1 although formerly the varying differences in his style of painting led certain critics to regard him as three different members of the same family4 ,the varied grouping seen in the large canvas entitled ,holy ,family1 with ,st4 ,francis1 ,st4 ,anthony1 ,st4 ,mary ,magdalene1 ,st4 ,elizabeth1 and ,st4 ,john the ,baptist 7,no4 #aaga71 and the colouring of this canvas1 seem to prove its authenticity4 ,the smaller picture of a ,holy ,family 7,no4 #aagb71 with a similar pedigree and a ,greek inscription1 which includes the same saints1 is a mediocre work4 ,the ,madonna and ,child1 with ,st4 ,joseph1 ,st4 ,john the ,baptist1 ,st4 ,paul1 and ,st4 ,ursula 7,no4 #afgd;,d7 is a poor picture4 ,from the studio of ,bonifazio issued ,jacopo ,bassano 7#aeaj8-aeib71 whose ,vintage 7,no4 #adbh7 shows his predilection for introducing animals and kneeling peasants into genre pictures1 the treatment of which is apt to be rugged4 ,this did not prevent his at times painting striking and vigorous portraits4 ,the ,louvre contains a good example of this branch of his art in the ,portrait of ,giovanni da ,bologna 7,no4 #adbi71 which is at present not exhibited4 ,the ,animals entering the ,ark 7,no4 #adbc71 ,moses striking the ,rock 7,no4 #adbd71 ,cana of ,galilee 7,no4 #adbe71 ,christ bearing ,his ,cross 7,no4 #adbf71 and the ,descent from the ,cross 7,no4 #adbg7 are also credited to him in the ,catalogue4 ,leandro ,bassano 7#aeeh-afbc71 his son1 is represented in the ,la ,caze collection by an ,adoration of the ,magi 7,no4 #adcj7 and a ,rustic ,labour 7,no4 #adca74 ,the vigorous1 ambitious and late ,venetian painter ,tintoretto 7#aeah-aeid71 who painted portrait-groups1 religious subjects1 and mythological compositions on a large scale1 and brought his achievements to completion with extraordinary rapidity1 is not adequately represented in this ,gallery1 in which1 however1 no fewer than eleven works pass under his name4 ,his ,susanna and the ,elders 7,no4 #adfd7 testifies to the increasing frequency with which painters or their patrons at that period preferred the representation of sensational incidents from the ,apocrypha4 ,the subject is unattractive1 but the picture1 which is in a very dirty state1 is wonderfully painted4 ,the ,paradise 7,no4 #adfe7 is but a preliminary sketch for the colossal painting1 measuring #hd ft4 #cd ft41--the largest oil-painting by an old master in existence1--which ,tintoretto painted for the end wall of the ,sala del ,maggior ,consiglio in the ,doge's ,palace at ,venice4 ,the ,portrait of a ,man holding a ,handkerchief in his ,hand 7,no4 #adfg7 reveals his great power as a portrait painter4 ,the ,portrait of ,pietro ,mocenigo 7,no4 #adgj71 signed ,,petrus ,,mocenio ,,senator1 and the ,portrait of a ,venetian ,senator 7,no4 #adga71 inscribed ,,anno ,,tatis ,,lvii ,,mvii ,,iacomo ,,tentoreto 4 ,f1 are among the pictures of the ,la ,caze collection4 ,in ,room ,,xv41 which is given up to self-portraits by artists1 hangs a picture which passes as an authentic ,portrait of ,tintoretto 7,no4 #adff7 by himself4 ,it is inscribed ,,jacobvs ,,tentoretvs ,,pict,,or ,,venet,,ivs and ,,ipsivs4 ,f4 ,,paolo ,,veronese ,the harmonious colour1 the sense of material magnificence1 and the masterly draughtsmanship of ,paolo ,veronese 7#aebh-aehh7 are seen to the greatest advantage in his ,marriage at ,cana 7,no4 #aaib74 ,he signed a contract in ,june #aefb1 to paint this large picture1 which measures #ba ft4 #cb ft41 for the refectory of ,san ,giorgio ,maggiore at ,venice1 and completed it by ,september #h1 #aefc4 ,according to the agreement1 ,paolo was to receive #cbd ducats1 a sum equal to-day to about #bjj2 to be fed during the time he was engaged on the work2 to be repaid the cost of the materials2 and to receive a pipe of wine4 ,the picture was seized by ,napoleon during his victorious campaign of #agig1 and brought by road to ,paris4 ,in accordance with the terms of the ,peace of ,campo ,formio of #ahad1 it should have been returned4 ,as it had proved a very difficult matter to take it to ,paris1 where it had to go into the restorer's hands1 the ,french urged that it was too vast and too dilapidated to bear a second journey4 ,astonishing as it may seem to us to-day1 the ,italians accepted the suggestion and in exchange took ,charles ,le ,brun's large but mediocre ,magdalene at the ,feet of ,jesus1 perhaps because it measured #ab ft4 #f in4 #aj ft4 #d in4 ,le ,brun's picture now hangs in the ,venice ,gallery 7,no4 #cgg71 the ,catalogue of which pointedly remarks that 8the exchange is much to be regretted40 ,illustration3 ,,plate ,,xiii4--,,titian 7#adhi8-aegf7 ,,venetian ,,school ,no4 #aehd4--,,the ,,entombment 7,la ,mise au ,tombeau7 ,the dead body of the ,christ is borne on a white cloth by ,nicodemus and ,joseph of ,arimatha4 ,nicodemus is seen from the back wearing a pale red tunic and a parti-coloured scarf2 ,joseph of ,arimatha in green robes is in profile towards the right4 ,st4 ,john in a red robe supports the right arm of the ,christ4 ,to the left ,st4 ,mary ,magdalene1 with her arms around the ,virgin1 gazes in profound grief at the ,christ4 ,the ,virgin with clasped hands bends forward to look at her ,son4 ,painted in oil on canvas4 #d ft #aj in4 #g ft4 #a in4 7#adh #bae47 ,paolo ,veronese's masterly work contains no devotional feeling4 ,the ,scriptural story merely serves as a pretext for depicting a scene of ,venetian festivity and material magnificence with imposing architectural background4 ,the grouping of the figures is varied1 dexterously disposed and stately1 while the colour is harmonious and sparkling4 ,the changing of the water into wine is1 however1 merely incidental4 ,it is a significant fact that a work of this description1 in which ,art in ,venice begins to trick herself out in meretricious embellishments1 should have been regarded as a seemly decoration for the refectory of a convent4 ,an additional but frankly worldly interest is imparted to the work by the introduction of a portrait of ,alfonso d',avalos 7whose portrait by ,titian we have already seen7 as the bridegroom1 on the extreme left of the composition2 to his left is the bride1 with the features of ,eleonora of ,austria4 ,the other figures include ,franois ,i41 dressed in blue and wearing a curious headdress2 ,mary of ,england1 sister of ,henry ,,viii4 and widow of ,louis ,,xii41 in yellow2 the ,sultan ,soliman1 in green1 at the side of a negro prince who addresses a servant4 ,on the left of the next figure sits ,vittoria ,colonna1 whom ,michelangelo described as 8a man within a woman10 plying her toothpick6 ,at the end of the table1 speaking to a servant1 is the ,emperor ,charles ,v41 seen in profile and wearing the ,order of the ,golden ,fleece4 ,the introduction of the fool with the bells in the centre of the picture is perhaps intended to express the pomp and pleasure of the world pursued without thought of ,christ1 who1 however1 occupies the place of honour in the centre of the composition4 ,the couple of dogs in leash1 one gnawing a bone1 and a cat1 lying on her back as she scratches at one of the vases which hold the wine on the right of the composition1 may stand for merely brutal nature4 ,the painter's personal interest in the scene is depicted in the group of four artists in the foreground4 ,paolo himself is playing a viol2 just behind him is ,tintoretto with a similar instrument2 while on the right are ,titian1 in red with a bass viol1 and ,bassano playing the flute4 ,the theory put forward by ,mr4 ,herbert ,cook that ,titian was born as late as #adhi1 and so would be seventy-four years old in #aefb-fc1 the year in which this picture was painted1 certainly seems to find corroboration in the features here given to ,titian by ,paolo ,veronese4 ,he certainly does not look eighty-seven years of age1 as he should do if he had been born as early as #adgf4 ,in the ,catalogue sixteen pictures are assigned to ,paolo ,veronese4 ,the ,portrait of a ,lady and a ,child playing with a ,dog 7,no4 #aaii7 is an early work4 ,the ,disciples at ,emmaus 7,no4 #aaif71 which is signed 8,,paolo ,,veronese10 is another of the master's imposing canvases1 as also is the ,feast in the ,house of ,simon the ,pharisee 7,no4 #aaic71 which was presented to ,louis ,,xiv4 by the ,venetian ,republic in #affe1 and was for many years hung at ,versailles4 ,this artist is also officially credited with the ,burning of ,sodom 7,no4 #aahg71 a ,holy ,family1 with ,st4 ,george1 ,st4 ,catherine1 and a ,male ,donor 7,no4 #aaij71 a ,holy ,family1 with ,st4 ,elizabeth and ,st4 ,mary ,magdalene1 and a ,female ,donor 7,no4 #aaia71 a ,christ heeding ,peter's ,wife's ,mother 7,no4 #aaia;,a71 a ,christ fainting under the weight of the ,cross 7,no4 #aaid71 a ,calvary 7,no4 #aaie71 and an ,esther fainting before ,ahasuerus 7,no4 #aahi74 ,the ,susan and the ,elders 7,no4 #aahh7 is a replica of a picture in the collection of the ,duke of ,devonshire4 ,the ,st4 ,mark crowning the ,theological ,virtues 7,no4 #aaig71 and the ,jupiter hurling ,thunderbolts on ,criminals 7,no4 #aaih71 were originally executed as ceiling paintings for the ,doge's ,palace4 ,the ,christ with the ,terrestrial ,globe 7,no4 #abjj7 and the ,portrait of a ,lady in ,black 7,no4 #abja7 are only studio pictures4 ,little artistic ability is shown in the empty abstractions1 and at times meaningless productions1 of many of the late sixteenth1 seventeenth1 and eighteenth century ,venetian artists4 ,felice ,riccio 7,il ,brusasorci the ,younger7 7#aedj-afje7 is given as the painter of a ,holy ,family 7,no4 #adfc72 ,alessandro ,turchi 7,orbetto7 7#aehb-afdh7 of three pictures 7,nos4 #aeeh-aefj72 ,sebastiano ,ricci 7#afei8-agcd7 of four compositions 7,nos4 #adeh-adfa72 ,antonio ,pellegrino 7#afge-agda7 of an ,allegory 7,no4 #adac72 ,alessandro ,varotari 7#aeij-afej7 of an utterly uninspired ,venus and ,cupid 7,no4 #aegd72 and ,pietro della ,vecchia 7#afje-afgh7 of a dull ,portrait of a ,man 7,no4 #aegf74 ,a century later than the stupendous achievements of ,tintoretto and ,veronese the art of ,venice had passed into decline1 but a glimmer of the genius that had found expression in the gorgeously decorative art in ,venice in the sixteenth century was yet to be reflected in the work of ,giovanni ,battista ,tiepolo 7#afib-agfi74 ,his ,last ,supper 7,no4 #aedg7 was purchased for #djj in #ahgg1 and his sketch for the ,triumph of ,religion 7,no4 #aedi;,a7 for #abjj in #aijc4 ,by him also is the ,banner 7,no4 #aedi71 depicting on the one side ,st4 ,martin saying ,mass1 and on the other ,the ,madonna and ,child4 ,an ,apparition of the ,virgin to ,st4 ,jerome 7,no4 #aedh7 is one of the less striking pictures in the ,la ,caze collection4 ,another decorative painter was ,antonio ,canale1 generally known as ,canaletto 7#afig-agfh71 who is well represented in the ,view of the ,church of ,santa ,maria della ,salute and the ,grand ,canal 7,no4 #abjc74 ,the ,louvre appears to contain nothing by ,bernardo ,bellotto 7#agbj-aghj71 who is sometimes referred to as ,canaletto1 and is seen to the best advantage at ,dresden4 ,canaletto's pupil1 ,francesco ,guardi 7#agab-agic71 who was born of ,austrian parentage1 is the painter of seven ,venetian scenes3 ,after wedding the ,adriatic1 the ,doge embarks at the ,lido on the 8,bucentaur0 7,no4 #acbh72 ,the ,doge proceeds to ,s4 ,maria della ,salute to commemorate the ,preservation of ,venice from the ,plague in #afcj 7,no4 #acbi72 ,fte du ,jeudi ,gras in the ,piazzetta 7,no4 #accj72 ,the ,procession of ,corpus ,domini in the ,piazza of ,s4 ,marco 7,no4 #acca72 ,the ,visit of the ,doge to the ,church of ,s4 ,zaccharia on ,easter ,day 7,no4 #accb72 ,the ,doge seated on his ,throne in the ,sala del ,collegio 7,no4 #accc72 ,coronation of the ,doge 7,no4 #accd72 and a ,view of the ,church of ,s4 ,maria della ,salute 7,no4 #acce74 ,guardi's pupil1 ,franois ,casanova 7#agci-ahje71 a painter of battle-pieces1 worked in ,france2 some of his pictures are hung in the ,french ,rooms4 ,with ,guardi we close the chapter of ,venetian art which1 owing to four centuries of high aspiration and magnificent achievement1 came to an end later than the art of any other school of painting in ,italy4 ,,the ,,paduan ,,school ,far-reaching influences were to be exerted by classical ,padua on the art of the neighbouring cities of ,northern ,italy4 ,padua was a city of great antiquity1 and had been sufficiently powerful and prosperous even in ,roman times to excite the cupidity of its enemies4 ,eventually the ,goths and other barbarian hordes had destroyed its monuments of the ,roman age2 the spirit of antiquity1 nevertheless1 survived until ,giotto came at the very beginning of the fourteenth century to decorate the walls of the ,chapel of the ,madonna dell' ,arena1 which had been founded in #acjc by ,enrico ,scrovegno on the site of an ancient ,roman arena4 ,these very precious frescoes by ,giotto1 which fortunately are still preserved1 revolutionised art1 and the movement initiated by him quickened the art-life of this ,university city4 ,half a century later1 ,altichiero ,altichieri 7fl4 #acbj-ache7 developed his art under the influence of ,giotto1 and beautified the churches of ,padua with frescoes1 the figures in which he clothed in fanciful attire4 ,an art movement was now on foot1 and the influence of ,altichieri1 who was later to become the founder of the school of ,verona1 was to be revealed in the work of his follower ,pisanello1 the ,veronese painter and medallist4 ,the long residence in ,padua of ,donatello 7#achf-adff71 the great ,florentine sculptor1 and the erection of his famous equestrian statue of ,gattamelata initiated in ,padua the ,renaissance movement1 which soon took deep root in this ancient city4 ,the example of ,donatello in sculpture before long brought about the foundation of a local school of painting which was rapidly developed through the shrewd commonsense rather than the artistic achievements of ,francesco ,squarcione 7#acid-adgd74 ,it is noteworthy that ,squarcione had travelled in the ,east1 and had there formed a collection of antique works of plastic art which became the basis of his art-teaching4 ,one of the numerous pupils of ,squarcione was ,gregorio ,schiavone 78,the ,slavonian07 7fl4 #addj-adgj71 a native of ,dalmatia1 who in the studio of his ,paduan master met ,andrea ,mantegna4 ,the ,louvre authorities with some hesitancy attribute to ,schiavone a ,madonna and ,child 7,no4 #aebc74 ,although it is hardly by him1 it exhibits some of the characteristics of ,schiavone1 who was fond of decorating his pictures with festoons of flowers and fruit in much the same way that his ,venetian contemporary1 ,carlo ,crivelli1 delighted to adorn his large panel pictures4 ,,andrea ,,mantegna ,andrea ,mantegna 7#adca-aejf7 was adopted at the age of ten by ,squarcione1 and so naturally became his pupil4 ,no better training could have been chosen for the boy1 who had a natural taste for the classics1 proof of which is further afforded by the ,latin inscriptions on his pictures4 ,andrea seems to have quickly realised the connection between the traditions of ,paduan antiquities and the classical models of ancient ,greece which his adoptive father ,squarcione had brought home with him from his travels4 ,andrea in time became deeply impressed with the methods of ,jacopo ,bellini1 whose daughter ,niccolosia he married in #adec1 to the great displeasure of ,squarcione4 ,another powerful influence on ,mantegna may be traced to the bronzes which ,donatello executed for the ,church of ,sant' ,antonio of ,padua in that city4 ,illustration3 ,,plate ,,xiv4--,,andrea ,,mantegna 7#adca-aejf7 ,,paduan ,,school ,no4 #acge4--,,parnassus 7,le ,parnasse7 ,on the summit of an arched rock stand ,mars and ,venus before a draped bed backed by orange trees4 ,to the left is ,cupid1 while ,vulcan stands before his forge4 ,below1 to the extreme left1 ,apollo plays his lyre to the strains of which the ,muses dance4 ,to the right ,mercury1 wearing the petasus and talaria and carrying the caduceus1 leans against ,pegasus4 ,landscape background4 ,painted in tempera on canvas4 #e ft4 #c in4 #f ft4 #c in4 7#afj #aib47 ,after painting the frescoes in the ,church of the ,eremitani at ,padua1 ,andrea in #adeg executed a large and striking altarpiece for the ,church of ,san ,zeno in ,verona4 ,it was removed by ,napoleon's agents to ,france in #agig1 but only the principal panel was returned to that church in #ahae4 ,the three predella panels were retained in ,france4 ,the centre one of these1 depicting the ,calvary1 is now in the ,louvre 7,no4 #acgc72 the other two1 representing the ,agony in the ,garden and the ,resurrection1 have long hung in the ,museum at ,tours4 ,the severity of the statuesque figures and the certainty of the drawing seen in the ,calvary are characteristic of the early period of the master4 ,mantegna now removed to ,mantua1 where he entered the service of ,lodovico ,,ii41 ,marquis of ,mantua1 as his ,court ,painter1 remaining there for the rest of his life4 ,the ,madonna of ,victory 7,no4 #acgd7 was painted to commemorate the victory gained at the ,pass of ,fornovo on the ,taro on ,july #f1 #adie1 by ,giovanni ,francesco ,,iii41 ,marquis of ,mantua1 over ,charles ,,viii4 of ,france4 ,in the centre of the picture the ,madonna and ,child are enthroned4 ,on the left kneels the ,marquis1 and on the right is ,st4 ,elizabeth1 the patron saint of ,gonzaga's wife1 ,isabella d',este1 8at the sound of whose name all the ,muses rise and do reverence40 ,st4 ,michael standing behind the ,duke1 and ,st4 ,george behind ,st4 ,elizabeth1 hold the robe of the ,madonna1 who is thus represented as taking under her protection the two principal figures4 ,in the background on the left is ,st4 ,andrew1 name-saint of the painter and one of the patrons of ,mantua4 ,on the right is ,st4 ,longinus with the spear with which he pierced the side of ,christ4 ,his relics were preserved in the ,church of ,st4 ,andrea in ,mantua4 ,the garlands of flowers and festoons of fruit are a well-known device in ,mantegna's pictures4 ,mantegna's ,parnassus 7,no4 #acge1 ,plate ,,xiv47 illustrates the amours of ,mars and ,venus1 which were discovered by her husband1 ,vulcan4 ,in the foreground the ,muses are dancing4 ,the group of the ,muses was afterwards appropriated by ,giulio ,romano for his ,dance of ,apollo and the ,muses in the ,pitti ,palace at ,florence4 ,this painting was executed in #adig1 just before the coming of the ,renaissance feeling into ,venetian art and the representation of classical myth4 ,notice the excellently drawn and highly characteristic shells and stones placed in the foreground4 ,in the same year ,mantegna painted the ,triumph of ,wisdom and ,virtue over the ,vices 7,no4 #acgf71 the last of the four pictures by him in this ,gallery4 ,in the corner to the extreme left is ,virtus ,deserta1 who appears under the guise of a laurel tree with a woman's head2 about the stem is wound a scroll with inscriptions in ,latin1 ,greek1 and ,hebrew4 ,the ,latin inscription reads3 ,,agite ,,pellite ,,sedibus ,,nostris ,,faeda ,,haec ,,viciorv ,,monstra ,,virtutvm ,,coelitvs ,,ad ,,nos ,,redev,,tivm and on the inside of the scroll3 ,,divae ,,comites4 ,this painting formerly decorated the camerino of ,isabella d',este at ,mantua4 ,it was seized at the sack of ,mantua by ,cardinal ,richelieu in #afcj1 together with the ,parnassus 7,no4 #acge71 ,perugino's ,combat of ,love and ,chastity 7,no4 #aefg71 and ,lorenzo ,costa's ,court of ,isabella d',este 7,no4 #abfa74 ,the ,mythological ,scene 7,no4 #abfb71 which is not now exhibited1 represents the ,realm of ,erotic ,love2 it was begun by ,mantegna the year he died1 and was gone over and completed by ,lorenzo ,costa4 ,mantegna became involved financially towards the end of his life1 and the collection he had formed was sold4 ,his last years were clouded by pecuniary embarrassment4 ,his compositions are essentially classic in spirit1 his figures noble and painted in imitation of the antique1 while his pagan conceptions prepared the way for those of a later generation in the art of ,venice4 ,by this process of gradual evolution the school of ,padua came to be distinguished among the other local schools of ,northern ,italy in the lifetime of ,mantegna1 whose example gave a new impulse to contemporary art4 ,a small ,adoration of the ,magi 7,no4 #afgh71 which is officially unattributed1 is regarded by ,mr4 ,berenson as the work of ,bernardo ,parenzano 7#adcg-aeca71 who was influenced by ,mantegna1 and imitated the methods of his contemporaries4 ,many other artists bore their part in the work of this school1 and so contributed to the development of this movement which spread to ,veronese and ,venetian territory4 ,they are1 however1 unrepresented in the ,louvre4 ,,the ,,school ,,of ,,verona ,the foundations of the art of ,verona were laid in ,paduan soil by ,altichieri1 who initiated the school of ,verona4 ,veronese art early found expression in the naive pictorial and medival style practised by the medallist-painter ,antonio ,pisanello 7#acig-adee71 whose name appears to have been an endearing diminutive4 ,he was a follower1 if not a pupil1 of ,altichieri4 ,the frequency with which he signed himself 8,,pictor0 on his medals leads one to suppose that he looked upon himself as a painter first and foremost1 and contemporary records seem to confirm this4 ,his art was so highly reputed in ,northern ,italy that the ,venetians thought it advisable to invite him to ,venice in #adba to assist ,gentile da ,fabriano in painting frescoes1 now destroyed1 in the ,doge's ,palace4 ,jacopo ,bellini also worked at ,verona4 ,he is known to have painted a picture of the ,crucifixion for the ,chapel of ,s4 ,niccol in the ,cathedral at ,verona in #adcf1 but1 after exercising considerable influence on the art of ,northern ,italy1 it was in #agei hewn down by a ,canon with a view to beautifying the chapel6 ,unfortunately1 there are only two frescoes from the hand of ,pisanello at ,verona1 while no more than four authentic easel paintings by him are known to exist1 two of them being in the ,national ,gallery4 ,he is known to have travelled extensively in ,italy1 and to have worked also at ,mantua1 ,ferrara1 and ,rimini4 ,the traditions of medival chivalry and the pictorial parade of pomp and mundane realism which are reflected in his work show that his contemporaries were justified in the high esteem in which they held him4 ,pisanello's love of depicting birds and animals is shown in his two pictures in the ,national ,gallery1 but in the ,portrait of a ,princess of the ,este ,family 7,no4 #adbb;,a1 or ,no4 #adbb ,bis7 he is shown to have been a lover of flowers also4 ,this small panel was formerly attributed to ,piero dei ,franceschi1 the ,umbrian artist4 ,for many years it hung among the ,drawings1 being apparently considered unworthy of a place in its proper environment1 among the ,italian primitive paintings1 where it is now hung4 ,it was purchased in #ahic out of the ,felix ,bamberg collection4 ,the lady is seen in profile to the left4 ,her hair is dressed according to the fashion of the period1 the front hair being plucked out to render the forehead round and high1 while the nape of her neck for the same reason is hairless4 ,she wears a white dress with loose-falling red sleeves2 a sprig of juniper 7ginevra7 is let into her dress just above the left shoulder4 ,it has been assumed from this that we here have a ,portrait of ,ginevra d',este4 ,she was the daughter of ,niccol ,,ii4 d',este by his second wife1 the infamous and ill-treated ,parisina ,malatesta1 who was decapitated in #adbe4 ,ginevra 7#adai-addj7 became the wife of ,sigismondo ,malatesta1 ,lord of ,rimini1 in #adcc1 and died three years later4 ,the background is composed of pinks and columbines1 among which fly four highly decorative butterflies4 ,the embroidery on the left sleeve of the dress is patterned with the impresa of a crystal vase set round with pearls4 ,it is interesting to note that ,ginevra's husband1 ,sigismondo1 is probably the ,donor in the ,madonna and ,child and a ,kneeling ,donor 7,no4 #aaei;,a or ,no4 #abgi7 by ,jacopo ,bellini which hangs next to it on the left4 ,the only other painted portrait by ,pisanello known is the later1 and larger1 one of ,leonello d',este in the ,bergamo ,gallery4 ,bono da ,ferrara 7fl4 #adej-adfa7 was a pupil of ,pisanello1 and ,oriolo 7fl4 #adej7 was a follower of his2 their pictures are extremely rare4 ,the ,louvre contains no picture by ,liberale da ,verona 7#adea-aecf71 a master who had many pupils1 among whom may be included ,girolamo dai ,libri 7#adgd-aeef7 and ,francesco ,caroto 7#adgj-aedf74 ,the ,madonna and ,child and ,st4 ,john the ,baptist 7,no4 #acah71 which is officially catalogued under the name of ,girolamo1 has long been held to be by ,caroto4 ,domenico ,brusasorci 78,the ,rat-burner07 7#adid-aefg7 was the father of ,felice ,riccio and a pupil of ,caroto4 ,he has been claimed as the author of the ,madonna and ,st4 ,martina 7,no4 #aafc71 which passes in the ,catalogue as being by the very late ,roman painter ,pietro ,berretini da ,cortona 7#aeif-affi74 ,other versions of this composition1 representing ,st4 ,martina triumphing over the ,idols1 are known4 ,a large number of the prominent ,veronese painters are unrepresented in this collection1 but the influence of ,liberale is frequently seen4 ,the ,council of ,trent 7,no4 #aehf7 may be assigned to ,paolo ,farinati1 although it is regarded by the authorities as coming from the hand of ,titian4 ,by the time that ,farinati died1 art in ,verona had passed into decline4 ,one of the most decorative painters in ,italy in the sixteenth century was ,paolo ,veronese1 who although a native of ,verona spent the best years of his life in ,venice4 ,he is usually included among the artists of ,venice4 ,,the ,,school ,,of ,,ferrara ,according to tradition the most famous artist in the school of ,ferrara before ,tura was ,ettore de' ,bonacossi1 of whom little is known4 ,at ,ferrara1 the city of the ,este family1 as at all the ,italian courts1 the art of painting was liberally patronised4 ,all ,ferrarese art was more or less ,paduan both in origin and style1 ,cosimo ,tura 7#adcj8-adie71 the founder of this school1 having worked at ,padua as a pupil of ,squarcione4 ,the seriousness of ,cosimo ,tura's realism was unyielding to those intellectual qualities that dominated the art of ,florence in his day2 but1 in spite of a certain harshness of effect1 the vigour of his design and the dignity of his conception give permanent value to the work of this master4 ,tura is represented in the ,louvre by two pictures2 the figures seen in his large lunette of the ,piet 7,no4 #aeef7 are admirably designed to fill up the space they occupy4 ,this panel is a dismembered part of an altarpiece which was painted for the ,roverella family1 and was formerly in its entirety in the ,church of ,s4 ,giorgio fuori le ,mura at ,ferrara4 ,the ,piet eventually passed to the ,campana collection1 and so to the ,louvre4 ,the drapery in this panel1 which is cracked horizontally1 is tinny1 and the flesh is metallic with its white and purple lights1 while the bones in the faces being over-prominent create an unpleasant effect4 ,the centre panel of the original altarpiece represents the ,madonna and ,child ,enthroned4 ,it passed in time into the ,frizzoni collection at ,bergamo1 and was subsequently purchased in #ahfg from ,sir ,charles ,eastlake for the ,national ,gallery 7,no4 #ggb74 ,the sinister wing of the original altarpiece depicts the ,bishop ,lorenzo ,roverella presented to the ,virgin by ,st4 ,maurelius and ,st4 ,paul1 and is now in the private rooms of the ,colonna ,palace in ,rome4 ,the ,church of ,s4 ,giorgio fuori le ,mura at ,ferrara also at one time contained another altarpiece painted by ,cosimo ,tura4 ,it was placed over the altar of ,st4 ,maurelius1 but has long ago been dismembered4 ,one of its panels is the ,flight into ,egypt1 in the collection of ,mr4 ,r4 ,h4 ,benson2 two others1 representing a ,scene from the ,life of ,st4 ,maurelius and ,the ,martyrdom of ,st4 ,maurelius1 are in the ,ferrara ,gallery2 another is the ,adoration of the ,magi1 in the possession of the ,contessa di ,santa ,fiora1 in ,rome2 while a fifth1 the ,circumcision1 belongs to the ,marchesa ,passeri1 in ,rome4 ,the ,louvre possesses an arched panel of ,a ,monk 7,no4 #aeeg7 by ,tura4 ,the panel is split and the cheek of the saint injured4 ,the seriousness of purpose which inspired ,cosimo ,tura was absorbed by his pupil ,francesco ,cossa 7#adce-adgg71 whose art is not seen at the ,louvre4 ,one of ,cossa's pupils was ,lorenzo ,costa1 who in #adhc passed from ,ferrara to ,bologna1 to which city he carried the principles of ,tura's training4 ,francesco ,bianchi 7#adfj-aeaj7 was another of ,tura's pupils1 but he belongs more strictly to the school of ,modena4 ,another pupil in the studio of the chef d'ecole of ,ferrarese painting was ,ercole ,roberti 7#adcj8-adif71 who also worked at ,padua4 ,this painter1 whose full name was ,ercole de' ,roberti ,grandi1 has been justly claimed as the author of the two small panels representing ,st4 ,apollonia 7,no4 #afgg;,a71 holding in her hand the pincers1 the symbol of her martyrdom1 and ,st4 ,michael 7,no4 #afgg;,b74 ,these companion pictures are officially described under the ambiguous designation of 8,ferrarese ,school1 ,,xvi century40 ,they1 however1 clearly belong to the earlier century1 and are probably by ,roberti4 ,the ,louvre contains nothing by ,ercole ,roberti's pupil1 ,ercole di ,giulio ,cesare ,grandi 7#adfe8-aeca74 ,ercole ,grandi's influence is sometimes seen in the exceedingly rare pictures of ,giovanni ,battista ,benvenuto1 who is better known under the name of ,ortolano 78the gardener071 and takes his name from the occupation of his father4 ,the art of ,ortolano 7#adfj-aebi7 is seen to the greatest advantage in the ,st4 ,sebastian1 ,st4 ,roch1 and ,st4 ,demetrius1 in the ,national ,gallery 7,no4 #ffi74 ,an immature work by him is apparently the ,nativity in this ,gallery 7,no4 #adja71 which in the opinion of the compilers of the ,catalogue is by ,domenico ,panetti 7#adej8-aeab871 a pupil of ,lorenzo ,costa4 ,panetti's works are rarely met with out of ,italy4 ,among the pictures of this school1 those of ,lodovico ,mazzolino 7#adgh8-aebh7 are perhaps the easiest to recognise4 ,his ,holy ,family 7,no4 #achg7 is not now exhibited1 but the ,christ preaching to the ,multitude on the ,sea of ,galilee 7,no4 #achh7 is evidently by him1 although it has been ranked by one critic as a ,flemish picture painted under the inspiration of ,mazzolino and ,dosso ,dossi4 ,panetti was the master of ,benvenuto ,tisi1 a very prolific painter who is better known by the name of ,garofalo 7#adha8-aeei71 owing to his occasionally painting a gillyflower into his pictures as a signature4 ,although the ,catalogue includes four small works by this artist1 a ,circumcision 7,no4 #aeej71 a ,holy ,family 7,no4 #aeeb71 a ,madonna and ,child 7,no4 #aeed71 and a ,sleeping ,child ,jesus 7,no4 #aeec71 only the last of them is now exhibited4 ,another artist in this school who signed his pictures with a rebus was ,giovanni ,lutero 7#adgi8-aedb71 who is better known under the name of ,dosso ,dossi4 ,a typical instance of this punning use of his name is the ,money ,changers driven out of the ,temple1 in the ,doria ,gallery at ,rome2 it is signed with a 8,d0 traversed by a bone 7osso71 obviously a play on his name of ,dosso or ,d ,,osso4 ,no picture by ,dosso ,dossi is now exhibited4 ,francesco ,bonsignori 7#adee-aeai71 ,marco ,zoppo 7fl4 #adga-adih71 ,michele ,coltellini 7#adhj-aedb71 ,ippolito ,scarsellino 7#aeea-afbj71 ,girolamo da ,carpi1 and other ,ferrarese painters are unrepresented in this collection4 ,,the ,,school ,,of ,,milan ,the painters who practised in ,milan in the fourteenth century were little better than provincial craftsmen who had come within the range of the ,giottesque tradition without grasping the more vital of its principles4 ,those who worked in ,milanese territory in the first half of the fifteenth century acquired some of the reflected influences which passed from the work of ,pisanello and ,jacopo ,bellini in ,verona1 and from the more striking achievements of the ,paduan and early ,venetian schools1 but their work lacked all trace of originality4 ,a painter of the name of ,michelino ,molinari da ,besozzo 7fl4 #acid-addb71 or ,michele da ,pavia1 was painting at ,milan about #adbj4 ,however1 there cannot be said to have been a school of painting1 but only an aggregation of painters in ,milanese territory1 prior to the arrival at ,pavia and ,milan of the ,brescian-born master1 ,vicenzo ,foppa1 about #adeh4 ,previous to that important event1 if not throughout the whole range of its activity1 ,milanese art lacked the higher elements of genius in all matters sthetic4 ,as a school it was to the end too inclined to mere prettiness and superficial sweetness4 ,the ,umbrian-born architect and painter1 ,bramante 7#addd-aead71 who had received his education in ,florence1 painted in ,lombardy from #adgb-adgd1 as his ,panigarola frescoes now in the ,brera testify4 ,bramante also influenced ,foppa1 whose work is well defined and whose colouring is subdued4 ,side by side with ,foppa at the head of the ,milanese school comes ,bernardino ,butinone 7fl4 #adej-aejg71 a great deal of whose work may still be seen at ,milan4 ,a ,madonna and ,child 7,no4 #aebc71 which is doubtfully ascribed in the ,catalogue to ,gregorio ,schiavone1 a pupil of ,squarcione at ,padua1 may possibly be by ,butinone1 whose art is marked by an austerity and dryness which are absent from the paintings of ,zenale1 who was the partner and perhaps a pupil of ,butinone4 ,the ,circumcision1 with the ,portrait of the ,donor 7,no4 #aede71 although catalogued under the name of ,bramantino1 may be by ,zenale 7#adcf-aebf74 ,this panel is inscribed 8,,xl4 ,,anno #adia4 ,f,r ,i,a ,,lapugnanvs ,p,p ,,hvmil ,,can40 ,bramantino 7#adee8-aecf871 whose name was ,bartolommeo ,suardi1 came under the influence of ,foppa and ,bramante1 and from the latter acquired his sobriquet4 ,the pictures of ,borgognone 7#adee8-aebb87 are easily recognised by the ashen grey pallor of his faces1 relieved occasionally by eyelids reddened by grief4 ,he was a prolific painter of religious pictures which show simple pathos4 ,with the possible exception of the ,family ,portraits in the ,national ,gallery 7,nos4 #ggi-ghj71 which are indeed fragments of a standard1 and may have been painted by ,zenale1 ,borgognone1 whose name was ,ambrogio da ,fossano1 is not known to have painted a secular subject4 ,this typical ,milanese painter was another of the pupils of ,foppa4 ,being an architect as well as a painter1 ,borgognone delighted in giving an architectural setting to his compositions4 ,he also loved to introduce brightly coloured carpets and draperies1 and minutely painted jewellery into his pictures4 ,these characteristics are seen in his companion pictures of ,st4 ,peter ,martyr and a ,donoress 7,no4 #aahb71 and ,st4 ,augustine and a kneeling ,donor 7,no4 #aahb;,a74 ,the latter of this pair of panels of his early period was purchased from ,lord ,aldenham in #ahii for #ajjj guineas4 ,they originally formed part of a dismembered altarpiece1 the centre panel of which is now lost or unidentified4 ,his ,presentation of ,christ in the ,temple 7,no4 #aaha71 although originally painted on panel1 was transferred to canvas in #ahhe4 ,borgognone might almost be termed the ,perugino of the ,milanese school4 ,,andrea ,,solario ,andrea ,solario 7#adfj8-aeae871 who was perhaps the pupil of his brother ,cristoforo a sculptor and architect1 went with him to ,venice in #adij and remained there at least three years4 ,during this time he came under the influence of ,alvise ,vivarini and ,giovanni ,bellini4 ,earlier in his career he was impressed by the pictures of ,antonello da ,messina1 who was in ,venice and ,milan in #adge-adgf4 ,solario can hardly have become ,antonello's pupil at that early age4 ,he must also have come within the sphere of ,leonardo da ,vinci's influence4 ,leonardo1 who worked in ,milan between #adhb and #aejj and from #aejf to #aeac1 was asked by the ,cardinal ,george of ,amboise to decorate a chapel in the ,chteau at ,gaillon in ,normandy4 ,he1 however1 advised the ,cardinal to employ ,solario4 ,solario in consequence went to ,france in ,august #aejg to undertake the work4 ,the ,louvre is rich in his pictures4 ,his charming ,madonna of the ,green ,cushion 7,no4 #aecj7 is inscribed3 ,andreas de ,solario fa4 ,this small panel was once the property of ,marie de ,mdicis4 ,the ,crucifixion 7,no4 #aecb7 was formerly catalogued under the name of ,andrea de ,milan1 which led some to confuse ,andrea ,solario with the much less efficient painter1 ,andrea ,salaino4 ,this picture is inscribed3 ,,andreas ,,mediolanensis ,,fa #aejc1 a form of signature which is said to have been employed by ,solario only for such of his pictures as were destined for other towns than ,milan4 ,the ,head of ,st4 ,john the ,baptist on a ,charger 7,no4 #aecc7 is said to be signed and dated ,,andreas ,,de ,,solario1 ,,fat1 #aejg4 ,the ,portrait of ,charles d',amboise1 ,seigneur of ,chaumont and ,governor of ,milan 7,no4 #aeca71 like many other of ,solario's pictures1 has in the past1 when the range of his art was not so well understood1 been attributed to other artists4 ,,bernardino ,,luini ,in ,bernardino ,luini 7#adge8-aecc87 we have a lyrical artist4 ,he is said to have been a pupil of one ,stefano ,scotto1 but he was deeply impressed by the art of ,borgognone1 and early in the sixteenth century came under the influence of ,leonardo4 ,indeed1 it was almost impossible at that period of ,milanese art for a painter in that school to resist the style of ,leonardo4 ,although ,luini's works are reminiscent of the greater master1 he strove after originality2 he was an industrious painter rather than an artist of genius4 ,luini is never very emotional1 never passionate1 never dramatic4 ,his figures are characterised by sweetness and grace2 his types are refined but insipid and are apt to become monotonous4 ,it is as a painter of frescoes that he succeeds best1 and the ,louvre is fortunate in possessing several of his works in that medium4 ,the best are a ,nativity 7,no4 #acei71 and an ,adoration of the ,magi 7,no4 #acfj74 ,the ,head of ,christ 7,no4 #acfa7 is inscribed3 ,,posce ,,ne ,,dubita ,,quod ,,quodcv ,,patri ,,in ,,nomine ,,me ,,petieris ,,fiet ,,tibi4 ,they were acquired in #ahfg from the collection of the ,duke ,antonio ,litta ,visconti ,arese1 of ,milan4 ,the ,louvre also contains fragments of large fresco paintings of the ,forge of ,vulcan 7,no4 #acef71 a ,child ,seated 7,no4 #aceg71 and a ,child ,kneeling 7,no4 #aceh74 ,they form part of the series1 which is now preserved in ,milan1 but formerly decorated the ,villa ,pelucca near ,monza2 they were removed from there in #ahag4 ,these three fragments have been transferred from plaster to canvas or panel4 ,the four frescoes 7,nos4 #acfb-acfe7 are by a pupil4 ,the art of ,luini as a painter on panel is seen to advantage in the ,holy ,family 7,no4 #acec71 the ,virgin and the ,infant ,christ 7,no4 #aced71 and ,salome receiving the ,head of ,st4 ,john the ,baptist 7,no4 #acee74 ,the arrival of ,leonardo da ,vinci1 when little over thirty years of age1 at the court of ,lodovico ,sforza at ,milan revolutionised art in that city4 ,the exquisite rhythm and balance and the remarkable gestures and facial expression seen in his ,last ,supper must have made a profound impression on all the ,milanese1 people and painters alike4 ,not having been educated in the profound principles that gradually built up the school of ,florence1 whence the great painter came1 the majority of the native artists were so overcome by his power that in time they became enslaved by the magic of his brush4 ,ambrogio da ,predis 7#adee8-aejf871 who worked as ,leonardo's assistant on the ,national ,gallery's replica of the ,virgin of the ,rocks in this collection 7,no4 #aeii71 is not represented here4 ,another assistant and pupil of ,leonardo was ,bernardino de' ,conti4 ,as we have seen1 he may be the painter of the ,profile ,portrait of a ,lady--or ,la ,belle ,ferronnire 7,no4 #afje7--which is officially regarded as being of the 8,school of ,leonardo40 ,a similar attribution is also given to the ,madonna of the ,scales 7,no4 #afjd71 which should rather be assigned to ,cesare da ,sesto 7#adgg-aebc71 a sickly and insipid imitator of the master4 ,another of ,leonardo's imitators was ,marco d',oggiono 7#adgj8-aedj74 ,his copy of ,leonardo's ,last ,supper 7,no4 #afjc7 is perhaps of greater interest than his own ,holy ,family 7,no4 #achb7 and ,madonna and ,child 7,no4 #achb;,a74 ,one of the more original of the imitators of ,leonardo was ,boltraffio 7#adfg-aeaf71 whose ,madonna of the ,casio ,family 7,no4 #aafi7 was formerly in the ,milan ,gallery1 where any picture containing a portrait of that poet might reasonably have been expected to remain4 ,this picture is the painter's masterpiece4 ,,the ,,school ,,of ,,lombardy ,after the activity which had prevailed in ,milan during the last half of the fifteenth century and the first quarter of the sixteenth century1 art in ,lombardy rapidly deteriorated4 ,before the decline had passed into decadence ,pier ,francesco ,sacchi 7fl4 #aeab-aebg7 painted at ,pavia his ,four ,doctors of the ,church 7,no4 #adhh71 which is signed in the cartouche ,,petri ,,francisci ,,sachi ,,de ,,papia ,,opus #aeaf4 ,each of the ,doctors duplicates the part of an ,evangelist4 ,on the left ,st4 ,augustine1 with his book inscribed 8,de ,civitate ,dei10 is also shown as ,st4 ,john with his eagle2 ,st4 ,gregory1 with his dove1 is also ,st4 ,luke with his bull2 ,st4 ,jerome1 with his cardinal's hat1 is also ,st4 ,matthew with his angel2 while ,st4 ,ambrose1 with his scourge1 is also ,st4 ,mark with his lion4 ,the scourge held by ,st4 ,ambrose1 a patron saint of ,milan1 alludes to his refusing the ,emperor ,theodosius admittance into the church at ,milan in consequence of the general massacre he ordered with a view to subduing a sedition at ,thessalonica in ,a4,d4 #cij4 ,another early-sixteenth-century ,pavian painter was ,bartolommeo ,bononi1 whose only known picture is the ,madonna and ,child1 ,st4 ,francis1 a ,bishop1 and a ,monk 7,no4 #aagd74 ,it is signed ,,opus ,,bartolomei ,,bononii ,,civis ,,papiensis #aeja4 on the stump of the tree in the centre foreground4 ,a striking1 although mediocre1 ,family of the ,virgin 7,no4 #abhd7 by ,lorenzo de' ,fasoli1 who is also known as ,lorenzo di ,pavia1 and who died about #aebj1 illustrates the tradition that ,st4 ,anne1 the mother of the ,virgin ,mary1 was three times married1 ,joachim being her third husband2 the other two were ,cleophas and ,salome4 ,this composition of seventeen figures is signed ,,laurentivs ,,papien ,,fecit ,,mdxiii1 and is one of the latest examples of this tradition1 which about #aebj passed out of art4 ,a large ,triptych 7,no4 #achd71 signed ,,joh,,nes ,,mazonvs ,,de ,,alex ,,pinxit1 is by ,giovanni ,massone1 who worked at ,alessandria in the second half of the fifteenth century2 it contains the portraits of ,pope ,sixtus ,,iv4 with ,st4 ,francis of ,assisi and ,cardinal ,giuliano della ,rovere under the protection of ,st4 ,anthony of ,padua4 ,cardinal ,giuliano della ,rovere was ,bishop of ,savona about #adhc2 he was in #aejc elected ,pope under the title of ,julius ,,ii41 and became the patron of ,raphael4 ,the remaining pictures of this school are of little account4 ,bernardino ,campi 7#aebb-aeib87 is represented by a ,mater ,dolorosa 7,no4 #abjb72 and ,bartolommeo ,manfredi 7#aehj8-afag7 by a ,fortune ,teller 7,no4 #acfh71 a subject which demonstrates the ,decadence in full operation4 ,giovanni ,paolo ,panini 7#afie-agfd71 who came to ,paris in #agcb and became an ,academician1 seems to have got some satisfaction out of committing to canvas a ,concert given at ,rome on ,dec4 #bf1 #agbi1 in ,honour of the ,birth of the ,dauphin1 the son of ,louis ,,xv4 7,no4 #adji7 and a large ,interior of ,st4 ,peter's at ,rome 7,no4 #adjh71 the latter being signed and dated #agcj4 ,,the ,,school ,,of ,,ferrara-,,bologna ,the city of ,bologna was visited in #abfh by ,oderigi of ,gubbio 7fl4 #abfh-abie71 who had the benefit of personal intercourse with ,giotto in ,rome4 ,bologna produced a skilled miniature painter in ,franco ,bolognese in the fourteenth century1 but gave birth to few native painters of merit4 ,until ,francesco ,cossa removed from ,ferrara to ,bologna in #adgj1 art in the ,city of the ,colonnades was in an undeveloped state4 ,the school of ,bologna1 which may be considered as an offshoot of the ,ferrarese school1 was further strengthened by the arrival of ,lorenzo ,costa4 ,lorenzo ,costa 7#adfj-aece71 who had been a pupil of ,francesco ,cossa at ,ferrara1 worked for the ,bentivogli family in ,bologna until #aeji4 ,in that year he was induced to fix his abode in ,mantua at the instance of the ,marquis ,francesco ,gonzaga and his wife ,isabella d',este1 whose court painter1 ,andrea ,mantegna1 had died three years earlier4 ,costa there painted about #aeaj his ,court of ,isabella d',este in the ,garden of the ,muses 7,no4 #abfa71 which is signed ,l4 ,,costa ,f4 ,this famous canvas shows a weakness of drawing and a 8want of force that mars what is meant for grace40 ,costa's ,mythological ,scene 7,no4 #abfb7 is not now exhibited1 but in it1 as in the majority of his works1 the figures have no real existence4 ,the heads are usually 8screwed on--not always at the proper angle--to crosspoles hung about with clothes40 ,his landscapes1 however1 8without being in any sense serious studies1 are among the loveliest painted in his day40 ,costa's shortcomings were to dominate to the end the school of ,bologna1 which was essentially1 almost from its incipience1 one of ,decadence4 ,he became the first direct master of ,francesco ,francia 7#adej-aeag71 the typical ,renaissance painter in ,bologna who seems to have taken to painting at the relatively advanced age of thirty-five4 ,francia had matriculated in the ,goldsmiths' ,guild in #adhb and was ,master of the ,guild in #adhc1 the year of ,costa's arrival2 but until he came under the influence of ,costa he had worked only as an engraver of paci in niello-work1 a die-sinker1 and a medallist4 ,they soon went into partnership1 the upper storey of their joint workshop being used for the painting of pictures1 while metal-work was executed below4 ,francia is not seen to the best advantage in the ,louvre4 ,his ,christ on the ,cross 7,no4 #adcf7 is somewhat unusual in treatment1 as a nude figure of ,st4 ,job1 a plague saint1 is painted in the foreground4 ,this large picture bears the characteristic signature ,,francia ,,aurifaber1 and shows his practice of demonstrating the versatility of his many talents4 ,the small ,nativity 7,no4 #adce7 is an authentic work4 ,the ,madonna and ,child1 with ,st4 ,george1 ,st4 ,sebastian1 ,st4 ,francis1 and ,st4 ,john the ,baptist 7,no4 #adcf;,a71 is known as the ,guastavillani ,madonna from the inscription to the effect that ,filippo ,guastavillani1 a ,bolognese senator1 ordered the picture of ,francia4 ,nevertheless1 this large panel appears to have been executed by his son1 ,giacomo4 ,a ,madonna and ,child 7,no4 #adcg7 and a ,holy ,family with ,st4 ,francis d',assisi 7,no4 #adcg;,a7 are only by pupils4 ,the ,louvre contains no example of the work of the ,umbrian artist1 ,timoteo ,viti 7#adfg-aebd71 who was a pupil of ,costa1 and from ,july #adij to ,april #adie worked in the studio of ,francia4 ,there are no other sixteenth-century ,bolognese paintings in this collection4 ,,the ,,school ,,of ,,cremona ,this small and unimportant school includes ,boccaccio ,boccaccino 7fl4 #adfj-aeah871 who was formed on various ,venetian and ,milanese influences4 ,the ,holy ,family 7,no4 #aafh7 which is credited to him1 but not now exhibited1 seems to be an unattributable panel by some artist of the ,lombard school4 ,this school includes an early-sixteenth-century imitator who has received the significant name of 8,pseudo-,boccaccino10 but is not here represented4 ,the ,mater ,dolorosa 7,no4 #abjb7 appears to be by ,bernardino ,campi1 a mediocre sixteenth-century painter of the ,lombard and ,cremonese schools4 ,sofonisba ,anguissola 7#aebh-afbe71 a female artist1 was his pupil and the wife of ,orazio ,lomellini4 ,,the ,,school ,,of ,,brescia ,this small town seems to have produced little local talent previous to the birth of ,foppa4 ,ottaviano ,prandino1 who had worked with ,altichiero at ,padua1 and ,bartolommeo ,testorino 7died about #adbi7 are little more than names4 ,vincenzo ,foppa 7#adbg8-aeaf87 was born near ,brescia4 ,the theory that he studied under ,squarcione at ,padua lacks confirmation4 ,on the other hand1 he seems to have been little affected by the ,squarcionesque traditions1 and is rather to be regarded as the artistic product of the school of ,verona1 where he would have come under the influence of ,pisanello and ,jacopo ,bellini4 ,he may have been a friend of ,andrea ,mantegna4 ,it is1 however1 not in ,brescia1 but in ,milan that ,foppa's art may be studied to-day4 ,he arrived in ,pavia about #adeh1 and became the founder of the school of ,milan twenty years before ,leonardo first took up his abode at the court of ,lodovico ,il ,moro4 ,foppa's pupil ,vincenzo ,civerchio 7#adgj8-aedd7 and ,floriano ,ferramola 7#adhj-aebh7 were the joint founders of the school of ,brescia2 ,romanino 7#adhe-aeff7 was a pupil of the latter4 ,the ,louvre is singularly poor in its representation of this school1 which cannot here be studied earlier than the 7so-called7 ,portrait of ,gaston de ,foix 7,no4 #aeah7 by ,giovanni ,girolamo ,savoldo 7#adhj8-aedh874 ,this canvas1 which appears to be signed ,opera di ,jovanni ,jeronimo di ,bressia di ,savoldi1 shows unmistakably the conflicting influences1 mostly ,venetian1 under which this artist worked4 ,moretto 7#adih8-aeee871 who was a pupil of ,ferramola and was influenced by ,savoldo and ,romanino1 produced large and striking altarpieces as well as portraits4 ,he met with some success in his attempts to combine a subtlety of feeling peculiar to himself with the 8silvery0 tones of which he was so fond4 ,his ,st4 ,bernardino of ,siena and ,st4 ,louis of ,toulouse 7,no4 #aage7 and his ,st4 ,bonaventura and ,st4 ,anthony of ,padua 7,no4 #aagf7 are arched panels on a much smaller scale than he often uses4 ,moretto's pupil1 ,giambattista ,moroni 7#aebe8-aegh71 painted many far better portraits than that of ,an ,old ,man seated 7,no4 #acie74 ,the only other ,brescian painting in this collection seems to be the ,portrait of a ,man 7,no4 #afdf71 who is seen at half length1 seated three-quarters to the left and wearing a robe trimmed with fur4 ,although catalogued as an unattributable ,italian work1 it is in our opinion by ,calisto ,piazza of ,lodi 7fl4 #aebj-aefj71 the son of ,martino ,piazza of the ,milanese school4 ,to ,calisto da ,lodi has been assigned the ,portrait of a ,knight of ,malta 7,no4 #aeid7 which is catalogued as being by ,titian4 ,the ,louvre is very inferior to the ,national ,gallery in both the quality and quantity of pictures of this school4 ,,the ,,school ,,of ,,modena ,the city of ,modena gave birth to the early painters ,tommaso da ,modena 7#acbe-acgi7 and ,barnaba da ,modena 7fl4 #acgg71 who worked in many different parts of ,tuscany4 ,the prominent figure in this school1 however1 is ,francesco ,bianchi 7#adfj-aeaj74 ,this painter1 whose name is sometimes given as ,francesco ,bianchi ,ferrari1 was in all probability a pupil of ,cosimo ,tura at ,ferrara4 ,he left that city about #adhj for ,modena4 ,his style of painting has been the subject of much discussion1 chiefly because he is regarded as the master of ,correggio of ,parma4 ,the ,madonna and ,child1 with ,st4 ,benedict and ,st4 ,quentin 7,no4 #aafg71 although officially catalogued under his name1 is not now generally accepted as his work4 ,in #agbe it was in the ,church of ,st4 ,quentin at ,parma and attributed to ,francia4 ,certain critics have ascribed it to ,alessandro da ,carpi and others to ,pellegrino ,munari of ,modena 7#adej8-aebc74 ,bianchi's work can only be studied in the ,pinacoteca ,estense and in the churches at ,modena4 ,the three pictures officially catalogued under the name of the third-rate artist ,bartolommeo ,schidone 7#aegj8-afae7 are not exhibited1 nor are they missed1--a remark which will also apply to a ,st4 ,cecilia 7,no4 #abec7 by ,jacopo ,cavedone 7#aegg-affj74 ,,the ,,school ,,of ,,vicenza ,the first ,vicentine painter known to us is ,battista da ,vicenza 7fl4 #adej71 but it was not until the last quarter of the fifteenth century that ,vicenza produced a painter of any note4 ,bartolommeo ,montagna 7#adfj8-aebc7 studied the art of the ,vivarini1 and so became the central figure in an unimportant school4 ,his ,ecce ,homo 7,no4 #acic71 which bears the signature3 ,bartholomeus ,montagna ,fecit in a cartellino fastened to a twig1 is a mature work4 ,the delightful and late picture of ,three ,angel ,musicians 7,no4 #acid71 which is signed in a cartellino ,opus ,bartholomei ,montagna1 shows the unmistakable influence of ,gentile ,bellini4 ,the same motif is found in the three musician angels in ,montagna's magnificent ,madonna and ,child1 with ,st4 ,andrew1 ,st4 ,monica1 ,st4 ,ursula1 and ,st4 ,sigismund1 of #adih1 in the ,brera4 ,montagna's son1 ,benedetto 7fl4 #aejj-aedj71 ,giovanni ,buonconsiglio 7#adgj8-aecf871 and ,giovanni ,speranza 7#adhj-aecf7 also practised as painters2 but ,vicentine art from the middle of the sixteenth century has little claim on our attention4 ,,the ,,school ,,of ,,vercelli ,one of the earliest painters in this school was an obscure artist of the ,old ,lombard school named ,martino ,spanzotti4 ,he was the master of ,gaudenzio ,ferrari 7#adga-aedf71 whose frescoes are easily recognisable by the crude colour1 exuberant imagination1 and forceful1 almost brutal1 realism which have caused him to be termed1 somewhat loosely1 the ,rubens of ,italy4 ,a very late work by him is the ,st4 ,paul 7,no4 #abhe71 which is signed and dated #aedc ,,gaudentius4 ,another of ,spanzotti's pupils was ,sodoma1 who was born at ,vercelli in ,piedmont1 in #adgg4 ,he is best known for the large amount of work that he executed at ,siena4 ,this prolific artist1 like a number of other painters of this unimportant school1 is not represented in the ,louvre4 ,he died in #aeea4 ,a faint echo of the teaching of ,spanzotti may at times be detected in the works of ,defendente ,ferrari 7fl4 #aejj-aece7 and ,girolamo ,giovenone 7fl4 #aeac-aebg71 who are not represented in the ,louvre4 ,illustration3 ,,plate ,,xv4--,,correggio 7#adid-aecd7 ,,school ,,of ,,parma ,no4 #aaag4--,,the ,,mystic ,,marriage ,,of ,,st4 ,,catherine 7,mariage mystique de ,sainte ,catherine7 ,the ,virgin1 in a red tunic and blue mantle1 is seated to the left of the composition holding on her lap the ,infant ,christ4 ,he is about to place the wedding-ring on the third finger of the outstretched right hand of the kneeling ,st4 ,catherine1 who wears a gold-brocaded robe4 ,behind her stands ,st4 ,sebastian1 looking on with interest and clasping in his hand the arrows1 the symbol of his martyrdom4 ,in the landscape background are depicted scenes of the martyrdom of the two ,saints4 ,painted in oil on panel4 #c ft4 #e in4 #c ft4 #d in4 7#aje #ajb47 ,,the ,,school ,,of ,,parma ,one of the most distinctive and perhaps the most sensuous of the ,italian masters is ,correggio 7#adid-aecd71 who takes his name from his birthplace1 ,il ,correggio1 a small town near ,modena4 ,it was natural1 therefore1 that he should have become the pupil of ,francesco ,bianchi of the school of ,modena4 ,correggio came under almost all the leading influences which distinguish the principal ,italian schools of the early sixteenth century4 ,his 8sidelong grace10 his subtle gradations of tone1 his daring foreshortening1 his sublimity of space and light1 his vivid imagination1 his profound knowledge of chiaroscuro1 render him an isolated phenomenon in ,italian art at the moment when it was passing into precipitate decline4 ,his ,marriage of ,st4 ,catherine 7,no4 #aaag1 ,plate ,,xv47 entirely lacks the dignity and solemnity which are the dominant features of truly religious art4 ,the figures which make up this fascinating composition are delicate1 but by no means of an elevated type4 ,this pseudo-religious picture1 when studied together with the ,jupiter and ,antiope 7,no4 #aaah71 shows the justice of the criticism that ,correggio's pictures are 8hymns to the charm of femininity the like of which have never been known before or since in ,christian ,europe40 ,it is more remarkable that this mythological canvas1 which is so full of sensuous vitality1 should have been added to the royal collection of ,england in the seventeenth century than that it should have been allowed by ,cromwell to leave the country a few years later4 ,two ,allegories of ,virtue and ,vice1 executed by ,correggio in gouache1 hang in one of the ,rooms of ,drawings4 ,parmigianino 7#aejd-aedj71 an imitator of ,correggio and in a less degree of ,raphael1 who were both shortlived artists1 painted the two small panels of a ,holy ,family 7,no4 #ache71 and a ,holy ,family and ,saints 7,no4 #achf74 ,,the ,,school ,,of ,,bologna ,after the deaths of ,francia in #aeag and ,lorenzo ,costa in #aecf1 painting in ,bologna rapidly decreased in quality1 although not in volume4 ,a distinctive feature was the work of ,marc ,antonio ,raimondi 7b4 #adge71 a pupil of ,francia1 who developed the process of engraving on copper4 ,bologna1 which like other cities of ,italy felt the effects of humanism1 acquired an increased importance in political activity through the meeting there of ,pope ,leo ,x4 and ,francis ,i41 in #aeae1 and by the ,coronation of ,charles ,v41 on ,feb4 #bd1 #aecj4 ,it also obtained within a few years a great reputation as an art centre1 although it is not easy for us now to realise why4 ,the esteem in which its art was held in foreign countries is also difficult to explain4 ,innocenzo da ,imola1 who had studied under ,francia1 was the master of ,primaticcio1 who was summoned to ,france by ,franois ,i4 in #aeca4 ,primaticcio at that time was working at ,mantua with ,giulio ,romano1 the favourite pupil and the imitator of ,raphael4 ,while ,primaticcio took with him the influence of ,bolognese art to ,fontainebleau1 where he died in #aegj1 ,pellegrino ,tibaldi 7#aebg-aeia71 a pupil of ,bagnacavallo1 carried the ,bolognese influence into ,spain4 ,the appreciation by a foreign artist of the art of ,bologna is shown in the case of ,denis ,calvaert of ,antwerp1 who thought the ,bolognese school to be in so flourishing a state1 when he passed through on his way to study in ,rome1 that he decided to abandon his original intention and to stay on in the city of the ,colonnades4 ,a striking feature of the literature and art of painting at ,bologna was that its ,university had always accorded equal terms to women students with men1 and had women professors4 ,female painters--they were without exception only of the third rank--had worked in ,bologna from the days of ,caterina di ,vigri1 painter and saint1 who was born as early as #adac4 ,in the last quarter of the sixteenth century1 art in ,bologna passed into the complete control of the ,eclectics4 ,,the ,,decadent ,,schools ,in the ,florentine and ,roman schools the ,decadence may be said to have begun with the death of ,raphael in #aebj4 ,with the exception of the ,venetian school1 in which art did not languish until after the death of ,tintoretto in #aeid1 painting rapidly degenerated during the second half of the sixteenth century4 ,paintings were1 of course1 produced in great profusion in every art centre of ,italy1 but form and subject were not in true harmony4 ,to a great extent local traditions were abandoned1 the earlier types varied1 and three distinctive movements developed--the 8,mannerists10 the 8,eclectics10 and the 8,naturalists40 ,,the 8,,mannerists0 ,giulio ,romano 7#adib8-aedf7 was content to imitate the works of ,raphael2 and ,daniele da ,volterra 7#aeji-aeff7 tried1 as we have seen in his ,david overcoming ,goliath 7,no4 #adfb71 to reproduce the swelling muscles of ,michelangelo4 ,baroccio 7#aebf-afab7 in his ,circumcision 7,no4 #aadi71 which is signed and dated #aegj1 and in his ,virgin in ,glory1 with ,st4 ,anthony and ,st4 ,lucy 7,no4 #aaej71 sought to reproduce the ineffable grace of ,correggio2 while others endeavoured to repeat the enigmatic smile1 the 8greyhound0 eye1 and the mysterious chiaroscuro of ,leonardo da ,vinci4 ,although the 8,mannerists0 were to be met with in most of the centres of painting in the sixteenth century1 they made ,rome the centre of their operations4 ,domenico ,feti 7#aehi-afbd7 is represented in the ,louvre by four canvases1 ,nero 7,no4 #abhf71 ,life in the ,country 7,no4 #abhg71 ,melancholy 7,no4 #abhh71 and ,the ,guardian ,angel 7,no4 #abhi71 the subjects being highly significant4 ,in the ,holy ,family 7,no4 #adic7 by ,sassoferrato 7#afje-afhe7 are shown the shallowness and empty formalism which produced the fair-haired1 blue-eyed1 hyper-sentimental ,madonnas with which his name is associated4 ,carlo ,dolci is not represented in the ,louvre4 ,one of the more estimable artists in the ,late ,roman school is ,carlo ,maratta 7#afbe-agac71 who may be judged by the unsigned ,portrait of ,marie ,madeleine ,rospigliosi 7,no4 #acgi7 and ,his ,own ,portrait 7,no4 #achj74 ,two paintings of ,fruit 7,nos4 #abed1 #abee7 stand to the credit of ,m4 ,a4 ,cerquozzi 7#afjb-affj71 and the art of ,g4 ,b4 ,castiglione1 of ,genoa 7#afaf-afgj71 is seen in his ,abraham and ,melchizedek 7,no4 #abej7 and ,animals and ,utensils 7,no4 #abeb74 ,,the 8,,eclectics0 ,a revolt against the methods of the 8,mannerists0 was made by the ,carracci when they opened their school of art at ,bologna in #aehi4 ,these 8,eclectics0 78,pickers and ,choosers07 advocated a careful study of 8the drawing of ,rome1 the ,venetian shadow1 the terrific force of ,michelangelo's manner1 the natural truth of ,titian1 the pure and sovereign style of ,correggio1 the true symmetry of ,raphael1 the dignity and principle of ,tibaldi1 the invention of the learned ,primaticcio1 together with a little of the grace of ,parmigianino06 ,it is not surprising that they in their turn soon sank into mere academic mediocrity4 ,the ,louvre is notoriously rich in representative examples of the 8,eclectic0 painters' art4 ,the name of ,lodovico ,carracci 7#aeee-afai71 the founder of this school at ,bologna1 is included in the official ,catalogue1 but neither of his two pictures is at present exhibited4 ,lodovico had as cousins1 ,agostino 7#aeeg8-afjb7 and ,annibale 7#aefj8-afji71 who also worked in ,rome4 ,six of ,annibale ,carracci's fifteen pictures in this collection are now exhibited4 ,the ,madonna of the ,cherries 7,no4 #abag7 and the ,sleeping ,child ,jesus 7,no4 #abah7 are characteristic1 while his huge canvas of ,the ,virgin appearing to ,st4 ,luke and ,st4 ,catherine 7,no4 #abai7 in every way exemplifies the art of this painter and his school4 ,it is inscribed3 ,,annibal ,,caractius ,f4 ,,mdxcii4 ,pictures of this type were much sought after and prized in the eighteenth century1 when this one was seized by ,napoleon in ,italy1 but to-day a higher standard of sthetics has deservedly ruled them out of fashion4 ,on the other hand1 sufficient attention is not now paid to some of the landscape pictures which the 8,eclectics0 painted2 ,annibale's ,fishing 7,no4 #abcc7 and ,hunting 7,no4 #abcb7 are worth the attention of the student4 ,antonio ,carracci 7#aehc-afah71 a less-known member of this family1 is the author of a large canvas depicting ,the ,deluge 7,no4 #abce74 ,guido ,reni1 after working under ,denis ,calvaert at ,bologna1 entered the school of the ,carracci4 ,this fitful sentimentalist indulged in idealised abstractions that were neither human nor divine1 as may be seen from his ,david and ,goliath 7,no4 #adci7 and ,st4 ,sebastian 7,no4 #adej7 on the one hand1 and his ,ecce ,homo 7,no4 #addg7 and ,mary ,magdalene 7,no4 #addh7 on the other4 ,four of his large mythological paintings 7,nos4 #adec1 #aded1 #adee1 #adeg7 show some technical ability4 ,francesco ,albani 7#aegh-affj7 was influenced by the ,carracci and ,guido ,reni4 ,the ,diana and ,actaeon 7,no4 #aaaa7 may be selected out of his nine productions mentioned in the ,catalogue4 ,domenichino 7#aeha-afda71 a pupil of the ,carracci1 the assistant of ,annibale and a friend of ,guido ,reni in ,rome1 was a sentimentalist of the most pronounced order4 ,his hard execution and unpleasant colouring can be judged in his ,st4 ,cecilia 7,no4 #afac71--;her features are singularly ill-proportioned1--but nine of his other pictures do not take up any of the valuable wall space4 ,the self-taught artist and insipid ,guercino 78,the ,squintling07 7#aeia-afff71 after working in ,rome1 settled in #afdb at ,bologna1 where he died in affluent circumstances4 ,his ,raising of ,lazarus 7,no4 #aaci71 the large ,patron ,saints of ,modena 7,no4 #aadc71 together with a ,circe 7,no4 #aadg7 and ,the ,painters ,own ,portrait 7,no4 #aadh71 are now exhibited4 ,these and such pictures as were painted by ,g4 ,a4 ,donducci 7#aege-afee71 ,g4 ,f4 ,grimaldi 7#afjf-afhj71 ,s4 ,cantarini 7#afab-afdh71 and ,g4 ,m4 ,crespi 7#affe-agdg71 provoked a fresh reaction4 ,,the 8,,naturalists0 ,a natural reaction against the selective methods of the 8,eclectics0 gave rise to the 8,naturalists10 who1 headed by ,michelangelo ,caravaggio 7#aefi-afji71 made ,naples the centre of their operations4 ,the utterly repulsive picture entitled ,the ,death of the ,virgin 7,no4 #aaba71 by ,caravaggio1 is merely large4 ,neither ,the ,fortune ,teller 7,no4 #aabb7 nor the ,concert of ,nine ,musicians 7,no4 #aabc7 can be compared with the really striking and well-painted ,portrait of ,alof de ,wignacourt1 ,grand-,master of ,malta 7,no4 #aabd74 ,salvator ,rosa 7#afae-afge7 is represented by ,tobias and the ,angel 7,no4 #adgg7 and a ,vision of ,saul to ,samuel 7,no4 #adgh74 ,his ,landscape 7,no4 #adhj7 shows that he delighted in 8ideas of desolation1 solitude and danger1 impenetrable forests1 rocky and storm-lashed shores1 in lonely dells leading to dens and caverns of banditti1 alpine ridges1 trees blasted by lightning or sapped by time40 ,his ,battle 7,no4 #adgi7 is a strange production4 ,caravaggio was the master of ,ribera 7#aehh-afef71 who is also called ,spagnoletto1 and is included in the ,catalogue among the ,spanish artists4 ,this 8,naturalist0 school of ,naples also included ,luca ,giordano 7#afcb-agje71 who lived in ,spain at one period4 ,the aim of the 8,naturalists0 is displayed in the prominence they gave to all that was vulgar1 coarse1 and vile4 ,with them art in ,italy came to an ignominious end1 although in technical accomplishment1 in mere craftsmanship1 they can hold their own with painters of much higher rank4 ,illustration3 ,,plate ,,xvi4--,,jan ,,van ,,eyck 7#acij8-adda7 ,,early ,,flemish ,,school ,no4 #aihf4--,,the ,,virgin ,,and ,,child ,,and ,,the ,,chancellor ,,rolin 7,la ,vierge au donateur7 ,an angel in a blue alb and with peacock-blue wings is placing an elaborate gold crown on the head of the ,madonna1 who holds the ,infant ,christ on her knee1 and is seated towards the right of the composition4 ,on the other side the ,chancellor1 kneeling at a prie-,dieu1 and with his hands joined in adoration1 wears a richly brocaded robe1 and is seen in profile towards the right4 ,the figures are grouped in a portico opening on to a flower-garden and a crenellated wall2 in the distance is seen a seven-arched bridge1 and beyond it a castled island4 ,painted in oil on panel4 #b ft4 #b in4 #b ft4 #j in4 7#jff #jfb47 ,,the ,,early ,,flemish ,,school ,the early art of ,flanders1 unlike that of ,italy1 does not present itself at the ,louvre1 or indeed at any ,gallery1 in orderly sequence from the immature groping for artistic expression to masterly achievement4 ,with the exception of the exquisite work of the late-fourteenth-century miniaturists1 which forms a special branch of study1 there is nothing to bridge the immense gulf that divides ,melchior ,broederlam1 the earliest known ,flemish painter1 from the brothers ,van ,eyck1 whose earliest known work1 the wonderful ,ghent polyptych of ,the ,adoration of the ,lamb1 is1 if not quite the starting-point1 the noblest achievement of the ,early ,flemish school4 ,the invention of oil-painting1 in the sense of the word as it is applied to-day1 with which the ,van ,eycks are credited1 no doubt contributed largely towards this amazingly sudden progress2 but their art also marks a new era in the conception of life and pictorial form4 ,an ardent love of truth and nature takes the place of the earlier vague idealism4 ,at the same time1 the realism of the brothers ,van ,eyck and their followers1 notwithstanding its insistence on literal truth in the representation of frequently ugly details1 was kept in check by deep sentiment1 love of splendid colour1 and a great sense of style in composition4 ,details1 even in the far-away distance1 were certainly elaborated with minute precision1 but they are never unduly obtrusive1 and are invariably subordinated to the main motive4 ,,jan ,,van ,,eyck ,the earliest important ,flemish painting in the ,louvre is the famous ,virgin and ,child with the ,chancellor ,rolin 7,no4 #aihf1 ,plate ,,xvi47 by ,jan van ,eyck 7c4 #acij-adda71 which was taken by order of ,napoleon ,i4 from the ,collegiate ,church of ,autun in ,burgundy4 ,in a three-aisled colonnaded hall with stilted arches and pavement of geometrical inlay is seen ,nicholas ,rolin1 ,chancellor of ,burgundy and ,brabant1 kneeling at a prayer-desk before the ,virgin1 on whose right knee is seated the ,infant ,saviour holding an orb in ,his left and raising ,his right hand in benediction4 ,an angel with peacock-blue wings is floating above the ,virgin and holding an elaborately wrought golden crown over her head4 ,the exquisite detail of the river landscape with a view of ,maastricht extending beyond the open colonnade1 the sumptuous brocaded dresses1 the carved capitals of columns and piers1 and many other details painted with inimitable minute skill1 help towards an ensemble of jewel-like splendour dimmed but not marred by the yellow varnish which covers the surface4 ,the ,virgin with the ,donor was formerly generally attributed to ,hubert1 but is most probably a late work by ,jan van ,eyck1 painted perhaps about #adcb4 ,,the ,,school ,,of ,,tournai ,neither ,petrus ,christus 7#adab8-adgc71 the only master who was directly influenced by ,jan van ,eyck1 nor ,robert ,campin 7#acfe-addd71 who is now known to be identical with the so-called 8,matre de ,flmalle10 and who was the head of the important ,tournai school1 are represented at the ,louvre4 ,the official ,catalogue ascribes to ,campin's greatest pupil1 ,rogier van der ,weyden 7c4 #adjj-adfd71 the two panels ,the ,virgin and ,child 7,no4 #baie71 and ,the ,deposition from the ,cross 7,no4 #baif71 of which at least the former is only a school version of an often repeated theme by the master1 whilst the ,deposition is by no means an important example of his work4 ,rogier was born at ,tournai1 but went to ,brussels after #adcb1 and practised in that city until his death in #adfd4 ,a journey to ,italy in #addi did not appreciably affect his art1 which always retained an archaic flavour1 especially in the rather tortured rendering of the nude4 ,in this respect1 and also in his utter disregard of beauty 7except the beauty of rhythmic line71 he compares unfavourably with the brothers ,van ,eyck1 as may be clearly seen on comparing his work with ,jan van ,eyck's ,virgin and ,donor4 ,his occasional use of gold backgrounds1 as in the ,virgin and ,child 7,no4 #baie71 is another archaic trait4 ,the hand of a nameless contemporary and follower of ,campin and ,rogier van der ,weyden1 who is also represented at the ,galleries of ,vienna1 ,turin1 and ,antwerp1 is to be recognised in the small panel of ,the ,annunciation 7,no4 #bbjb71 which was formerly attributed to the much later painter ,lucas van ,leyden1 and has also been claimed to be only a copy of a picture by the ,matre de ,flmalle4 ,,hans ,,memlinc ,the influence of ,rogier van der ,weyden determined the entire course taken by the ,flemish school until its decline with the introduction of those ,italian ,renaissance tendencies which only became a vital factor and led to the birth of a new ,flemish art through the genius of ,rubens4 ,again1 ,rogier's chief pupil1 ,dierick ,bouts 7c4 #adaj-adge71 is unrepresented at the ,louvre4 ,in the art of ,hans ,memlinc 7c4 #adcj8-adid71 who was the founder of the great school of ,bruges1 may be found clear traces of the influence of ,rogier and of ,bouts1 although we have no certain knowledge as to that master's actual pupilage4 ,he may have been born at ,mmlingen1 near ,aschaffenburg on the ,main1 and apparently had already risen to fame as a painter before #adfg1 the date of his great altarpiece at ,dantzig4 ,by that time he was settled at ,bruges4 ,mr4 ,w4 ,h4 ,j4 ,weale's researches have shown that the legend1 according to which ,memlinc first came to ,bruges as a wounded soldier and was nursed back to health at the ,hospital of ,st4 ,john1 is not founded on fact4 ,it is probable that ,memlinc served his apprenticeship under some ,cologne painter1 but all theories regarding his early life must remain largely conjectural4 ,what is of real importance is that he introduced into the detailed realism of his precursors a note of pious fervour and tender idealism1 which is the nearest approach in ,northern art to the angelic sweetness of ,fra ,giovanni da ,fiesole4 ,not without good reason has he been called 8the ,fra ,angelico of the ,north40 ,fromentin was certainly right in saying that 8,van ,eyck saw with his eyes1 ,memlinc begins to see with his soul40 ,it is this warmth of feeling that makes ,memlinc the most lovable painter of the ,flemish school1 for he could neither rival the dramatic power and realistic truth of the ,van ,eycks1 nor the firm draughtsmanship of ,van der ,weyden1 nor ,bouts's skill in landscape painting4 ,nor did he take full advantage of the possibilities of the oil technique1 his method remaining that of the tempera painters1 although he availed himself of the new medium4 ,the earliest work by ,memlinc in the great ,french national collection is the charming little diptych1 painted about #adge1 and representing on one leaf ,the ,mystic ,marriage of ,st4 ,catherine 7,no4 #bjbg71 and on the other ,the ,donor1 ,john du ,celier1 presented by ,st4 ,john 7,no4 #bjbg;,a74 ,in the first the ,virgin is seen seated in a flowering meadow in front of a rose-covered trellis and supporting the ,infant ,christ1 who bends forward to place the ring on the finger of ,st4 ,catherine on the left4 ,behind the saintly bride are ,st4 ,agnes and ,st4 ,cecilia2 whilst the group on the right comprises ,st4 ,barbara1 with ,st4 ,margaret and ,st4 ,lucy1 all accompanied by their characteristic attributes4 ,on the other leaf the ,donor is seen kneeling1 with hands joined in prayer1 in front of ,st4 ,john the ,baptist1 who is pointing to ,our ,lord4 ,the landscape background shows1 on the left1 the ,apocalyptic vision of ,st4 ,john the ,evangelist1 and on the right1 ,st4 ,george fighting the ,dragon4 ,this leaf1 after passing through the collection of ,mr4 ,herz and ,mr4 ,heath1 was presented to the ,louvre in #ahie by ,mme4 ,andr1 and was thus reunited with its companion1 which had been bequeathed to the ,gallery fourteen years earlier by ,m4 ,e4 ,gatteaux4 ,it is on the whole in an excellent state of preservation1 although some of the accessories in the background are so thinly painted that they have almost disappeared4 ,,memlinc',s 8,,virgin ,,and ,,child1 ,,with ,,donors0 ,about #adij ,memlinc must have painted the admirable ,virgin and ,child1 with ,donors 7,no4 #bjbf71 which was commissioned by ,james ,floreins1 a member of the ,bruges ,merchant ,grocers' ,guild1 but subsequently found its way to ,spain1 whence it was taken to ,france by ,general d',armagnac4 ,the ,donor1 who is kneeling on the left1 in front of his seven sons1 is presented by ,st4 ,james the ,great1 the same office being performed by ,st4 ,dominic for ,floreins's wife and her twelve daughters1 on the opposite side4 ,the scene is laid in a ,romanesque church1 with openings at either side1 through which glimpses of the landscape beyond are obtained4 ,the characterisation of all the faces1 which bear a strong family likeness1 is as admirable as the painting of the noble architecture4 ,remarkable1 too1 is the effect of perfect symmetry obtained in the arrangement of the two unequal groups through the simple device of placing the ,virgin and ,child more towards the less crowded side1 although the canopy is in the exact middle of the panel4 ,this altarpiece is certainly one of the most important works by ,memlinc that are to be found outside ,belgium4 ,the two little panels1 ,st4 ,john the ,baptist 7,no4 #bjbd71 and ,st4 ,mary ,magdalene 7,no4 #bjbe71 both standing in a landscape with small scenes from their respective legends1 formed originally1 with two further panels representing ,st4 ,christopher and ,st4 ,stephen1 the shutters of a triptych4 ,the centre part had disappeared before the wings1 carefully sawn through the thickness of the panels so1 as to separate the obverse from the reverse1 came into the possession of ,lucien ,bonaparte1 and afterwards of ,william ,,ii4 of ,holland4 ,the two ,saints now at the ,louvre were purchased in #ahea for #dfi4 ,in #aijh the ,louvre obtained1 at the high price of #hjjj1 the ,portrait of an ,old ,lady 7,plate ,,xvii471 to which attention was first drawn at the ,bruges ,exhibition in #aijb1 when it was shown by ,m4 ,nardus1 from whom it passed into the hands of ,m4 ,kleinberger4 ,both the ,paris portrait1 which is drawn with exquisite precision but has apparently suffered from over-cleaning1 and its companion1 the portrait of this anonymous lady's husband at the ,berlin ,museum1 were until #ahhd in the ,meazzu collection in ,milan4 ,the triptych 7,no4 #bjbh7 with 7a7 ,the ,resurrection1 7b7 ,the ,ascension1 and 7c7 ,the ,martyrdom of ,st4 ,sebastian1 which was bought at ,turin in #ahfj for #edj1 and is officially considered to be of doubtful authenticity1 is included by ,mr4 ,weale in his catalogue of ,memlinc's works4 ,,gerard ,,david ,the reconstruction and the rescuing from oblivion of the artistic personality of ,gerard ,david1 begun by ,mr4 ,weale and completed by ,freiherr von ,bodenhausen1 is one of the triumphs of the modern scientific method of criticism4 ,the ,louvre is fortunate in possessing two important examples from the brush of this master1 who1 born at ,ouwater in ,holland about #adfj1 was in his early studies influenced by ,albert van ,ouwater1 but1 after settling at ,bruges in #adhc1 came under the spell of ,van ,eyck1 ,bouts1 and above all of ,memlinc1 whom he succeeded as leader of the ,bruges school4 ,on his death in #aebc1 the supremacy of that school came to an end1 and passed on to the city of ,antwerp1 which by that time had also superseded ,bruges as a commercial centre4 ,gerard ,david was not ,memlinc's equal as regards intimate charm1 but in his work is to be found a summing-up of all the achievement of the ,flemish ,quattrocento--8the last concentrated expression of the aims of all the great masters of that fertile age40 ,illustration3 ,,plate ,,xvii4--,,hans ,,memlinc 7#adcj8-adid7 ,,early ,,flemish ,,school ,no4--#d4--,,portrait ,,of ,,an ,,old ,,lady ,she is seen in full face and at half-length1 wearing the costume of the period2 her hands are superposed2 landscape background to the left1 with a winding sandy path4 ,a porphyry column to the right4 ,painted in oil on panel4 #a ft4 #b in4 #a ft4 7#jcf #jcj47 #d ,this picture has not yet received an official number4 ,after having been successively attributed to ,van ,eyck1 ,van der ,weyden1 ,memlinc1 and ,david's pupil ,ysenbrant1 the ,marriage at ,cana 7,no4 #aieg1 ,plate ,,xviii47 is now generally admitted to be designed and partly executed by ,gerard ,david1 although the panel shows unmistakable evidence of being completed by another and less skilful hand4 ,mr4 ,weale has shown1 on the strength of a certain document1 that the picture may have been finished by ,ysenbrant1 but he has been unable to establish that the document quoted by him refers to this particular picture4 ,there can be no doubt that ,david himself painted the figure of the ,donor1 kneeling on the left1 a marvellous example of early portraiture1 and the ,donor's son1 the ,christ1 and the boy carrying the cake4 ,some of the other heads are almost wooden in their hardness4 ,the head of the ,dominican looking into the hall through an opening beyond which is to be seen the ,place du ,saint-,sang1 at ,bruges1 is clearly an afterthought1 and is introduced so clumsily that the wall and the page-boy with the cake-dish really leave no room for the friar's body4 ,there is a curious lack of spiritual cohesion in the picture--the majority of the figures look away from the ,saviour as well as from the bride1 although the significance of the moment is such as to demand a concentration of everybody's attention on the ,christ4 ,the picture1 of which there are several replicas1 notably one at the ,stockholm ,museum by ,david's pupil ,ambrosius ,benson1 was until #aehj in the ,chapel of the ,saint-,sang at ,bruges1 and then in the collection of ,louis ,,xiv41 from which it passed into the ,louvre4 ,the triptych 7,no4 #bbjb;,a7 of the ,virgin and ,child1 with ,two ,angels1 in the centre1 and ,two ,donors presented by ,st4 ,john the ,baptist and ,st4 ,john the ,evangelist1 on the wings1 is officially catalogued as an anonymous picture of the ,flemish sixteenth-century school1 but is unquestionably an early work of ,gerard ,david4 ,it is interesting to note that the male ,donor is the same as the ,donor in the ,marriage at ,cana1 though younger in years1 and that the delightful and strangely ,italian putti on the capitals of the columns that flank the ,virgin's throne recur again1 reversed1 in ,david's ,judgment of ,cambyses1 at ,bruges4 ,the ,adam and ,eve on the outside of the shutters are inspired by the corresponding figures on the great ,van ,eyck altarpiece at ,ghent4 ,the ,louvre triptych was bought at the ,garriga sale in ,madrid1 in #ahij1 for #bdh4 ,,hieronymus ,,bosch ,before passing on to the school founded at ,antwerp by ,quentin ,matsys 7c4 #adff-aecj71 mention should be made of ,hieronymus ,bosch van ,aeken 7c4 #adfb-aeaf71 who1 a follower of ,ouwater1 has as much right to be counted among the masters of the ,dutch as of the ,flemish school4 ,of his life we know but little4 ,his pictures reveal that realistic observation of everyday life which was to become the characteristic of the ,dutch school2 but1 added to it1 there is a tendency towards the grotesque which made him delight in subjects that gave him full scope for the invention of weird monsters1 devils1 and spectres1 such as the demons in ,the ,damned 7,no4 #aijj71 which is attributed to ,bosch in the official ,catalogue1 but is1 like its companion1 ,heaven1 at the ,lille ,museum1 the work of the unknown painter of the famous ,last ,judgment at ,dantzig1 which has by various experts been given in turn to ,jan van ,eyck1 ,rogier van der ,weyden1 and ,memlinc4 ,there is at the ,louvre a drawing which corresponds to so remarkable a degree with the panel ,no4 #aijj1 that it has long been held to be a study from the same hand4 ,this drawing is1 however1 more probably an early study by the ,german master ,martin ,schngauer after the ,louvre panel4 ,the picture was formerly in the ,duchtel collection1 and was given to the ,louvre by the ,duc de la ,tremolle4 ,illustration3 ,,plate ,,xviii4--,,gerard ,,david 7#adfj8-aebc7 ,,early ,,flemish ,,school ,no4 #aieg4--,,the ,,marriage ,,at ,,cana 7,les ,noces de ,cana7 ,the scene takes place in a richly appointed chamber1 which on the left side looks out on to the ,place du ,saint-,sang at ,bruges4 ,the ,bride is seated on the farther side of the table2 towards the left the ,virgin bows her head in the direction of the ,christ4 ,in the left-hand corner of the composition kneels the ,donor1 wearing the costume of a ,provost of the ,company of the ,holy ,blood2 on the right kneels the ,female ,donor4 ,guests and servants variously disposed complete the picture4 ,painted in oil on panel4 #c ft4 #b in4 #d ft4 #b in4 7#jif #abh47 ,,the ,,antwerp ,,school ,quentin ,matsys1 the painter of ,the ,banker and his ,wife 7,no4 #bjbi1 ,plate ,,xix471 of which numerous replicas and variants are known1 some probably from the hand of his pupil ,marinus van ,roymerswaele1 still owes his training to the primitives of his race1 but heralds the new era which was to culminate in the art of ,rubens1 by passing from the earlier minute precision of detail to a certain breadth of style and boldness of brushwork1 necessitated partly by the larger scale adopted for his figures4 ,neither ,the ,saviour ,blessing 7,no4 #bjcj7 nor ,the ,virgin and ,child 7,no4 #bjcj;,a71 both of which are catalogued under his name1 can be accepted as authentic2 but the interesting genre group of ,the ,banker and his ,wife is not only fully signed and dated ,,qventin ,,matsys1 ,,schilder1 #aead1 but is unmistakably the work of his brush1 although the woman's face and hands appear to have been badly repainted4 ,it was bought in #ahjf at the low price of #gb4 ,the best version of the same subject is the one in the ,sigmaringen ,gallery4 ,by ,quentin ,matsys is also1 probably1 the ,piet 7,no4 #bbjc71 which is catalogued officially as 8,flemish ,x,v,ith ,century40 ,quentin's son ,jan1 who followed his father's tradition and achieved considerable distinction1 is the painter of the hideous ,david and ,bathsheba 7,no4 #bjcj;,b71 which bears the inscription #aefb4 ,,ioanes ,,massiis ,,pingebat4 ,next in importance among the ,antwerp masters is ,jan ,gossart 7c4 #adgj-aecc871 better known as ,mabuse1 from the name of his native town ,maubeuge in the ,hainault4 ,in his early work he followed the tradition of the great masters of his own country1 but a journey to ,italy in #aejh made him change his manner1 and led him to adopt1 together with the amplitude of ,italian design1 a certain floridness which compares unfavourably with the honest realism of his precursors and which led to the rapid decadence of the ,flemish school4 ,in the magnificent portrait of ,jean ,carondelet1 ,perpetual ,chancellor of ,flanders 7,no4 #aiig1 ,plate ,,xx471 although it was painted as late as #aeag1 he is still faithful to the great tradition of his country for honest1 straightforward1 shrewdly observed1 and delicately wrought portraiture4 ,an inscription on the top of the arched gilt frame reads3 ,,repr,,sentacion ,,de ,,messire ,,jehan ,,carondelet1 ,,havlt ,,doyen ,,de ,,besan,,on1 ,,en ,,son ,,eage ,,de #dh1 and1 below1 8,,fait ,l',,an #aeag40 ,in a niche behind the panel are the letters 8,i ,c0 entwined with strings1 and the motto 8,,matvra40 ,the portrait was1 therefore1 obviously painted just before ,carondelet accompanied ,charles ,v4 to ,spain in #aeag4 ,this portrait panel1 together with ,the ,virgin and ,child 7,no4 #aiih71 which bears on the frame the inscription ,,mediatrix ,,nostra ,,qve ,,est ,,post ,,devm ,,spes ,,sola ,,tvo ,,filio ,,me ,,representa1 and the signature 8,,johannes ,,melbodie ,,pingebat10 formed a diptych which was bought in #ahdg from a ,valenciennes architect for the ridiculous price of #dj6 ,a later portrait of ,carondelet by ,mabuse1 dated #aeca1 appeared in #aijg at ,christie's under the name of ,c4 ,amberger1 and realised the price of #chhe4 ,another portrait of ,carondelet1 by ,b4 van ,orley1 is in the ,munich ,gallery1 where it is officially ascribed to ,quentin ,matsys1 who is probably the painter of yet another portrait of the ,chancellor which was recently in the ,duchtel collection in ,paris4 ,the ,portrait of a ,benedictine 7,no4 #aiii7 bears the date #aebf and the signature ,,joanne ,,malbold ,,pinge4 ,the decline of the ,antwerp school through the introduction of ,italian mannerisms is illustrated in ,young ,tobias restoring ,sight to his ,father 7,no4 #bjja71 a fully signed late picture by ,jan van ,hemessen1 who flourished in that city towards the middle of the sixteenth century1 and in whose art the last traces of the great national tradition disappear4 ,illustration3 ,,plate ,,xix4--,,quentin ,,matsys 7#adff8-aecj7 ,,flemish ,,school ,no4 #bjbi4--,,the ,,banker ,,and ,,his ,,wife 7,le ,banquier et sa femme7 ,on the far side of a table covered with a green cloth and strewn with various objects1 which include a crystal cup and a circular mirror1 are seated the banker1 wearing a dark blue robe edged with fur1 and his wife who is turning over the leaves of an illuminated book of hours4 ,at the back are shelves1 on which are displayed books and many decorative objects4 ,painted in oil on panel4 ,signed on a roll of paper in the background3--8,,quentin ,,matsys1 ,,schilder1 #aead40 #b ft4 #e in4 #a ft4 #aa in4 7#j4gd #j4fj47 ,,barend ,,van ,,orley ,of the school that flourished in ,brussels before ,italianism appeared in the person of ,barend van ,orley 7c4 #adie-aedb71 the only name that has come down to posterity is that of ,rogier van der ,weyden's follower1 ,colin de ,coter1 thanks to the clear inscription ,colin de ,coter pinxit me in ,brabancia ,bruxelle on the hem of the dress of the kneeling ,magdalen in ,the ,holy ,women 7,no4 #aieb;,b71 which1 with ,the ,trinity 7,no4 #aieb;,a7 and another lost panel1 probably originally formed a triptych4 ,the signed wing was presented to the ,gallery in #aijc2 whilst the ,trinity centre-piece was bought two years later from the ,abb ,toussaint at ,st4 ,omer for #abj4 ,like ,mabuse1 ,barend van ,orley1 after showing in his early work clear traces of his descent from the ,flemish primitives1 drank deeply at the fountain of ,italian art4 ,he was profoundly impressed by ,raphael1 from whom he endeavoured1 with a certain degree of success1 to learn the noble flow of drapery and the harmonious disposition of the design4 ,on the other hand1 he sacrificed the lustrous richness of ,early ,flemish colour and became addicted to dull grey shadows and pinkish lights4 ,his ,holy ,family 7,no4 #bjfg;,a7 does not rank with his finest works1 ,the ,last ,judgment at ,antwerp and the ,holy ,family at ,liverpool4 ,the architectural setting1 with a statue of ,neptune in a square in the background1 indicates the advent of the ,renaissance4 ,the picture was bought at the ,otlet sale in ,brussels1 in #aijb1 for #edj4 ,with ,barend van ,orley closes the chapter of the ,early ,flemish school4 ,indeed1 he was rather the first of the new era than the last of the primitives4 ,illustration3 ,,plate ,,xx4--,,jan ,,mabuse 7#adgj8-aecc87 ,,early ,,flemish ,,school ,no4 #aiig4--,,portrait ,,of ,,jean ,,carondelet1 ,,perpetual ,,chancellor ,,of ,,flanders 7,portrait de ,jean ,carondelet1 chancelier perptuel de ,flandre 7#adfi-aedd77 ,he is bare-headed and wears a blue robe2 he is turned three-quarters to the right2 his hands are folded in prayer4 ,painted in oil on panel4 ,inscribed on the frame3--8,,repr,,sentacion ,,de ,,messire ,,jehan ,,carondelet1 ,,havlt ,,doyen ,,de ,,besan,,on1 ,,en ,,son ,,eage ,,de #dh10 and1 below1 8,,fait ,l',,an #aeag40 #a ft4 #e in4 #aj in4 7#jdc #jbg47 ,,the ,,late ,,flemish ,,school ,the period of the great struggle of the ,netherlands for religious and political independence from the yoke of ,spain and the ,inquisition was not propitious for the fostering of the ,fine ,arts4 ,not only did the troubled provinces1 as was quite natural1 slacken in artistic production1 but a vast portion of the treasures owned by churches and monastic establishments were destroyed by the fanaticism of ,protestant iconoclasts4 ,the separation of the ,protestant ,north from the ,catholic ,south by the ,utrecht ,union in #aegi became in a way the determining factor for the future course of painting in ,holland and in the ,belgic provinces4 ,the ,dutchmen practically had no further use for religious painting1 and devoted themselves more exclusively to the domestic genre1 portraiture1 and landscape2 whilst the ,flemings applied themselves largely to infusing new vitality into the representation of ,scriptural characters and incidents which1 through constant mechanical repetition1 had become mere allegorical hieroglyphics1 or generalised ideas without the all-important sense of pulsating life4 ,this regeneration was the great deed of ,peter ,paul ,rubens 7#aegg-afdj71 who1 whilst still benefiting from the example of the great ,italians1 remained the very embodiment of ,flemish character and thought1 and became the founder of the second important period of ,flemish national art4 ,he was a man of exuberant vitality and boundless energy1 endowed with a creative force unequalled in the whole history of art4 ,he must rank for all time among the very giants of the brush1 with ,rembrandt1 ,titian1 and ,velazquez1 his contribution to the progress in pictorial art being the use of pigment and sweeping brushwork as a constructive element--an advance as significant as the ,venetians' admission of light into the pictorial scheme1 which with the ,florentines was based entirely on linear design4 ,,pieter ,,brueghel ,but before considering the magnificent array of close on fifty authentic works by the master which form part of the ,french national collection1 reference will have to be made to a few ,flemish artists of the singularly barren decades that precede the advent of ,rubens4 ,first and foremost among these is ,pieter ,brueghel 7or ,breughel7 the ,elder 7#aecj-aefi71 who was born at ,breda in #aecj1 became a pupil of ,pieter ,koeck1 and died at ,brussels in #aefi4 ,in spite of his early travels in ,italy--which were then already considered indispensable for the completion of an artist's training--he remained unaffected by the all-pervading ,italian influence4 ,he was pure ,flemish in thought and expression1 and devoted himself to the realistic painting of peasant life4 ,certain realistic features which make his pictures sometimes appear obscene and coarse to modern eyes are merely an expression of the humour of his age4 ,the exquisite little painting1 ,the ,beggars 7,no4 #aiag71 which is fully signed ,,peter ,,brueghel1 ,m ,d ,l ,,viii1 is probably some satirical political allusion to the revolutionary party who called themselves the ,gueux 7beggars74 ,a similar political significance is probably the intention of ,the ,parable of the ,blind 7,no4 #aiag;,a74 ,the single file of blind men following their blind leaders into a river is meant to satirise the moral blindness of the artist's compatriots following their political leaders into disaster4 ,this excellent version of ,brueghel's famous masterpiece at ,naples was bought at the ,leys sale at ,antwerp1 in #ahid1 for #gbd4 ,the type of picture to which the elder ,brueghel owes his sobriquet 8,peasant ,brueghel0 is exemplified at the ,louvre by two little panels1 ,a ,village 7,no4 #aiah7 and ,peasants ,dancing 7,no4 #aiah;,a71 which can1 however1 only be accepted as school pictures4 ,,jan ,,brueghel ,of ,brueghel's two sons1 ,pieter the younger1 known as 8,hell0 ,brueghel1 is not represented at the ,louvre1 which1 on the other hand1 boasts possession of eight examples from the brush of 8,peasant0 ,brueghel's second son1 ,jan 7#aefh-afbe71 known to fame as 8,velvet0 ,brueghel1 either owing to his love of splendid apparel or to the velvety softness of his brush4 ,he began as a still-life and flower painter1 in which capacity he often collaborated with ,rubens4 ,having journeyed to ,rome in #aeic1 he devoted himself more exclusively to landscape enlivened with many small figures1 for which some ,scriptural or mythological subject generally provided the excuse4 ,where his pictures contain figures on a larger scale1 they are generally put in by ,rubens1 ,rottenhammer1 or ,van ,balen4 ,the last-named is certainly responsible for the figures in ,air 7,no4 #aibj71 one of a series of the ,four ,elements1 painted by ,jan ,brueghel for his ,roman patron1 ,cardinal ,federigo ,borromeo1 in #afba4 ,to the same series belongs ,earth1 or ,the ,earthly ,paradise 7,no4 #aiai71 a subject often repeated by him1 as for instance in the versions at ,the ,hague and at ,budapest4 ,of his other pictures at the ,louvre ,the ,bridge of ,talavera 7,no4 #aibe71 and the ,landscape 7,no4 #aibf71 are signed and dated ,,brueghel1 #afai1 and ,j4 ,,brueghel1 #afbj1 respectively4 ,the ,battle of ,arbela 7,no4 #aiba7 is a characteristic work with many minutely wrought figures4 ,the ,landscapes 7,nos4 #aibc and #aibd7 are of doubtful authenticity1 and were formerly attributed to ,paul ,bril4 ,they are not now exhibited4 ,there are scarcely any ,flemish characteristics in the art of ,paul ,bril 7#aeef-afbf71 the younger brother and pupil of ,matthias ,bril4 ,he was born at ,antwerp1 but worked nearly all his life in ,rome4 ,there is little to distinguish this precursor of ,poussin in the art of landscape from his ,italian contemporaries4 ,in ,duck ,shooting 7,no4 #aijh71 ,diana and her ,nymphs 7,no4 #aiji71 and ,pan and ,syrinx 7,no4 #aiaa7 the figures are believed to have been painted in by ,annibale ,carracci4 ,the ,fishermen 7,no4 #aiaj7 bears his signature ,,pa4 ,,brilli1 and the date #afbd4 ,,the ,,franck ,,family ,although the ,louvre owns no picture by ,frans ,floris1 the head of the ,italianising mid-sixteenth-century ,antwerp school1 his uninteresting style may be studied in ,the ,story of ,esther 7,no4 #aihi7 by his pupil ,frans ,franck 7#aedb-afaf74 ,to that second-rate artist's son1 ,frans ,franck the ,younger 7#aeha-afdb71 who already benefited to a certain extent by the example of ,rubens1 is given in the official ,catalogue ,ulysses recognising ,achilles among the ,daughters of ,lycomedes 7,no4 #aiia;,a74 ,the ,parable of the ,prodigal ,son 7,no4 #aiij71 which is also catalogued under his name1 is obviously by his son ,frans ,franck ,,iii41 since the date #affc precedes the signature1 and ,f4 ,franck the younger died in #afdb4 ,frans ,pourbus the ,younger 7#aefi-afbb7 was born at ,antwerp1 but spent the later part of his life in ,paris1 where1 like his father1 he enjoyed considerable reputation as a portrait painter4 ,he had previously been working at the ,mantuan ,court1 and became painter to ,marie de ,mdicis after #afji4 ,although he occasionally produced altarpieces like the rather uninspired ,last ,supper 7,no4 #bjfh7 and ,st4 ,francis receiving the ,stigmata 7,no4 #bjfi71 he was essentially a portrait painter4 ,in this capacity he belongs rather to the age that was coming to a close than to the new era initiated by ,rubens4 ,his portraits are quite soundly painted1 rich in colour1 and convincing as likenesses1 but lack depth of character and suavity of touch4 ,by far his best pictures at the ,louvre are the ,portrait of ,henri ,,iv4 7,no4 #bjga7 and the large ,portrait of ,marie de ,mdicis 7,no4 #bjgb71 in which the details of the costume are particularly noteworthy4 ,less important is another ,portrait of ,henri ,,iv4 7,no4 #bjgj71 and one of ,guillaume du ,vair 7,no4 #bjgd74 ,octavius van ,veen1 or ,otto ,venius 7#aeeh-afbi71 the painter of ,the ,artist and his ,family 7,no4 #baia71 owes his fame more to the fact that he was one of the three masters under whom ,rubens studied than to any intrinsic merit of his art4 ,,peter ,,paul ,,rubens ,the ,louvre owes its almost unequalled wealth in paintings by ,rubens to the master's relations with ,marie de ,mdicis and her ,court2 and to this reason is due the fact that by far the largest portion of the fifty-one authentic works wholly or partly from his brush1 which now form part of this great collection1 date approximately from1 or immediately before and after1 the time during which he was busy with the famous series painted by order of that queen for the decoration of the ,luxembourg ,palace1 and now to be seen in a setting appropriate to their florid sumptuousness in the new ,rubens ,gallery at the ,louvre4 ,even so1 the collection comprises examples of every phase of the master's colossal activity--religious and historical compositions1 allegorical paintings1 landscapes1 portraits1 still life1 and even genre-pieces1 like the ,kermesse 7,no4 #baae71 in which he successfully competes with ,teniers on a ground peculiarly his own4 ,born at ,siegen in #aegg1 ,rubens received his artistic education at ,antwerp from ,tobias ,verhaecht1 a landscape painter1 ,adam van ,noort1 and ,o4 van ,veen4 ,at the age of twenty-three he went to ,italy and entered the service of ,vincenzo ,gonzaga of ,mantua1 studying in their own country the works of the great ,italian masters1 and especially the ,venetians1 from whose glorious colour he derived more benefit than from his early training4 ,with the exception of a journey to the ,court of ,philip ,,iii4 at ,madrid1 where he was sent on a mission by the ,duke of ,mantua in #afjc1 ,rubens spent the eight years from #afjj to #afjh in the various ,italian centres1 and especially in ,rome1 where he painted1 about #afjf1 the little ,landscape with ,ruins 7,no4 #baai71 which is of interest not only as showing to what degree he was at that time influenced by the ,roman school1 and by the ,carracci1 but also as being the very first landscape known to have been produced by him4 ,the same view of the ,palatine ,hill is to be recognised in the background of the ,four ,philosophers at the ,pitti ,palace1 and in the portrait of ,woverius in the ,arenberg collection4 ,of about the same time1 though the figures would appear to have been added at a considerably later date1 is the ,landscape with a ,rainbow 7,no4 #baah74 ,,rubens ,,at ,,antwerp ,having returned to ,antwerp in #afjh1 and married his first wife1 ,isabella ,brant1 in the following year1 ,rubens1 who was now made ,court painter to ,archduke ,albrecht1 entered upon a period of stupendous artistic activity1 which extended to about #afba1 when he began to divide his time between art and diplomatic missions1 and1 having previously organised a vast studio with an army of assistants1 often left the execution of his brilliant sketch designs to less capable hands4 ,this early ,antwerp period is not particularly well represented at the ,louvre1 although the collection includes ,the ,virgin surrounded by the ,holy ,innocents 7,no4 #bjgh7-- a ,virgin of characteristic ,flemish coarseness and fulness of form1 in the midst of a dense swarm of delicious1 plump1 dimpled1 wingless angel-children1 whose rosy baby-flesh is painted with inimitable mastery4 ,the picture was painted about #afae1 six years before ,the ,virgin and ,child within a ,garland of ,flowers 7,no4 #bjgi71 executed in #afba for ,cardinal ,federigo ,borromeo4 ,the tasteless floral wreath in this picture1 as in the similar versions at ,munich and ,new ,york1 is from the brush of ,jan ,brueghel4 ,to about the year #afae belongs also the ,christ on the ,cross1 with the ,virgin1 the ,magdalen and ,st4 ,john 7,no4 #bjhb71 which can1 however1 hardly be entirely from the master's own hand4 ,the mass of unbroken vermilion in the robe of ,st4 ,john is one of ,rubens's favourite devices at that period4 ,the ,resurrection of ,lazarus 7,no4 #bjha7 is the original sketch for the ,berlin picture4 ,in #afbj1 when ,rubens undertook to paint a series of thirty-nine ,miracles of ,,ss4 ,ignatius ,loyola and ,franois ,xavier for the ceiling of the ,jesuit ,church at ,antwerp1 the business-like organisation of his studio was an acknowledged fact1 as may be gathered from the terms of the agreement which stipulated that the master himself should provide the designs1 though the execution was to be entrusted to his most competent assistants4 ,the actual paintings were destroyed by fire in #agah1 but of the original sketches seventeen have been preserved1 and are now distributed between the ,louvre1 the ,vienna ,academy1 the ,museums of ,gotha and ,brussels1 and the ,dulwich ,gallery4 ,the four in the ,la ,caze collection at the ,louvre are ,abraham's ,sacrifice 7,no4 #babj71 ,abraham and ,melchisedek 7,no4 #baba71 ,the ,elevation of the ,cross 7,no4 #babb71 and ,the ,coronation of the ,virgin 7,no4 #babc74 ,the whole series1 but especially the first two of these1 is remarkable for the boldness of the foreshortening1 calculated for the position of the panels on the ceiling1 and for the swift bravura and inimitable expressiveness of the brushwork4 ,to the same period belongs ,philopmen recognised by an ,old ,woman 7,no4 #babd71 which is essentially a brilliant still-life study for a lost picture4 ,,the ,m,,dicis ,,series ,we come now to the series of twenty-one large allegorical paintings1 designed by ,rubens and executed mostly by his pupils1 from #afba to #afbe1 for the decoration of the ,luxembourg ,palace for ,marie de ,mdicis1 whose by no means inspiring career had to furnish the subjects for the series4 ,it was a thankless task which could only be accomplished by a tour de force--by removing the events of the queen's life from actuality into the sphere of mythology and allegory4 ,that the strange mingling of the real and the ideal should sometimes verge on the grotesque was almost inevitable--as inevitable as that the work of his assistants should have failed to do full justice to the master's conception1 even if it was 8pulled together0 by the easily recognisable touches added by ,rubens to the finished panels4 ,the florid exuberance of design and colour was entirely in keeping with the purpose and the surroundings for which the paintings were intended4 ,it is impossible here to enter into a full description of this extensive series1 or to define exactly ,rubens's share in each of the eleven pictures4 ,we must confine ourselves to the brief enumeration of the subjects in the order in which they are now to be seen in the new ,rubens ,gallery4 ,the series begins with ,the ,fates spinning the ,destiny of ,marie de ,mdicis 7,no4 #bjhe74 ,then follow ,the ,triumph of ,truth 7,no4 #baje72 ,henri ,,iv4 receiving the ,portrait of ,marie 7,no4 #bjhh72 ,the ,marriage of ,marie by ,procuration with ,henri ,,iv4 7,no4 #bjhi72 ,marie landing at ,marseilles1 ,nov4 #c1 #afjj 7,no4 #bjij72 ,the ,marriage at ,lyons1 ,dec4 #aj1 #afjj 7,no4 #bjia72 ,the ,birth of ,louis ,,xiii4 at ,fontainebleau1 ,sept4 #bg1 #afja 7,no4 #bjib72 ,henri ,,iv4 leaves for the ,war with ,germany and entrusts the ,government to the ,queen 7,no4 #bjic1 ,plate ,,xxi472 ,the ,coronation of the ,queen 7,no4 #bjid72 ,apotheosis of ,henri ,,iv4 and the ,queen's ,regency 7,no4 #bjie72 ,the ,queen's ,journey to ,ponts-de-,c 7,no4 #bjig72 ,exchange of the ,two ,princesses1 ,nov4 #i1 #afae 7,no4 #bjih72 ,the ,prosperous ,regency 7,no4 #bjii72 ,the ,majority of ,louis ,,xiii4 7,no4 #bajj72 ,the ,queen's ,nocturnal ,flight from ,blois 7,no4 #baja72 ,the ,reconciliation of the ,queen with her ,son 7,no4 #bajb72 ,the ,conclusion of ,peace 7,no4 #bajc72 and ,marie's ,interview with her ,son 7,no4 #bajd74 ,but ,the ,birth of ,marie de ,mdicis1 at ,florence1 on ,april #bf1 #aege 7,no4 #bjhf72 ,the ,education of ,marie by ,minerva1 ,mercury1 ,apollo1 and the ,graces 7,no4 #bjhg72 and ,the ,gods in ,olympus protecting the ,queen's ,government 7,no4 #bjif71 which belong to the same series1 have been placed in another room4 ,of the first and the last paintings the ,louvre owns the original sketch on one panel1 by ,rubens1 for ,the ,triumph of ,truth and ,the ,fates spinning the ,destiny of ,marie 7,no4 #baaj71 the other preliminary sketches being at the ,hermitage and the ,munich ,gallery4 ,it is interesting to note that all these sketches are designed in a very light key1 almost in grisaille1 with touches of rose and other tender colour notes1 so that apparently ,rubens's assistants were allowed great liberty in the matter of colour4 ,m,,dicis ,,portraits ,several other pictures by ,rubens at the ,louvre--all of them portraits--are more or less directly connected with the ,mdicis series1 and were painted between #afba and #afbe4 ,these are the ,portrait of ,anne of ,austria 7,no4 #baab71 which was formerly known as ,elizabeth of ,bourbon2 the ,portrait of ,francesco de' ,medici 7,no4 #bajf71 ,grand ,duke of ,tuscany1 and father of ,marie de ,mdicis1 which was painted for the ,luxembourg ,gallery2 the ,portrait of ,johanna of ,austria 7,no4 #bajg71 daughter of the ,emperor ,ferdinand1 and wife of ,francesco de' ,medici2 the ,portraits of ,marie de ,mdicis 7,nos4 #bajh and #baji7 7the former in the character of ,bellona1 and both studio works with the final touches added by the master72 and the ,portrait of ,baron ,henri de ,vicq 7,no4 #baaa71 who1 as ,flemish ,ambassador to the ,french ,court1 was instrumental in procuring ,rubens the important commission for the ,luxembourg pictures4 ,this admirable portrait was bought at the ,king of ,holland's sale in #ahej for #fcg4 ,to the same period belongs the beautiful ,portrait of ,susanne ,fourment 7,rubens's handsome1 large-eyed sister-in-law1 whose features are best known from the ,chapeau de ,paille at the ,national ,gallery71 which is still officially catalogued as ,portrait of a ,lady of the ,boonen ,family 7,no4 #baad72 and the important composition ,lot's ,flight from ,sodom 7,no4 #bjge71 which bears the rare full signature and date ,,pe4-,,pa4-,,rubens ,,fe1 ,a #afbe1 to prove the master's satisfaction with his own handiwork4 ,it is a design of carefully studied rhythm1 dramatic expressiveness1 and subtly harmonised colour1 carried out with the swift sureness of his later work4 ,in #afbg1 a year before his mission to ,spain on behalf of the ,infanta ,isabella1 widow of the ,archduke ,albrecht1 ,rubens designed for his patroness an important series of tapestries1 which were1 as was his wont at that period1 sketched out by him1 executed by his assistants1 and touched up by his own hand4 ,the tapestries were subsequently presented by the ,infanta to a convent at ,madrid2 some of the paintings for them perished by fire1 others were preserved at the ,convent of ,loeches1 near ,madrid4 ,two of these1 ,the ,prophet ,elijah in the ,desert 7,no4 #bjgf7 and ,the ,triumph of ,religion 7,no4 #bjhc71 were part of ,general ,sebastiani's loot from ,spain1 and were bought by the ,louvre for #bdjj2 whilst four others1 now at ,grosvenor ,house1 were bought by the ,marquis of ,westminster for #aj1ejj4 ,of about the same date is the brilliant ,adoration of the ,magi 7,no4 #bjgg71 with its ,titianesque scheme of strong red1 blue1 and golden yellow1 of which a replica is in an ,irish private collection4 ,illustration3 ,,plate ,,xxi4--,,sir ,,peter ,,paul ,,rubens 7#aegg-afdj7 ,,flemish ,,school ,no4 #bjic4--;,,henri ,,iv4 ,,leaves ,,for ,,the ,,war ,,with ,,germany1 ,,and ,,entrusts ,,the ,,government ,,to ,,the ,,queen 7,henri ,,iv4 part pour la guerre d',allemagne et confie la reine le gouvernement du royaume1 #afaj7 ,the ,king1 attended by warriors and holding the banner of ,france1 prepares to leave the country to make war against ,germany2 he hands the ,globe1 the emblem of ,state1 to ,marie de ,mdicis2 the ,queen gives her hand to the little ,dauphin1 who later became ,king under the title of ,louis ,,xiii4 ,painted in oil on canvas4 #ab ft4 #aa in4 #aa ft4 #d in4 7#cid #bie47 ,,late ,,works ,,by ,,rubens ,the closing decade of ,rubens's life is represented by five pictures of considerable importance4 ,of ,queen ,tomyris with the ,head of ,cyrus 7,no4 #bjhd7 there is an earlier1 large1 and deservedly famous version in ,lord ,darnley's collection2 but the ,louvre picture exceeds it in beauty of design and in unity of colour4 ,it was painted about the same time 7cca4 #afcb7 as ,religion crowned by a ,genius 7,no4 #babf71 one of the sketches for the ceiling at ,whitehall4 ,of peculiar interest1 owing to its unfinished state which reveals the master's method of portraiture1 is the superb portrait group of ,hlne ,fourment1 the ,artist's ,second ,wife1 and ,two of her ,children 7,no4 #baac1 ,plate ,,xxii474 ,only the heads1 which are remarkable for an intensity of expression that is rarely to be found in ,rubens's paintings1 are finished4 ,all the rest is loosely and thinly sketched in sepia heightened with swift touches of brighter colour4 ,it was painted about #afcf1 which is also the approximate date of ,a ,flemish ,kermesse 7,no4 #baae71 an almost unique instance of the master applying the exuberant energy of his magic brush to a subject in which the expression of intense vitality and full-blooded sensuousness assumes the aspect almost of bestiality--which1 however1 in no way detracts from the artistic value of the painting4 ,to turn from this to ,a ,joust by the ,moat of a ,castle 7,no4 #baaf7 is to pass from coarse realism to pure romanticism1 inspired probably by the associations of the picturesque ,castle of ,steen1 which ,rubens had bought in #afce1 and which forms the setting for this scene of knightly prowess4 ,this1 and the marvellous and strangely modern little ,landscape 7,no4 #baag71 in which the morning sun is seen rising from the autumnal mist1 belong to the closing years of ,rubens's life4 ,he died at ,antwerp on ,may #bj1 #afdj4 ,,anthony ,,van ,,dyck ,born at ,antwerp in #aeii1 ,anthony van ,dyck 7#aeii-afda71 after having worked a few years under ,hendrick van ,balen1 entered ,rubens's studio in #afae1 and soon became so conversant with the method of his famous master1 that he was at an early age entrusted with the execution of important designs4 ,before he had reached his twentieth year he was a member of the ,guild of ,st4 ,luke1 and had acquired a reputation second only to that of ,rubens himself4 ,the ,portraits of ,jean ,grusset ,richardot1 ,president of the ,netherlands ,council1 and his ,son 7,no4 #aihe71 which was bought in #aghd for #af1jja livres1 so closely resembles the work of ,rubens1 especially in the brilliant flesh-painting1 that the picture--a posthumous portrait1 by the way--for a long time passed under the elder master's name1 although it is now admitted by the best authorities to be an early picture by ,van ,dyck4 ,van ,dyck paid a short visit to ,england in #afbj4 ,he went to ,italy in the following year1 studying the works of the great masters1 and especially of ,titian1 and finally settling in ,genoa1 where he remained until his return to ,antwerp in #afbh4 ,during these years he devoted himself almost exclusively to portraiture1 in which he endeavoured successfully to emulate the golden warmth of colour which had drawn him towards ,titian4 ,unfortunately this1 to some the most attractive1 phase of ,van ,dyck's art is but indifferently shown at the ,louvre1 the only example being a ,portrait of a ,man 7,no4 #aigf74 ,illustration3 ,,plate ,,xxii4--,,sir ,,peter ,,paul ,,rubens 7#aegg-afdj7 ,,flemish ,,school ,no4 #baac4--,,portrait ,,of ,h,l,,ne ,,fourment1 ,,the ,,artist',s ,,second ,,wife1 ,,and ,,two ,,of ,,her ,,children 7,portrait d',hlne ,fourment1 seconde femme de ,rubens1 et de ses enfants7 ,the artist's second wife1 wearing a felt hat trimmed with feathers1 is seated in an arm-chair1 and turned three-quarters to the left2 on her lap is her little son1 ,franois2 on the left her daughter1 ,claire-,jeanne1 dressed in brown1 plays with her white pinafore4 ,painted in oil on panel4 ,the picture is unfinished4 #e ft4 #h in4 #b ft4 #h in4 7#aac #jhb47 ,,van ,,dyck',s ,,second ,,antwerp ,,period ,some of the master's most precious works at the ,louvre belong to his second ,antwerp period1 which extended from his return from ,genoa in #afbh to his departure for ,england in #afcb4 ,it was probably then that he painted ,the ,virgin and ,child1 with the ,penitent ,sinners 7,no4 #aifa7 7,mary ,magdalen1 ,david1 and the ,prodigal ,son71 in which the influence of the ,venetian colourists is so clearly to be noticed4 ,indeed1 the bosom of the female penitent is copied from the nymph in ,titian's ,education of ,cupid at the ,borghese ,gallery1 of which there is a drawing in the ,chatsworth ,sketch-book with the comment in the artist's handwriting1 8quel admirabil petto40 ,shortly after his return from ,italy he also painted ,the ,virgin and ,child with ,donors 7,no4 #aifb71 one of his greatest masterpieces4 ,the ,madonna is of a youthful1 pure type1 vastly different from the buxom ,flemish women so often depicted by his master in saintly characters4 ,the painting of the ,infant's body is as admirable as that of the kneeling ,donors1 and a spiritual connection is established by the action of the ,child and the expression of the man towards whom ,he is holding out ,his hand4 ,the companion groups ,a ,gentleman and a ,child 7,no4 #aigc7 and ,a ,lady and her ,daughter 7,no4 #aigd71 date from about #afcj4 ,they are full of that aristocratic distinction which is the hall-mark of ,van ,dyck's ,genoese portraits1 and which in his later ,english period was apt to degenerate into effeminacy4 ,this air of distinction is also to be noted in the children1 although they are perfectly natural in action and expression1 and have none of that stiffness which makes so many of the earlier masters' portraits of children look like undergrown men and women4 ,the imposing equestrian portrait of ,francisco d',aytona1 ,marqus de ,moncada 7,no4 #aiga71 ,generalissimus of the ,spanish troops in the ,netherlands1 which in its general disposition recalls the portrait of ,charles ,i4 at ,windsor ,castle2 the small study for it of the same sitter's head and shoulders 7,no4 #aigb72 and the portrait of ,the ,infanta ,isabella ,clara ,eugenia1 ,regent of the ,netherlands 7,no4 #aigj71 in the costume of the ,sisters of ,st4 ,clare1 whom she had joined after the death of her husband the ,archduke ,albrecht1 belong to the same period4 ,then also was painted the ,rinaldo in the ,garden of ,armida 7,no4 #aiff71 which is probably the picture bought from the artist at ,antwerp by ,endymion ,porter1 on behalf of ,king ,charles ,i41 in ,march #afbi1 for the price of #gh4 8,,le ,,roi ,,la ,,chasse0 ,van ,dyck's manner of life in ,england1 as the petted ,court painter of ,charles ,i41 and the factory-like output of his well-organised studio at ,blackfriars1 are too well known to need further comment4 ,in justice to his fair fame it is necessary to draw a clear distinction between the innumerable replicas turned out by his assistants under his guidance1 and such magnificent original works from the master's own brush as the glorious ,portrait of ,king ,charles ,i4 of ,england 7,no4 #aifg1 ,plate ,,xxiii471 known as 8,le ,roi la ,chasse10 which is one of the proudest possessions of the ,french national collection4 ,the king is seen1 resting his gloved hand on a stick1 in a glade1 with the sea in the distance4 ,behind him are two attendants and his white charger pawing the ground in impatient action4 ,the king's noble1 quiet dignity is such as to dominate the entire composition1 without1 however1 the slightest hint of the theatrical4 ,here1 as in most of his ,english portraits1 ,van ,dyck has departed from the glowing sumptuousness of his earlier ,venetian palette1 and arrived at a cooler1 mellow1 and more personal harmony of decorative colour4 ,as if conscious of the superior merit of this picture1 which is more than a mere portrait of the king1 and depicts the very personification of royalty1 the artist1 who was not in the habit of signing his pictures1 inscribed on a stone the lettering ,,carolus ,i ,,rex ,,magn ,,britanni ,,van ,,diick ,f4 ,painted for the king in #afce for #ajj1 it passed through many hands before it was bought by ,louis ,,xv4 for ,mme du ,barry1 by whom it was ceded in #agge to his successor for #bd1jjj livres4 ,illustration3 ,,plate ,,xxiii4--,,sir ,,anthony ,,van ,,dyck 7#aeii-afda7 ,,flemish ,,school ,no4 #aifg4--,,portrait ,,of ,,king ,,charles ,i4 ,,of ,,england 7,portrait de ,charles ,i1 roi d',angleterre 7#afjj-afdi77 ,the ,king1 wearing a white satin coat1 red riding-breeches1 boots1 spurs1 and a large felt hat1 stands proudly forward towards the left of the composition2 his right hand rests on his stick1 his left is placed on his hip4 ,the ,marquess of ,hamilton1 in attendance on the ,king1 grasps the bridle of the charger2 in the landscape background is a page4 ,painted in oil on canvas4 ,signed on a stone in the right foreground3-- 8,,carolus ,i ,,rex ,,magn ,,britanni4 ,,van ,,diick ,f40 #h ft4 #aa in #g ft4 7#bgb #bab47 ,to ,van ,dyck's ,english period1 which only terminated with his death in #afda1 belong the group of ,charles ,louis1 ,elector ,palatine1 and ,rupert1 ,prince of ,bavaria 7,no4 #aifi71 and the ,portrait of ,james ,stuart1 ,duke of ,lennox 7,no4 #aige7--not the ,duke of ,richmond1 as stated in the official ,catalogue--in the character of ,paris4 ,another twelve pictures are catalogued under ,van ,dyck's name1 but they are either of minor importance1 or1 like the ,three ,children of ,charles ,i4 7,no4 #aifh71 mere studio repetitions4 ,,frans ,,snyders ,the powerful personality of ,rubens dominated the art of ,flanders during the seventeenth century4 ,his direct or indirect influence is traceable in the art of most of his contemporaries and of the painters of the next generation1 who divided his artistic heritage without attaining to his universality4 ,thus his collaborator ,frans ,snyders 7#aegi-afeg71 after studying under 8,hell ,brueghel0 and ,h4 van ,balen1 acquired the bravura of his brushwork and his unrivalled skill in depicting animals in violent movement from ,rubens1 in whose pictures of the chase he frequently painted the animals1 whilst he often had to seek the assistance of other painters for the figures introduced into his own compositions4 ,among the thirteen pictures from his brush at the ,louvre 7,nos4 #bada-baec7 the ,wild ,boar ,hunt 7,no4 #badd7 serves best to illustrate ,snyders's power to suggest the furious onrush and wild excitement of the chase4 ,his skill as a still-life painter may be judged from the masterly treatment of the wet glittering fish in the large ,fish ,merchants 7,no4 #bade74 ,,jacob ,,jordaens ,whatever appears coarse in the art of ,rubens is accentuated to the point of grossness in the paintings by his fellow-student under ,van ,noort1 ,jacob ,jordaens 7#aeic-afgh74 ,he is the painter of ,le ,roi boit 7,no4 #bjad7 or ,the ,twelfth ,night ,feast1 which is by no means the best of his many versions of his favourite subject4 ,he was a realist who1 as may be seen from this picture and from the ,concert after a ,meal 7,no4 #bjae71 found his most congenial subjects in the carousals of ,flemish merrymakers1 which he depicted with more than a touch of coarse humour4 ,that his temperament and limitations debarred him from achieving success in the higher flights of art is clearly shown by his large but by no means noble canvas ,christ driving the ,moneylenders from the ,temple 7,no4 #bjaa74 ,on the other hand1 his firm grasp of character stood him in good stead in portraiture4 ,the so-called ,portrait of ,admiral de ,ruyter 7,no4 #bjaf71 which was bought in #ahbd for #hjj1 is a good example4 ,we can only briefly refer to a number of seventeenth-century ,antwerp painters1 who were either pupils of ,rubens or close followers of his tradition4 ,gonzales ,coques 7#afad-afhd71 the painter of the admirably lighted ,family ,party 7,no4 #aieb71 was essentially a portrait painter who became known as 8the little ,van ,dyck10 although his manner had more in common with that of the ,dutch 8small masters0 than with the tempered elegance of ,charles ,i4's ,court-painter4 ,,followers ,,of ,,rubens ,gaspar de ,crayer 7#aehd-affi71 a pupil of ,raphael van ,coxie1 modelled his art entirely on ,rubens1 and was equally successful as a portrait painter and in his religious compositions4 ,both phases of his art figure in the ,louvre collection1 which owns the ,st4 ,augustin in ,ecstasy 7,no4 #aiec7 and the life-size ,equestrian ,portrait of the ,infante ,ferdinand1 ,governor of the ,netherlands 7,no4 #aied74 ,it was a portrait of the same sitter that led to ,crayer's appointment to the position of ,painter to the ,infante's ,court1 accompanied by considerable emoluments4 ,abraham van ,diepenbeeck 7#aeif-afge71 ,pieter van ,mol 7#aeii-afej71 and ,paul de ,vos 7#aeic-afgf7 need not here detain us4 ,they are all capable followers of their master's style1 without any personal distinction4 ,david ,ryckaert 7#afab-affa71 the third of four artists of the same family that bore this name1 is outside the immediate circle of ,rubens4 ,his ,interior of a ,studio 7,no4 #bacg71 which bears the signature 8,d4 ,,ryc4 f4 #afch10 is of peculiar interest as a document illustrating the milieu in which a ,flemish artist of that period lived and worked4 ,gerard ,seghers 7#aeia-afea71 the painter of ,st4 ,francis in ,ecstasy 7,no4 #badj71 although a pupil of ,van ,balen and ,abraham ,janssens1 and indirectly1 through ,manfredi1 of ,caravaggio1 must be counted among those who were influenced by the dominating personality of ,rubens4 ,an important pupil of ,snyders was ,jan ,fyt 7#afaa-affa71 who excelled as an animal painter and colourist4 ,he was at his best when he treated animals more in the manner of still life1 but remained vastly inferior to his master when he tried to emulate his hunting scenes4 ,not all the five pictures catalogued under his name can be accepted as his own work4 ,his great skill in rendering the varied textures of furs and feathers may be judged from ,game in a ,larder 7,no4 #aiic71 which is unquestionably authentic although it does not bear the signature which testifies to his authorship of ,a ,dog devouring ,game 7,no4 #aiid74 ,,adriaen ,,brouwer ,both the ,flemish school and the ,dutch have an equal right to claim ,adriaen ,brouwer 7#afje or #f-afch71 who1 born at ,oudenarde1 carried on the tradition of ,bouts and the elder ,brueghel4 ,while still young1 he was at ,haarlem powerfully impressed by the art of ,frans ,hals1 although it is extremely doubtful that he ever actually worked in his studio4 ,finally1 having settled at ,antwerp in #afca1 he benefited by the example of ,rubens4 ,the ,smoker 7,no4 #aiaf71 in spite of the doubts that have been cast upon it1 is a characteristic work of his at the time when1 inspired by ,frans ,hals1 he adopted a full impasto instead of his earlier glazes4 ,it is signed with his initials 8,,ab0 in the bottom corner on the right4 ,the handling is far coarser than that of the later ,interior of a ,tavern 7,no4 #aiab71 which is quite ,rembrandtesque in the rendering of light and chiaroscuro4 ,his inclination towards grimacing expression often made him depict such scenes as ,the ,operation 7,no4 #aiae71 in which the patient's face is contorted with pain1 while the surgeon is bandaging his left shoulder4 ,brouwer was the master of ,joos van ,craesbeeck 7#afjf-afed871 who not only closely followed his teaching1 but actually painted many replicas of ,brouwer's pictures which still pass under the better known artist's name4 ,the ,artist painting a ,portrait 7,no4 #aieb;,d7 was supposed to represent1 and to be from the brush of1 ,brouwer1 when the picture was bought for the ,louvre4 ,but on technical grounds it must be given to ,craesbeeck--quite apart from the extreme improbability that the dissolute ,brouwer1 who spent most of his time in low taverns1 should have lived in the elegant1 not to say luxurious1 surroundings here depicted1 and died young4 ,there can be no doubt that the painter seated before his easel1 to whom a man-servant is offering a glass of wine1 is ,joos van ,craesbeeck4 ,,david ,,teniers ,there is at the ,louvre no picture by the elder ,david ,teniers 7#aehb-afdi71 who therefore only interests us here as the father and first master of the much greater artist ,david ,teniers the ,younger 7#afaj-afij71 who completed his artistic education under ,rubens1 without1 however1 abdicating his own personality4 ,indeed1 those of his pictures which reflect the manner of ,rubens too closely are of little account in the achievement of the younger ,teniers1 who only begins to be himself when he devotes his prolific brush to the social life of his contemporaries1 and especially of the lower classes4 ,his pictures constitute the most realistic and convincing record of the tastes1 manners1 and amusements of his time4 ,his types are full of character1 but without the exaggerations so often found in ,brueghel and ,brouwer4 ,what he retained of ,rubens1 even in his ,village ,ftes1 ,tavern ,scenes1 ,dances1 and ,carousals is the application of the great master's principles of light and harmonious colour4 ,but apart from this1 he rejected the 8grand style0 and the conscious search for beauty4 ,the ugliness of his types and gestures led ,louis ,,xiv4 to exclaim in front of his pictures1 8tez-moi ces magots-l60 ,few painters are as exhaustively represented at the ,louvre as the younger ,teniers4 ,the ,catalogue includes no fewer than thirty-nine entries under his name1 two of which1 in the ,la ,caze collection 7,nos4 #bahi and #baij71 are copies after pictures by ,lotto and ,titian respectively in the collection of the ,archduke ,leopold ,william1 ,governor of the ,netherlands1 to whom ,teniers was appointed ,court painter4 ,it would serve no purpose here to enumerate the long list of ,kermesse1 ,village ,fte1 and ,alehouse ,scenes in the ,french national collection4 ,among his most deservedly famous masterpieces is ,the ,return of the ,prodigal ,son 7,no4 #baef71 which belongs to a series of which another scene is to be seen at the ,dulwich ,gallery4 ,the subject is really only a thinly veiled excuse for the painting of a genre piece of the contemporary life of the better classes of his country4 ,the scene of the feast is laid outside a country inn that figures in many of ,teniers's pictures4 ,fully signed1 and dated #afdd1 the picture belongs to the beginning of ,teniers's very best period4 ,in ,the ,temptation of ,st4 ,anthony 7,no4 #baeh7 he rivals ,bosch in the invention of grotesquely fantastic monsters4 ,among other important works by the master in the ,louvre must be mentioned ,the ,denial of ,st4 ,peter 7,no4 #baee71 a painting of exquisite silvery quality1 signed and dated ,,david ,,teniers1 f4 ,,an4 #afdf2 ,the ,works of ,mercy 7,no4 #baeg72 the ,village ,fte 7,no4 #baei72 and the ,peasants dancing by an ,inn ,door 7,no4 #bafa71 which was stolen from the collection in #ahae and returned in the following year with a letter explaining that it had been removed by a ,frenchman who feared that it might fall into the hands of the ,allied ,forces4 ,by ,teniers's pupil1 ,franois ,duchatel 7#afaf8-afid87 is the excellent ,portrait of a ,gentleman 7,no4 #aifj74 ,duchatel is a very rare master1 whose style in portraiture so closely resembles that of ,gonzales ,coques that his pictures have been at times ascribed to that painter4 ,jacob van ,artois 7#afac-afhd871 the painter of the ,landscape 7,no4 #aija7 in the ,la ,caze room1 was one of the leading ,flemish landscape painters of his time1 and frequently collaborated with ,teniers1 who added the figures to some of his landscapes4 ,he was the master of ,cornelis ,huysmans 7#afdh-agbg71 who frequently assisted the battle painter1 ,van der ,meulen1 and is here represented by eight pictures 7,nos4 #bjjb-bjji74 ,among the landscape painters of that period must also be mentioned ,jan ,siberechts 7#afbg-agjc71 who spent the closing years of his life in ,england1 but does not seem to have had much influence on the evolution of the ,english landscape school4 ,by him is the ,rustic ,scene 7,no4 #badj;,a74 ,,philippe ,,de ,,champaigne ,both ,philippe de ,champaigne 7#afjb-afgd7 and ,adam ,frans van der ,meulen 7#afcd-afij71 though born at ,brussels1 resided in ,france the best part of their life1 and are therefore generally classed with the painters of the ,french school1 which accounts for their being represented at the ,louvre in a manner which is quite out of proportion to their artistic significance4 ,still1 if ,philippe de ,champaigne appears second-rate when compared with ,rubens and ,van ,dyck1 he is unquestionably the leading portrait painter of the contemporary ,french school in which he received his training4 ,his powers were insufficient for the higher flights of imagination1 and when his ambition led him to such compositions as ,christ in the ,house of ,simon 7,no4 #aibg7 or ,christ celebrating ,easter with ,his ,disciples 7,no4 #aibh71 he was as dull and bombastic as most of his ,french contemporaries1 whom he far excelled as a colourist4 ,his portraits1 on the other hand1 are painted in a broad1 honest1 straightforward manner which has nothing in common with the monotonous pompousness of his age1 as may be seen from the admirable group of two nuns in prayer1 ,mother ,catherine ,agnes ,arnaud and ,sister ,catherine de ,sainte-,suzanne 7,no4 #aicd74 ,the younger of the two nuns represents the artist's daughter1 who was healed from paralysis by a miracle recorded by a ,latin inscription on the wall4 ,the twenty pictures from ,philippe de ,champaigne's brush1 which are actually on view1 also include the fine group of the two architects ,franois ,mansard and ,claude ,perrault 7,no4 #aidd71 bought in #ahce for the low price of #hj2 ,the ,provost and ,aldermen of ,paris 7,no4 #aide72 and the signed and dated portrait of ,robert ,arnaud d',andilly 7,no4 #aici74 ,,van ,,der ,,meulen ,van der ,meulen1 a native of ,brussels and pupil of ,snayers1 was the historiographer of ,louis ,,xiv4's campaigns and victories4 ,he was invited by ,colbert to come to ,paris1 and was first employed to furnish designs for the ,gobelins manufactory4 ,afterwards he accompanied ,louis ,,xiv4 on his warlike expeditions1 which he immortalised in numerous large paintings1 most of which are now at the ,louvre and in the ,chteau at ,versailles4 ,his paintings are of considerable topographical interest1 as they give accurate representations of the aspect of famous towns and fortresses in the seventeenth century1 as in the ,entry of ,louis ,,xiv4 and ,marie-,thrse into ,arras 7,no4 #bjce71 a similar scene at ,douai 7,no4 #bjcc71 and the ,arrival of the ,king in the ,camp before ,maastricht 7,no4 #bjdj74 ,it was ,van der ,meulen who founded the 8tactical school0 of battle painting1 which substituted the orderly movement of masses for the wild mle of the hand-to-hand combat4 ,whole armies are seen advancing or retreating in long lines from a high vantage-ground which is generally occupied by the considerably larger figures of the army-leaders on rearing and caracoling horses1 and looking for all the world like 8gens de qualit qui joueraient aux checs avec des soldats de plomb40 ,the official ,catalogue mentions no fewer than twenty pictures by ,van der ,meulen4 ,,minor ,,flemish ,,painters ,with the exception of ,justus ,sustermans 7#aeig-afha71 who was ,van ,dyck's fellow-student under ,h4 van ,balen and afterwards rose to great fame as ,court painter to ,grand-,duke ,cosimo ,,ii4 of ,tuscany 7whose kinsman ,leopold de' ,medici is portrayed in ,no4 #baed71 and ,pieter ,neefs 7#aegg8-affa871 whose ,church ,interiors 7,nos4 #bjei-bjfd7 are remarkable for the faultless accuracy and precision of his architectural drawing1 there are no other painters of the ,flemish school whose works at the ,louvre require close attention4 ,we must content ourselves with the mere mention of the landscape painters ,jan ,frans van ,bloemen1 called ,orizonte1 a follower of ,poussin and ,claude2 ,jan van ,breda1 ,francisque ,millet1 and ,mathys ,schoevaerts2 ,carl van ,falens and ,anton ,grief1 painters of hunting scenes2 ,jan ,miel1 who worked most of his life in ,italy and was completely influenced by the masters of that country2 the still-life painter ,gaspard ,pieter ,verbruggen2 the battle painter ,sebastiaen ,francken2 and the prolific painter of large altarpieces1 ,jacob van ,oost the ,elder4 ,with ,balthasar ,paul ,ommeganck 7#agee-ahbf7 and the still-life painter ,jan ,frans van ,dael 7#agfd-ahdj7 we reach the beginning of the nineteenth century1 a period of absolute stagnation in ,flemish art which preceded the brilliant revival of the modern ,belgian school4 ,,the ,,german ,,school ,of all the important ,european schools of painting1 the ,early ,german school is the one of which it is almost impossible to gain anything like an adequate idea from the pictures that have found their way into the ,galleries of foreign countries4 ,the fact is that with the exception of two or three leading masters1 like ,holbein and ,drer1 the ,early ,germans found but scant favour beyond the confines of their own country until comparatively recent years--that is to say1 until the majority of important examples had been systematically gathered in by the museums of ,germany4 ,now that the importance of the ,german primitives and ,early ,renaissance painters has been generally recognised1 it will be practically impossible to regain the lost ground and to fill up the serious gaps which prevent our forming an adequate idea of the evolution of ,german art in the museums of other countries4 ,the ,louvre is no exception to this rule4 ,the numerical weakness of the ,german section is unfortunately not atoned for by the importance of the examples included1 which1 with but few exceptions1 are of little artistic account4 ,under the circumstances it would be useless to attempt a consecutive narrative of the evolution of ,german art as illustrated by the pictures at the ,louvre1 and we must confine ourselves to a brief discussion of the few noteworthy works in the collection4 8,,the ,,master ,,of ,,the ,,bartholomew ,,altar0 ,the first picture of importance belongs to the period when the idealism of the ,early ,gothic primitives was already replaced by a strong naturalism1 and the creation of types by that of clearly characterised individualities4 ,this picture1 the ,descent from the ,cross 7,no4 #bgcg71 by the unknown 8,master of the ,bartholomew ,altar10 is so called1 in accordance with ,german custom1 from his best known work1 the great altarpiece in the ,pinakothek at ,munich4 ,in the large ,louvre picture1 which bears a close resemblance to the precious little panel by the same master in the possession of the ,hon4 ,edward ,wood1 at ,temple ,newsam1 the ,saviour is being lowered from the ,cross by ,nicodemus into the hands of one of the ,holy ,women on the left1 and of ,joseph of ,arimatha on the right4 ,the group is completed by ,st4 ,john supporting the ,virgin on the extreme left1 the ,magdalen and another ,holy ,woman on the right1 and a ,disciple seated on a ladder above the central group4 ,the figures are shown1 as in the ,temple ,newsam painting of the same subject1 against a gold background framed with rich ,gothic tracery4 ,this altarpiece is believed to be the last picture by this ,cologne master1 who flourished between #adij and #aeae1 and was in his later manner influenced by ,rogier van der ,weyden and other ,flemish masters4 ,this eminently important ,early ,german picture was painted for a ,jesuit establishment in the rue ,st4 ,antoine1 ,paris1 which accounts for its presence in the ,french national collection4 ,,cologne ,,painters ,the 8,master of the ,death of ,mary10 to whose school belongs the ,descent from the ,cross1 with a predella representing ,the ,last ,supper1 and a lunette with ,st4 ,francis receiving the ,stigmata 7,no4 #bgch71 has been identified by ,wauters and ,aldenhoven with the early-sixteenth-century ,flemish painter ,joos van ,cleef the ,elder1 and belongs to the ,antwerp rather than the ,cologne school4 ,the 8,master of ,st4 ,severin10 to whom the official ,catalogue ascribes the two ,scenes from the ,life of ,st4 ,ursula 7,nos4 #bgch;,c and #bgch;,d71 was probably a ,flemish painter who worked at ,cologne at the beginning of the sixteenth century4 ,but the two panels at the ,louvre1 which were formerly at the ,cluny ,museum1 are not from his brush4 ,they are the work of his pupil1 the 8,master of the ,ursula ,legend10 and belong to a series of which other panels can be seen at the ,victoria and ,albert ,museum and at ,cologne4 ,the first definite name in the annals of the ,cologne school is that of ,bartolomus ,bruyn 7c4 #adic-aeee71 who was a follower of ,joos van ,cleef but subsequently became completely imbued with the ,italian spirit4 ,his portraits1 in which he remained more faithful to the tradition of his country1 are of greater significance than his religious compositions1 and closely resemble those by ,joos van ,cleef2 but the ,portrait of a ,man with a ,white ,cross on his ,breast 7,no4 #bgjb7 is only a school picture of indifferent quality4 ,,albrecht ,d,,rer ,the flourishing school which had its centre at ,nuremberg is represented at the ,louvre by the master who marks its zenith and who1 if his craftsmanship was not always on a level with the perfection of ,holbein's1 shares with the ,augsburg master the honour of uncontested leadership of all ,german artists4 ,albrecht ,drer 7#adga-aebh7 was born at ,nuremberg1 of ,hungarian descent4 ,he studied his art under ,michael ,wohlgemut1 a very able ,nuremberg painter1 who was1 however1 led by his popularity to factory-like production of pictures that passed under his name1 although they were largely executed by inferior pupils4 ,drer1 who excelled equally as an engraver and as a painter1 was1 on the other hand1 one of the most sincere and personal artists of his time--a profound thinker1 a shrewd observer1 a student of life in all its phases1 an idealist who was ever striving for beautiful expression1 even though the realistic tradition of his country did not allow him to attain to the abstract ideal of beauty which had been reached by some of the contemporary ,italians4 ,indeed1 ,drer may with justice be called the ,leonardo of the ,north4 ,he studied ,venetian art on a visit to ,venice in #aeje1 whither he had been preceded by his fame4 ,he also travelled to the ,netherlands in #aebj1 the year in which he painted the signed and dated ,head of an ,old ,man 7,no4 #bgji71 his other picture at the ,louvre being the not very masterly ,head of a ,child 7,no4 #bgji;,a74 ,d,,rer',s ,,followers ,drer died in #aebh from a disease contracted during his journey to the ,netherlands4 ,among his principal pupils were ,georg ,pencz 7c4 #aejj-aeej71 to whom is without sufficient reason attributed the indifferent half figure of ,st4 ,john the ,evangelist 7,no4 #bgcj72 and ,hans ,sebald ,beham 7c4 #aejj-aeej71 the famous engraver1 of whom the ,louvre is fortunate to possess the only known painting1 a table top divided by golden lances into four compartments1 each of which contains a ,subject from the ,story of ,david 7,no4 #bgja73 the ,entry of ,saul into ,jerusalem2 ,david and ,bathsheba 7in which scene is introduced a portrait of ,archbishop ,albrecht of ,mayence1 for whom the work was executed72 the ,siege of ,rabbath2 and the ,prophet ,nathan before ,david 7with a portrait of the artist and the initials of his name1 8,h4 ,s4 ,b4074 ,,lucas ,,cranach ,this same ,archbishop ,albrecht1 whose features are also known to us from two engravings by ,drer and a painting by ,grnewald1 was one of the most generous patrons of ,lucas ,cranach the ,elder 7#adgb-aeec71 whose busy workshops at ,wittenberg supplied the whole north and east of ,germany with portraits1 altarpieces1 historical and mythological pictures4 ,lucas ,cranach was a follower of ,grnewald1 the great head of the ,colmar school4 ,apart from his merit as a colourist and an excellent draughtsman1 he attracts by the nave grace of his nude figures and by the complete manner in which he reflects the taste of his time and country4 ,but of the five little pictures that figure in the ,louvre ,catalogue under his name1 not one is from his own hand4 ,indeed1 the ,venus in a ,landscape 7,no4 #bgjc7 is the only one that may with a degree of safety be attributed to his son1 ,lucas ,cranach the ,younger1 who carried on the management of the studio some years before his father's death1 and continued to imitate his style until his own death in #aehf4 ,the ,venus bears the usual ,cranach signature of a winged serpent and the date #aebj4 ,the same crest1 with the date #aecb1 figures on the portrait of ,johann ,friedrich ,,iii41 ,elector of ,saxony 7,no4 #bgjd71 who is known on one occasion to have given a wholesale order of sixty replicas of the same portrait to the ,wittenberg master4 ,it may be imagined that a commission of this nature would not be executed by the head of the studio1 but left to his staff of assistants4 ,the ,fighting ,savages 7,no4 #bgjb;,a7 and the two ,portraits 7,nos4 #bgjc;,a and #bgje7 are1 at the best1 studio works4 ,,hans ,,holbein ,we now come to the second of the two commanding figures in ,german art1 ,hans ,holbein the ,younger 7#adig-aedc71 who was born at ,augsburg and studied under his father1 the elder artist of the same name4 ,when he reached his maturity the ,italian influence had already permeated ,german art1 but he was the first ,northern master who knew how to benefit by the real spirit of the ,renaissance without imitating the letter2 the first to develop a noble1 dignified style1 free from the florid trivialities which so many ,northerners took from certain ,italian painters4 ,he was above all a marvellous portrait painter who1 in his drawings as well as in his paintings1 combines the most exquisite delicacy and subtlety with rare strength1 the greatest precision of detail with freedom and breadth of handling4 ,only this phase of his art is represented at the ,louvre1 which certainly owns one perfect example of ,holbein's portraiture in the ,portrait of ,erasmus 7,no4 #bgae1 ,plate ,,xxiv474 ,holbein had settled in ,basle in #aeai4 ,he went to ,england in #aebf1 with a letter of introduction from ,erasmus to ,sir ,thomas ,more4 ,from one of ,erasmus's letters it would appear that ,holbein had portrayed him at least three times before #aebd2 and the picture now in the ,louvre was probably the one that was painted for ,sir ,thomas ,more--a better recommendation than any letter of introduction6 ,the profile is drawn with inimitable mastery2 and the whole character of the man can be read from the expression of the tight-pressed lips and mobile features1 as he sits writing at his desk4 ,note1 also1 the marvellous expressiveness of the hands1 studies for which are to be found in the collection of drawings at the ,louvre4 ,in view of the personal relations which link together ,holbein1 ,erasmus1 and ,sir ,thomas ,more1 it would be pleasant if we could accept the so-called ,portrait of ,thomas ,more1 ,great ,chancellor of ,england 7,no4 #bgag71 as authentic4 ,it does not1 however1 represent ,holbein's first ,english patron1 nor does it appear to be from the master's own brush4 ,,the ,,kratzer ,,portrait ,holbein's first sojourn in ,england extended from #aebf to #aebh1 in which year he returned to ,basle4 ,it must have been shortly before his departure that he painted the ,portrait of ,nicolas ,kratzer1 ,astronomer to ,king ,henry ,,viii4 7,no4 #bgac72 it is an unquestionably authentic work1 although it has been so extensively repainted that little is now left of the original1 save the general disposition of the design and the instruments placed on the table and hung on the wall1 which are executed with all the loving care that ,holbein was wont to bestow upon such accessories4 ,still1 even in its present condition1 the portrait is a thoroughly convincing likeness of 8a man who is brimful of wit1 jest1 and humorous fancies0--as ,kratzer is referred to by one of his contemporaries4 ,a sheet of paper on the left of the table appears to be inscribed3-- ,imago ad vivam effigiem expressa ,nicolai ,kratzeri monacensis qui bavarus erat ,quadragessimum annum tempore illo complebat4 #aebh4 ,illustration3 ,,plate ,,xxiv4--,,hans ,,holbein ,,the ,,younger 7#adig-aedc7 ,,german ,,school ,no4 #bgae4--,,portrait ,,of ,,erasmus 7,portrait de ,didier rasme7 ,the ,humanist is seen at half length and in forefile to the left1 before a table at which he is writing4 ,he wears a fur-lined coat and a dark cap4 ,a green figured curtain forms the background4 ,painted in oil on panel4 #a ft4 #d in4 #a ft4 #j in4 7#jdb #jcb47 ,although decidedly superior to another version of the same picture at ,lambeth ,palace1 the ,portrait of ,william ,warham1 ,archbishop of ,canterbury 7,no4 #bgad71 which bears the inscription1 ,,anno4 ,dm4 ,,mdxxvii4 ,,etatis4 ,,sve1 ,,lxx41 cannot without hesitation be accepted as an original work4 ,it lacks1 at any rate1 the finesse of the beautiful drawing at ,windsor ,castle1 upon which it is evidently based4 ,to the same year belongs the ,portrait of ,sir ,richard ,southwell 7,no4 #bgai71 to whose treacherous accusation was due the execution of ,henry ,howard1 ,earl of ,surrey4 ,but this picture1 again1 is only a replica1 by an inferior hand1 of the magnificent portrait in the ,uffizi ,gallery 7,no4 #gfe74 ,an inscription in the background1 at both sides of the head1 reads3 on the left3 ,x4,o ,,ivlii4 ,,anno4 and on the right3 ,,etatis ,,sv ,h4 ,,viii4 ,,xxviii4 ,,anno ,,xxxiii4 ,it would thus appear that the picture was painted in #aecg1 the twenty-eighth year of ,henry ,,viii4's reign4 ,the ,portrait of a ,man holding a ,carnation and a ,rosary 7,no4 #bgbj7 is a picture of poor quality and has no connection whatever with ,holbein4 ,,portrait ,,of ,,anne ,,of ,,cleves ,of far greater importance and undisputed authenticity is the ,portrait of ,anne of ,cleves1 ,fourth ,wife of ,henry ,,viii4 7,no4 #bgah74 ,no credence is to be attached to the legend invented by ,bishop ,burnet more than a century after that ill-treated lady's death1 according to which ,holbein's flattering portrait was instrumental in 8bluff ,king ,hal's0 choice of his fourth spouse and responsible for the king's disappointment at setting eyes upon ,anne4 ,the picture1 which was painted in #aeci1 seven years after ,holbein's definite return to ,england and to the service of ,henry ,,viii41 has not only that air of inevitable truthfulness which distinguishes all ,holbein's portraiture1 but tallies to a remarkable degree with the descriptions sent to ,henry ,,viii4 by his agents4 ,whilst not exactly unpleasant to behold1 the features are those of a spiritless1 dull woman--an impression which is intensified by the absence of life and character in the hands1 which ,holbein invariably studied as closely as the face4 ,the painting of the richly embroidered and jewelled costume1 the stately symmetry of the design1 and the beautiful scheme of colour are really the chief attractions of this picture4 ,the ,adoration of the ,magi 7,no4 #bgaa;,a71 which was at one time attributed to the elder1 and subsequently to the younger1 ,holbein1 is now rightly given to the latter's contemporary and compatriot ,gumpold ,giltlinger1 an ,augsburg painter of no particular distinction4 ,,the ,,seventeenth ,,century ,before the end of the sixteenth century ,german art had entered upon a period of complete decadence4 ,the only painter who claims attention1 not so much for the undeniable merit of his very highly finished landscapes1 but for the fact that he exercised a certain influence upon ,rembrandt1 is the ,frankfort painter1 ,adam ,elsheimer 7#aegh-afba871 who worked at ,rome1 and who is represented at the ,louvre by ,the ,flight into ,egypt 7,no4 #bgaj7 and ,the ,good ,samaritan 7,no4 #bgaa74 ,for the rest1 the ,german painters of his period and of the whole of the seventeenth century retained scarcely a trace of national character1 and were completely under the sway of the foreign1 and particularly of the ,italian1 schools4 ,thus1 ,johann ,rottenhammer 7#aefd-afbc71 the painter of ,the ,death of ,adonis 7,no4 #bgcb7 and ,diana and ,calisto 7,no4 #bgcc71 was successively dominated by ,jan ,brueghel and by ,tintoretto4 ,the flower painter1 ,abraham ,mignon 7#afdj-afgi71 though born at ,frankfort1 was a pupil of ,david de ,heem and a ,dutchman in his art4 ,his pictures at the ,louvre 7,nos4 #bgbd-bgbi7 are distributed between the ,german and the ,dutch sections4 ,philipp ,peter ,roos1 better known as ,rosa da ,tivoli 7#affe8-agje71 who painted the ,wolf devouring a ,sheep 7,no4 #bgca71 lived in ,rome and adopted the style of the country of his domicile4 ,the ,bear ,hunt 7,no4 #bgcd7 is the work of ,carl ,ruthart1 another unimportant ,italianising ,german of the second half of the seventeenth century4 ,,the ,,eighteenth ,,century ,the work of the ,hamburg painter1 ,baltasar ,denner 7#afhe-agdi71 has no claim to be considered as a manifestation of art3 it is merely a display of mechanical skill in the microscopic rendering of the little lines and pores and stubbly hair on the skin of old people's faces4 ,he lived for seven years in ,london1 where he painted in #agbd the signed ,portrait of an ,old ,woman 7,no4 #bgjf71 which was bought in #aheb for #gef4 ,another characteristic example of his misapplied skill is the portrait 7,no4 #bgjg7 in the ,la ,caze ,room4 ,christian ,wilhelm ,dietrich 7#agab-aggd7 and ,heinrich ,wilhelm ,schweickhardt 7#agdf-aghg7 are too insignificant to deserve serious consideration4 ,the same remark applies to ,christian ,seybold 7#agjc8-agfh71 who became ,court ,painter to the ,empress ,maria ,theresa2 and to ,johann ,ernest ,heinsius1 who was active as a portrait painter in ,france during the reign of ,louis ,,xvi4 ,all that is to be noted in their pictures at the ,louvre is the total absence of all artistic merit4 ,of somewhat greater importance1 though by no means of the first rank1 are the two last ,german artists who claim our attention3 ,raphael ,mengs 7#agbh-aggi7 and ,angelica ,kaufmann1 7#agda-ahjg71 who is catalogued among the painters of the ,german school1 although she was ,swiss by birth1 ,italian by education1 and ,english by domicile4 ,her sex was no bar to her becoming one of the ,foundation members of the ,english ,royal ,academy1 and she is generally counted among the ,english painters4 ,the portrait group of ,the ,baroness von ,krdner and her ,daughter 7,no4 #bgbb7 is a poor example of her art1 which invariably sought to please by conventional prettiness4 ,raphael ,mengs1 the painter of the portrait of ,marie ,amelia ,christina of ,saxony1 ,wife of ,charles ,,iii4 of ,spain1 was born at ,aussig in ,bohemia1 studied whilst still a boy in ,italy1 and became ,court ,painter to ,charles ,,iii41 who invited him to ,madrid in #agfa4 ,mengs was an exceedingly accomplished technician and draughtsman1 who modelled himself on ,raphael and the ,italian eclectics1 but was wholly lacking in originality and inspiration4 ,he tried his hand in every branch of his art1 and was most successful in portraiture1 although even his portraits are lacking in penetration of character4 ,he1 however1 excelled as a copyist1 and died in ,rome in #aggi4 ,,the ,,spanish ,,school ,though numerically by no means imposing1 the ,spanish pictures at the ,louvre form an exceedingly interesting section of the great ,french national collection1 comprising1 as they do1 characteristic examples of the art of practically all the most prominent figures in the evolution of ,spanish painting4 ,compared with the schools of ,italy and ,flanders1 that of ,spain was tardy in its development and very much dependent upon foreign influences4 ,the activity of ,flemish and ,italian masters in ,spain--we need only mention ,starnina1 ,dello ,delli1 ,rubens1 ,luca ,giordano--and the visits of several eminent ,spanish masters to ,italy1 could not fail to leave their clear mark on the art of the ,peninsula1 the renaissance of which was almost entirely due to the stimulus received from abroad4 ,the short visit of ,jan van ,eyck to ,portugal in #adbi also had a profound influence on the art of the ,peninsula4 ,but the local conditions1 the strict rule of the ,church and the tyranny of the ,inquisition1 the stiff ceremonial of the ,court1--the only rival of the ,church in the patronage of the arts1--and especially the sombre1 passionate character of the ,spanish race1--all helped to transform the imported styles into an art of definite national stamp1 an art that is marked by sombreness1 asceticism1 dramatic intensity1 and deep religious feeling4 ,throughout it is dominated by realistic tendencies and rude strength rather than by the striving for grace and beauty and rhythm which characterise ,italian art4 ,,luis ,,de ,,dalmau ,the ,louvre is fortunate in possessing an authentic and extremely important1 though badly restored1 altarpiece by ,ludovico ,luis de ,dalmau1 the first ,spanish painter whose personality emerges definitely from the obscurity of the ,gothic period in ,spain4 ,dalmau was a ,catalan who flourished about the middle of the fifteenth century1 and who1 although not a direct pupil of the ,van ,eycks1 shows such close affinity with their style that certain modern critics are inclined to ascribe to him1 with insufficient reason1 certain pictures1 like the ,fountain of ,living ,water at the ,prado1 by the heads and founders of the ,bruges school4 ,in spite of the different types and the increased angularity of the drapery folds in ,dalmau's ,enthronement of ,st4 ,isidore 7,no4 #agjc;,a71 this ,eyckian influence is clearly traceable in the ,louvre picture1 which shows the ,virgin enthroned under a ,gothic canopy wearing a crown of typically ,spanish form1 and handing the pallium to the saintly ,bishop of ,seville1 who kneels on the left4 ,further back on the same side are four angels with the episcopal insignia4 ,the group is balanced on the right by ,st4 ,anthony the ,hermit in the foreground1 and ,,ss4 ,catherine1 ,margaret1 ,agatha1 ,odilia1 and ,apollonia grouped around the throne4 ,the picture was originally in a church at ,valladolid1 and was bought for the ,louvre at the ,bourgeois sale at ,cologne in #aijd for #cjbe4 ,,luis ,,morales ,we need not here pay attention to the few unimportant pictures by unknown early ,spanish masters in the collection1 and may pass on to ,luis ,morales1 called 8,el ,divino0 78,the ,divine07 7#aeji-aehf71 who was born at ,badajoz1 and worked at ,toledo1 when the whole ,spanish school was already addicted to the ,italian mannerisms introduced by ,berreguete and other native artists trained in ,rome4 ,morales1 however1 remained faithful to the tradition of his own country1 and was essentially a painter of those religious subjects which enabled him to follow the national bent for the sombre and tragic--the sufferings of ,christ and of the ,virgin1 and similar themes4 ,the ,christ carrying the ,cross 7,no4 #agjg7 is a typical instance of the tragic intensity of his conception4 ,all the suffering of the ,saviour is expressed in ,his drawn features and ,his heavy1 swollen eyelids4 ,the picture is not dated1 but was evidently painted before #aefd1 in which year the master was called to the ,escorial and1 while in the service of ,philip ,,ii41 to a great extent lost his individual style in the imitation of the ,italians1 that was probably forced upon him by the taste of his patrons4 ,,el ,,greco ,we now come to one of the most interesting figures in the history of ,spanish painting--,dominico ,theotocopuli1 better known as 8,el ,greco0 7#aedh-afad71 from the country of his birth4 ,born in ,crete about #aedh1 ,el ,greco entered at a very early age the studio of ,titian in ,venice4 ,this at least we know from a letter written by ,clovio from ,rome in #aegj1 without which1 if we were to judge from the master's early style1 we should be forced to the conclusion that he acquired his art from ,tintoretto1 and more particularly from ,jacopo da ,ponte1 to whom several of his earliest works in private collections were formerly1 and in some cases are still1 ascribed4 ,he went to ,rome in #aegj1 and after five or six years took up his abode at ,toledo1 his first dated picture in that city1 the scene of his chief activity1 bearing the date #aegg4 ,between that year and his death in #afad1 his extant works illustrate the gradual evolution of his art1 the change of his ,italian into a typically ,spanish manner1 the rapid acquisition of a very personal style1 and the straining of that personal style to extreme mannerism4 ,the notes and flashes of rare1 cold1 almost acid1 but always harmonious1 colour lend a peculiar distinction to ,el ,greco's work4 ,his predilection for long1 narrow faces and slender1 emaciated bodies led him in his declining years to extravagant exaggeration2 the ecstatic passionate action and gesture of his figures reveal contortion and frenzy4 ,as a portrait painter ,el ,greco is second only to ,velazquez in the school of his adopted country4 ,his biographer1 ,seor ,cosso1 has called him 8a painter of souls10 because he had that intense power of penetration which perceives and retains at a glance the sum total of a person's traits of character4 ,el ,greco's conception of portraiture enters largely into his pictures at the ,louvre1 from which we must exclude as an imitation by an inferior hand the ,st4 ,francis and a ,novice 7,no4 #agbi;,a74 ,it is certainly an important feature in the large ,christ on the ,cross1 with ,two ,donors1 one of the comparatively recent acquisitions1 which still hangs on a screen in ,gallery ,,xv4 ,this great altarpiece has little of the master's fierce passion and lightning flashes of colour4 ,the expression of the two ,donors1 ,diego and ,antonio ,covarrubias1 who are seen to the waist at the foot of the ,cross1 does not go beyond normal pious devotion2 and the ,saviour seems rather to stand with spread arms than to hang on the ,cross with all the weight of ,his characteristically elongated body4 ,a leaden grey dominates the whole colour scheme4 ,the composition is singularly empty and simple for a master who seemed to have a perfect horror of empty spaces4 ,the picture1 which is fully signed1 must have been painted soon after ,el ,greco's arrival at ,toledo 7and not1 as ,sr4 ,cosso thinks1 between #aeij and #afjj71 since one of the ,donors1 the priest ,diego ,covarrubias1 died in #aegg4 ,comparison of the two ,donors' faces with their portraits by the same master in the ,toledo ,library can leave no doubt as to their identity4 ,the ,christ on the ,cross was offered by the deputy ,isaac ,pereire of ,prades 7,pyrenes-,orientales7 to the local parish church1 but was refused and hung in the ,palais de ,justice at ,prades1 whence it was removed to the ,mairie in #aijd1 and finally sold to the ,louvre in #aijh for #ajjj4 ,the picture measures #h ft4 #h in4 by #e ft4 #h in4 ,the ,st4 ,louis of ,france and a ,page 7,no4 #agbi;,b71 which was formerly wrongly catalogued as ,king ,ferdinand the ,catholic1 is a more typical example of ,el ,greco's management of colour4 ,the boldly painted armour is identical with that of the ,st4 ,martin on horseback1 at ,toledo4 ,the probable date of the picture1 which was bought in #aijd at the high price of #bhjj1 is between #aeid and #afjj4 ,by ,el ,greco's favourite pupil and assistant1 ,luis ,tristan 7#aehf-afdj71 is the realistic half-figure of ,st4 ,francis of ,assisi 7,no4 #agcj74 ,a more scientific classification of the works by the ,toledo painters has reversed ,sir ,w4 ,stirling-,maxwell's judgment that ,tristan had all the virtues and none of the faults of his master4 ,he was in reality a mediocre imitator of ,el ,greco1 without a spark of his master's genius and without any of his distinction4 ,,the ,,school ,,of ,,seville ,the naturalistic tendencies inherent in the national ,spanish genius1 which even in the period of ,italian mannerism were not to be entirely denied1 bore full fruit at ,seville1 where ,francisco ,herrera 8the ,old0 7#aegf-afef7 was the first entirely to reject the tyranny of the ,italian manner1 and with it to a certain extent the tyranny of ,church patronage4 ,he was a man of fiery character1 with whom the technique of his art became a veritable passion4 ,it was left to a painter of a later century and of another race to proclaim that it does not matter what you paint1 but how you paint2 but ,herrera's work at times almost suggests that he was guided by similar principles1 although an instinctive sense of pictorial fitness saved him from the consequences to which their unrestricted application might easily lead4 ,in spite of the repelling fierceness1 the fanaticism1 the cruelty of every single face--all of them portraits1 no doubt--in the ,st4 ,basil dictating his ,doctrine 7,no4 #agjf7 at the ,louvre1 in spite of the essentially ,spanish manner in which the design fills the space 7the figures being grouped in horizontal courses right across the canvas1 with very little space above for the sky1 and this little space filled with angels' heads and with a ,holy ,ghost as fierce as the rest of the assembly71 there is a noble rhythm of line as well as of the distribution of light and shade1 which proclaims the mind of a master4 ,the two ,saints in the immediate foreground1 ,st4 ,dominic and ,st4 ,bernard1 are cut through at the waist--another favourite device of ,spanish composition1 which we have already noticed in the ,donors of ,el ,greco's ,christ on the ,cross4 ,,zurbar,n ,considerable though it be1 ,herrera's artistic achievement does not constitute his chief claim to fame2 for his name will ever be best known as that of the first master of the greatest of all ,spanish painters1 ,don ,diego ,rodriguez de ,silva y ,velazquez4 ,but before discussing the pictures by1 or catalogued under the name of1 ,velazquez at the ,louvre1 we must consider the work of two other painters of the ,naturalistic school3 ,francisco de ,zurbarn 7#aeih-affa7 and ,jos de ,ribera1 called 8,lo ,spagnoletto0 7#aehh-afef74 ,zurbarn1 a pupil of the ,sevillan ,juan de las ,roelas1 was essentially a painter of church pictures1 his favourite subjects being types of monks and scenes of monkish life4 ,there is something so sincere and convincing in his unrelenting realism1 that even his pictures of rapturous ecstasy and strongly emphasised emotion impress one as truthful renderings of types observed by the artist in the streets and churches of monastic ,seville4 ,the sombre passion with which his subjects are instinct is reflected by his colour and masterly chiaroscuro4 ,zurbarn became ,court ,painter to ,philip ,,iv4 in or before #afcc1 in which year he added the words 8,pintor del ,rey0 to his signature on one of his pictures2 and in this capacity he painted at ,madrid his only known secular pictures1 a series of ten ,scenes from the ,history of ,hercules4 ,two admirable pictures from his brush figure in the ,louvre ,catalogue as ,st4 ,peter ,nolasque and ,st4 ,raymond de ,peafort 7,no4 #agch7 and ,the ,funeral of a ,bishop 7,no4 #agci74 ,as a matter of fact they represent two scenes from the life of ,st4 ,bonaventura3 ,the ,saint presiding at a ,chapter of ,minor ,brothers1 and ,the ,funeral of ,st ,bonaventura4 ,the second of these companion pictures which were originally in a convent at ,seville is particularly striking for the unconventionality of its composition1 the strong character of the heads1 and the masterly treatment of the chiaroscuro4 ,note again the placing of the heads almost in a horizontal line right across the canvas1 and the anxious avoidance of empty spaces4 ,the third picture that stands to ,zurbarn's name is the figure of ,a ,lady of ,fashion in the ,character of ,st4 ,apollonia 7,no4 #agdj71 a work of not very striking merit4 ,,ribera ,ribera1 though born near ,valencia1 where he received his early education in the painter's art in the studio of ,ribalta1 was still young in years when he left his native land for ,italy1 never to return4 ,studying and working at ,rome1 ,parma1 and ,naples1 he was so strongly influenced by ,caravaggio1 and to a minor extent by ,correggio1 that1 taking also into account his long domicile1 there is some justification for those who treat him as belonging to the ,italian school of ,naturalists4 ,the most prominent feature of his art is the violent and abrupt contrasting of brilliant lights with very deep and heavy shadows1 which enforces the almost cruel dramatic intensity of his scenes of torture1 convulsions1 and suffering4 ,in this use of chiaroscuro he was a true follower of ,caravaggio1 but ,ribera1 even where he is most ,italian1 never denies his ,spanish nationality and the teaching of his first master4 ,nowhere are his racial characteristics more pronounced than in the admirable character-study1 in the ,la ,caze ,room1 of a grinning beggar-boy who suffers from an infirmity from which the picture derives its popular name1 ,the ,club-foot 7,no4 #agbe74 ,the boy is standing in bold silhouette against a clouded sky4 ,he shoulders his crutch like a gun1 and carries in his left hand a sheet of paper with the inscription--,,da ,,mihi ,,elemosinam ,,propter ,,amorem ,,dei4 ,if ,the ,club-foot is scarcely typical of the qualities that are generally associated with ,ribera's art1 the ,louvre owns two thoroughly characteristic examples of his more violent manner1 of his dramatic use of sharply contrasted light and shade1 in ,the ,entombment 7,no4 #agbb7 and ,st4 ,paul the ,hermit 7,no4 #agbc71 which bears on a stone the signature ,,jusepe ,,de ,,ribera ,,espagnol ,p4,f4 ,in ,the ,entombment the master-hand is revealed by the superb breadth with which the limp yet weighty body of the ,saviour is painted4 ,it is not modelled in all its plastic roundness1 but cut into sharp flat passages of light and shadow1 the plastic relief being suggested by the perfection of the anatomical drawing and foreshortening4 ,poignant grief is expressed in the faces of ,st4 ,joseph of ,arimatha1 the ,virgin ,mary1 ,st4 ,john1 and ,nicodemus1 who surround the body1 the head of which is supported by ,st4 ,joseph4 ,the same subject is treated with less masterly authority in ,the ,entombment 7,no4 #agbe;,a71 which can only be accepted as a school picture4 ,the ascetic fervour tinged with a sense almost of cruel pleasure in self-inflicted suffering1 with which ,ribera loved to invest his semi-nude figures of emaciated saints1 hermits1 and martyrs1 will be found in the ,st4 ,paul the ,hermit4 ,the picture was bought in #ahge for #beb4 ,without loss of realistic power1 and without affectation or conscious striving for prettiness1 ,ribera shows more human tenderness and gentle emotion in ,the ,adoration of the ,shepherds 7,no4 #agba71 a picture signed and dated on a stone in the right-hand corner1 ,juse ,ribera espaol ,academico romano1 ,f4 #afej4 ,in accordance with the nature of the subject he has here refrained from making use of abrupt light and shade1 the whole scene being enveloped in a warm glow4 ,the types are not idealised1 but are apparently faithful portraits of their respective models4 ,very similar to the central group in this canvas1 but more sonorous in its depth of colour1 from which gleam forth the strong lights1 is the ,virgin and ,child 7,no4 #agbd7 in the ,la ,caze ,room4 ,the four pictures of ,philosophers 7,nos4 #agbf-agbi71 likewise in the ,la ,caze ,bequest1 which the official ,catalogue gives to ,ribera1 are certainly not by that master4 ,it has been suggested that they may be the work of ,ribera's facile and versatile pupil1 ,luca ,giordano 78,fa ,presto071 but the poor quality of these paintings scarcely justifies even this attribution4 ,they were formerly in the collection of ,general ,mazzavedo4 ,ribera had a romantic career1 rising as he did from absolute penury to almost despotic power as a member of a triumvirate that would brook no competition in ,naples and would shrink from no means to further their schemes4 ,nothing is known as to how he died4 ,he disappeared in #afef1 and probably found his death in the depths of the sea4 ,,velazquez ,the ,catalogue of the ,louvre collection contains an imposing list of seven works by the king of ,spanish painters4 ,critical examination of these pictures will1 however1 result in the elimination of all but two that figure in the list4 ,velazquez1 who was destined to stamp his great personality on a whole generation of ,spanish painters1 but whose art was little known in ,northern ,europe previous to the ,peninsular ,war1 has exercised a paramount influence on modern art4 ,he was born of noble descent at ,seville in ,june #aeii4 ,although originally destined for another profession1 he showed such talent for art that he was allowed to enter the studio of ,francisco ,herrera1 of whose realistic tendencies and rugged strength we have already had occasion to speak4 ,from his studio he passed into that of the cultured and erudite ,francisco ,pacheco1 whose artistic achievement at its best was far in advance of his professed academic principles4 ,summoned to ,madrid in #afbc by the powerful ,count ,duke of ,olivarez1 ,velazquez entered the service of ,king ,philip ,,iv4 ,velazquez became his favourite ,court ,painter1 received other important offices and emoluments1 and after his return from his second visit to ,italy in #afea--the first visit had taken place in #afbi--;he was appointed ,aposentador del ,rey1 a post which approximately corresponds with that of ,court-,marshal4 ,he died on the #fth of ,august #affj1 from the results of fatigue and overwork in supervising the arrangements for the betrothal of the ,infanta ,maria ,teresa to ,louis ,,xiv4 at the ,palace on the ,isle of ,pheasants1 at ,irun4 ,with the exception of the early bodegones of his student-years and a few rare excursions into the realm of religious and mythological composition1 ,velazquez's life-work1 as conditioned by the patronage of the king and the ,court1 was practically confined to portraiture4 ,his unrivalled greatness in this sphere is due to the perfect clearness of his vision1 which made him grasp the person or scene before his eyes at a single glance1 and transpose his impression to canvas with undisturbed directness and completeness1 and with an apparent disregard of the means of expression4 ,there is dignity and soberness in all his portraits2 perfect spacing2 noble1 firm contour2 complete unity of all the parts produced by the sense of ambient atmosphere4 ,and never is there the slightest hint of trick of hand1 or mannerism1 or painting by recipe4 ,each picture is the result of close observation1 recorded with admirable directness and honesty4 ,this supreme master of the painter's technique seemed to pay no attention to technique--or1 at least1 the result is invariably so significant and so absorbingly interesting that the spectator1 unless he approaches the picture with deliberate intention to probe its secret1 never thinks of the technical means by which life so convincing has been breathed on to the canvas4 ,illustration3 ,,plate ,,xxv4--,,velazquez 7#aeii-affj7 ,,spanish ,,school ,no4 #agca4--,,portrait ,,of ,,the ,,infanta ,,margarita 7,portrait de l'infante ,margarita ,maria7 ,the ,infanta1 who appears to be about four years of age1 is wearing a white robe embroidered with black4 ,she is seen standing at half length1 her right hand on the arm of a chair4 ,painted in oil on canvas4 ,inscribed3--8,,linfante ,,marguerite40 #b ft4 #c in4 #a ft4 #aa in4 7#jgj #jei47 ,,the ,,infanta ,in the ,louvre collection there is but one picture from which it is possible to judge the greatness of ,velazquez's art4 ,that picture is the deservedly famous and often-copied portrait of the little ,infanta ,margarita 7,no4 #agca1 ,plate ,,xxv471 which has rightly been placed in the ,salon ,carr among the proudest possessions which the ,gallery can boast4 ,the little princess1 who was born in #afea1 the first child of ,mariana of ,austria1 is here depicted at the age of about four1 so that the date of the portrait may safely be assumed to be about the year #afee1 and not #afei1 as suggested by ,m4 ,lafenestre4 ,she is dressed in a white robe with black lace trimmings4 ,a pink ribbon is tied on her right side to her soft light golden hair1 which falls in curls to her shoulders2 her right hand rests upon a chair1 whilst the left1 the fingers of which have been repainted owing to the addition of a narrow strip of canvas at the bottom1 holds a flower4 ,on the top the words ,,linfante ,,margverite are painted in heavy block letters across the whole width of the canvas4 ,this picture1 in which childlike ingenuousness is so happily blended with quaint dignity1 and in which even the forbidding ugliness of the dress of the period cannot destroy the little princess's grace and doll-like charm1 ,velazquez has surely left to the world one of the most entrancing portraits of lovable childhood that is to be found in the whole history of art4 ,,mariana ,,of ,,austria ,the other unquestionably authentic work by the master at the ,louvre is to be found in the ,la ,caze ,bequest4 ,it is catalogued as ,portrait of the ,infanta ,maria ,teresa1 afterwards ,queen of ,france 7,no4 #agce71 but is in reality a portrait of ,queen ,mariana of ,austria1 the mother of the ,infanta ,margarita ,maria4 ,mariana was married to ,philip ,,iv4 as his second wife in #afdi1 at the age of fourteen4 ,velazquez was at that time in ,italy1 so that the duty of painting her first portrait for the royal bridegroom fell to the ,court ,painter's son-in-law and chief pupil1 ,juan ,bautista del ,mazo 7#afaj-affg74 ,the portrait at the ,louvre was1 if we may judge from the apparent age of the child-queen as she is here represented1 painted in #afea1 when ,velazquez had returned from his second ,italian journey and when ,mariana was sixteen years of age4 ,it was probably a preliminary study from life for the larger portrait in the ,vienna ,gallery4 ,this admirable portrait is another artistic triumph over unfavourable conditions imposed by the hideousness of contemporary female attire1 although the forehead has been spoilt by clumsy repainting4 ,the coiffure in particular1 a cascade of false hair1 bows1 jewels1 and feathers1 is more suggestive of some exotic idol or fetish than of a human being4 ,in #ahfc1 before the judgment of a tasteless age1 which gave ,velazquez a position far below the then absurdly overrated ,murillo1 was revised1 this portrait of ,mariana appeared at the ,viardot sale and failed to realise more than #bjj6 ,,copies ,,and ,,school ,,pictures ,two other portraits in the ,la ,caze ,room are attributed to ,velazquez4 ,one of these1 a ,portrait of ,philip ,,iv4 7,no4 #agcc7 at the age of about fifty1 is unquestionably a wholly uninspired and fairly modern copy of the head in the ,prado 7,no4 #ajhj74 ,the other1 a ,portrait of a ,young ,woman 7,no4 #agcf71 is an extremely feeble imitation of the superficial aspect of ,velazquez's manner--so bad in drawing1 especially in the attachment of the nose to the face1 that it is difficult to accept ,seor ,beruete's attribution of this picture to ,juan ,carreo de ,miranda 7#afad-afhe71 an able painter of the ,madrid school4 ,m4 ,henri ,rodolphe ,elissa1 who exposed the 8,tiara of ,saitaphernes0 forgery1 has asserted that he can prove both the ,philip ,,iv4 and the ,young ,woman to be the work of the ,spanish painter ,escosura1 who died in the last decade of the nineteenth century4 ,there appears to be no reason to doubt his assertion4 ,the head of ,philip1 more than the other picture1 appears to be nineteenth-century work4 ,the ,portrait of ,philip ,,iv41 ,king of ,spain1 in ,hunting ,costume 7,no4 #agcb71 with a gun in his right hand and a dog sitting by his side1 in a landscape background1 is only a contemporary copy of a very similar picture in the ,prado1 to which it is vastly inferior in execution4 ,it is true that in the ,prado picture the king's hat is on his head1 whilst in the ,louvre version1 which is probably by ,mazo1 he carries it in his left hand4 ,it is1 however1 possible to detect in the ,prado portrait clear evidence of a pentimento1 from which it can be seen that here1 too1 the hat was originally in the same position as in the ,louvre canvas4 ,presumably ,velazquez subsequently made the alteration2 but the copy was executed at an earlier date4 ,,the 8,,meeting ,,of ,,thirteen ,,people0 ,there have been great divergences of opinion concerning the strange little painting representing a ,meeting of ,thirteen ,people 7,no4 #agcd7 on a hill4 ,it was formerly known as ,a ,meeting of ,artists1 because two of the ,spanish cavaliers depicted in the group were believed to represent ,velazquez and ,murillo4 ,lauded at first as one of ,velazquez's masterpieces by those who were carried away by the truly extraordinary beauty of the pearly1 opalescent colour harmony and the atmospheric quality of the painting1 the little picture has lately been as violently abused for its 8poor design1 weak execution1 and commonplace arrangement40 ,as a matter of fact the arrangement is anything but commonplace1 and the picture has great qualities of technique which will always be the delight of professional artists4 ,it is moreover admirably varied in gesture and action1 even if it has certain weaknesses which render impossible its unqualified attribution to ,velazquez4 ,here we have clearly an excellent example of his son-in-law and imitator1 ,j4 ,b4 del ,mazo4 ,if any proof were needed for this attribution1 it will be found in the figure on the extreme left of the composition4 ,both his legs are slanting forward so much that his centre of gravity plumbs behind his heels4 ,it would really be impossible to maintain this posture1 which1 though it offends against the laws of gravity1 is to be found in quite a number of ,mazo's pictures1 as1 for instance1 in the small figure of ,olivarez 787 in the middle distance on the right in the ,duke of ,westminster's ,don ,baltazar ,carlos in the ,riding ,school1 in the portrait of ,don ,baltazar ,carlos at ,the ,hague1 and in the second boy in ,the ,family of ,mazo at the ,vienna ,gallery4 ,the soundly painted ,portrait of ,don ,pedro de ,altamira1 ,doyen of the ,chapel ,royal at ,toledo1 afterwards ,cardinal 7,no4 #agcg71 inscribed on the background 8,t #ed ,,dv1 #afcc10 is a good character-study of an energetic and rather worldly-looking ,church dignitary1 but does not appear to be either by ,velazquez or one of his immediate followers4 ,there is in the ,spanish section of the ,louvre another superbly painted1 but very problematic1 ,head of a ,man 7,no4 #agdg71 which1 on no more plausible grounds than an accidental likeness to one of the figures in ,the ,forge of ,vulcan1 has by some critics been believed to be by ,velazquez4 ,the rich impasto and the careful finish of the painting are utterly unlike ,velazquez's manner2 nor does the picture appear to be of his period4 ,but whoever may be its author1 it is one of the most remarkable paintings in this section of the ,louvre4 ,,murillo ,by far the best represented of all the masters at the ,spanish school is ,bartolom ,estban ,murillo 7#afah8-afhb74 ,he was born at ,seville1 of poor parents1 and studied as a boy under ,juan del ,castillo4 ,forced before he had reached manhood to gain his livelihood1 he took to manufacturing artistically worthless devotional pictures on saga-cloth1 for sale at the weekly fairs in the poor quarter of ,seville4 ,this early practice of rather mechanical production1 and the habit1 acquired by necessity1 of working to please the public1 clung to him in after life and are responsible for much that the modern mind finds distasteful in his art--a certain sickly sentimentality that often takes the place of real sentiment1 and an artificiality of arrangement even where the types are realistic renderings of the people among whom he spent his days4 ,with his small savings from the proceeds of his crude popular pictures ,murillo proceeded to ,madrid1 where ,velazquez assisted him by deed1 advice1 and example1 though the two artists were probably never in the relation of master and pupil4 ,after about two years thus profitably spent at ,madrid1 ,murillo returned to ,seville1 where he continued to work until his death in #afhb1 and rose to the very summit of fame and popularity4 ,at his best ,murillo was a colourist of great charm and a technician of the rarest skill4 ,his art is most admirable where he adheres most closely to the realistic tradition of his country4 ,it is scarcely to be credited that the same hand which produced so many vaporous and vapid ,madonnas is responsible for a picture painted with such superb breadth and incisive vigour as ,the ,young ,beggar 7,no4 #agag71 which is almost worthy of the brush of ,velazquez in his ,sevillan period4 ,the decidedly unsavoury subject is made acceptable by the consummate artistry of the treatment4 8,,the ,,immaculate ,,conception0 ,it is not1 however1 to pictures of this type that ,murillo owed his widespread popularity4 ,generations of enthusiastic admirers have stood in silent awe before his large painting of ,the ,immaculate ,conception 7,no4 #agji1 ,plate ,,xxvi471 which is certainly one of the best of innumerable versions of the same subject--the ,virgin standing on a crescent moon1 with ecstatic gaze1 and hands pressed to her breast1 and surrounded by swarms of joyous angel-children--painted by ,murillo to meet an apparently insatiable demand4 ,there is something of real ecstasy in this conception4 ,to find a similar morbidezza of pigment one must turn to certain famous works by ,andrea del ,sarto3 it is a quality which is generally conspicuously absent from ,spanish painting and which1 if carried a step farther1 as it sometimes was carried by ,murillo1 would result in fuzzy vapidness4 ,this famous picture has the distinction of being the most costly purchase ever made for the ,louvre1 the price paid for it at the ,marshal ,soult sale in #aheb--that is many years before ,american competition had established the vastly enhanced standards of value which now prevail--being as much as #fae1cjj fr41 or #bd1fab4 ,illustration3 ,,plate ,,xxvi4--,,murillo 7#afah8-afhb7 ,,spanish ,,school ,no4 #agji--,,the ,,immaculate ,,conception 7,la ,conception immacule de la ,vierge7 ,the ,virgin1 wearing a white robe with a blue mantle over her left shoulder1 has her hands crossed over her breast2 she is standing in the hollow of a two-horned crescent1 and gazing heavenwards4 ,about twenty-one cherubs and ten heads are seen in different parts of the composition4 ,painted in oil on canvas4 #i ft4 #j in4 #f ft4 #c in4 7#bgd #aij47 ,apparently of earlier date is the other version of the same subject at the ,louvre4 ,this ,immaculate ,conception 7,no4 #agjh7 is not painted in the same spirit of exaltation as the version just described1 but has a happy passage of realistic character-painting in the six kneeling figures on the left4 ,on the right two angels carry a scroll with the inscription ,,in ,,principio ,,dilexit ,,eam4 ,the picture was painted in #afef-eg for the ,church of ,santa ,maria la ,blanca at ,seville1 and was carried off to ,france1 with many other of the master's works1 by ,marshal ,soult4 ,,the 8,,birth ,,of ,,the ,,virgin0 ,another picture that formed part of the loot taken by ,napoleon's general and was taken in #ahee from his son1 the ,duke of ,dalmatia1 in liquidation of a debt of #fjjj1 is ,the ,birth of the ,virgin 7,no4 #agaj74 ,the ,national ,gallery in ,london owns a small preliminary study for this painting1 which was executed in #afee for ,seville ,cathedral4 ,the centre is occupied by a beautifully disposed group of four women and four winged heavenly visitors attending to the ,infant's bath2 in the background on the left ,st4 ,anne1 raised in her bed1 is receiving visitors1 and on the right are seen two attendants airing linen at a fireplace4 ,the strange assemblage1 in which the earthly and the heavenly are without incongruity brought into such close contact that one of the boy-angels is actually occupied with a dog1 is completed by another four angels floating in the air above the ,infant4 ,in composition1 distribution of light and shade1 and in harmonious blending of mellow colour this picture ranks among ,murillo's highest achievements4 ,according to ,cean ,bermudez1 the roundness1 beauty of shape1 and rosy complexion of the waiting-woman's arm in the foreground 8excited the jealous envy of the ladies of ,seville40 ,it is interesting to note that before its acquisition by the ,louvre the ,birth of the ,virgin was brought to ,england in #ahbc1 when the owners vainly tried to find a purchaser4 8,,the ,,angels' ,,kitchen0 ,yet another deservedly famous work by ,murillo1 removed from a ,franciscan convent at ,seville by the insatiable greed of ,marshal ,soult1 is the now extensively restored large picture known as ,the ,miracle of ,san ,diego1 or ,the ,angels' ,kitchen 7,no4 #agaf74 ,the composition is divided by two large figures of angels into two halves4 ,on the left two knights of ,calatrava are shown in by a ,franciscan brother and behold ,st4 ,diego in prayer miraculously raised into the air and surrounded by a flood of light4 ,on the right the angels are occupied with the preparation of the repast for which the ,saint has sent his prayer to the ,virgin4 ,a ,franciscan is watching the scene from the distance with a gesture of amazement4 ,here again the real and the supernatural are blended with unaffected navet1 the unity of the contending elements being established by the masterly rendering of light and atmosphere4 ,an account of the miracle is given on a cartouche in the foreground2 whilst a piece of paper on the left holds the signature ,,bart-,,est4 ,,murillo1 #afdf4 ,the ,angels' ,kitchen was bought from the despoiler's heirs for #cdbj4 ,the ,virgin of the ,rosary 7,no4 #agab71 unlike the majority of ,murillo's representations of the ,mother of ,god1 has scarcely a trace of spiritual exaltation1 but is merely a handsome type of a happy and contented ,spanish mother4 ,the folds of her outer garment are arranged in florid and meaningless profusion4 ,the ,holy ,family 7,no4 #agac71 also known as ,the ,virgin of ,seville1 is a genuine and characteristic1 though strangely overrated work by the master1 and bears the signature ,,bartolom ,,de ,,murillo ,f4 ,,hispan4 ,the ,virgin in ,glory 7,no4 #agaa7 is1 to say the least1 of doubtful authenticity4 ,the small companion pictures1 ,christ in the ,garden of ,olives 7,no4 #agad7 and ,christ at the ,column and ,st4 ,peter 7,no4 #agae71 are painted on marble1 to which fact they owe the unpleasant coldness of their colouring4 ,in the ,la ,caze ,room are two portraits1 ,the ,poet ,quevedo 7,no4 #agah7 and ,the ,duke of ,ossua 7,no4 #agai71 which the official ,catalogue ascribes to ,murillo4 ,quite apart from the fact that the artist was only six years of age when the ,duke of ,ossua died1 the quality of the painting does not justify these attributions4 ,like the head of ,philip ,,iv4 in the same room1 they were probably painted by ,escosura1 a late-nineteenth-century ,spaniard ,,the ,,school ,,of ,,madrid ,we must now return to ,madrid1 where the example of ,velazquez had inspired a fairly numerous group of able painters without particular genius1 whose art1 being entirely derivative1 carried within itself the germ of decay and sank to complete insignificance before the close of the century4 ,the most distinguished artist of this group is ,juan ,bautista del ,mazo1 who has already been referred to as the author of the ,meeting of ,thirteen ,people and probably of the ,philip ,,iv4 in ,hunting ,costume4 ,so well did he succeed in appropriating his father-in-law's style that his best works have frequently passed under his illustrious master's name4 ,another important painter of the ,madrid school is ,carreo de ,miranda 7,nos4 #afad-afhe71 who benefited by ,velazquez's patronage1 became painter of the ,palace in #affi1 and ,court ,painter and ,assistant ,seneschal in #afga4 ,although in his later years he devoted himself largely to subject pictures which are distinguished by a warmer colouring than most of the productions by the ,madrid school of the period1 he achieved his greatest successes as a portrait painter4 ,he was considerably influenced by the paintings of ,van ,dyck1 which he had occasion to study in the royal palaces4 ,his large ,st4 ,ambrose distributing ,alms 7,no4 #agjb71 in the ,la ,caze ,gallery1 is a hurriedly executed work which does not show his art to the best advantage4 ,it figured in the sale of the ,soult collection1 when it failed to realise #bj4 ,far more typical of its author's best manner is ,the ,burning ,bush 7,no4 #agjc7 by ,francisco ,collantes 7#aeii-afef71 a ,madrid painter who studied under ,vincente ,carducho1 but was influenced by ,bassano4 ,he was an excellent colourist1 especially in his landscape paintings with small figures4 ,his most famous picture is ,the ,vision of ,ezekiel1 formerly at the ,buen ,retiro ,palace and now in the ,prado ,gallery4 ,juan de ,arellano 7#afad-afgf71 the painter of the ,flowers 7,no4 #agja71 worked at ,madrid1 unknown and in abject poverty1 until at the age of thirty-six he began to devote himself to flower-painting1 a branch of art in which he developed considerable skill1 and rose to great popularity4 ,yet another ,madrid painter who is but indifferently represented at the ,louvre by a still life of ,fruit and ,musical ,instruments 7,no4 #agbj7 in the ,la ,caze collection1 is ,antonio ,pereda 7#aeii-affi74 ,although a contemporary of ,velazquez and working in the same city1 he was not appreciably influenced by that master4 ,he was a pupil of ,pedro de las ,cuevas1 and his style shows certain affinities with ,ribera4 ,his works are rarely to be met with outside the galleries and churches of his own country4 ,the end of the seventeenth century marked the complete decadence of the ,spanish school1 which was precipitated and received its final seal by the advent in #afib of the ,neapolitan ,luca ,giordano1 whose rare facility in the production of showy1 flashy1 meretricious works earned for him the sobriquet 8,fa ,presto10 and whose prodigious success was a powerful incentive to emulation4 ,more fatal even than the influence of ,luca ,giordano was that of the ,german artist ,raphael ,mengs1 an uninspired eclectic who became ,court ,painter to ,charles ,,iii41 and who is referred to in the chapter dealing with the ,german pictures at the ,louvre4 ,,goya ,in this time of complete stagnation the fascinating personality of ,francisco ,goya y ,lucientes 7#agdf-ahbh7 flashes like a bright meteor through the dark night of ,spanish art4 ,goya takes a unique position in the art of his country--or1 indeed1 of the world4 ,he was as much the last of the old masters as he is the first of the moderns4 ,a man of fiery temperament1 impulsive1 unruly1 opposed to authority1 he was terribly unequal in his performance4 ,it is as unnecessary to state who were his masters as it is impossible to speak of his style in general terms1 for there probably never was an artist who worked in so many different styles1 experimented in so many different mediums1 and treated so vast a range of subjects as ,goya4 ,he was a creature of moods1 and changed his method of painting as easily as his political allegiance from ,bourbon to ,bonaparte and back again to ,bourbon4 ,his four pictures at the ,louvre are without exception portraits1 and do not therefore illustrate his highly developed sense of the dramatic4 ,but they serve admirably to show his active protest against the classicist affectation prevalent at his time1 and his return to the healthy realism which is the heritage of his race4 ,the ,portrait of ,f4 ,guillemardet1 ,ambassador of the ,french ,republic to ,spain 7,no4 #agjd71 is an admirably honest piece of portraiture1 dignified but perfectly natural in pose1 strong in expression and pleasing in colour4 ,it was bequeathed to the ,louvre by ,guillemardet1 together with the ,young ,spanish ,woman 7,no4 #agje7 in a black mantilla1 standing with crossed arms against a pearly-grey landscape background4 ,the seated half-figure of the rather corpulent ,young ,spanish ,woman 7,no4 #agje;,a7 was bought at the ,kums sale at ,antwerp for #abgf2 and the portrait of ,don ,perez de ,castro 7,no4 #agje;,b7 was acquired in #aijb for #abjj4 ,goya was an isolated figure in ,spanish art of the time4 ,he left no 8school10 but his influence was one of the leading factors in the rise of the modern movement in ,france4 ,,the ,,dutch ,,school ,we have already followed the development of the early ,flemish or ,netherlandish art during the fifteenth century1 and observed how it eventually passed under the ,italianising influences which are unmistakable in the pictures of ,barend van ,orley 7#adie8-aedb7 and his contemporaries4 ,the early painters of ,holland as distinct from ,flanders cannot be traced with any certainty much farther back than ,albert von ,ouwater 7fl4 #adbj-adfj71 who worked at ,haarlem from #adcj to #adfj4 ,as we have already seen1 the early ,flemish painter1 ,gerard ,david 7#adfj8-aebc71 was born at ,ouwater1 which may well have had its school of painters4 ,neither ,albert von ,ouwater1 who is represented to-day by a single work1 the ,raising of ,lazarus in the ,berlin ,gallery1 nor his unidentifiable contemporary who painted the ,exhumation of ,st4 ,hubert1 in the ,national ,gallery 7,no4 #ghc71 are included in the collection of pictures at the ,louvre4 ,,gerard ,,of ,,haarlem ,the influence of these painters and ,dierick ,bouts is seen in the rare works of ,geertgen tot ,s4 ,jans1 or ,gerard of ,haarlem 7#adfe-adic7 whose ,raising of ,lazarus 7,no4 #befc;,a7 in this collection is an achievement of the highest order1 and was purchased as recently as #aijb for #djjj from ,baron d',albenas1 after having been for many years in ,spain4 ,this pupil or follower of the ,ouwater master was a native of ,leyden1 and worked at ,haarlem4 ,he took his name from the commandery of the ,knights of ,st4 ,john at ,haarlem for whom he worked1 as we see from the careful inscription1 8,gerardus ,leydanus pictor ad ,s4 ,io4 ,baptist4 ,harlem pinxt10 on his triptych at ,vienna4 ,among his contemporaries were ,cornelis ,engelbrechtsen1 who was born in #adfh at ,leyden1 where he died in #aecc1 and ,lucas van ,leyden 7#adid-aecc74 ,the latter played an important part as an engraver quite as much as a painter in the university town of ,leyden1 which now possesses his large ,last ,judgment and became famous as the birthplace of ,rembrandt in #afjf4 ,the ,louvre possesses no picture by either ,engelbrechtsen or ,lucas van ,leyden4 ,jacob ,cornelisz van ,oostsanen 7fl4 #adgj-aecc7 is also unrepresented here4 ,portraits by painters in this group are often confused1 as in the case of the ,portrait of the ,duke of ,east ,friesland1 in the ,oldenburg ,gallery1 which has been attributed to both ,lucas van ,leyden and ,jacob ,cornelisz4 ,a pupil of the latter may have painted the ,cana of ,galilee 7,no4 #bfdj;,c74 ,it is safe to assign to 8the ,master of the ,female ,half ,figures10 the ,young ,lady ,reading 7,no4 #bfda;,c71 which has a close analogy with the well-known picture in the ,harrach collection at ,vienna1 representing half-length figures of three young ladies in crimson velvet dresses cut square at the neck1 and singing to the accompaniment of a flute and a lute4 ,the name of this painter is not known1 but his pictures1 which are neither numerous nor of any conspicuous merit1 are easily recognisable4 ,to this period of transition and mediocre painting belongs ,jan ,scorel 7#adie-aefb71 whose ,portrait of ,paracelsus the ,doctor 7,no4 #befg;,a7 is inscribed3 8,,formoso ,,doctor ,,paraselsus10 and is in every way superior to the ,portrait of a ,man 7,no4 #bfda;,b71 which is labelled with the name of ,scorel1 but catalogued as being by an unknown artist4 ,from ,scorel1 a much travelled ,dutch artist1 who at one time worked at ,nuremburg with ,albrecht ,drer and visited ,venice and the ,east1 we naturally pass to ,jan ,mostaert of ,haarlem4 ,mostaert of ,haarlem is unrepresented at the ,louvre1 a remark which equally well applies to the anonymous 8,pseudo-,mostaert10 who painted so much in his style that a large number of inferior productions have been credited to him from time to time4 ,pictures of this type vary so considerably that the name 8,pseudo-,mostaert0 is little more than a generic designation for unassignable ,flemish and ,dutch pictures of the middle of the sixteenth century2 such pictures bear some relationship to the ,christ bearing ,his ,cross 7,no4 #bbii71 and the ,abraham's ,sacrifice 7,no4 #bcjj71 officially attributed to the little-known and quite negligible painter ,alart ,claeszoon 7#adih-aefd7 of ,leyden4 ,,sir ,,antonis ,,mor ,from ,leyden we may pass to ,utrecht1 which was the birthplace of the much-travelled1 distinguished1 and cosmopolitan painter1 ,antonis ,mor 7#aeab-aegh874 ,he was a pupil of ,jan ,scorel1 but soon freed himself from the hard manner he acquired under that master by his study in ,italy of the best works of the ,venetians4 ,indeed1 some of his pictures have passed as the work of ,calcar1 the pupil of ,titian4 ,mor1 or ,moro1 excelled as a painter of vigorous and truthful portraits1 and the portraits and replicas he painted of ,queen ,mary are well known4 ,the ,prado ,gallery at ,madrid and the ,vienna ,gallery contain good examples of his art1 and he is fairly well represented in the ,louvre4 ,while he was in the service of ,philip ,,ii4 of ,spain he lived in much splendour1 and was amply paid for his work4 ,his close intimacy with the monarch induced him on one occasion to take the liberty of touching with a brush dipped in red paint the hand of the king4 ,this serious breach of ,court etiquette created a profound impression on the courtiers present2 and1 although the painter sued for pardon and obtained it from the king1 he soon recognised that he had made himself obnoxious to the ,inquisition1 who asserted that ,moro had got from the heretic ,english1 while painting the portrait of ,queen ,mary1 a charm that enabled him to bewitch the ,spanish monarch4 ,being thus compelled to leave ,spain1 he settled in ,antwerp1 where he died between #aegf and #aegh4 ,the pictures of ,mor1 who was the contemporary of ,titian1 at different periods of his art bear traces of the ,dutch1 ,spanish1 and ,flemish schools4 ,he in turn also had an influence on the portrait painters of ,spain half a century before the birth of ,velazquez4 ,the ,portrait of a ,man 7,no4 #bdgh71 which is signed and dated3 8,,ant ,,moro pingebat1 #aefe10 was in the past held by some writers to bear the features of ,sir ,francis ,drake1 who was1 however1 at the date here given only twenty-one years of age4 ,the two large paintings in the ,duchtel ,bequest which pass as the ,portrait of ,louis de ,rio and ,his ,wife 7,no4 #bdhj and ,no4 #bdha7 are1 judging by the attitudes of the figures and the shape of the panels1 the wings of a large altarpiece4 ,the ,dwarf of ,charles ,v4 7,no4 #bdgi7 reminds us that the painter1 while still young1 was taken into the service of that emperor4 ,the ,portrait of ,edward ,,vi4 of ,england 7,no4 #bdha;,a7 bears a very suspicious-looking inscription4 ,,spanish ,,oppression ,the political events of the reign of ,philip ,,ii4 of ,spain1 the mistaken1 mischievous1 and oppressive policy he adopted with regard to his territory in the ,netherlands1 and the contempt with which he treated his ,dutch subjects1 soon alienated their sympathies2 but the ,duke of ,alva by his harshness and bigotry incited them to frenzy4 ,when he set forth in #aefg1 all hope of peace and mercy fled before him1 and within a short period his tyranny and ferocity fanned the flame of rebellion1 which after a struggle of eighty years was to end in the ,peace of ,mnster of #afdh4 ,in that year ,spain ignominiously surrendered1 and the independence of the northern ,netherlands was recognised4 ,during the long period which elapsed between the ,union of ,utrecht in #aegi and the negotiations at ,osnabrck and ,mnster in #afdh must have been destroyed innumerable religious pictures1 the loss of which renders it almost impossible for us to estimate the full significance of artistic endeavour in ,holland in the closing years of the sixteenth century4 ,a new era in ,dutch history1 social life and art was beginning to open out by the year #afab1 when ,abraham ,blomaert 7#aefd-afea7 painted and signed his very large ,nativity 7,no4 #bcbg71 which was formerly attributed to ,bernardino ,fassolo4 ,blomaert's ,portrait of a ,man 7,no4 #bcbg;,a7 is also a signed work4 ,,history ,,and ,,portrait ,,painters ,blomaert's contemporary1 ,michiel ,jansz ,mierevelt 7#aefg-afda71 who was at one time ,court painter to the ,princes of ,orange at ,the ,hague1 and was with undue flattery hailed as the 8,new ,xeuxis of ,delft10 is represented by the ,portrait of ,olden ,barnevelt 7,no4 #bdfe7 and three other portraits1 one of which 7,no4 #bdff7 is in a very bad state4 ,stiff but characteristic is the ,portrait of a ,woman 7,no4 #becd71 which was painted by ,jan van ,ravesteyn 7#aegb-afeg7 in #afcc1 while his initials are also found on a panel 7,no4 #bece7 which was commissioned of him in the following year4 ,although ,gerard ,verspronck 7#afjj-afea7 was many years his junior1 and in #afda1 in the period of his maturity1 achieved the ,portrait of a ,lady 7,no4 #begf;,a71 the top corners of which have been added1 he painted on the lines of tradition1 and showed little originality4 ,he came under the influence of ,frans ,hals1 under whose name his pictures often pass4 ,,cornelis ,,janssen ,nor can it be said that the numerous portraits which ,cornelis ,janssen van ,ceulen 7#aeic-affd87 undertook in ,england1 give signs of the new artistic impulse which was daily manifesting itself in ,holland in the early works of ,frans ,hals4 ,janssen1 who was baptized at the ,dutch ,reformed ,church1 ,austin ,friars1 ,london1 throve until the establishment in ,england of ,van ,dyck1 before whom he quickly had to give way2 although he withdrew to ,kent and lived in retirement1 he did not receive the ,speaker's warrant to pass beyond seas until #afdc4 ,that 8,cornelius ,johnson ,picture ,drawer0 made use of pallid flesh tones and lifeless grey tones1 is obvious from the two portraits 7,no4 #bcch and ,no4 #bcci7 exhibited in the ,louvre4 ,the very modern looking ,portrait of a ,young ,man 7,no4 #bcjc;,a71 signed 8,d4 ,,bailly10 is officially held to be the work of a ,leyden painter of that name who would appear to have been a contemporary of ,cornelis ,janssen4 ,,frans ,,hals ,although the great ,dutch painter1 ,frans ,hals 7#aehj8-afff7 was born at ,antwerp1 his parents were natives of ,haarlem1 whither he removed about #afjj1 and where he settled for the remainder of his eventful1 irregular1 and improvident career4 ,this lusty and unromantic master by his forceful characterisation1 his rapid wielding of his brush1 and his frank realism1 in a few years transformed the earlier portrait-making of ,holland1 and the rendering of the commonplace and obvious likeness of an individual1 as seen in the works of ,moreelse and others1 into the region of great art4 ,he was by about a quarter of a century the senior of ,rembrandt1 who is the greatest genius among ,dutch painters1 and developed his art on logical lines4 ,it is1 however1 necessary to know the outstanding facts of his personal history1 the fluctuating circumstances under which he worked1 and the grinding poverty of his latest period4 ,perhaps no other painter in the whole range of art was so affected by his environment as ,hals4 ,illustration3 ,,plate ,,xxvii4--,,frans ,,hals 7#aehj8-afff7 ,,dutch ,,school ,no4 #bchd4--,,the ,,gipsy ,,girl 7,la ,bohmienne7 ,she wears a red dress1 which is open at the neck2 she smiles as she turns her eyes to the right2 half-length figure4 ,painted in oil on canvas4 #b ft4 #f in4 #b ft4 #c in4 7#jgf #jfh47 ,whether he was a pupil of ,cornelis ,cornelissen1 ,hendrick ,goltzius1 and ,karel van ,mander 7the ,dutch ,vasari71 is not known with any certainty1 and no picture painted by him earlier than #afac1 when he may have been thirty-three years of age1 is known to-day4 ,early in the year #afaf1 when he painted his famous ,banquet of the ,officers of the ,st4 ,joris ,shooting ,guild1 one of his early masterpieces still preserved in the small gallery at ,haarlem1 he was summoned before the ,burgomaster of the 8town of the tulip10 and reprimanded for his cruelty to his first wife4 ,exactly a year later he married a second time1 and as the years went on he became the father of at least six sons who adopted the profession of the painter but earned no permanent success4 ,the ,louvre possesses no example of his ,doelen-pieces of archer-groups which won him his earliest fame in his own country1 but is fortunate enough to contain the famous ,gipsy ,girl 7,no4 #bchd1 ,plate ,,xxvii471 which alone would have earned for him the title of 8the master of the laugh40 ,it passed through the ,mnars sale in #agib for #cja livres4 ,the three pictures of the ,beresteyn family were bought for #djjj in #ahhd1 when his paintings were not as highly prized as they are to-day4 ,they give an excellent idea of the virility his art had attained by about #afbi4 ,the best of these is the ,portrait of ,nicolaes van ,beresteyn 7,no4 #bchf71 which is inscribed1 8,,aetat ,,suae #dj4 #afbi40 ,his hands are superbly painted2 while the companion ,portrait 7,no4 #bchg7 of his wife is equally striking4 ,the large and imposing ,portrait-,group of the ,beresteyn ,family 7,no4 #bchh7 is marred by the excessive use in places of a strong red1 and has been enlarged by the addition down the right side of the canvas of a strip about fourteen inches broad1 but yet shows a certain felicity of grouping1 and a joyous and exuberant outlook4 ,the ,portrait1 of ,ren ,descartes1 the ,french ,philosopher 7,no4 #bchc7 is so simple in treatment and so easy in pose1 that it makes an instant appeal to the student4 ,another ,portrait of ,descartes 7,no4 #gh71 by ,sbastien ,bourdon1 is in this gallery1 and a third was in the ,arsne ,houssaye collection4 ,the ,portrait of a ,lady in a ,black ,dress 7,no4 #bche1 ,plate ,,xxviii47 is unaffected and lifelike1 while the subtle and hasty brushing in of the gloves could only have been done by a great painter4 ,it seems to have been generally overlooked that a study for this picture is in the collection of ,lord ,ronald ,gower1 and has for some time past been on loan to the ,fitz,william ,museum1 ,cambridge4 ,in the study1 however1 the artist had not yet thought of the gloves4 ,in #afed1 ,hals had to appear before a public notary of ,haarlem at the instance of his landlord1 who sued him for debt4 ,the great ,dutch painter in his testimony affirmed that his only possessions were two pictures by ,vermander and ,van ,heemskerck1 and three by himself and one of his sons1 as well as three mattresses and bolsters1 a cupboard and a table6 ,the ,louvre exhibits no pictorial record of ,hals's latest phase1 when he was deserted by his friends1 neglected by art patrons1 and no longer possessed any inner moral support4 ,the colouring of his early portraits is vigorous1 the tone deep1 and the execution careful2 gradually he employs richer colouring1 subordinates the local colours1 and becomes broader in treatment4 ,from about #afej his olive-greens gradually take on a more ash-grey hue1 until we are inclined to the belief that if the master had been able to dispense with colour altogether1 he would have willingly done so4 ,it is then that the colours on his palette1 like the outer world1 became grey and black for him4 ,illustration3 ,,plate ,,xxviii4--,,frans ,,hals 7#aehj8-afff7 ,,dutch ,,school ,no4 #bche4--,,portrait ,,of ,a ,,lady ,,in ,a ,,black ,,dress 7,portrait de ,femme7 ,a middle-aged woman wearing a black dress1 with white collar1 cuffs and cap1 is seen at three-quarter length1 standing and turned three-quarters to the left2 in her hands1 which are superposed1 she holds her gloves4 ,painted in oil on canvas4 #c ft4 #c in4 #b ft4 #g in4 7#ajj #jhj47 ,this great master of the brush some time before his death had to avail himself of poor relief granted by the municipality of ,haarlem1 and after his death1 in #afff1 his widow received an allowance of fourteen sous a week6 ,such was the tragic end of one of the most accomplished of portrait painters in the whole range of art4 ,,dutch ,,independence ,holland after a terrible struggle had ultimately succeeded in throwing off the ,spanish yoke before the art of ,hals was on the wane4 ,dutch art then became gradually more independent1 self-centred1 democratic in outlook1 and ,protestant in tendency4 ,religious subjects became less frequent1 and domestic scenes dealing with indoor and outdoor life were before long largely on the increase4 ,before we pass to the detailed study of the most striking characteristics of art in ,holland in the last half of the seventeenth century1 we must examine at some length the far-reaching influence and the world-famous achievements of ,rembrandt1 for whom ,hals may be said to have prepared the way4 ,,rembrandt ,as his name denotes1 ,rembrandt ,harmensz van ,rijn 7#afjf-affi7 was born on the banks of the ,rhine1 his father being a miller at ,leyden4 ,when fourteen years of age he entered the university of his native town and had a classical education1 which stood him in good stead through his long and troubled career4 ,although he was at first placed as a pupil of ,jacob van ,swanenburgh1 he at an early age removed to ,amsterdam4 ,there he worked under ,pieter ,lastman 7#aehc-afcc71 whose ,abraham's ,sacrificing ,jacob 7,no4 #bddc;,a7 of #afaf is hung opposite the works of his illustrious pupil4 ,the independent spirit of ,rembrandt soon asserted itself1 and as early as #afbg he placed his name on pictures which still exist1 notably in the ,berlin and ,stuttgart museums4 ,his earliest picture in the ,louvre is the ,old ,man ,reading 7,no4 #beda;,a71 which is signed and dated #afcj1 and was presented by ,m4 ,kaempfen1 a former ,director of this gallery1 on his retirement4 ,three years later came the two small and very similar versions 7,no4 #bedj and ,no4 #beda7 of the ,philosopher in ,meditation1 the former of which is signed and dated2 in #afcc was painted the ,portrait of the ,artist 7,no4 #beeb71 while another oval picture of the same subject 7,no4 #beec7 is inscribed #afcd4 ,in this early period the artist was in the habit of portraying members of his own family1 who were naturally his most accessible models4 ,at this moment of his career ,rembrandt had to measure himself with many rivals in ,amsterdam1 notably with ,thomas de ,keyser 7#aeif8-affg71 whose ,portrait of a ,man 7,no4 #bdch;,a7 was formerly in the ,rodolphe ,kann collection1 while a half-length ,portrait of a ,man 7,no4 #bdch;,b71 also by de ,keyser1 was formerly at ,versailles4 ,from the trammels and restrictions which the art of de ,keyser would have been likely to impose on a less gifted and original mind1 ,rembrandt readily set himself free2 and he must have had great hopes for the future when1 in #afcd1 he took to wife the wealthy ,saskia van ,uylenborch4 ,however1 the oval ,portrait of ,himself wearing a black cap 7,no4 #beed71 dated #afcg1 is of marked inferiority to the dignified and deeply religious panel1 ,the ,archangel ,raphael leaving ,tobias and his ,father ,tobit 7,no4 #becf71 of the same year4 ,a year later he must have painted the ,portrait of an ,old ,man 7,no4 #bedd71 and his first pure landscape4 ,the influence of domestic bereavements on ,rembrandt's art is clearly reflected in the choice of his subjects1 in their more intimate setting1 and in the deep feeling which evidently inspired them4 ,no better example of this side of his character and his art could be found than the ,holy ,family in the ,carpenter's ,shop 7,no4 #bedb71 which he painted in #afdj4 ,in that year his mother died1 an event which followed rapidly on the death of his two infant daughters and his son1 and his wife's frequent illness4 ,he1 however1 still went on painting such varied compositions as the ,portrait of a ,man 7,no4 #bedf71 of #afde1 and the ,woman ,bathing 7,no4 #beej71 which he achieved two years later4 ,illustration3 ,,plate ,,xxix4--,,rembrandt 7#afjf-affi7 ,,dutch ,,school ,no4 #beci4--,,the ,,pilgrims ,,at ,,emmaus 7,les ,plerins d',emmas7 ,in a lofty room in front of a shallow niche in a wall1 ,christ and the two disciples sit at table2 a young serving-man enters from the right1 carrying a dish4 ,christ1 whose bare feet are seen underneath the table1 gazes heavenward as ,he breaks bread1 by which act the disciples recognise ,him as their ,lord4 ,the room is lit from the left4 ,painted in oil on panel4 ,signed below on the left3--8,rembrandt f4 #afdh40 #b ft4 #b in4 #b ft4 #a in4 7#jfh #jfe47 ,the famous ,night-,watch1 in the ,amsterdam ,gallery1 testifies to his inventive faculty in #afdb1 the year in which the death of his beloved ,saskia caused him intense grief4 ,from this he never really recovered1 as we see from the frequency with which during the remainder of his life he painted pathetic subjects4 ,what artist in the whole history of painting has been able to impart to his rendering of the ,good ,samaritan the kindly solicitude of the principal character in this parable1 and the feeling of complete collapse seen in the body of the wounded man1 as ,rembrandt has done in his superb canvas 7,no4 #becg7 of #afdh in this gallery8 ,no less poignant is the grief depicted on the face of the barefooted ,man of ,sorrows in the ,christ and the ,pilgrims at ,emmaus 7,no4 #beci1 ,plate ,,xxix47 of the same year4 ,here we see convincing proof of the dexterous use that the ,dutch 8magician-painter0 could make of chiaroscuro1 which he has handled with such masterly effect in the ,portrait of ,hendrickje ,stoffels 7,no4 #bedg1 ,plate ,,xxx474 ,all these paintings belong to the same period as the soul-moving ,polish ,rider1 which in #aiaj passed from the collection of ,count ,tarnowski at ,dzikow in ,galicia into that of ,mr4 ,h4 ,c4 ,frick in ,new ,york for #fj1jjj4 ,the ,portrait of a ,man holding a ,bton 7,no4 #beea71 in the ,la ,caze collection in this gallery1 was painted three years later than the ,bathsheba1 or ,woman ,bathing 7,no4 #bedi71 of #afed4 ,the wonderfully realistic and in no way repellent ,carcase of an ,ox in this gallery 7,no4 #bedh71 like the picture of the same subject at ,glasgow1 is an achievement of a very different kind1 and belongs to the year #afee4 ,the ,louvre authorities have been well advised in recent years in hanging all the pictures by ,rembrandt in this collection in one ,bay of the ,long ,gallery4 ,here now we may study the ,portrait of a ,young ,man 7,no4 #bede71 the wonderful and rather later ,portrait of the ,artist at his ,easel at the age of ,fifty-four 7,no4 #beee71 and the striking ,st4 ,matthew 7,no4 #bech7 of #affa4 ,before these three works were painted1 the great ,dutch master had been declared bankrupt1 the sale of his most treasured possessions realising a ridiculously small sum in the winter of #afeg4 ,although ,rembrandt's own standard of morality offended his neighbours1 and his relations with ,hendrickje ,stoffels seem to have caused much scandal in ,amsterdam1 we are not concerned with the morals of one of the greatest and most esteemed of the world's painters1 but only with his uvre1 a high place in which must be accorded to the ,portrait of ,hendrickje ,stoffels and her ,child as ,venus and ,cupid 7,no4 #bedc71 which was painted in #affb1 the year that the large ,syndics1 now in the ,amsterdam ,gallery1 was completed4 ,he is also to be credited with the alternative version of the ,pilgrims at ,emmaus 7,no4 #beee;,a71 a painting of the same date1 which for many years was at ,compigne1 where1 however1 it passed only as a school picture4 ,this profoundly creative painter1 who learnt as time went on to handle his chiaroscuro with increased effect1 was also an etcher of the highest order4 ,we may here note that the art of ,jan ,lievens 7#afjg-afgd71 a fellow-pupil with ,rembrandt under ,pieter ,lastman1 is seen in the large but far from imposing ,visitation 7,no4 #bddd74 ,illustration3 ,,plate ,,xxx4--,,rembrandt 7#afjf-affi7 ,,dutch ,,school ,no4 #bedg4--,,portrait ,,of ,,hendrickje ,,stoffels 7,portrait de ,hendrickje ,stoffels7 ,she is seated1 and looks at the spectator4 ,over her rich brown hair she wears a grey cap with narrow red ribbons2 pearl pendants are in her ears1 and she wears a brooch on her breast4 ,life-size half-length figure4 ,painted in oil on canvas4 #b ft4 #d in4 #a ft4 #aa in4 7#jgb #jfj47 ,,the ,,pupils ,,of ,,rembrandt ,that ,govaert ,flinck 7#afae-affj7 was a pupil of ,rembrandt1 is evident from his ,announcement to the ,shepherds 7,no4 #bcgb7 rather than from his ,portrait of a ,young ,lady 7,no4 #bcgc71 a signed work of #afda4 ,ferdinand ,bol 7#afag-afhj7 was a pupil and imitator of the great ,dutch master1 and his ,portrait of a ,mathematician 7,no4 #bccj7 is one of his best paintings2 but his ,philosopher in ,meditation 7,no4 #bcbh7 compares most unfavourably with ,rembrandt's two early pictures of the same subject which hang opposite it4 ,the ineffectual productions of ,jan ,victoors 7#afbj-afgj7 include the ,portrait of a ,young ,lady 7,no4 #bcga71 a typical example of the 8niche0 portrait which became so popular1 and a large ,isaac blessing ,jacob 7,no4 #bcgj71 which vividly recalls his small canvas in the ,dulwich ,college ,gallery that in less critical days passed as a ,rembrandt4 ,g4 van den ,eeckhout 7#afba-afgd7 in his picture 7,no4 #bcfd7 shows his dependence on ,rembrandt2 and ,cornells ,drost's repulsive ,bathsheba 7,no4 #bcei;,a7 has no claim to be regarded as a 8fort bonne peinture10 as a ,french critic has thought fit to term it4 ,,van ,,der ,,helst ,bartholomeus van der ,heist 7#afab-afgj71 a native of ,haarlem1 who painted under the early ,dutch master1 ,nicholas ,elias1 surnamed ,pickenoy1 and subsequently worked at ,amsterdam1 has fully signed his ,shooting ,prize 7,no4 #bcid1 ,plate ,,xxxi471 which is dated #afec4 ,it has been regarded as a replica on a very reduced scale of ,the ,officers of the ,brotherhood of ,st4 ,sebastian at ,amsterdam1 in the ,amsterdam ,gallery1 which1 curiously enough1 bears the date #afeg1 and is also signed on a slate4 ,pieter van der ,faes1 who is better known as ,sir ,peter ,lely 7#afah-afhj71 after painting at ,haarlem in the school of ,pieter de ,grebber1 went to ,england in #afda4 ,he there succeeded ,van ,dyck as ,court painter1 and at the ,restoration became the favourite ,royal painter4 ,the affectation and mannerism of his ,windsor ,beauties1 now at ,hampton ,court1 is well known4 ,he had a certain facility in painting 8,the sleepy eye that spoke the melting soul40 ,three pictures 7,nos4 #bcfg-bcfi7 are placed to his credit here1 but 8,the bugle eyeball and the cheek of cream0 have done their magic now4 ,the name of ,h4 van ,vliet 7#afaa8-afge7 is1 doubtless1 correctly connected with two portraits on canvas 7,nos4 #bfje and #bfje;,a71 while his contemporaries1 ,cornelis ,saftleven 7#afjf-afha7 and ,d4 van ,santvoort 7#afaj-afhj71 are represented by ,the ,artist's ,portrait 7,no4 #befb7 and the ,pilgrims at ,emmaus 7,no4 #befd7 respectively4 ,jakob van ,loo 7#afad-afgj71 who became a naturalised ,frenchman1 may be judged by his diploma picture 7,no4 #bdea7 and a very poor ,nude ,female 7,no4 #bdeb74 ,such mediocre producers of uninspired and unconvincing panels as ,dirk ,hals 7#aeia-afef71 the brother and pupil of ,frans ,hals1 whose ,festive ,repast 7,no4 #bchi7 hangs in ,room ,,xxiii42 ,cornelis van ,poelenburg 7#aehf-affg71 whose art is here admirably illustrated 7,nos4 #beah-bebc72 ,hendrick ,pot 7#aehe-afeg71 who evidently derived some satisfaction from the elaborate inscription he has placed on his quite ineffectual1 but fortunately diminutive1 ,portrait of ,charles ,i4 7,no4 #bebe72 and the little-known and less-esteemed ,l4 ,f4 ,zustris 7#aebf-afjj71 whose absurd ,venus and ,love 7,no4 #bfdj7 shows what a waste of time it was for him to study under ,titian in ,italy--these and many more worked as 8business artists0 for undiscriminating patrons4 ,in the same category come ,adriaen van de ,venne 7,no4 #bfja71 ,pieter ,codde 7,no4 #bcci;,a71 ,jacob ,duck 7,no4 #bcfj-bcfa71 and ,a4 ,palamedesz 7,no4 #beae;,a74 ,illustration3 ,,plate ,,xxxi4--,,van ,,der ,,helst 7#afac-afgj7 ,,dutch ,,school ,no4 #bcid4--,,the ,,shooting ,,prize 7,les ,chefs de la ,gilde des arbaltriers7 ,the four officers of the ,brotherhood of ,st4 ,sebastian at ,amsterdam are seated at a table in the foreground1 with the insignia of the ,brotherhood displayed before them4 ,by the side of the officer who1 seated to the right1 is addressing his companions1 is a slate on which are inscribed their names4 ,in the background to the right are three young men with bows and arrows4 ,from the left enters a maid-servant with a drinking-horn4 ,signed on the slate3--8,,bartholomeus ,,van ,,der ,,helst ,,fecit1 #afec40 ,painted in oil on canvas affixed to panel4 #a ft4 #g in4 #b ft4 #b in4 7#jej #jfg47 ,,genre ,,painters ,this rough sketch must suffice for our study of the ,history and ,portrait ,painters of ,holland4 ,although1 of course1 portraiture played a most important part throughout the whole range of ,dutch art1 we must now deal with those of their contemporaries and successors who are classed as painters of genre subjects1 ,interiors1 ,conversation-pieces1 and ,rustic ,scenes4 ,the compositions of these men at first show high technical excellence1 and a refined feeling for light and shade2 they depict simple scenes and homely incidents which make a wide appeal in any age4 ,by the end of the seventeenth century their scenes become festive1 and eventually boisterous1 and so degenerate into unimaginative renderings of far-fetched incidents which are treated with a parade of mere imitative skill4 ,in the last phase of their art the subjects become even more uninviting1 the panels are smoothly painted1 and all originality disappears4 ,,adriaen ,,van ,,ostade ,adriaen van ,ostade 7#afaj-afhe71 as a pupil of ,frans ,hals at ,haarlem1 occupies an important position in his school4 ,he is seen to very great advantage at the ,louvre4 ,from his early ,interior of a ,cabaret 7,no4 #bejf71 which is signed on a form 8,a4 ,v4 ,,ostade #afda10 we see the direction his life's work was to take2 and his ,interior of a ,cottage 7,no4 #bdih7 of the following year1 strengthens that view4 ,although ,reading the ,gazette 7,no4 #beje71 of #afec1 is painted on a very small panel1 it heightens our appreciation of this able and careful painter1 who1 a year later1 must have spent a long time in the completion of a ,family ,group1 which traditionally passes as the ,family of the ,artist 7,no4 #bdie74 ,the ,toper 7,no4 #bdja71 of #affh1 and the intensely realistic ,smoker 7,no4 #bejj71 are highly characteristic1 while the ,schoolmaster 7,no4 #bdif7 shows great observation4 ,the ,fish ,market 7,no4 #bdig71 the ,business ,man in his ,study 7,no4 #bdii71 the ,man ,drinking 7,no4 #bejb71 the ,man ,reading 7,no4 #bejc71 the ,reading 7,no4 #bejd71 and the ,interior of a ,school 7,no4 #bejg71 are both in subject and handling good examples of his methods1 which were affected by a study of ,adriaen ,brouwer and ,rembrandt4 ,adriaen van ,ostade was the elder brother and the master of ,isack van ,ostade 7#afba-afdi71 who is equally well represented at the ,louvre4 ,although he painted two ,interiors 7,nos4 #beab and #bead71 a ,toit porcs 7,no4 #beac71 a ,halt 7,no4 #beji71 and an overcrowded ,travellers ,halting 7,no4 #bejh71 his best works1 here as elsewhere1 represent landscapes and frozen river scenes4 ,adriaen van ,ostade had also as pupils ,cornelis ,bega 7#afbj-affd71 by whom the ,louvre possesses a very late ,rustic ,interior 7,no4 #bcab71 of #affb2 and ,h4 ,m4 ,sorgh1 called ,rokes 7#afaa8-afgj71 three of whose panels 7,nos4 #bega-begc7 are exhibited4 ,,gerard ,,dou ,gerard ,dou 7#afac-afge7 was in his day a highly popular and prosperous painter of petty tragedies4 ,as a boy of fifteen he entered the studio of 8the skilled and far-famed ,mr4 ,rembrandt10 who was1 however1 his senior by only seven years4 ,one is apt to tire of his irritating parade of cleverness in the manipulation of light and shade effects1 and over-scrupulous and niggling treatment of detail4 ,yet it is these very qualities that brought him financial success when in later life ,rembrandt was receiving scanty treatment at the hands of the art patrons of ,holland4 ,the ,dentist 7,no4 #bcee7 is an early work4 ,dou's ,portrait of an ,old ,lady 7,no4 #bceh7 is now held to be a ,portrait of ,rembrandt's ,mother1 and is regarded as the companion picture to the ,old ,man ,reading 7,no4 #befg71 by ,dou's pupil1 ,godfried ,schalcken4 ,the ,grocer's ,shop 7,no4 #bcej71 which has been1 with needless precision1 8ranked about the seventh best of this master's productions10 is signed in full on the slate1 and dated #afdg on the mortar1 while the ,cook with a ,dead ,cock 7,no4 #bcec7 is signed on the window-sill1 and dated #afej4 ,illustration3 ,,plate ,,xxxii4--,,gerard ,,dou 7#afac-afge7 ,,dutch ,,school ,no4 #bcdh4--,,the ,,dropsical ,,woman 7,la ,femme ,hydropique7 ,in a well-appointed room1 lighted by an arched window on the left1 an old woman is seated in an arm-chair4 ,the sick woman1 who raises her eyes to heaven and is taking a spoonful of medicine from a young woman1 gives her right hand to a girl who kneels on the left by her side4 ,towards the right stands the doctor1 who holds up to the light a glass full of liquid4 ,a chandelier hangs in the centre1 and on the right are a large tapestry curtain and a wine-cooler4 ,signed on the edge of the book placed on the reading-desk in the left foreground3-- 8#affc4 ,g4 ,,dov4 ,,ovt4 #fe ,,jaer40 ,painted in oil on panel4 #b ft4 #h in4 #b ft4 #b in4 7#jhc #jfg47 ,the ,trumpeter 7,no4 #bcea7 is perhaps the pendant to the ,girl at a ,window1 of #afeg1 now in the ,rothschild collection at ,waddesdon ,manor4 ,on the window-ledge in the ,trumpeter we see the same silver flagon and a dish that also appear in the ,dropsical ,woman 7,no4 #bcdh1 ,plate ,,xxxii471 a world-famous1 but not on that account a great1 picture4 ,it bears a somewhat enigmatical inscription3 8#affc4 ,g4 ,,dov4 ,,ovt4 #fe ,,jaer0 on the edge of the book placed on the reading-desk4 ,dou in #affc1 the year here given1 was only fifty years of age1 and the statement of age in the second half of the inscription may be a later addition1 or capable of another interpretation4 ,the light comes in from the window on the left4 ,the woman who is dying of dropsy is receiving a dose of medicine1 while her daughter in grief kneels and kisses her hand1 and the doctor holds up to the light the vial1 the contents of which he is carefully examining4 ,the artist in this his largest picture is at much pains to show the dexterity with which he can paint the fabric of the dresses1 the large tapestry hanging in folds on the right1 and the reflection of light on the chandelier4 ,this panel1 which is ,dou's masterpiece and is in an excellent state of preservation1 was originally contained in an ebony case1 the outside of which 7in two pieces7 was formerly the still-life painting of a ,silver ,ewer and ,dish 7,no4 #bcdi74 ,the ,man weighing ,gold 7,no4 #bced7 is signed in full1 and dated #affd2 elaborate care and much time have been expended1 if not wasted1 on every wrinkle in his face1 and every hair in his white beard4 ,it has points of analogy with ,quentin ,matsys's ,banker and his ,wife 7,no4 #bjbi71 which was painted in ,flanders nearly a century and a half earlier4 ,dou's meticulous art is also exemplified in the ,old ,man ,reading 7,no4 #bceg71 ,reading the ,bible 7,no4 #bcef71 the ,dutch ,cook 7,no4 #bceb71 and the highly characteristic but quite negligible ,portrait of the ,painter 7,no4 #bcei74 ,in many respects this type of picture warns us that within a few years of ,dou's death1 in #afge1 the art of ,holland passed into decadence4 ,,dou',s ,,pupils ,he had several pupils4 ,of these ,quiryn van ,brekelenkam 7#afbj8-affh7 holds a respectable place among the ,small ,masters of ,holland1 as we see from his ,consultation 7,no4 #bccg7 in this collection rather than from his ,monk ,writing 7,no4 #bcch74 ,herman van ,swanevelt 7#afbj-afee71 who from his journeys south earned the name of ,herman of ,italy1 gives us three ,landscapes 7,nos4 #behd-behf74 ,karel de ,moor 7#afef-agch71 a native of ,leyden1 who has signed his ,dutch ,family 7,no4 #bdgg71 worked under both ,dou and ,frans van ,mieris the ,elder 7#afce-afha74 ,the latter owes much of his technique and meticulous work to ,dou1 as is revealed by a hasty inspection of his ,tea ,party 7,no4 #bdga71 with two over-dressed women taking tea1 and three other panels 7,nos4 #bdfi1 #bdgj1 and #bdgb74 ,ary de ,vois 7#afcb-afhj7 was a pupil of the ,german painter ,n4 ,knupfer and of his own countryman ,abraham van den ,tempel 7#afbb-afgb71 who is here represented by a ,portrait of a ,lady with an ,apple 7,no4 #behf;,a72 but he also came under the influence of the painter of the ,dropsical ,woman 7,plate ,,xxxii471 as is testified by his small interior ,portrait of a ,man 7,no4 #bfjf71 his ,portrait of a ,painter at his ,easel 7,no4 #bfjg71 and his feeble ,woman cutting a ,lemon 7,no4 #bfjh74 ,traces of ,dou's art are seen in ,j4 ,a4 van ,staveren's 7#afbd8-affh7 ,philosopher in his ,study 7,no4 #begg72 but ,p4 ,c4 van ,slingelandt 7#afdj-afia7 was a direct pupil4 ,his ,dutch ,family 7,no4 #befh7 is said to have been bought by ,louis ,,xvi4 from an ,english brewer1 and the ,portrait of a ,man 7,no4 #befi7 and ,kitchen ,utensils 7,no4 #begj7 have long been in the collection4 ,the ,magdalene 7,no4 #begj;,a7 and ,st4 ,jerome 7,no4 #begj;,b7 were bequeathed to the ,louvre4 ,illustration3 ,,plate ,,xxxiii4--,,terborch 7#afag-afha7 ,,dutch ,,school ,no4 #behi4--,,the ,,concert 7,le ,concert7 ,a young lady in white satin dress and yellow bodice is seated in the centre before a table covered with a richly coloured tablecloth4 ,she is singing to the accompaniment of a lady in the left background2 a page-boy enters from the right4 ,painted in oil on panel4 #a ft4 #f in4 #a ft4 #e in4 7#jdg #jdc47 ,,gerard ,,terborch ,gerard ,terborch 7#afag-afha7 was the creator of the 8,conversation-piece10 and one of the earliest to portray the well born engaged in music lessons and similar occupations2 he was one of the greatest of the ,dutch 8small-masters10 and in every way the superior of the uninspired ,dou4 ,terborch invites us to join him in the fine decorum of a noble chamber where the appointments are carefully tended1 while its occupants give themselves up to cultured1 if not perhaps deeply intellectual1 pursuits4 ,we forget all about the carousing and bestial profligates who people the taverns of ,jan ,steen and much less accomplished painters1 and watch the refined fingers stray over the keyboard of the open spinet or sweep the strings of a well-made mandoline1 as in the ,concert 7,no4 #behi1 ,plate ,,xxxiii474 ,equally fine are the two ,music ,lessons 7,no4 #behh and ,no4 #beia71 the former being signed and dated #affj4 ,the ,military ,galant 7,no4 #behg7 exhibits ,terborch's dexterity in the rendering of reflected light on a red tablecloth1 although the subject has an innuendo which hardly adds to its charm4 ,the ,ecclesiastical ,assembly 7,no4 #beij7 is only a small sketch on panel1 and affords but a feeble echo of this painter's masterpiece1 the ,ratification of the ,peace of ,mnster1 in the ,national ,gallery4 ,terborch was a pupil of his father1 who had visited ,italy1 and he studied also under ,pieter ,molyn the ,elder at ,haarlem previous to visiting ,england in #afce4 ,he travelled much more extensively than most of his contemporaries1 and went to ,spain during the best period of art in the ,peninsula4 ,he does not seem to have been dependent on his professional success for his living1 which was passed in easy circumstances4 ,nor did he busy himself as a teacher1 his only direct pupil being ,caspar ,netscher 7#afci-afhd71 who gives us a ,music ,lesson 7,no4 #bdhf71 of the approved stamp1 and a ,violoncello ,lesson 7,no4 #bdhg74 ,,jan ,,steen ,it is not known for certain whether ,jan ,steen 7#afbf8-afgi7 was a pupil of ,nicholaes ,knupfer1 a native of ,leipzig who resided for a time at ,leyden1 but he certainly worked under ,adriaen van ,ostade at ,haarlem1 and later became a pupil of ,jan van ,goyen1 whose daughter ,margaretha he married as his first wife4 ,steen certainly leased a brewery in ,delft for six years1 and he is frequently mentioned in the archives of that town about #afef2 he subsequently kept a tavern in the ,langebrug in ,leyden in #afgb4 ,his art is vivacious if not boisterous1 and the strength and versatility he displayed in the nine hundred pictures with which he is justly credited give him a high place among the artists of ,holland in the seventeenth century4 ,the frequency with which he painted the ,interior of a ,tavern 7,no4 #begh7 has suggested that he carried on the tradition of the ,flemish-,dutch roysterer ,adriaen ,brouwer2 but such scenes1 magnificently as they are handled1 are apt to become boring in time4 ,this large canvas is dated #afgd1 and the coat of arms of ,charles ,v4 is fastened on to the balcony in which are spectators4 ,the ,merry ,company at ,table 7,no4 #begi7 is somewhat sketchy in parts1 but the lighting is well regulated1 and the canvas is signed in full on the back of a blue-covered chair to the right4 ,that the ,bad ,company 7,no4 #behj1 ,plate ,,xxxiv47 is admirably painted will be conceded by all1 but refinement is not its distinguishing feature4 ,a young man dressed in a red jacket is sleeping with his head on the lap of a girl1 while another girl is relieving him of his watch4 ,the scene is laid in a tavern1 on the floor of which are painted with wonderful precision a number of tiny objects4 ,it was not ,steen's habit to paint representations of cultured society such as ,terborch delighted in4 ,illustration3 ,,plate ,,xxxiv4--,,jan ,,steen 7#afbf8-afgi7 ,,dutch ,,school ,no4 #behj4--;,,bad ,,company 7,la ,mauvaise compagnie7 ,the scene takes place in a tavern4 ,a young man has fallen asleep with his head in the lap of a girl1 who is seated to the right of the composition1 and holds a glass of wine in her right hand4 ,another girl has just taken the young man's watch from his pocket and is giving it to an old woman1 who receives it with evident glee4 ,on the left a man sits at a table smoking his pipe1 and another is playing the fiddle4 ,signed in full in the left bottom corner4 ,painted in oil on panel4 #a ft4 #f in4 #a ft4 #b in4 7#jdg #jcf47 ,,pieter ,,de ,,hooch ,the ,louvre contains only two paintings by ,pieter de ,hooch1 who was born in #afbi at ,rotterdam1 a town which played a relatively unimportant part in ,dutch painting4 ,he also lived at ,delft and ,leyden4 ,the ,interior of a ,dutch ,house1 with a ,woman preparing ,vegetables 7,no4 #bdad71 is a good example1 and is fully signed in the bottom left-hand corner4 ,the ,dutch ,interior1 with a ,lady playing ,cards 7,no4 #bdae1 ,plate ,,xxxv471 is full of incidents1 contains six figures1 and is signed on the base of one of the columns supporting the mantelpiece in the left foreground4 ,no museum in the world exhibits the art of ,pieter de ,hooch in such excellence as does the ,national ,gallery1 which contains three masterpieces from his hands that have indirectly been the cause of assessing the whole of the artist's life-work on too generous a basis4 ,it is indisputable that during the last ten years of his life1 of which nothing is known later than the signature and date1 #afgg1 on the ,music ,party in the collection of ,baron ,h4 ,a4 ,steengracht at ,the ,hague1 his art deteriorated very considerably both in colouring and draughtsmanship4 ,he may well have been a pupil of ,karel ,fabritius 7#afbd-afed71 but it is almost incredible that he can have been a pupil of the ,italianiser ,nicholaes ,berchem1 as ,houbraken ventured to assert4 ,this museum contains nothing by ,ochtervelt1 many of whose pictures have from time to time been accepted as the work of ,pieter de ,hooch4 ,from the shortlived artist ,karel ,fabritius derives the almost incomparable master ,jan ,vermeer van ,delft 7#afdb-afge71 whose fifty authentic pictures are to-day among those most coveted by collectors4 ,as a painter skilled in the technicalities of his profession ,vermeer must be accorded the highest rank4 ,the subtle and mysterious handling of his ,lace ,maker 7,no4 #bdef1 ,plate ,,xxxvi471 with its cool colour scheme and dominant tones of blue and lemon-yellow1 make it difficult for us to realise that until twenty years ago his works were neglected4 ,indeed1 this small canvas was acquired in #ahgj at the ,vis ,blokhuyzen sale for the ridiculous sum of #bij4 ,jan ,vermeer 7or ,van der ,meer7 van ,delft is not to be confused with ,jan ,van der ,meer of ,haarlem 7#afbh-afia71 who is included in the official catalogue as the painter of the ,outside of an ,inn 7,no4 #bdee1 marked ,no4 #bjbb on the frame74 ,it is fully signed1 and bears the date #afeb4 ,,nicolas ,,maes ,one of the last lingering influences of ,rembrandt is seen in the art of ,nicolas ,maes 7#afcb-afic74 ,the genre pictures of his early period are so vastly superior to his later portraits that it was formerly assumed that there might well have been two artists of the same name4 ,he certainly delighted in painting several versions1 which vary considerably in size1 of ,grace before ,meat 7,no4 #bded74 ,in his pictures we see the mind that broods1 and women who meditate rather than act4 ,the best examples of his domestic scenes are finely graduated1 although the sadness of advancing age becomes monotonous in time4 ,illustration3 ,,plate ,,xxxv4--,,pieter ,,de ,,hooch 7#afbi-afgg87 ,,dutch ,,school ,no4 #bdae4--;,,dutch ,,interior ,,with ,a ,,lady ,,playing ,,cards 7,intrieur hollandais7 ,by the fireplace to the left a lady is seated4 ,she is playing cards with a gentleman1 and shows her hand to a cavalier who stands beside her4 ,in the background stand two lovers1 and a boy is entering the room1 a richly appointed room1 hung with gilt leather4 ,signed on the base of one of the columns supporting the mantelpiece3--8,p4 ,d4 ,,hooch40 ,painted in oil on canvas4 #b ft4 #b in4 #b ft4 #f in4 7#jfg #jgg47 ,,gabriel ,,metsu ,a high place among the painters of 8,conversation-pieces0 must be accorded to ,gabriel ,metsu 7#afcj8-affg71 a shortlived artist who was born at ,leyden and learnt the first principles of his art from ,dou4 ,as early as #afdd he seems to have earned some reputation as a painter1 his signature appearing on his ,court ,physician in that year4 ,he came under the influence of ,rembrandt1 and in later life practised as a painter at ,amsterdam1 where he died4 ,metsu1 whose work is at first sight not easily distinguishable from ,terborch's1 acquired a facility in the control of the expression and the ever-varying gesture of the hands in his pictures1 that was denied to many of his contemporaries4 ,instances of this are the figure of the ,christ writing a long ,latin inscription on the ground in the ,woman taken in ,adultery 7,no4 #bdeg71 the ease with which the young lady in a white satin dress runs her fingers over the keys of the spinet in the ,music ,lesson 7,no4 #bdfj71 and the treatment of the ,dutch ,lady 7,no4 #bdfb71 who holds a jug in her right hand4 ,the last-named panel is evidently the companion to the very thinly painted ,dutch ,cook peeling ,apples 7,no4 #bdfc71 which is signed 8,g4 ,,metsu40 ,perhaps his best outdoor scene of humble life is the ,vegetable ,market at ,amsterdam 7,no4 #bdeh71 although his handling of the trees suggests that his forte was the ,conversation-piece of ,dutch tradition1 and that he would not have risen to high rank as a landscape painter4 ,the placing of the signature on a letter1 which in this instance lies on the ground1 is a favourite device with ,metsu4 ,he has derived much pleasure from the treatment of the textures of the tablecloth1 the curtain1 and the chair in the ,officer visiting a ,lady 7,no4 #bdei74 ,the ,alchemist 7,no4 #bdfa7 may be the companion picture to the ,sportsman in the ,gallery at ,the ,hague4 ,much speculative criticism has been indulged in by critics as to whether the so-called ,portrait of ,admiral ,cornelis ,tromp 7,no4 #bdfd7 represents that admiral1 and some doubt has also been cast on its attribution to ,metsu4 ,,landscape ,,painters ,the naturalistic treatment of the landscape background in the religious pictures of ,jan van ,eyck and his successors1 ,memlinc1 ,bouts1 ,hugo van der ,goes1 and other painters in the ,netherlands1 in time brought about the promotion of landscape painting to an independent art4 ,among the earlier ,dutch artists who approached the study of ,nature were ,arent ,arentzen 7#aehf8-afce871 as we see from his ,landscape with a ,fisherman 7,no4 #bcjj;,a71 and ,roeland ,roghman1 who was born a year later than ,jan van ,goyen1 and lived as late as #afhe4 ,he painted the ,landscape 7,no4 #beee;,b71 which was formerly in the ,paul ,mantz collection4 ,indeed1 several ,dutchmen of the period sought to commit to panel views of nature1 as in the case of ,pieter de ,bloot 7#afjj-afeb71 who gives us a ,landscape with a ,river 7,no4 #bcbg;,b74 ,the romantic feeling which so often pervades the background of ,rembrandt's paintings1 and is so apparent in such etchings as the ,three ,trees1 can only be touched on here4 ,this new tendency is best exemplified in the works of ,jan van ,goyen 7#aeif-afef71 who may be regarded as the founder of a self-centred school of landscape painting in ,holland2 but it was his ever handy sketch-book that enabled him to outstrip his rivals in this branch of ,dutch art4 ,he is seen to great advantage in his very fine ,banks of a ,dutch ,river 7,no4 #bcge71 his superb ,river ,view with eight ,men in a ,boat 7,no4 #bcgh71 a signed and dated work of #afdi1 a large light-brown-toned ,river in ,holland 7,no4 #bcgg71 a good ,banks of a ,canal 7,no4 #bcgi71 as well as a ,dutch ,canal 7,no4 #bcgf7 and a ,dutch ,river 7,no4 #bcgg74 ,illustration3 ,,plate ,,xxxvi4--,,jan ,,ver ,,meer ,,van ,,delft 7#afcb-afge7 ,,dutch ,,school ,no4 #bdef4--,,the ,,lace ,,maker 7,la ,dentellire7 ,a girl1 wearing a yellow bodice and a blue skirt1 is seated behind a table4 ,she is bending her head over a light-blue lace pillow as she adjusts the bobbins with both hands4 ,a dark-blue cushion and a book are on the table to the left4 ,signed in the upper right-hand corner3--8,j4 ,v4 ,,meer10 the first three letters being intertwined4 ,painted in oil on canvas4 #i in4 7#jbd7 square4 ,aert van der ,neer 7#afjc-afgg7 painted with strong contrasts of light1 as in his ,banks of a ,dutch ,canal 7,no4 #bdhc72 and his monogram is to be found on the seat at the foot of a tree in his ,dutch ,village 7,no4 #bdhd71 where his propensity for painting moonlight scenes is well illustrated4 ,herman ,saftleven's 7#afji-afhe7 ,banks of the ,rhine 7,no4 #befc72 ,jan ,asselyn's ,view of the ,lamentano ,bridge on the ,teverone 7,no4 #bcja71 ,landscape 7,no4 #bcjb71 and ,ruins in the ,roman ,campagna 7,no4 #bcjc72 and the two ,landscapes 7,nos4 #bccb and #bccc7 by ,jan ,both 7#afaj-afeb71 who worked in ,rome and painted ,italian landscapes under the influence of the ,french artist ,claude ,lorrain1 show the gradual introduction of foreign influences4 ,joris van der ,hagen 7died #affi7 takes a new line in the representation of a very low horizon in his ,environs de ,haarlem 7,no4 #bchb72 but his ,landscape with ,peasants crossing a ,ford 7,no4 #bcha7 is dull in tone and composed of unrelated parts4 ,the ,banks of a ,river 7,no4 #befa;,d7 is a superb example of the art of ,salomon van ,ruysdael 7#afjj8-afgj71 one of the founders of the ,haarlem school of landscape1 and the uncle of ,jacob van ,ruisdael4 ,the ,large ,tower 7,no4 #befa;,c7 gives a better idea of his power than the ,ford 7,no4 #befa;,b74 ,another painter in the same school1 ,cornelis ,decker 7#afah8-afgh71 has a ,landscape 7,no4 #bcdf74 ,although ,isack van ,ostade at times gave himself up to trivial subjects1 as we have already seen1 the merit of his frozen river scenes 7,nos4 #beaj1 #beaa1 #beae7 is firmly established1 and the happy way in which he combined a genuine appreciation of nature with great skill in the placing and treatment of his figures has earned for him a high place among the ,dutch landscape painters4 ,,aelbert ,,cuyp ,unlike most of the artists of his time in ,holland1 ,aelbert ,cuyp 7#afbj-afia7 was highly esteemed by his contemporaries1 his social position and his good fortune in money matters freeing him from the poverty which ,hobbema and others endured4 ,he painted portraits with much skill1 as we see from his ,portrait of a ,man 7,no4 #bcde;,a7 and his ,portrait of a ,boy and a ,girl with a ,goat 7,no4 #bcdd72 but he is best known as a cattle painter1 his sturdy cattle being artistically grouped in thick green pastures flooded with sunshine1 as in his ,herdsman with ,cattle 7,no4 #bcda74 ,he attained much success also with his riding pictures1 and the ,starting for the ,ride 7,no4 #bcdb7 and the ,riding ,party 7,no4 #bcdc7 are in every way preferable to his ,boats on a ,rough ,sea 7,no4 #bcde74 ,following his usual habit1 he has placed no date on any of these six pictures4 ,he had no pupil in the proper sense of the term2 but a host of imitators1 such as ,jacob van ,stry and the much later ,english ,royal ,academician ,sidney ,cooper1 failed ignominiously in their feeble attempts to copy his methods4 ,jan ,wynants was another landscape painter in the ,haarlem ,school1 although he settled in ,amsterdam and died there in #afhb4 ,his ,outskirts of a ,forest 7,no4 #bfcf7 is signed and dated #affh1 and is superior to the ,landscape 7,no4 #bfcg7 which bears his own signature as well as that of ,adriaen van de ,velde1 who on numerous occasions inserted the figures for him4 ,wynants has also placed his name on a small ,landscape with ,sportsman and ,falconer 7,no4 #bfch74 ,adriaen van de ,velde has been careful to sign and date each of the seven pictures by which he is represented 7,nos4 #beic-beii74 ,by ,allart van ,everdingen 7#afba-afge71 who travelled in ,norway and painted rocky scenes and waterfalls1 we find two ,landscapes 7,nos4 #bcfe and #bcff74 ,,jacob ,,van ,,ruisdael ,the greatest of all ,dutch landscape painters1 with the possible exception of ,jan van ,goyen1 is ,jacob van ,ruisdael 7#afbh8-afhb71 who occupied himself more especially with rushing waterfalls and undulating country4 ,his ,storm on the ,coast 7,no4 #beeh7 is a fine achievement1 but his best picture in this collection is the ,landscape 7no ,no471 which was bequeathed by ,baron ,arthur de ,rothschild4 ,his ,woody ,landscape 7,no4 #beei71 the ,road 7,no4 #beei;,a71 ,landscape 7,no4 #befa71 and the ,entrance to a ,wood 7,no4 #befa;,a71 cannot1 however1 compare with his ,sunny ,landscape 7,no4 #befj71 which bears the artist's monogram4 ,,hobbema ,the talents of ,meindert ,hobbema 7#afch-agji7 were so disregarded by his countrymen that in disgust he1 at the age of thirty1 took a humble post in the ,customs4 ,his woody scenes seen in the pale sunlight of the early afternoon are not copied from any chance scenery1 but composed2 and his ,water ,mill 7,no4 #bdjd71 fine though it is1 contains passages that will be met with elsewhere4 ,the ,farm 7,no4 #bdjd;,a7 is a very good picture1 as also is the ,landscape 7,no4 #bdjc7 from the ,nieuwenhuys collection4 ,a very large number of painters1 including ,wyntrack1 who gives us a ,farm 7,no4 #bfci71 painted the figures into the foregrounds of ,hobbema's best works4 ,,philips ,,wouwerman ,in a large number of ,philips ,wouwerman's pictures the landscapes are of secondary importance to the figures2 and although the execution is careful and conscientious1 the frequenter of picture galleries is apt to tire of his make-believe genre-pieces1 landscapes with horses1 riders1 sportsmen1 soldiers1 robbers1 gipsies1 and the like4 ,the ,louvre presents an imposing array of fifteen of the twelve hundred or more pictures by ,philips ,wouwerman 7#afai-affh71 and his brother and pupil ,pieter is credited with a poor but historically interesting ,view of the ,porte de ,nesles1 ,paris1 in #affd 7,no4 #bfce74 ,it will be convenient here to group ,adam ,pynacker 7#afbb-afgc7 with his three pictures1 ,willem ,romeyn 7#afbd8-afif87 with one1 ,abraham ,begeyn 7#afcg8-afig7 with one1 ,guilliam de ,heusch 7#afbe8-afib7 with one1 ,dirk van den ,berghen 7#afde-afij87 with two1 and ,glauber 7#afdf-agbf7 with a single ,landscape 7,no4 #bcgd7 in which the figures are inserted by ,gerard de ,lairesse4 ,mention must1 however1 be made of ,paul ,potter1 the highly esteemed cattle painter1 who died in #afed at the early age of twenty-nine4 ,one of his latest canvases is the ,cows and ,sheep in a ,field 7,no4 #bebg71 of #afeb2 but his ,horse in a ,field 7,no4 #bebh7 of the following year1 and the ,wood at ,the ,hague 7,no4 #bebi71 give an excellent idea of his art4 ,these and the ,horses at the ,door of a ,cottage 7,no4 #bebf7 show that ,paul ,potter had a sound knowledge of animal anatomy4 ,he is seen at his best in small compositions such as are here exhibited1 in which the construction and mise-en-scne are simple and the details delicately rendered4 ,it is a popular fallacy that his chief contribution to the fame of ,dutch art was his large ,bull of #afdg1 which measures #h ft4 by #ab ft41 in ,the ,hague ,gallery4 ,he did not live long enough to form a 8school40 ,,the ,,italian ,,influence ,the ,italianising influence was already beginning to make itself felt1 to the lasting detriment of ,dutch painting1 and the typical example of this downward movement is ,nicolaes ,berchem 7#afbj-afhc71 who was founded on his father1 ,pieter ,claesz1 and on ,pieter de ,grebber1 and ,jan ,wils at ,haarlem1 while he also was impressed by ,claes ,moyaert and ,j4 ,b4 ,weenix at ,amsterdam1 where he removed in #afgg4 ,there is scarcely a well-furnished gallery in ,europe that does not seek to pride itself on possessing one of ,berchem's renderings of ,crossing the ,ford1 or a ,woman upon an ,ass in conversation with another ,person4 ,the ,louvre is no exception to this rule1 and exhibits his ,cattle crossing a ,ford 7,no4 #bcae7 and nine other canvases and panels1 nearly all of which bear his much-vaunted signature4 ,his art is to-day deservedly out of fashion with discerning collectors4 ,berchem's pupil1 ,karel du ,jardin 7#afbb-afgh71 who is invariably at much pain to sign his pictures1 is seen to some advantage in his very ,italian and in every way characteristic ,italian ,charlatans 7,no4 #bdbg71 the typical ,ford in ,italy 7,no4 #bdbh71 and eight other works4 ,his attempts to depict a ,calvary 7,no4 #bdbf7 have not been crowned with success1 as the composition is overcrowded and undramatic2 nor do we experience any emotion on regarding his ,portrait of ,himself 7,no4 #bdcd71 a small production on copper4 ,breenberg 7#aeii-afei871 who was born at ,deventer1 the home of ,terborch1 has depicted a ,view of the ,campo ,vaccino at ,rome 7,no4 #bccd71 and a ,ruins of the ,palace of the ,csars 7,no4 #bcce7 in the ,italian manner beloved by ,berchem and ,pieter van ,laer4 ,the latter1 who is also named ,bamboccio1 is represented by two small oval panels4 ,lingelbach 7#afbb-afgd71 who frequently collaborated with other ,dutch artists1 may be judged by his ,vegetable ,market at ,rome 7,no4 #bddg7 and three other canvases1 and ,frdric de ,moucheron 7#afcc8-afhf7 by a ,leaving for the ,hunt 7,no4 #bdhb74 ,it will be convenient to mention here ,reynier ,nooms1 whose ,view of the ,old ,louvre from the ,seine 7,no4 #bdia7 has some historical interest4 ,,architectural ,,painters ,a limited number of painters busied themselves in making faithful transcripts of the streets and the exterior appearance of the buildings4 ,jan van der ,heyden 7#afcg-agab7 was perhaps the most successful in this direction1 and his ,view of the ,town ,hall of ,amsterdam in #afhh is an excellent example of his methods1 while the ,louvre also possesses three small panels by him4 ,jan ,abrahamsz ,beerstraten 7#afbb-afff71 the son of a cooper at ,amsterdam1 travelled to ,italy and the ,mediterranean1 proof of which is afforded by his ,old ,town ,gate at ,genoa 7,no4 #bcaj74 ,the typical architectural painter is1 however1 ,gerrit ,berckheyde 7#afch-afih74 ,although he never went to ,italy1 his ,view of ,trajan's ,column 7,no4 #bcbd7 is a welcome relief from the many versions he painted1 with conspicuous success1 of ,the ,market-,place of ,haarlem4 ,hendrik van ,steenwyck 7#aehj-afdh7 almost invariably contented himself with reproducing the ,interiors of ,churches 7,nos4 #behb1 #behc72 but his ,christ in the ,house of ,martha and ,mary 7,no4 #beha7 is an unusual subject with him1 and must be his masterpiece4 ,the ,vestibule of a ,palace 7,no4 #bdij71 by ,isaac van ,nickelle 7fl4 #affj71 is very good of its kind2 but the ,interior of a ,guard-,room 7,no4 #bdec71 by ,aart van ,maes1 is a poor attempt at dramatic action4 ,,marine ,,painters ,the fact that the ,dutch had fought with swamp and water and possessed a large maritime commerce1 is reflected in the ,seascapes of ,simon de ,vlieger 7#afjj-affj71 and in the art of ,ludolf ,backhuysen 7#afca-agjh71 who is represented by a ,stormy ,sea 7,no4 #bcji7 and five other canvases2 but one of the best works of this class in the ,louvre is the ,marine-piece 7,no4 #bfjj7 by ,willem van de ,velde the ,younger 7#afcc-agjg71 who crossed over to ,england1 and after a long career died at ,greenwich4 ,these men sought to carry on the earlier tradition of ,jan van ,goyen and the two ,ruisdaels1 but they showed less originality and power4 ,,still-,,life ,,painters ,much appreciation and some extravagant praise has been lavished on the still-life painters who1 at the time when the higher aims of artistic endeavour began to die out in ,holland1 displayed remarkable ability4 ,the cultivation of horticulture at ,haarlem1 the centre of the tulipomania fever in the middle of the seventeenth century1 may have had an influence on the artistic presentation of inanimate nature2 this feeling was no doubt stimulated by the display made by the goldsmiths in an age of great prosperity4 ,willem ,claesz ,heda1 who was born #aeid1 is among the earliest of the ,dutch still-life painters1 and his picture 7,no4 #bcij7 is dated #afcg2 he1 however1 did not die until more than forty years later4 ,jan ,davidsz de ,heem 7#afjf-afhd71 the painter of ,fruit and a ,vase on a ,table 7,no4 #bcia7 and of another and much larger picture 7,no4 #bcib71 was the pupil of his father1 ,david de ,heem2 as he spent many years at ,antwerp1 he is sometimes regarded as a ,flemish painter4 ,that ,abraham van ,beyeren 7#afbj-afge871 who painted several sea-pieces1 was specially fond of copying the appearance of fish1 is seen from his ,still-life3 ,fish 7,no4 #bcbf;,a71 at the ,louvre1 which has in recent years also acquired another work 7,no4 #bcab;,a7 by him4 ,willem ,kalf 7#afba8-afic7 may have studied under ,h4 ,g4 ,pot1 the ,haarlem genre-painter4 ,he was evidently impressed with the chiaroscuro of ,rembrandt1 and often placed the drinking-cups1 wine-glasses1 and fruit on a richly-coloured tablecloth4 ,he is here represented by four examples1 of which the ,dutch ,interior 7,no4 #bdcf7 is the best4 ,eight pictures by ,jan ,huysum 7#afhb-agdi71 two by ,jan van ,os 7#agdd-ahjh71 and one by ,c4 van ,spaendonck 7#agef-ahci7 belong to the latest phase of art in ,holland1 and mark the decadence in full operation4 ,it will be noticed that the ,louvre has a much larger selection of still-life pictures than the ,national ,gallery1 which seems to regard achievements of this kind with disdain4 ,melchior ,hondecoeter 7#afcf-afie71 the painter of the farmyard1 gives unmistakable proof of his power in his large signed ,eagle swooping down on a ,farmyard 7,no4 #bdje71 and two rather smaller pictures 7,nos4 #bdjf-g74 ,jan ,weenix 7#afdj-agai71 who usually concerns himself with dead game and birds1 is working on the usual lines in three 7,nos4 #bfaj1 #bfaa1 and #bfab;,a7 of his four pictures in the great ,french museum2 the other represents ,a ,seaport 7,no4 #bfab74 ,he was the fellow-pupil of ,hondecoeter in the studio of his father1 ,jan ,baptist ,weenix 7#afba-affj71 who studied for a time under the early ,dutch master1 ,abraham ,blomaert1 and worked in ,italy for four years4 ,for that reason the latter has adopted an ,italian mode of signing his only picture 7,no4 #bfji7 in the ,louvre4 ,,the ,,decline ,although ,gerard ,honthorst 78,gerard of the ,night07 was born as early as #aeij1 and was a pupil of ,blomaert1 he may he relegated to the period of decline4 ,almost invariably he resorted to the trick of lighting the figures in his pictures1 whether he was painting religious subjects1 portraits1 or conversation-pieces1 with a candlelight effect4 ,this habit he had acquired in ,italy by studying the style of ,caravaggio4 ,of his five pictures here1 the best is perhaps the ,portrait of ,charles ,louis1 ,duke of ,bavaria 7,no4 #bdaj71 of #afdj4 ,his ,concert 7,no4 #bdji71 painted sixteen years earlier1 is an ill-balanced and overloaded composition4 ,such artists as ,abraham ,hondius1 who paints a ,man ,selling ,pigeons 7,no4 #bdjg;,a72 ,karel de ,moor1 who was a pupil of ,g4 ,dou1 and gives us an insignificant ,dutch ,family 7,no4 #bdgg72 ,eglon van der ,neer1 whose name is signed on a small panel1 ,a ,man ,selling ,pigeons 7,no4 #bdhe72 ,egbert van ,heemskerck1 whose ,interior 7,no4 #bcic7 is in the ,la ,caze collection2 ,jan ,verkolie1 whose ,interior 7,no4 #bfjb7 has been engraved2 ,h4 van ,limborch1 whose ,pleasures of the ,golden ,age 7,no4 #bddf7 was in the collection of ,louis ,,xvi42 ,louis de ,moni1 the painter of a ,family ,scene 7,no4 #bdgf72 and ,willem van ,mieris1 a replica of whose ,soap ,bubbles 7,no4 #bdgc7 is at ,the ,hague1--all these mediocre painters are the despair of the critic1 and afford merely momentary entertainment for the curious4 ,it is apparent that by this period the art of ,holland was marked by mechanical inventions1 the surface of these eighteenth-century paintings being highly fused and metallic in appearance4 ,the four panels of ,adriaen van der ,werff 7#afei-agbb71 which include an unpleasant ,magdalene in the ,desert 7,no4 #bfag7 and a repulsive ,dancing ,nymph 7,no4 #bfai71 are characteristic examples of his monotonous art4 ,the ,disembarkation of ,cleopatra 7,no4 #bdda7 and the ,hercules between ,vice and ,virtue 7,no4 #bddc7 of ,gerard de ,lairesse 7#afdj-agaa71 have the enamel-like smoothness and meaningless expression of academic art1 although they have their usefulness as museum pieces4 ,it is a remarkable fact that the ,louvre does not contain a single example of the revival of art in ,holland in the third quarter of the nineteenth century4 ,,the ,,early ,,french ,,school ,the early phases of the ,french school of painting--perhaps it would be more correct to say of painting in ,france--present one of the most interesting problems to the student of art history4 ,it was not really until the great ,exhibition of ,french ,primitives held in ,paris in #aijd that any serious attempts were made to construct a history of ,early ,french painting2 but the learned arguments that have been brought to bear upon the tangled question have so far failed to establish the existence of an important autochthonous school in the fifteenth century4 ,it is true that contemporary records mention the names of a few painters who seem to have enjoyed great repute at the ,courts at which they were employed1 but it has been impossible to connect any notable extant pictures with their names2 whilst those other 8,french0 painters who have left tangible proofs of their activity are almost without exception of ,flemish birth and training4 ,indeed1 most of these early pictures show no characteristics that may be described as ,french1 save the types of the faces1 which would naturally be taken from the country where the artists worked4 ,the difficulty of dealing with the ,early ,french pictures at the ,louvre is considerably increased by the uncertainty of their authorship1 the attributions being in most cases tentative and much disputed4 ,throughout we feel the lack of a definite basis for comparative criticism--the absence of properly authenticated works by the very masters whose names have been recorded in contemporary documents4 ,one of the earliest of these masters is ,jean ,malouel1 a ,fleming1 whose real name was ,malwaele1 and who worked in the service of the ,dukes of ,burgundy at ,dijon1 where he died in #adae4 ,to him has been attributed1 without sufficient proof1 the tondo of ,the ,dead ,christ supported by the ,eternal ,father 7,no4 #iif7 and mourned by the ,virgin1 ,st4 ,john and ,angels4 ,equally uncertain is the attribution of the ,last ,communion and ,martyrdom of ,st4 ,denis1 ,first ,bishop of ,paris 7,no4 #iie71 on which are seen1 against a gold background1 in the centre1 the ,crucified ,saviour and the ,eternal ,father surrounded by cherubs2 on the left1 ,christ giving the ,communion to the imprisoned bishop1 with a praying angel in the foreground2 and on the right1 the ,decollation of ,st4 ,denis and his two companions1 ,st4 ,rusticus and ,st4 ,eleutherius4 ,an attempt has been made to identify this interesting picture with one ordered by ,jean-sans-,peur1 ,duke of ,burgundy1 from ,jean ,malouel1 and finished after that master's death by ,henri ,bellechose1 another ,flemish painter1 born in ,brabant1 who worked at ,dijon between #adae and #adca4 ,the ,entombment 7,no4 #iig7 is the work of an unknown and presumably ,flemish painter1 who shows a certain affinity with the painter of the famous ,parement d'autel de ,narbonne 7,no4 #acdb bis7 of about #acgd4 ,this altar-front is supposed to be by ,girard d',orlans and his son ,jean1 under whose name both the ,parement and the ,entombment were shown at the ,exhibition of ,french ,primitives in #aijd4 ,but all these attributions are largely conjectural4 ,,the ,,ma,,tre ,,de ,,moulins ,chauvinistic ,french critics have made much capital out of the important national school that is supposed to have flourished towards the end of the fifteenth century at ,moulins1 and especially of the mysterious 8,matre de ,moulins10 so called from a famous triptych at ,moulins which cannot be proved to be the work of a ,french painter1 and shows very marked ,italian characteristics1 although the types of the faces are distinctly ,french4 ,italian painters had been working in ,france ever since ,simone ,martini 7#abhe8-acdd7 was employed to decorate the ,pope's ,palace at ,avignon2 and in the absence of definite documentary evidence it will always remain a difficult matter to decide whether certain pictures1 ,italian in style and ,french as regards the types1 are the work of ,italian masters painting in ,france1 or of ,frenchmen trained by ,italians4 ,to the ,matre de ,moulins have been loosely ascribed certain pictures in the ,louvre collection1 especially since attempts have been made1 in the face of great improbability1 to identify him with ,jehan ,perral1 or ,jehan de ,paris1 one of the few painters of that period whose ,french nationality has been satisfactorily established4 ,perral was born at ,lyons1 and became ,court painter in ,paris to ,charles ,,viii4 and ,louis ,,xii4 ,in this capacity he was sent to ,england at the time of the marriage of ,louis ,,xii4 with ,princess ,mary ,tudor1 to design the bride's toilettes4 ,if ,perral be the painter of ,the ,virgin between ,two ,donors 7,no4 #iih;,d1 formerly ,no4 #ajdh1 and now labelled ,no4 --#dh71 which bears upon the pilasters of a balustrade the letters 8,i ,p10 he is certainly not identical with the ,matre de ,moulins to whom have been attributed the portraits of ,pierre ,,ii41 ,sire de ,beaujeu1 ,son-in-,law of ,louis ,,xi4 7,no4 #ajjd71 and his wife1 ,anne of ,france1 ,duchess of ,bourbon1 ,daughter of ,louis ,,xi4 7,no4 #ajje71 which are apparently the wings of a triptych of which the centre panel has disappeared4 ,they are utterly lacking in charm of colour and are anything but masterly in treatment4 ,both the personages are portrayed kneeling1 the husband being presented by his ,patron ,saint and the wife by ,st4 ,john the ,evangelist4 ,the ,portrait of ,pierre was bought in #ahdb by ,louis ,philippe for #bj4 ,the companion panel was presented to the ,louvre in #ahhh by ,m4 ,maciet4 ,m4 ,l4 ,dimier has rightly pointed out that there is no evidence whatever to prove these two pictures to have been painted by a ,french master4 ,the ,virgin between ,two ,donors 7,no4 #iih;,d7 has lately been tentatively attributed to the 8,master of the ,ursula ,legend40 ,,the ,,de ,,somz,e 8,,magdalen0 ,to the ,matre de ,moulins has also been attributed the somewhat overrated ,magdalen with a ,female ,donor 7,no4 #ajje;,a71 which was formerly in the de ,somze collection at ,brussels1 and was1 some time after the ,exhibition of ,french ,primitives in #aijd1 bought from ,messrs4 ,t4 ,agnew ,son for #ejjj4 ,the supposed similarities that have been noticed between this picture and the ,moulins triptych on the one hand1 and ,jehan ,perral's authenticated design for the tomb of the ,duke of ,brittany at ,rennes on the other hand1 are not sufficiently convincing either to arrive at a definite conclusion as regards the authorship of this ,magdalen1 or to establish the identity of the ,matre de ,moulins with ,jehan ,perral4 ,of an even more problematic nature are the ,piet 7,no4 #iih;,c1 formerly ,no4 #iih7 and the ,calvary 7,no4 #iih;,a71 of which it is only safe to affirm that both were painted in ,france1 the background showing in the case of the former the ,abbey of ,saint-,germain-des-,prs1 the ,seine1 the ,louvre1 and the ,butte ,montmartre2 and in the latter an equally distinguishable view of the ,seine1 the ,louvre1 and other buildings4 ,both pictures appear to be the work of ,flemish painters who were not entirely uninfluenced by ,italian art4 ,this ,calvary is labelled 8,retable du ,parliament de ,paris10 and was formerly in the ,palais de ,justice in ,paris4 ,we need not dwell at any length upon the school of ,douai1 which should be considered as a branch of the ,flemish rather than a national ,french school4 ,jean ,bellegambe 7c4 #adgj-aece7 is its chief representative1 and presumably the author of the small wing of a triptych depicting the figure of ,st4 ,adrian 7,no4 #ac;,a7 which was formerly catalogued as being of the ,german school 7,no4 #bgci74 ,,jean ,,fouquet ,of far greater importance is the school which flourished at ,tours1 for here at last we meet with clearly marked personalities whose names are definitely connected with extant works1 even if the character of their art remains essentially ,flemish4 ,the best known artist of this group is ,jean ,fouquet 7c4 #adbe-adhj871 who was ,painter to ,charles ,,vii4 and ,louis ,,xi4 and wrought the wonderful miniatures in the famous ,book of ,hours at ,chantilly4 ,he was distinctly more successful as an illuminator than as a painter1 although his masterpiece1 the ,chevalier diptych 7of which one wing is at the ,antwerp and the other at the ,berlin ,museum71 is a work of considerable merit4 ,the ,louvre owns an interesting painting from his brush--the portrait of the corpulent ,chancellor of ,france1 ,guillaume ,juvnal des ,ursins1 ,baron de ,trainel 7,no4 #bhh74 ,he is depicted in three-quarter profile to the right1 dressed in a fur-edged red robe1 with hands folded in prayer1 before an open book on a cushion4 ,the pilasters in the rich architectural setting terminate in two bears supporting the ,chancellor's coat of arms4 ,this important picture was bought in #ahce for the sum of #cf4 ,it was then attributed to ,michael ,wohlgemuth6 ,fouquet is known to have painted ,charles ,,vii4 in #addd2 but the ,portrait of ,charles ,,vii41 ,king of ,france 7,no4 #bhi71 with the inscription along the top1 8,,le ,,tr,s ,,glorieux ,,roy ,,de ,,france10 and below1 8,,charles ,,septiesme ,,de ,,ce ,,nom10 cannot certainly be identified with the picture referred to in contemporary records4 ,the ,louvre picture was acquired in #ahch for #ah4 ,the name of ,jean ,fouquet has for a long time been connected with the admirable little portrait known as ,the ,man with the ,wineglass 7,no4 #ajjj1 formerly ,no4 #ajjj;,a74 ,it was shown as a work of ,fouquet at the ,exhibition of ,french ,primitives2 and the attribution is still maintained by many ,french critics1 although in the official ,catalogue the picture is given to an ,unknown ,french painter of the fifteenth century known as 8,the ,master of #adef0 from a dated picture in the ,liechtenstein ,gallery in ,vienna4 ,the whole style of the painting would1 however1 point to ,german origin1 the only thing ,french about the picture being the type of the personage represented4 ,it is interesting to note that this portrait1 which was bought from a ,paris dealer in #aijf for #gfjj1 was formerly in the collection of ,count ,wilczek in ,vienna1 and was bought by its former owner at ,ulm4 ,it is probably the work of a painter of the ,swabian school4 ,,nicolas ,,froment ,nicolas ,froment1 the painter of the diptych ,king ,ren and his ,second ,wife1 ,jeanne de ,laval 7,no4 #cjd;,a71 is frequently mentioned by those who have constituted themselves champions of a supposed important ,early ,french national school4 ,the few pictures with which he may be credited include the ,st4 ,siffrein1 now in the ,seminary at ,avignon1 the ,raising of ,lazarus1 now in the ,kaufmann collection at ,berlin1 and the ,burning ,bush1 which includes the ,portraits of ,king ,ren and ,jeanne de ,laval1 as the ,donors who ordered the picture for the ,cathedral at ,aix1 where it still is4 ,but the ,louvre diptych is an inferior work4 ,nothing is known about the dates of his birth and death4 ,he flourished between #adfj and #adhj1 and was employed by good ,king ,ren1 who was himself a painter of some distinction1 if contemporary chroniclers are to be believed4 ,froment died at ,avignon1 where he appears to have worked some considerable time1 allowing his art to absorb those distinctly ,italian tendencies which distinguished the productions of the ,avignon school ever since ,simone ,martini had early in the fourteenth century worked in the ,provenal city of the ,popes4 ,a very typical instance of this ,avignon school1 with its blending of ,northern realism and the noble sense of style of the early ,italians1 is the ,piet 7,no4 #ajja;,b74 ,the group of the ,virgin with the rigid body of ,christ across her knees1 ,st4 ,john on the left and the ,magdalen on the right1 has a sculpturesque dignity and grandeur not to be found in the ,northern art of that period4 ,the ,donor on the extreme left rather destroys the balance of the composition4 ,the mourners and the landscape are silhouetted against a gold background4 ,the picture was formerly in the ,chartreuse of ,villeneuve near ,avignon1 and was bought by the ,socit des ,amis du ,louvre for the great ,french national collection at the price of #djjj4 ,a well-known ,spanish critic has claimed that this is one of the very rare works by the ,spanish artist ,bartolom ,bermejo4 ,of the same school1 but vastly inferior in conception and execution1 is the much restored ,christ rising from the ,tomb1 with a ,donor and ,st4 ,agricola 7,no4 #ajja;,c74 ,there are in ,gallery ,x4 7,salle ,jean ,fouquet7 a few more anonymous fifteenth-century paintings1 which need not here be discussed as they are of no real significance4 ,,the ,,sixteenth-,,century ,,french ,,school ,the mere fact that many of the drawings and paintings which are now with good reason believed to be the work of ,jean or ,jehan ,clouet 7called ,jehannet7 passed1 at a time when art criticism followed methods less scientific than those which prevail at present1 under the name of ,holbein1 should suffice to indicate that ,clouet's art belongs essentially to the ,renaissance1 and that the ,primitive or ,gothic period had come to a close when he arrived in ,france from the ,netherlands1 where he was born about #adge4 ,he apparently worked first at ,tours1 where his presence in #aeaf is testified by documentary evidence2 and he went to ,paris before #aebi4 ,although he was never naturalised1 he became ,groom of the ,chamber to ,franois ,i41 and enjoyed an enormous reputation for his skill in portraiture4 ,he died in #aedj or #aeda4 ,,jean ,,clouet',s ,,drawings ,not a single drawing or painting that has come down to us from this period1 which was remarkable for its enormous production in ,court portraiture1 bears the signature of ,jehan ,clouet2 but as a number of the best portrait drawings in the famous ,chantilly collection--notably that of the ,preux de ,marignan--are obviously from the same hand1 and extend1 as can be proved from the age of the personages portrayed1 from #aead to #aedj1--the very years when ,jean ,clouet is known to have worked in ,france1--it is quite reasonable to assume that artist to be the author of this group of drawings4 ,their superiority over all the other drawings of the period would account for the fame enjoyed by the elder ,clouet among his contemporaries4 ,on the strength of these drawings it has been possible to ascribe to ,jean ,clouet a few painted portraits which are obviously based on the drawings and show1 apart from such differences as must necessarily result from the use of a different medium1 the same characteristics--firm draughtsmanship1 a sure delicate touch in the delineation of the features1 and also a certain stiffness and hardness of contour which are never to be found in the otherwise very similar but always supple and masterly handling of ,holbein4 ,it is now known that practically all the painted portraits of the period were executed from the delicate drawings in black and red chalk1 of which so vast a number have come down to our day4 ,but the fact that the vast majority of these drawings served as models to different painters leaves the question of attribution in a state of uncertainty4 ,the mere tracing back of a picture to some extant drawing of acknowledged authenticity cannot be taken as proof of their common origin4 ,two pictures at the ,louvre are attributed to ,jean ,clouet4 ,both are portraits of ,franois ,i41 ,king of ,france1 but only the smaller one 7,no4 #abg7 appears to be from his hand4 ,clouet's royal patron is here depicted in three-quarter profile to the right1 at the age of about thirty1 so that the picture may be assumed to have been painted about the year #aebd4 ,it is based on a drawing in the ,chantilly collection4 ,the larger ,portrait of ,franois ,i4 7,no4 #abf7 has at various times been attributed to ,jean ,clouet1 ,mabuse1 and ,joost van ,cleef1 but is1 as has been pointed out by ,m4 ,dimier1 pronouncedly ,italian in colour and in the treatment of the costume and hands4 ,,fran,,ois ,,clouet ,towards the end of his life ,jean ,clouet was assisted in the execution of his numerous commissions by his brother ,clouet de ,navarre1 to whom is attributed the ,portrait of ,louis de ,saint-,gelais1 ,lord of ,lansac1 ,captain of one of the 8,compagnies des cent ,gentilshommes0 under ,charles ,,ix4 7,no4 #acd71 and by his son ,franois ,clouet 7#aejj8-aegb74 ,it has been stated that ,franois ,clouet1 who was to become after his father's death the favourite portrait painter of ,franois ,i41 ,henri ,,ii41 ,catherine de ,mdicis1 ,franois ,,ii41 and ,charles ,,ix41 was born at ,tours2 but it is far more likely that he too was born in the ,netherlands1 and1 while still young1 accompanied his father to ,france4 ,practically nothing is known of his life before the year #aeda1 when ,franois ,i4 renounced to ,clouet his kingly right to the artist's inheritance1 which could have been claimed by the ,crown as the estate of a foreigner4 ,in the same year ,franois ,clouet was appointed ,groom of the ,chamber and ,painter-in-,ordinary to the ,king4 ,the ,louvre is fortunate in possessing one of the exceedingly rare signed pictures by this artist in the ,portrait of ,pierre ,quthe 7,no4 #abg;,a71 which was found in ,vienna a few years ago by ,m4 ,moreau-,nlaton and presented to the ,gallery by that active and patriotic institution1 the ,socit des ,amis du ,louvre4 ,pierre ,quthe was a notable burgher and apothecary of ,paris1 who owned one of the finest gardens in that city4 ,he was an intimate friend and neighbour of ,franois ,clouet in the rue ,st4 ,avoye4 ,in the ,louvre painting1 which bears in the left-hand bottom corner the inscription ,,fr4 ,,ianetii ,,opvs ,e4 ,,qutto ,,amico ,,singvlari ,,aetatis ,,sve ,,xliii #aefb he is depicted three-quarter-length life size1 dressed in a doublet of black velvet with lace insertions1 with a herbarium4 ,the picture hangs at present on a screen in ,gallery ,,xv4 ,another unquestionably authentic work is the charming ,portrait of ,elizabeth of ,austria1 ,wife of ,charles ,,ix4 7,no4 #acj71 of which a preparatory study in chalk1 dated #aega1 is to be found in the ,paris ,print ,cabinet4 ,the face is drawn and modelled with rare delicacy1 and every detail of the richly jewelled gold brocade costume is rendered with faultless and miniature-like precision4 ,yet another precious little picture from the same hand is the small three-quarter-length ,portrait of ,charles ,,ix41 ,king of ,france 7,no4 #abh71 which is a reduced replica of the signed life-size version in the ,vienna ,museum4 ,both pictures were originally in ,vienna1 whence they were removed by ,napoleon in #ahji1 but only the larger picture was taken back to the ,austrian capital in #ahae4 ,the ,portrait of ,claude de ,beaune 7,no4 #acc;,a7 is possibly another1 though not very important1 work from the master's own brush2 but neither the ,portrait of ,franois de ,lorraine1 ,duc de ,guise 7,no4 #aca71 nor the ,portrait of ,henri ,,ii41 ,king of ,france 7,no4 #abi71 are of sufficient merit to justify their attribution to ,franois ,clouet2 whilst the portraits of ,charles ,,ix4 7,no4 #acb7 and ,elizabeth of ,austria 7,no4 #acc7 are frankly admitted to be copies after originals by the master4 ,,corneille ,,de ,,lyon ,franois ,clouet's chief rival in royal favour was another ,netherlander domiciled in ,france1 who1 from the city in which he spent the years of his greatest activity1 has become known as ,corneille de ,lyon4 ,he was apparently the head of a busy workshop at ,lyons1 from which were turned out large numbers of thinly painted1 daintily touched-in three-quarter profile heads1 executed almost transparently on a light ground4 ,although these portraits are now generally described under the generic name of ,corneille de ,lyon1 only the best among them can be accepted as the master's own handiwork4 ,room ,,xi4 at the ,louvre contains several insignificant and badly repainted portraits of this type4 ,they are of no importance1 as they are only copies or studio productions4 ,corneille became naturalised in #aedg1 in which year he was appointed ,painter to the ,king4 ,he died about #aege4 ,,the ,,school ,,of ,,fontainebleau ,the death of ,perral and ,bourdichon a few years after the accession of ,franois ,i4 had left ,france without any artists of note1 save the few foreign portrait painters employed by the ,court4 ,franois ,i41 an enthusiastic art lover1 who had seen and admired the great ,italian masters in their own country1 spared no effort to attract the leading masters to ,france4 ,we have seen that he actually succeeded in securing the services of the aged ,leonardo da ,vinci1 and that for a brief span ,andrea del ,sarto worked at his ,court4 ,when1 about #aecj1 that art-loving king turned his attention to the decoration of his palace at ,fontainebleau1 there was not a single painter of ,french nationality1 or artist living in ,france1 who could have been entrusted with so formidable a task1 and ,franois ,i4 was again forced to enlist the best ,italian painters available for the purpose4 ,having first engaged ,pellegrino and other third-rate artists1 he succeeded1 in #aeca1 in inducing the ,florentine ,rosso to undertake the execution and supervision of the decorative work at ,fontainebleau2 and in the following year the ,bolognese ,primaticcio entered his service4 ,both belong to the ,italian eclectic schools1 and only concern us here in so far as their example led to the founding of what has been called the 8,school of ,fontainebleau10 which was really an offshoot of the ,italian eclectic school4 ,in the early years of ,rosso's and ,primaticcio's activity at ,fontainebleau practically all the work was done by these two painters and their ,italian assistants1 whose band was joined by ,niccol dell' ,abbate4 ,it was only after the death of ,franois ,i4 that the teaching of the ,italian eclectics at ,fontainebleau produced a generation of ,french artists capable of doing justice to the decorative tasks for which an ever-increasing demand had meanwhile arisen4 ,that the ,louvre is singularly poor in works by these painters may partly be accounted for by the comparative scarcity of easel pictures painted by artists who were chiefly employed for interior decoration4 ,there is no reason for crediting any ,frenchmen with the three anonymous school of ,fontainebleau pictures in ,gallery ,,xi43 ,diana 7,no4 #ajac71 ,the ,chastity of ,scipio 7,no4 #ajad71 and ,the ,toilet of ,venus 7,no4 #ajad;,a74 ,the ,chastity of ,scipio in particular would appear to be the work of ,niccol dell' ,abbate4 ,,jean ,,cousin ,the most famous of all the ,french painters of the school is ,jean ,cousin1 who from the ,last ,judgment 7,no4 #aee7 at the ,louvre--the only known painting from his brush that has been preserved--has been called 8,the ,french ,michelangelo40 ,nothing is known of his life1 save that he was born at ,soucy1 near ,sens1 that he worked in ,paris in the third quarter of the sixteenth century1 and that he was still alive in #aehc4 ,comparison of his picture with ,michelangelo's great work in the ,sistine ,chapel only helps to accentuate the absurd over-estimation to which he owes his sobriquet4 ,he was merely a follower of ,primaticcio1 an excellent draughtsman with great knowledge of anatomy1 but lacking in taste1 imagination1 and real power4 ,ambroise ,dubois 7#aedc-afad7 was born at ,antwerp1 but is generally counted among the ,french painters of the school of ,fontainebleau4 ,he was entrusted by ,henri ,,iv4 with several important series of paintings for the decoration of the apartments at ,fontainebleau1 notably with eight scenes illustrating ,tasso's 8,gerusalemme ,liberata0 for one of the ,queen's rooms1 and fifteen scenes from 8,theogenes and ,chariclea0 by ,heliodorus for the 8,king's ,great ,closet40 ,one from each series has found its way into the ,louvre collection3 ,the ,baptism of ,clorinda 7,no4 #bgb71 and ,chariclea1 undergoing the ,ordeal of ,fire1 is recognised by her ,parents1 ,king ,hydaspes and ,queen ,persina 7,no4 #bga74 ,the only other painter of this group who is represented at the ,louvre is ,martin ,frminet 7#aefg-afai71 who was only indirectly connected with the school of ,fontainebleau1 as he had received his art education in ,florence4 ,his best known work is the ceiling of the ,trinity ,chapel at ,fontainebleau4 ,his picture at the ,louvre represents ,mercury ordering neas to leave ,dido 7,no4 #cjd74 ,the decline of the school of ,fontainebleau was so rapid and complete that1 when ,marie de ,mdicis decided to have the great gallery of the ,luxembourg ,palace decorated1 in #afbj1 there was not a single painter left in ,france capable to undertake this important work1 which was eventually entrusted to ,rubens4 ,but the whole direction to be taken by ,french seventeenth-century art had been determined by ,franois ,i41 and the influence of the ,late ,italians remained paramount until the dawn of the new era which was to be initiated by ,watteau4 ,,the ,,seventeenth-,,century ,,french ,,school ,throughout the seventeenth century the impulse for the artistic activity of ,france emanated from ,rome4 ,but before discussing the dominating personalities of the age we must refer to a few painters who occupy a more or less isolated position in the art of their country4 ,the naturalism of ,caravaggio was introduced into ,france by two of his followers1 ,jean de ,boulongne1 called ,le ,valentin 7#aeia-afcd71 and ,simon ,vouet 7#aeij-afdi71 who was also slightly influenced by the ,venetians4 ,valentin spent the best part of his life in ,rome1 where he died in #afcd4 ,the ,louvre owns1 among eight pictures from his brush 7not all of which are exhibited71 his masterpiece1 ,the ,innocence of ,susannah recognised 7,no4 #ef71 which has the vigorous handling and bold chiaroscuro of the ,neapolitan school4 ,simon ,vouet1 who came to ,england at the age of fifteen1 and subsequently travelled in ,turkey and ,italy1 where he remained until his appointment as ,painter to the ,king took him back to ,paris in #afbg1 tried to combine the naturalism of ,caravaggio with the colouring of the ,venetians1 an endeavour in which he was only partially successful1 as he was not equipped by nature with a sensuous appreciation of beautiful colour4 ,the ,louvre owns a dozen ,scriptural subjects and allegorical figures by ,vouet2 but even the best of them1 ,the ,presentation of ,jesus in the ,temple 7,no4 #iga71 is but a dull and heavy performance2 whilst his ,portrait of ,louis ,,xiii4 7,no4 #igf7 is wholly devoid of artistic merit4 ,perhaps he owes his fame chiefly to the fact that he was the master of the absurdly overrated ,le ,sueur and of that art despot of the ,louis ,,xiv4 era1 ,charles ,le ,brun4 ,,the ,,brothers ,,le ,,nain ,of far greater artistic significance are the three brothers1 ,antoine1 ,louis1 and ,matthieu ,le ,nain1 who were born at ,laon1 and flourished in ,paris during the first half of the seventeenth century4 ,antoine and ,louis died in #afdh1 and ,matthieu in #afgg4 ,very little is known of their history1 but the splendid array of their works in ,gallery ,,xiii4 proves them to have had close affinities with the contemporary ,dutch and ,flemish schools1 even if their manner of composition suggests close acquaintance with ,spanish art4 ,their subjects1 too1 like those of many of the ,northern masters of their time1 are taken from the daily life of the people1 which is rendered with nave honesty1 and at times with a real appreciation of beautiful pigment4 ,so far it has been impossible to distinguish between the works of the three brothers1 as even the signatures 8,,le ,,nain1 fecit #afdg10 on the ,portraits in an ,interior 7,no4 #edc71 and 8,,le ,,nain1 fecit anno #afdb10 on the ,peasants at their ,meal 7,no4 #edh1 ,la ,caze ,gallery71 afford no clue to the solution of the problem4 ,the striking differences in brushwork and colouring1 which are to be noticed in the eleven ,le ,nain pictures at the ,louvre1 would certainly suggest that the three brothers did not1 or did only rarely1 collaborate on the same pictures4 ,the painter of ,the ,return from ,haymaking 7,no4 #edb71 with its prophetic suggestion of the plein-air effects of late nineteenth-century art1 cannot have had much in common with the painter of the dull and dingy ,denial of ,st4 ,peter 7,no4 #edg74 ,,nicolas ,,poussin ,the founder of the ,classicist school of ,french painting1 which has had official approval and support from his time to the present day1 was ,nicolas ,poussin 7#aeid-affe74 ,born at ,les ,andelys in ,normandy1 he went to ,paris at the age of eighteen1 and became so fascinated by the examples of antique sculpture that1 in spite of his extreme poverty1 he determined to continue his studies in ,rome4 ,it is unnecessary here to relate the struggles that preceded his arrival at ,rome in #afbd4 ,he frequented the school of ,domenichino2 but what was more decisive for the formation of his style was his unceasing study of antique sculpture1 in which he was guided and encouraged by his friend1 the sculptor ,duquesnoy4 ,after some years of continued poverty1 he found at last liberal patronage1 and rose to such fame that on his return to ,paris in #afdj he was appointed ,painter-in-,ordinary to the ,king4 ,however1 the duties and restrictions attached to this position proved so irksome to ,poussin1 that after two years he returned to ,rome1 where he spent the rest of his life4 ,at the ,louvre is to be found an imposing array of forty canvases by ,poussin1 whose art is as typical an expression of ,french genius as the poetry of ,corneille4 ,it is essentially intellectual1 based on theoretical rules of design and composition1 not in the least sensuous or emotional1 but always coldly classical4 ,the vast majority of his paintings at the ,louvre are in such a deplorable state of deterioration and neglect that it is almost impossible to form an adequate idea of their original colour1 but even the most ardent admirers of the master do not maintain that he was a great colourist4 ,his pictures are entirely dependent on beauty of form and rhythmic design4 ,they might almost be described as painted reliefs4 ,this applies at least to his treatment of the human figure4 ,his conception of landscape1 though still severely classical1 is more pictorial and testifies to a genuine love of ,nature--,nature idealised by a lofty imagination4 ,to appreciate his greatness as a landscape painter1 one has only to examine the glorious setting to his ,orpheus and ,eurydice 7,no4 #gdj74 ,the figures here are really of quite subordinate importance--mere incidents in a landscape painted with consummate mastery1 perfect in linear and aerial perspective4 ,the ,shepherds in ,arcadia 7,no4 #gcd1 ,plate ,,xxxvii47 may be quoted to illustrate the calculated rhythm of his design and his indebtedness to classic art from which he derived his nobility of form4 ,real dramatic action was beyond ,poussin's range4 ,his famous ,rape of the ,sabine ,women 7,no4 #gbd7 is a striking instance of his failure to grasp the significant difference between dramatic movement and mere heroic posturing4 ,far more inspired1 and therefore more natural and dramatically effective1 is the superb circular painting for a ceiling commissioned by ,cardinal ,richelieu and representing ,time rescuing ,truth from the ,attacks of ,envy and ,discord 7,no4 #gce74 ,the allegory is said to have been intended as an allusion to the circumstances which induced ,poussin to leave ,paris for good4 ,the design has more real vitality than is generally to be found in ,poussin's work2 the action of the figures is more natural2 and the colour music is not drowned by the prevalence of dingy browns4 ,the decorative effect heralds in a strange way the art of the next century1 and particularly that of ,boucher4 ,to see ,poussin in the right perspective as regards the world's great masters1 one need only compare his two ,bacchanals 7,nos4 #gbi and #gcj7 with ,titian's rendering of a similar theme4 ,the comparison is disastrous for the eclectic ,frenchman4 ,a ,portrait of the ,painter 7,no4 #gdc7 from ,poussin's own brush is to be found in ,room ,,xiv41 where no fewer than thirty-seven of his pictures are on view4 ,illustration3 ,,plate ,,xxxvii4--,,nicolas ,,poussin 7#aeid-affe7 ,,french ,,school ,no4 #gcd4--,,the ,,shepherds ,,in ,,arcadia 7,les ,bergers d',arcadie7 ,in the centre of a landscape with receding ranges of hills1 three shepherds1 leaning on their long staves1 and a maiden in classic garb1 are gathered around an ancient tomb surrounded by trees4 ,an inscription on the tomb1 8,et in ,arcadia ,ego10 engages their attention4 ,one of the shepherds is kneeling and reading the inscription to his companion on the left1 whilst the third man of the group leans forward to point out to the maiden the significance of the inscription4 ,painted in oil on canvas4 #b ft4 #i in4 #c ft4 #aa in4 7#jhe #aba47 ,,claude ,,lorrain ,strangely enough1 the otherwise very complete collection of ,french pictures at the ,louvre does not contain a single example of ,poussin's brother-in-law1 ,gaspard ,dughet1 better known as ,gaspard ,poussin 7#afac-afge71 who devoted himself more exclusively to landscape than did his more illustrious relative4 ,nicolas ,poussin's influence also became decisive for the formation of the style of ,claude ,gelle1 called ,le ,lorrain 7#afjj-afhb71 who is represented at the ,louvre by seventeen pictures 7,nos4 #caj-cbf71 most of which also have suffered considerably from discoloration and neglect4 ,claude1 who was the child of poor parents1 started life as a cook4 ,in this capacity he went to ,rome1 where his talent for art was discovered by the landscape painter ,agostino ,tassi1 to whom he served as cook and apprentice4 ,having learned all he could from his master1 he returned to ,france in #afbe1 but1 like ,poussin1 preferred to go back to ,rome after two years spent in his native country4 ,in the ,papal city he lived the rest of his days1 and rose to fame and affluence4 ,he was essentially a landscape painter4 ,the historical and legendary incidents introduced in such pictures as ,the ,disembarkation of ,cleopatra at ,tarsis 7,no4 #cad71 or ,ulysses restoring ,chryseis to her ,father 7,no4 #caf71 were to him a mere excuse for painting classic landscapes and imaginary buildings of noble proportion bathed in a golden atmosphere1 which has hardly been rivalled by any contemporary or later painter4 ,it is only on rare occasions1 as in the ,view of the ,campo ,vaccino at ,rome 7,no4 #caa71 that he applied his gifts to the portrayal of nature4 ,as a rule1 his views are carefully arranged combinations of architectural and landscape elements brought together arbitrarily1 and generally disposed in the manner of the wings and backcloth of a stage scene1 but connected by the unity of light and atmosphere4 ,considering this method1 it is amazing that his memory enabled him to invent such imaginary scenes with so great a degree of truth4 ,the ,view of a ,sea ,port 7,no4 #cag1 ,plate ,,xxxviii471 in the subdued light of a misty day1 is a magnificent instance of his masterly management of aerial perspective4 ,it is signed and dated 8,,claude ,,in ,,roma1 #afdf40 ,it is generally known how much ,turner in his first manner owed to the example of ,claude4 ,that even ,watteau was indebted to him may be gathered from such pictures as ,the ,village ,fte 7,no4 #cab71 which1 signed and dated1 8,,claudio1 inv4 ,rom1 #afci10 contains in germ the elements that constituted the greatness of the eighteenth-century master4 ,,le ,,sueur ,whilst ,poussin and ,claude were working in ,rome1 two pupils of ,vouet reaped the highest honours in ,france4 ,eustache ,le ,sueur 7#afag-afee71 whom his compatriots in their incomprehensible over-estimation of his mediocre gifts have called the 8,french ,raphael10 certainly strove to emulate the divine ,urbinate2 but how badly he succeeded in this endeavour is to be gathered from the fifty-two paintings1 by the placing of which his memory is retained at the ,louvre4 ,what dignity there is in the simple flow of line in his designs1 is completely ruined by the offensive crudeness of his colour4 ,even allowing for the inevitable fluctuations of taste in matters of art1 it is difficult now to understand how enthusiasm could ever have been aroused by the works that were considered his masterpieces1 ,st4 ,paul preaching at ,ephesus 7,no4 #efj71 which at the beginning of last century was valued at #aj1jjj 7671 and the twenty-two ,scenes from the ,life of ,st4 ,bruno 7,nos4 #efd-ehe71 painted between #afde and #afdh for the small cloister of the ,carthusians in ,paris4 ,this series1 which is a severe tax on the patience of the conscientious visitor1 fills the whole of ,gallery ,,xii41 whilst other paintings connected with it intrude into the adjoining room1 which is consecrated to the brothers ,le ,nain4 ,illustration3 ,,plate ,,xxxviii4--,,claude ,,gell,e1 ,,called ,,claude ,,lorrain 7#afjj-afhb7 ,,french ,,school ,no4 #cag4--,,view ,,of ,a ,,seaport 7,vue d'un ,port de ,mer3 ,effet de ,brume7 ,in the foreground1 on the beach1 are groups of men occupied with unloading merchandise and cattle4 ,sailing ships are at anchor in the port1 and boats are floating on the rippling water4 ,on the left a monumental staircase leads from the landing-steps to a palace1 beyond which is seen a fort2 a classic temple on the right4 ,sunset effect1 the power of the sun being softened by a mist over the far distance4 ,painted in oil on canvas4 ,signed on a stone in the left foreground3--8,,claude ,,in ,,roma1 #afdf0 #c ft4 #aj in4 #d ft4 #aa in4 7#aai #aej47 ,before passing on to ,vouet's most famous pupil1 ,charles ,le ,brun1 whose despotic power imposed upon ,french painting during the 8grand sicle0 its pompous rhetorical character1 mention should be made of ,sbastien ,bourdon 7#afaf-afga71 who1 but for his prolonged sojourn in ,rome1 which fed his ambition to excel in the 8grand style10 would have been one of the most remarkable artists of his century4 ,this conclusion is1 at least1 justified by his precious little painting of a group of ,beggars 7,no4 #gf71 which is perhaps unrivalled in ,french seventeenth-century art for quality of paint and appreciation of tone values2 and by his excellent ,portrait of the ,philosopher ,ren ,descartes 7,no4 #gh71 who was also painted by ,frans ,hals 7,no4 #bchc74 ,in his treatment of scriptural and historical subjects he does not rise above the dull level of his contemporaries4 ,,charles ,,le ,,brun ,charles ,le ,brun 7#afai-afij7 studied first under ,vouet1 but1 attracted by ,poussin's stronger personality1 followed that master to ,rome in #afdb1 and continued his studies under his guidance4 ,when ,le ,brun returned to ,paris four years later1 his reputation was already firmly established4 ,patronised by ,louis ,,xiv4's powerful minister1 ,colbert1 he was placed at the head of the newly founded ,academy of ,painting1 and of the ,gobelins ,manufactory1 became ,first ,painter to the ,king and 8,prince0 of the ,french ,academy in ,rome2 and was1 in fact1 given absolute power in all matters concerning the fostering of the arts and art industries4 ,this despotic power explains how it was possible that ,le ,brun1 who notwithstanding his brilliant executive skill and extraordinary facility never rose above the level of mediocrity1 could impose his uninspired personality upon every phase of ,french artistic activity of his time4 ,his enormous canvases at the ,louvre1 which probably occupy more space than has been allotted to any other painter1 vainly endeavour to conceal the lack of real emotion and of a central motif by theatrical gestures and overcrowding4 ,his masterpiece at the ,louvre is ,the ,tent of ,darius 7,no4 #eaa71 which represents the family of ,darius imploring ,alexander the ,great for mercy4 ,but even here one feels the absence of dramatic inspiration and concentration4 ,less successful are the other scenes from the history of ,alexander3 ,the ,passage of the ,granicus 7,no4 #eji71 ,the ,battle of ,arbela 7,no4 #eaj71 ,alexander and ,porus 7,no4 #eab71 ,alexander entering ,babylon 7,no4 #eac74 ,the whole series was painted between #affa and #affh for execution in tapestry and was exhibited at the ,salon in #afgc1 the year in which for the first time an official catalogue was compiled4 ,besides many scriptural and mythological subjects1 and a few portraits from ,le ,bran's brush1 there are at the ,louvre his decorative paintings on the ceiling of the ,galerie d',apollon in which the magnificent centre panel was added two centuries later by ,delacroix4 ,,pierre ,,mignard ,le ,bran's successor in the direction of the ,academy and the ,gobelin works1 ,pierre ,mignard 7#afab-afie71 called 8,le ,romain0 owing to his long domicile in ,rome after the completion of his studies under ,vouet1 did not have his precursor's large decorative faculty and sweeping ease of execution4 ,yet the excessively affected grace and the careful finish of his pictures1 of which ,the ,virgin of the ,grapes 7,no4 #fbh7 is a thoroughly characteristic instance1 helped to raise him to an exalted position in the opinion of his contemporaries4 ,to this day the affected style of prettiness of which he was the high priest is known as 8mignardise40 ,his power was altogether insufficient for the ambitious decorative tasks he set himself in emulation of ,le ,brun4 ,if he has any claim to the esteem of posterity1 it is for having left the world a portrait gallery of the notable men and women of his time--portraits which are by no means free from flattery and mannered grace1 but constitute1 nevertheless1 a valuable historical record4 ,of these the ,louvre owns the ,portrait of the ,artist at ,work in his ,studio 7,no4 #fdj72 the ,portrait of ,franoise d',aubigne1 ,marquise de ,maintenon 7,no4 #fci72 and the life-size group of ,louis of ,france1 ,son of ,louis ,,xiv41 his ,wife1 and their three ,children 7,no4 #fch74 ,colbert and ,le ,brun had succeeded but too well in carrying out the powerful minister's ambition to direct ,french art towards industrial and decorative aims1 to train an army of capable producers1 and to place the whole organisation on what may be called a business basis4 ,the system was1 however1 not favourable for the growth of independent genius4 ,with few exceptions1 the whole generation of painters that grew up under ,le ,brun's rgime are of no significance to the history of art4 ,there were among them many capable craftsmen1 but they only repeated in a feebler way what ,le ,brun had done on a more imposing and dazzling scale4 ,whole dynasties of painters arose1 like the ,boulognes and the ,coypels1 who1 under official patronage1 filled acres of canvas with florid1 theatrical renderings of scriptural subjects1 and with the bombastic mock-heroics of classic history and mythology seen through baroque spectacles4 ,,le ,,brun',s ,,followers ,it would be giving undue importance to these painters of the ,louis ,,xiv4 period if we were to go beyond a mere enumeration of their leaders and their chief works at the ,louvre4 ,none of them possessed any marked individuality2 and most of them were linked together1 not only by similar aims and ambitions1 but also by family ties4 ,four members of the ,coypel family rose to great eminence among their fellow-artists1 and to important official positions4 ,nol ,coypel 7#afbh-agjg71 the painter of the four historical compositions1 ,solon defending his ,laws before the ,athenians 7,no4 #aeg71 ,ptolomy ,philadelphus giving the ,jews their ,freedom 7,no4 #aeh71 ,trajan giving a ,public ,audience 7,no4 #aei71 and the ,foresight of ,septimus ,severus 7,no4 #afj71 all of which were originally executed for the ,council ,chamber at ,versailles2 his sons ,antoine ,coypel 7#affa-agbb71 whose best known pictures at the ,louvre are the ,susannah and the ,elders 7,no4 #afi7 and the ,democritos 7,no4 #agd71 which recalls ,jordaens in its exuberant life1 and ,nol ,nicolas ,coypel 7#afib-agcd71 whose goddesses and nymphs already reflect the taste which dominated the eighteenth century2 as well as ,antoine's son1 ,charles ,antoine ,coypel 7#afid-ageb71 whose uninspired art may best be studied in the ,perseus delivering ,andromeda 7,no4 #ahj74 ,the ,triumph of ,bacchus 7,no4 #ddg7 and ,the ,annunciation 7,no4 #dde71 by ,charles de ,la ,fosse 7#afcf-agaf72 ,hercules fighting the ,centaurs 7,no4 #ec71 by ,bon ,boulogne 7#afdi-agag72 and ,the ,marriage of ,st4 ,catherine 7,no4 #ee71 by his brother ,louis ,boulogne 7#afed-agcc71 only serve to illustrate the mediocrity of their respective authors4 ,the impersonality of ,bon ,boulogne's art had at least the advantage that his teaching left free scope for personal expression to his many pupils4 ,even the still-life painting of the 8grand sicle10 which found its chief exponent in ,jean ,baptiste ,monnoyer 7#afcd-afii71 partakes of the love of pomp and display that characterises this period4 ,gold and silver vases1 precious stuffs and furniture generally accompany his flowers1 which are painted without real appreciation of their natural beauty1 and in purely local tints without a hint of the effect of each colour upon its surroundings4 ,the ,flowers 7,no4 #fdh71 in the ,la ,caze ,gallery1 may be mentioned as a typical example4 ,,battle ,,painters ,the battle painter1 ,jacques ,courtois 7#afba-afgf71 called ,borgognone and ,le ,bourguignon1 though born in ,france1 was so completely under the spell of the art of ,italy1 the country where he spent almost his entire life1 that he can scarcely be reckoned as belonging to the ,french school4 ,his furious cavalry mles1 though entirely imaginative 7as such confused encounters of horsemen piercing each other's ranks have never taken place in actual warfare71 are painted1 like the ,cavalry ,fight 7,no4 #aea71 with a touch as swift as it is sure and expressive1 and full of exuberant vitality4 ,joseph ,parrocel 7#afgh-agjd71 who1 during a prolonged visit to ,rome had benefited by ,borgognone's teaching1 could not1 after his return to ,france in #afge1 escape the current of thought which dominated his time1 and introduced the stage-heroic note into his master's sham realism4 ,the glorification of his king is the purpose of such pictures as ,the ,passage of the ,rhine by ,louis ,,xiv4 7,no4 #fgh74 ,the chief interest is centred in the richly apparelled group on their prancing steeds in the foreground4 ,,jean ,,jouvenet ,the ,descent from the ,cross 7,no4 #dcg71 by ,jean ,jouvenet 7#afdd-agag71 which has been honoured by a position among the masterpieces in the ,salon ,carr1 is certainly one of the most estimable compositions produced in ,france during this active but uninspired century4 ,not only in the general disposition of the design1 but also in the use of colour as a constructive element1 ,jouvenet here acknowledges his indebtedness to ,rubens1 although he could never rival the luminous glow of the great ,fleming's palette4 ,most of his other pictures suffer from dull heavy shadows and exaggerated expression4 ,his strong and honest painting of the kneeling group in ,the ,abb ,delaporte officiating at the ,high ,altar of ,ntre-,dame 7,no4 #ddj71 makes us regret that he did not devote himself more to subjects taken from the life of his time4 ,an artist who was less tied to the tyranny of the official school1 and imbued with a really profound sense of the beautiful1 was ,jean ,baptiste ,santerre 7#afeh-agag74 ,the delicate perfection of form of the nude in ,susannah and the ,elders 7,no4 #hce7 approaches him to ,david and ,ingres at their best4 ,but this very perfection carries the germ of decay1 because it is incapable of progress1 and stagnation in art signifies death4 ,as regards his technique1 ,santerre was extremely careful and conscientious4 ,he reduced his palette to but five colours1 and waited ten years after the completion of a picture before putting on the final coat of varnish4 ,,the ,,portrait ,,painters ,the two great portrait painters who flourished under the 8,grand ,monarque10 ,rigaud and ,largillire1 were preceded by an artist to whom1 perhaps owing to the relative scarceness of his works1 history has done but scant justice4 ,whilst the ,louvre contains thirteen portraits by ,largillire and seventeen by ,rigaud1 only two pictures stand to the name of ,claude ,lefebvre 7#afcb-afge72 but his ,portraits of a ,master and his ,pupil 7,no4 #ebi7 and the ,portrait of a ,man 7,no4 #ecj71 are distinguished by a penetrating insight into character and an incisive vigour of style that form a striking contrast to the shallow bombast introduced even into portraiture by the fashionable painters to the ,court4 ,lefebvre has been compared with ,van ,dyck4 ,the ,portrait of a ,man 7,no4 #ecj7 has more in common with the brilliant audacity of ,frans ,hals's brushwork4 ,lefebvre worked for some years in ,london1 where he was a favourite at the ,court of ,charles ,,ii4 ,rigaud's manner of portraiture has none of these serious1 manly qualities1 but his skill in arranging the sumptuous accessories which play so important a part in his portraits1--as important1 at least1 as the actual features of the sitters1--secured him the patronage of the pomp-loving1 haughty nobility4 ,hyacinthe ,rigaud y ,ros 7#afei-agdc7 was born at ,perpignan and educated at ,montpellier and ,lyons4 ,it was the advice of ,le ,brun that saved him from the customary pilgrimage to ,rome and its inevitable consequences4 ,it was ,le ,brun who recognised ,rigaud's bent for portraiture1 and launched him on the brilliant career which gained for him the title of 8the ,french ,van ,dyck40 ,rigaud was enormously productive4 ,between #afha and #afih he is said to have painted six hundred and twenty-three portraits4 ,and he had then another forty-five years before him6 ,rigaud's best known picture at the ,louvre is the stately portrait d'apparat of ,king ,louis ,,xiv4 7,no4 #gha71 a life-size full length1 in which the spirit of the time1 the curious blending of supercilious haughtiness1 love of display1 and affected grace of manner1 are happily expressed in the monarch's attitude and in the whole setting4 ,the picture is signed and dated1 8,,peint ,,par ,,hyacinthe ,,rigaud1 #agja40 ,the same tendencies are to be noted in the full length ,portrait of ,bossuet1 ,bishop of ,meaux 7,no4 #ghc71 in which it is surprising that the prelate's personality is not completely smothered by the splendid profusion of the accessories4 ,his gifts appear1 however1 in a better light in his excellent ,portraits of ,marie ,serre1 the ,artist's ,mother 7,no4 #ghd71 with the same head1 honestly and soberly painted1 twice on the same canvas1 once in sharp profile looking to the right1 and again1 facing this1 a three-quarter profile to the left4 ,wholly unexpected is the delicacy and softness of one of his pictures in the ,la ,caze ,room3 the ,portrait of the ,duke of ,lesdiguires as a ,child 7,no4 #gib74 ,his solitary excursion into the domain of 8grand art0 at the ,louvre is at the same time his last work3 ,the ,presentation in the ,temple 7,no4 #ghj71 which in grouping and lighting owes much to the study of ,rembrandt4 ,nicolas de ,largillire 7#afef-agdf7 was born in ,paris1 but was taken when still an infant to ,antwerp1 where he became a pupil of ,goebouw4 ,from #afgd to #afhj he worked in ,london as an assistant of ,sir ,peter ,lely1 from whom he acquired the clever tricks and mannerisms in the painting of draperies and the textures of silks and velvets and other materials1 which were to form so important a part of his artistic equipment4 ,after ,lely's death ,largillire went to ,paris1 where he not only shared with ,rigaud the patronage of the ,court as portrait painter1 but secured many important commissions for historical paintings which1 perhaps to the advantage of his fame1 are now all but forgotten4 ,largillire was not without distinction as a brilliant and daring colourist4 ,nor was he incapable1 on occasion1 of seizing the subtleties of his sitters' character4 ,but his praiseworthy qualities are more than balanced by his unpleasant affectations and by the baroque squirminess of his line4 ,this tendency carried him to such insufferable excesses as the conglomeration of lumpy bosses which does duty for a hand in his ,portrait of ,m4 ,du ,vaucel 7,no4 #dhd71 in the ,la ,caze ,room4 ,his boastful skill in the management of the satins and velvets in the overrated portrait group of ,largillire with his ,wife and ,daughter in a ,garden 7,no4 #dia71 cannot atone for the singularly unfortunate and clumsy composition1 and for the self-conscious affectation of each individual pose4 ,more satisfactory1 in spite of the superabundance of accessories and outward pomp1 which in this case is a fitting attribute to the character of the sitter1 is the ,portrait of ,charles ,le ,brun1 ,first ,painter to ,king ,louis ,,xiv4 7,no4 #dhb71 who is depicted in a colossal wig1 seated before an easel1 and wearing a superbly painted red velvet cloak4 ,,landscape ,,painters ,it almost goes without saying that landscape art1 which1 even in its most artificial and 8classic0 phase is inspired by the love and study of nature1 was sadly neglected in so artificial an age4 ,among its leading exponents must be mentioned the two ,patels1 father and son1 of whose life we have but scant knowledge1 and whose pictures resemble one another's so closely that it is often difficult to determine which is by ,pierre ,patel1 the father 7#afbj8-afgf71 and which by ,pierre ,antoine ,patel1 the son 7#afdh-agjh71 especially as both adopted the signature1 8,p4 ,,patel40 ,in the case of the older artist's ,the ,exposure of ,moses on the ,nile 7,no4 #fhj71 and ,moses burying the ,egyptian whom he had ,slain 7,no4 #fha71 and his son's four landscapes representing the months1 ,january 7,no4 #fhd71 ,april 7,no4 #fhe71 ,august 7,no4 #fhf71 and ,september 7,no4 #fhg71 all doubts are set aside by the dates which accompany the signature4 ,both artists were close followers of ,claude ,lorrain1 although their precise technique suggests the influence of ,adam ,elsheimer4 ,a truer perception of nature came to ,france from the ,north1 whence1 indeed1 throughout the history of ,french painting vitality was infused into an art that was cramped by officially imposed canons of ,italian perfection4 ,as far back as the time of ,le ,brun1 ,flibien and ,roger de ,piles had begun in the field of literary polemics the long struggle between the ,poussinistes and ,rubenistes1 the adherents of an art dominated by design and perfect drawing1 against the partisans of colour as a vital element4 ,during the whole seventeenth century the ,poussinistes1 who commanded all the official support1 held the field1 though the ,netherlandish strain was represented by some of the finest painters of that period1 like the brothers ,le ,nain1 ,c4 ,lefebvre1 and ,philippe de ,champaigne4 ,in the eighteenth century the ,northern influence became supreme through ,watteau and ,chardin on the one hand1 and on the other through ,boucher and ,fragonard1 both of whom were powerfully influenced by the study of ,rubens's works4 ,,desportes ,in landscape the healthy opposition to the prevailing classic style appears first in the work of the ,flemish battle painter ,van der ,meulen1 whose backgrounds1 sketched on the spot1 show a fine feeling for aerial perspective and atmospheric effects4 ,but his example apparently attracted no followers4 ,though not1 strictly speaking1 a landscape painter1 ,franois ,desportes 7#affa-agdc71 who owed less to his early training under ,nicasius1 a third-rate ,fleming1 than to his habit of using his own eyes and studying nature direct1 treated landscape with similar freedom in the backgrounds to his portraits and pictures of the chase4 ,in his paintings of animals1 dead or alive1 limp bodies of hares and birds arranged as still-life with flowers and fruits1 or in a very frenzy of movement in his hunting pieces1 he endeavours to emulate ,snyders1 without quite rivalling the ,flemish master4 ,of his twenty-five pictures at the ,louvre1 twenty-three 7,nos4 #bbe-bdh7 belong to this genre1 but not all of them are actually exhibited4 ,the ,portrait of a ,huntsman 7,no4 #bbd71 and the ,portrait of the ,artist 7,no4 #bdi7 seated under a tree1 holding a gun in his right1 and caressing with his left hand a hound whose paw is resting on a pile of dead game1 serve to prove that he knew how to manage portraiture with the same bold1 frank spirit and summary breadth4 ,he was particularly happy in rendering1 without laboured detail1 the varying textures of fur and plumage4 ,desportes's only successful rival as a painter of animals and hunting scenes was ,jean ,baptiste ,oudry 7#afhf-agee74 ,how closely his style resembled that of the elder painter is to be seen from his ,wolf ,hunt 7,no4 #ffg71 the ,dog watching ,dead ,game 7,no4 #ffh71 and one or two similar pieces at the ,louvre4 ,oudry was first taught by his father1 and subsequently by ,largillire1 who encouraged him in the painting of still-life1 and directed his study particularly to the observation of tone values and of the interchange of colour that takes place between objects in close proximity to each other4 ,in #agcd1 ,oudry was appointed ,director of the ,beauvais ,tapestry ,works1 which took a new lease of life under his able management4 ,it was he who supplied the designs for the ,fables of ,la ,fontaine1 which figure so frequently in the tapestries woven at that great establishment4 ,perhaps his most interesting picture at the ,louvre is the large landscape ,the ,farm 7,no4 #fgj71 signed and dated #agej1 one of the earliest examples in ,french art of a rustic scene painted for its own sake1 without any attempt at ennobling the landscape by forcing it into a formal arrangement4 ,,the ,,eighteenth-,,century ,,french ,,school ,,genre ,,painters ,it is quite in accordance with the tendencies displayed by these masters1 that towards the end of the seventeenth and the beginning of the eighteenth century an increasing number of artists preferred to devote their talent to recording the life of their own days to the endless repetition of the 8grand-manner0 subjects which had occupied the energy of the preceding generations4 ,thus ,jean ,alexis ,grimou 7#afgh-agdj71 who was ,swiss by birth and entirely self-trained1 introduced into ,french art the drinking scenes beloved of the ,flemish masters4 ,from his painting of ,a ,drinker 7,no4 #che7 and the two ,portraits of ,young ,soldiers 7,nos4 #chf and #chg71 it may be seen how little he was in sympathy with the official art of his time2 this is scarcely to be wondered at1 since1 instead of undergoing the customary course of academic training1 he had formed his style by copying the works of ,rembrandt and other ,northern masters4 ,pierre ,subleyras 7#afii-agdi7 was not quite so emancipated4 ,in his large religious compositions he still follows the affectations of the grand style4 ,his chief work of this kind is the ,mass of ,st4 ,basil1 at ,sta4 ,maria degli ,angeli in ,rome1 of which ,no4 #heg at the ,louvre is a reduced version4 ,of far more artistic significance are his small genre pieces1 in which he attains to a rich quality of pigment and a justice of tone-values unique in ,french painting of his period4 ,subleyras is said to have been of ,spanish descent2 and there are in his scenes from ,la ,fontaine's 8,fables0--notably in ,the ,hermit 7,no4 #hfb7--;clear indications of his intimate acquaintance with ,spanish art4 ,the best of all his pictures at the ,louvre is ,the ,falcon 7,no4 #hfa71 which1 apart from its general quality of tone1 contains some still-life passages worthy of the brush of ,chardin4 ,,raoux ,,and ,,de ,,troy ,just as ,subleyras should be judged by his genre scenes rather than by his scriptural subjects1 so ,jean ,raoux's 7#afgg-agcd7 real significance lies in the intimate note he introduced into his fancy portraits1 and not in his moderately successful excursions into mythology1 like the ,telemachus relating his ,adventures to ,calypso1 at the ,louvre 7,no4 #gfd74 ,the ,young ,woman reading a ,letter 7,no4 #gfe71 in the ,la ,caze ,room1 is perhaps the most charming of many similar pictures from his brush4 ,in sentiment it belongs entirely to the amorous century of ,louis ,,xv41 which was to produce a ,fragonard and a ,greuze4 ,raoux was one of the first ,french painters of contemporary life4 ,brought up in the old tradition1 he was in his last years influenced by the personality of the great ,watteau4 ,if ,raoux was the somewhat sentimental painter of bourgeois life1 ,jean ,franois de ,troy 7#afgi-ageb7 played not infrequently the chronicler of the elegant life of the leisured classes4 ,unfortunately this interesting phase of his art is not represented at the ,louvre1 which1 besides the three ,portraits 7,nos4 #hhf-hhh7 in the ,la ,caze collection1 contains two of his famous designs for tapestry1 representing scenes from the ,history of ,esther 7,nos4 #hhd-hhe72 and his large historical painting1 ,the ,first ,chapter of the ,order of the ,holy ,ghost1 held by ,henri ,,iv4 in #aeie 7,no4 #hhc74 ,,watteau ,the master who was to break definitely with the cold1 majestic1 uninspired art of the seventeenth century1 and who in leading ,french painting into new paths reached the very limits of poetic expressiveness imposed by material means1 was ,antoine ,watteau 7#afhd-agba74 ,born at ,valenciennes six years before that city became ,french through the peace of ,nymwegen1 ,watteau1 the son of a poor ,flemish tiler1 was ,french1 as it were1 by accident only4 ,in his early years1 when he studied in his native town under ,grin1 a mediocre local painter1 he must have had occasion to become closely acquainted with the paintings of the ,flemish masters4 ,on the death of ,grin1 in #agjb1 he went to ,paris1 where he became assistant to the scene-painter ,mtayer4 ,watteau suffered dire poverty1 and completely undermined his health through privation before his talent attracted the attention of his next master1 ,claude ,gillot1 with whom he stayed until #agjh1 when he became assistant to ,claude ,audran1 a decorative artist of great repute and ,keeper of the ,luxembourg collections4 ,at the ,luxembourg ,palace he was enabled to study the masterpieces of ,rubens1 ,titian1 and ,paolo ,veronese1 from which he benefited as much as from his work from nature in the ,luxembourg gardens4 ,it was perhaps fortunate that he failed in the competition for the ,prix de ,rome in #agji1 and was dissuaded from going to ,italy4 ,he was received by the ,academy in #agag1 when he painted his 8diploma picture40 ,the ,embarkation for the ,island of ,cythera 7,no4 #ihb1 ,plate ,,xxxix471 which may be considered an epitome of his art4 ,sketchy as it is1 this picture1 which he painted in seven days1 exceeds in poetic charm and in the beauty of its entrancing sparkle of mellow tones the more highly finished later version in the ,german ,emperor's collection4 ,it is the most striking instance of a purely imaginary scene of unworldly happiness1 tinged with that peculiarly ,watteauesque vague melancholy1--the consumptive's maladie de l'infini to which ,m4 ,mauclair has drawn attention1--represented with such absolute atmospheric truth as to make it appear an incomparably beautiful reality4 ,technically1 this picture1 like ,l',indiffrent 7,no4 #ihd7 and ,la ,finette 7,no4 #ihe7 in the ,la ,caze ,room1 embodies in germ the theories which in the second half of the next century were scientifically worked out by the ,french ,impressionists4 ,some time in #agai or #agbj1 ,watteau was in ,england to consult a famous physician4 ,but his illness took a turn for the worse1 and he had to return to his native country4 ,after six months spent in ,paris1 he went to live at ,nogent-sur-,marne1 where he died on ,july #ah1 #agba4 ,watteau's influence upon eighteenth-century art was prodigious2 but his work remained unapproached by any of his followers and imitators1 who too often sacrificed artistic considerations to a desire to please the lascivious tastes of a corrupt1 pleasure-loving society4 ,the ,faux ,pas 7,no4 #ihi7 is one of the rare instances where ,watteau allowed a certain suggestiveness to enter into his work2 but even here 8the smallness of the subject is swallowed up in the greatness of the painting40 ,illustration3 ,,plate ,,xxxix4--,,antoine ,,watteau 7#afhd-agba7 ,,french ,,school ,no4 #ihb4--,,the ,,embarkation ,,for ,,the ,,island ,,of ,,cythera 7,l',embarquement pour ,cythre7 ,on a mound in the foreground1 under a group of trees on the right1 by a garlanded terminal figure of ,venus1 are seated a young woman and a pilgrim2 at their feet is ,cupid1 whose wings are covered by a black cape4 ,to the left a cavalier helps a young woman to rise from the lawn4 ,in the centre of the composition another pilgrim leads away his partner1 encircling her waist with his arm4 ,on the left1 in the middle distance1 is a procession of lovers in pairs moving towards a gilt barge with a chimera at the prow and two semi-nude rowers4 ,cupids are floating in the air above the barge4 ,in the background a lake surrounded by bluish mountains4 ,painted in oil on canvas4 #d ft4 #b in4 #f ft4 #c in4 7#abg #aib47 ,,the ,,watteaus ,,in ,,the ,,la ,,caze ,,gallery ,it is a strange fact that but for the generosity of ,la ,caze1 ,the ,embarkation would be the only example at the ,louvre of the greatest master produced by ,france4 ,the reason for this extraordinary neglect may be found in the scant esteem in which ,watteau was held until his eclipsed fame was resuscitated by the de ,goncourts4 ,the superb life-size painting of ,gilles 7,no4 #ihc71 one of ten pictures by or attributed to ,watteau in the ,la ,caze collection1 was sold at public auction in #ahbf for #bf2 whilst ,l',indiffrent and ,la ,finette together realised the sum of #ai at the ,marquis de ,mnars' sale6 ,of the eleven pictures in the ,la ,caze collection that were originally attributed to ,watteau1 ,l',escamoteur 7,no4 #fbb;,a1 formerly ,no4 #ihg7 is now acknowledged to be by his imitator ,philippe ,mercier 7#afhi-agfj71 who was born in ,berlin of ,french parents1 and spent the most productive years of his life in ,london1 where he died in #agfj4 ,the still-life piece ,dead ,game 7,no4 #iic71 officially assigned to ,watteau1 has rightly been doubted2 but the aspersions thrown upon the authenticity of the delicious ,pastoral 7,no4 #iib7 do not seem sufficiently justified4 ,the profound influence of ,rubens upon ,watteau's art is nowhere more pronounced than in the sketch ,the ,judgment of ,paris 7,no4 #ihh71 and in the beautiful oval composition ,jupiter and ,antiope 7,no4 #iia71 which has1 however1 also much in common with ,titian4 ,the superb nude figure symbolising ,autumn 7,no4 #iij71 and another fte galante1 entitled ,gay ,company in a ,park 7,no4 #ihf71 are no less creditable to the master's genius4 ,,watteau',s ,,followers ,although ,watteau indicated the direction that ,french art was to follow in a century when it had to cater no longer for the stateapartment but for the boudoir1 he left no follower worthy to carry on his tradition4 ,nicolas ,lancret 7#afij-agdc71 who had studied under ,dulin and ,gillot1 based his style upon ,watteau1 whom he almost rivalled as a draughtsman4 ,but he was an inferior colourist1 and wholly lacking in poetic inspiration4 ,one has only to compare his ,actors of the ,italian ,comedy 7,no4 #dgj7 with ,watteau's ,gilles 7,no4 #ihc71 or his ,music ,lesson 7,no4 #dfh7 and ,innocence 7,no4 #dfi7 with their prototypes created by that master1 to realise the inferiority of these thin1 vulgarised versions of ,watteau subjects4 ,jean ,baptiste ,pater 7#afie-agcf71 who1 like ,watteau1 was born at ,valenciennes1 became a pupil of his fellow-townsman in ,paris1 and benefited considerably by his guidance4 ,although inferior as a draughtsman to ,lancret1 whom he did not rival either in originality1 he far surpassed him as a colourist4 ,with ,lancret1 colour was generally an afterthought2 with ,pater1 it entered into the primary conception of the picture4 ,his ,academy diploma piece1 the ,fte ,champtre 7,no4 #fhi71 is painted in the ,watteau manner with true pictorial feeling1 even if it lacks the master's precious1 jewel-like quality of pigment4 ,the ,fte ,champtre 7,no4 #bjc71 by ,bonaventure ,debar 7#agjj-agbi71 holds promise of a considerable talent in a similar direction1 cut short by a premature death4 ,,the ,,van ,,loo ,,family ,no fewer than five members of the ,flemish ,van ,loo family1 which flourished in ,france from about #affj until the death of ,julius ,csar ,van ,loo in #ahba1 are represented in the ,louvre collection4 ,the most distinguished among them were ,louis ,van ,loo's sons1 ,jean-,baptiste and ,charles ,andr1 better known as ,carle4 ,both of them were brought up in the academic tradition2 but their ,flemish blood and the taste of a time that had seen the master-work of ,watteau1 gave their art more vigour and sensuousness than is to be found in the paintings of their academic precursors4 ,still it is unnecessary to linger over their historical and mythological compositions4 ,the picture which does most credit to ,carle ,van ,loo 7#agje-agfe7 is ,the ,hunt ,picnic 7,no4 #hii71 which1 in spite of a certain crudeness of colour1 attracts by the science of the composition1 the ,watteau feeling of the landscape background1 and by its fascinating reality as a record of contemporary life among the leisured1 pleasure-loving classes4 ,franois ,le ,moine 7#afhh-agcg7 constitutes a link between the decorative style of the preceding generation1 which had become dull and ponderous1 and the art of ,watteau and his followers4 ,in this position he heralds his great pupil ,franois ,boucher1 whose characteristics1 deprived of his elegant grace and suave rhythm of design1 are more than hinted at in the ,juno1 ,iris and ,flora 7,no4 #ecf74 ,the ,olympus 7,no4 #ece71 the sketch for a ceiling1 recalls in its joyful decorative colour and bravura of brush work the art of ,tiepolo and ,ricci4 ,,fran,,ois ,,boucher ,whilst such painters as ,jean ,restout 7#afib-agfh7 still continued to follow the tradition of the ,bolognese eclectics1 as may be seen in his ,herminia and the ,shepherd 7,no4 #gge71 the art of the ,louis ,,xv4 period was given its final stamp by ,franois ,boucher 7#agjc-aggj74 ,this favourite of ,mme4 de ,pompadour1 having gained the ,prix de ,rome in #agbc1 went to ,italy in #agbg1 whence he returned to ,paris four years later4 ,at the age of thirty his ,rinaldo and ,armida 7,no4 #ch;,a7 caused him to be 8received0 by the ,academy--the first of many honours that fell to his share1 as he became in turn ,first ,painter to the ,king1 ,director of the ,academy1 and ,inspector of the ,beauvais ,tapestry ,manufactory4 ,he was the ideal painter of the age that was dominated by the personality of the ,pompadour1 who kept him employed with commissions for the decoration of her boudoir4 ,boucher was the true child of his time--licentious1 pleasure-loving1 light-hearted1 and without moral scruples4 ,the astonishing thing is that his pursuit of pleasure did not affect his enormous productivity4 ,his art is in perfect harmony with his character--frankly sensual1 exuberant1 and unreliable2 at times rising to superb decorative splendour of the airy1 graceful type demanded by his patrons1 and then again careless to the point of slovenliness4 ,boucher was not a great colourist in the sense in which this term is applied to masters like ,titian or ,rubens4 ,indeed1 more often than not his application of purely local colours unaffected by their surroundings is apt to result in the crudeness noticeable in his ,pastoral 7,no4 #cc71 and in the domestic scene called ,the ,breakfast 7,no4 #ej;,a74 ,other pictures like the ,pastoral 7,no4 #cd7 owe their present tapestry-like mellowness to the fading of the pigments4 ,but it would be unfair to disregard the artist's intention and to judge his capacity as a colourist from the present appearance of his works at the ,louvre or in their usual environment in a public gallery4 ,they were intended for definite decorative purposes1 and in their proper ,louis ,,xv4 setting fulfilled their function in admirable fashion4 ,few artists excelled ,boucher in rhythmic harmony of composition1 although it must be confessed that his emphatic insistence on triangular design is apt to become monotonous4 ,this predilection is to be noted in the ,rinaldo and ,armida 7,no4 #ch;,a71 ,venus disarming ,cupid 7,no4 #dd71 ,the ,rape of ,europa 7,no4 #ci71 the ,pastorals 7,nos4 #cc1 #cd1 and #ce71 ,vulcan presenting ,arms to ,venus 7,no4 #cf1 ,plate ,,xl471 and1 indeed1 in the vast majority of his twenty-two exhibited pictures at the ,louvre4 ,his mastery in flesh painting is best illustrated by the more unconventionally designed ,diana leaving the ,bath 7,no4 #cj71 and the brilliant sketch of ,the ,three ,graces 7,no4 #dg7 in the ,la ,caze ,room4 ,among his other masterpieces at the ,louvre1 ,venus demanding ,arms from ,vulcan 7,no4 #ca71 which like ,no4 #cf was designed for execution in tapestry1 and the charming ,portrait of a ,young ,woman 7,no4 #ej71 deserve special attention4 ,it is unfortunate that they are not hung in the rooms that contain the magnificent furniture of the period1 instead of being piled sky-high among pictures that seem to be primarily regarded by the officials as mere museum specimens of the art of painting4 ,boucher is better hung1 and so may be much more effectively studied in the ,wallace collection in ,london4 ,illustration3 ,,plate ,,xl4--,,fran,,ois ,,boucher 7#agjc-aggj7 ,,french ,,school ,no4 #cf4--,,vulcan ,,presenting ,,arms ,,to ,,venus 7,vulcain prsentant ,vnus des ,armes pour ne7 ,on the right1 ,vulcan1 seated on a tiger-skin with his left elbow resting on an anvil1 presents a sword to ,venus1 who1 supported by a nymph1 is resting on a cloud in the centre of the composition4 ,in the background1 over the head of ,vulcan1 are two cupids carrying a helmet with a blue plume2 between them and ,venus1 two nymphs on clouds under a rock4 ,cupids and doves are fluttering around the central group4 ,in the foreground1 on the left1 are the chariot of ,venus1 doves1 and cupids1 one of whom1 immediately below the goddess1 is holding a garland of white roses4 ,painted in oil on canvas4 ,signed3--8,f4 ,,boucher40 #aj ft4 #f in4 #aj ft4 #f in4 7#cbj #cbj47 ,a little drier in touch than ,boucher's nudes1 and considerably less coherent in design1 but still painted with remarkable ability1 are the figures of the goddess and her attendants in ,the ,triumphs of ,amphitrite 7,no4 #hfc71 by ,boucher's contemporary1 ,hugues ,taraval 7#agbh-aghe74 ,,sim,,on ,,chardin ,if ,boucher and the army of painters of ftes galantes and boudoir decorations reflect the tastes of the corrupt society of ,louis ,,xv4's age1 ,jean-,baptiste ,simon ,chardin 7#afii-aggi7 is the painter par excellence of the lower bourgeoisie4 ,his was an uneventful1 colourless life of unremitting work after the completion of his studies under ,cazes and ,n4 ,n4 ,coypel4 ,he never went to ,rome2 he never sought after distinction in the 8grand manner02 he never hankered after ,court patronage4 ,he simply devoted himself to recording with the utmost technical perfection the peaceful and domestic life of the lower middle class1 to which he himself belonged1 with all his tastes and habits of life1 and to the painting of still-life1 in which branch of art he stands without a rival4 ,there are among his thirty-two pictures at the ,louvre twenty paintings of ,still-life 7,nos4 #hi1 #ij1 #id1 #ie1 #if1 #ih1 #ajj1 #aje-aaf1 and the doubtful ,no4 #aah71 all equally remarkable for their inimitable skill in the rendering of the most varied textures and reflections2 for subtle observation of the mutual effect of coloured objects upon each other through the interchange of coloured rays2 and1 above all1 for that 8sense of intimacy1 of life behind the scene10 with which he knew how to invest even inanimate objects4 ,this same sense of intimacy and of absolute pictorial unity is also the great merit of his domestic genre pieces1 into which enters1 in addition1 the element of spiritual unity1 of the absorption of each person in his or her occupation4 ,in the deservedly famous ,grace before ,meat1 at the ,hermitage in ,st4 ,petersburg1 of which the ,louvre owns two admirable replicas 7,no4 #ib1 ,plate ,,xli41 and ,no4 #ic71 the most casual observer cannot fail to notice that intimate bond between the mother and the two children1 which gives the impression of a scene accidentally overlooked1 without anybody being aware of the intruder's presence4 ,la ,mre laborieuse 7,no4 #ia71 ,la ,pourvoyeuse 7,no4 #ii71 and even the cat in the still-life piece ,the ,cat in the ,larder 7,no4 #hi71 are equally innocent of 8posing10 and absorbed in their respective occupations4 ,the ,boy with the ,top 7,no4 #ij;,a7 and the ,young ,man with the ,violin 7,no4 #ij;,b71 under which titles we have the portraits of the two children of the jeweller ,charles ,godefroy1 were bought by the ,louvre in #aijg for #ad1jjj4 ,these two pictures and the ,castle of ,cards 7,no4 #ajc7 are sufficient to establish ,chardin's supremacy in child portraiture4 ,,fragonard ,chardin for but a few months1 and ,boucher for two years1 were the masters who taught ,jean ,honor ,fragonard 7#agcb-ahjf7 before1 having gained the ,prix de ,rome in #ageb and worked three years under ,van ,loo1 he set out for ,rome1 where under ,natoire's guidance he applied himself to the copying of old masters4 ,more important for the formation of his style were the sketches he made in the company of his friend ,hubert ,robert in the romantic gardens of the ,villa d',este1 and the deep impression created upon his mind by ,tiepolo's decorative paintings in ,venice1 which city he visited before his return to ,paris in #agfa4 ,he scored his first great success in #agfe with the large and still somewhat academic composition ,coresus and ,calirrho 7,no4 #bij71 which was bought by ,louis ,,xv4 for #bd1jjj livres for reproduction at his tapestry works4 ,illustration3 ,,plate ,,xli4--,,jean-,,baptiste ,,sim,,on ,,chardin 7#afii-aggi7 ,,french ,,school ,no4 #ib4--;,,grace ,,before ,,meat 7,le ,bndicit7 ,in the centre of a room1 by a round table with a white tablecloth1 stands a woman1 about to pour the soup from a saucepan into a plate4 ,she turns her head to the left towards her two little girls1 who1 with folded hands1 are saying grace4 ,a drum is suspended from the back of the chair on which the younger child is sitting4 ,in the background1 on the left1 a dresser with pewter and crockery2 on the right1 a shelf with a canister1 a bowl1 and some bottles4 ,painted in oil on canvas4 #a ft4 #g in4 #a ft4 #c in4 7#jdi #jda47 ,patronised by ,mme4 du ,barry1 the dancer ,marie ,guimard1 and other priestesses of ,venus1 ,fragonard now devoted his exceptionally facile and spontaneous talent to subjects that in licentious frivolity1 voluptuousness1 and suggestiveness had never been equalled even by his master ,boucher4 ,it is only his marvellous technique1 ranging from the liquid transparency of his swift oil sketches to the rich luminous impasto of the ,sleeping ,bacchante 7,no4 #bid72 from the elegant arabesque of the ,bathing ,women 7,no4 #bic71 so full of joie de vivre and youthful fire1 to the almost brutal strength of the portrait of a writer or poet1 known under the title of ,inspiration 7,no4 #bih74 ,but in all these1 as well as in the charming ,music ,lesson 7,no4 #bia1 ,plate ,,xlii471 ,the ,student 7,no4 #big7 and the ,young ,woman 7,no4 #cjj71 ,fragonard proves himself one of the greatest colourists produced by the ,french ,school4 ,it was ,fragonard's sad fate to outlive his fame1 to witness the collapse of the ancient rgime and the triumph of his pupil ,david's classicism1 and to die in obscurity and neglect4 ,,greuze ,twenty-three paintings represent at the ,louvre the art of ,jean-,baptiste ,greuze 7#agbe-ahje71 who trod the safe path of flattering the taste of the multitude by the mawkish sentimentality of his genre-pieces and the prettiness and half-concealed sensuality of his 8fancy portraits0 of young women1 which in their suggestiveness are perhaps more insidious than the frank improprieties of ,boucher and ,fragonard4 ,the sentimental and melodramatic side of ,greuze's art is strikingly revealed in ,the ,village ,engagement 7,no4 #cfi71 in ,the ,paternal ,curse 7,no4 #cgj71 and in ,the ,punished ,son 7,no4 #cga71 which aroused the enthusiasm of that singularly misguided critic ,diderot4 ,but it is the painting of pictures like ,the ,broken ,pitcher 7,no4 #cgb1 ,plate ,,xliii471 ,the ,milkmaid 7,no4 #cgb;,a71 and ,the ,dead ,bird 7,no4 #cgb;,c2 a replica of the picture in the ,scottish ,national ,gallery71 that has made him the idol of a certain undiscriminating section of the public1 and established him among the world's most popular painters4 ,,portrait ,,painters ,the leading position among the portrait painters of ,louis ,,xv4's corrupt ,court was occupied by ,jean ,marc ,nattier 7#afhe-agff71 who was a good colourist1 but was utterly lacking in sincerity1 and placed his able brush at the service of the basest flattery4 ,he has left a whole gallery of ,court beauties posing as1 and invested with the attributes of1 ,greek goddesses and allegorical personifications in the manner of the group of ,mdlle4 de ,lambesc and the ,comte de ,brienne 7,no4 #fei7 as ,minerva preparing the hero for warlike exploits4 ,the ,magdalen 7,no4 #feg7 is probably another contemporary portrait in fancy costume4 ,his best picture at the ,louvre is the ,portrait of a ,young ,woman 7,no4 #ffa;,a74 ,franois ,hubert ,drouais 7#agbe-agge71 the painter of the group of the ,comte d',artois 7afterwards ,charles ,x47 and ,madame ,clotilde1 afterwards ,queen of ,sardinia 7,no4 #bff71 who received a good share of ,court patronage1 showed considerable ability when he had sufficient strength to resist the temptation to flatter his sitters4 ,but unfortunately he too often followed the example of ,nattier in this respect4 ,,tocqu1 ,,vestier1 ,,and ,l,,pici ,a portrait painter of a very different stamp was ,nattier's son-in-law1 ,louis ,tocqu 7#afif-aggb74 ,although he1 too1 was a favourite not only at the ,french1 but also at the ,russian and ,danish ,courts1 the examples of his art at the ,louvre suggest that he was but indifferently successful--from the artistic point of view--with his 8official0 portraits1 like the portrait d'apparat of ,marie ,leczinska1 ,queen of ,louis ,,xv4 7,no4 #hfg71 or the affected ,portrait of the ,dauphin ,louis at the age of ten 7,no4 #hfh74 ,on the other hand1 when he was not weighed down by the importance of his task1 he attained to a solidity of style1 strength of character painting1 and beauty of technique that place him at the head of the ,french portraitists of his period4 ,tocqu was apparently never in ,england1 but such masterpieces from his brush as the ,mme4 ,danger embroidering 7,no4 #hfh;,a71 and the supposed portrait of ,mme4 de ,graffigny 7,no4 #hfi71 show distinct affinity with ,allan ,ramsay and ,hogarth1 with superadded ,french finesse and suavity4 ,illustration3 ,,plate ,,xlii4--,,jean ,,honor ,,fragonard 7#agcb-ahjf7 ,,french ,,school ,no4 #bia4--,,the ,,music ,,lesson 7,la ,leon de ,musique7 ,a fair-haired young girl in a low-cut white dress is seated1 in profile towards the right1 before a spinet4 ,a youth1 standing at her left1 behind the instrument1 is holding with his left hand the score1 whilst his right is clasping the back of the girl's chair4 ,in the foreground a chair on which are a cat and a mandoline4 ,painted in oil on canvas4 #c ft4 #i in4 #c ft4 #aa in4 7#aaj #abj47 ,in the case of ,antoine ,vestier 7#agdj-ahbd7 the pronounced leaning towards the ,english style of the period is to be accounted for by that artist's lengthy sojourn in ,england4 ,the ,portrait of a ,young ,woman 7,no4 #ifa71 in the ,la ,caze ,room1 might on superficial inspection pass for a work of ,francis ,cotes4 ,even in the ,portrait of the ,painter's ,wife 7,no4 #iei71 which was painted in #aghg1 long after ,vestier's return to his native country1 the figure of a boy caressing a dog has a curiously ,english flavour4 ,honesty of purpose and serious concern with artistic problems mark the art of ,nicolas ,bernard ,lpici 7#agce-aghd71 whose ,portrait of ,carle ,vernet 7#edi;,a7 is a picture of precious quality4 ,he devoted himself more particularly to the domestic genre1 which he treated without the sentimentality and theatricality of a ,greuze4 ,indeed1 if there is any contemporary painter with whom he shows affinity1 it is ,simon ,chardin4 ,that he was a landscape painter of no mean ability may be gathered from his ,farmyard 7,no4 #edi71 which1 in spite of the predominating brown1 is remarkable for its luminous transparency4 ,m,,me4 ,,vig,e ,,le ,,brun ,before turning to the landscape painters ,joseph ,vernet and ,hubert ,robert1 we must close the chapter of eighteenth-century portraiture with ,elisabeth ,louise ,vige ,le ,brun 7#agee-ahdb71 since her art1 although her life extended far into the nineteenth century1 belongs essentially to the degenerate days of the ancien rgime--an art not devoid of grace1 but exceeding in shallowness and insipidity the shallowest and most insipid productions of pre-,davidian days4 ,of the many masters from whom ,vige1 herself the daughter of a painter1 received advice1 ,greuze appears to be the one with whom she was most in sympathy4 ,married at an early age to ,le ,brun1 a painter and picture-dealer from whom she was divorced after many years of wretched conjugal life1 her career1 of which she has left a full account in her autobiography1 was one of adventure and truly extraordinary professional success4 ,she was the favourite painter of ,marie ,antoinette1 had to leave ,paris during the ,terror1 and made an almost triumphal progress from ,court to ,court before she definitely settled in ,paris in #ahji4 ,at ,naples1 ,vienna1 ,dresden1 ,st4 ,petersburg1 ,berlin1 ,london1 and other centres1 ,royalty and the world of fashion crowded to her studio2 and her art even gained the unstinted approval of a judge like ,sir ,joshua ,reynolds1 which is the more surprising as ,vige ,le ,brun's colour was almost invariably cold and unsympathetic4 ,her personal charms may have been partly responsible for her universal success1 if reliance is to be placed on the questionable honesty of her flattering brush from which the ,louvre owns two ,portraits of the ,artist and her ,daughter 7,no4 #eba and ,no4 #ebb1 ,plate ,,xliv474 ,among her other pictures in the ,louvre are the ,peace bringing ,abundance 7,no4 #ebj71 her reception piece at the ,academy1 and a portrait of her early friend and master1 ,joseph ,vernet 7,no4 #ebe74 ,illustration3 ,,plate ,,xliii4--,,jean-,,baptiste ,,greuze 7#agbe-ahje7 ,no4 #cgb4--,,the ,,broken ,,pitcher 7,la ,cruche ,casse7 ,a young girl1 in white dress and gauze fichu1 stands facing the spectator1 holding with both hands some loose flowers in the gathered-up folds of her dress4 ,she carries a broken pitcher on her right arm4 ,in the background1 on the right1 is a fountain with a crouching lion4 ,painted in oil on canvas4 ,oval1 #c ft4 #aj in4 #b ft4 #i in4 7#aah #jhe47 ,,joseph ,,vernet ,one has to realise that the art of landscape painting had become almost extinct in ,france1 and that the art of seascape had never existed1 if one wishes to account for ,diderot's enthusiasm with regard to ,claude ,joseph ,vernet 7#agad-aghi71 which made him exclaim1 8,what pictures6 ,he rivals the ,creator in celerity1 ,nature in truth60 ,our cooler judgment cannot so easily pass over all that is cold and formal in his art4 ,but1 taken in relation to his contemporaries1 he deserves respect for his emotional attitude towards nature1 for a sense of the dramatic that approaches ,salvator ,rosa's1 and for his admirable drawing of the figures introduced into his landscapes4 ,vernet's love of the sea awoke when at the age of eighteen he journeyed to ,rome1 where he became imbued with the classic tradition4 ,he only returned to ,paris in #ageb1 and soon afterwards received from ,louis ,,xv4 the commission to paint the large series of ,french ,seaports 7,nos4 #idj-ied7 which are now to be seen in the rooms in this collection given up to the ,muse de ,marine4 ,in his other marines and landscapes 7,nos4 #iab-ici71 not all of which are actually exhibited1 he allowed his imagination freer play than in the ,seaports1 which were naturally of more topographic character4 ,both his son ,carle ,vernet 7#ageh-ahcf71 a historical painter who excelled in the rendering of horses in movement1 and his grandson ,horace ,vernet 7#aghi-ahfc71 a popular battle painter1 are represented at the ,louvre1 the former by the ,stag ,hunt in the ,forest of ,meudon 7,no4 #iee71 and the latter by the ,barrire de ,clichy 7,defence of ,paris in #ahad7 7,no4 #ief71 and the uninspired ,judith and ,holofernes 7,no4 #ieg74 ,,hubert ,,robert ,hubert ,robert 7#agcc-ahjh71 of whose classic landscapes the collection contains nineteen examples 7,nos4 #gig-hae71 was not1 as might be imagined from the general character of his paintings1 influenced by the art of ,claude ,lorrain1 but derived his love of antique buildings and landscapes peopled with classic figures from the general atmosphere of archological enthusiasm engendered by the excavations on the site of ,herculaneum1 which prevailed in ,rome when the young artist arrived at that ,mecca of his profession in #aged4 ,robert lived and worked in ,italy for twelve years1 and became thoroughly imbued with this antiquarian spirit4 ,unlike ,claude1 he rarely1 if ever1 drew upon his imagination for the details of his classic landscapes1 which are faithful transcripts of existing ruined or half-ruined buildings1 though not infrequently they are arranged for greater pictorial effect4 ,of this half-realistic1 half-classic nature--the introduction of people in classic garb among the ruins of buildings1 which in classic times wore a very different aspect1 is a pardonable anachronism--are the ,interior of the ,temple of ,diana at ,nimes 7,no4 #gii71 and several similar pieces at the ,louvre4 ,in his smaller pictures1 of which the best are the ,fountain under a ,portico 7,no4 #hab7 and the ,winding ,staircase1 with three ,figures 7,no4 #hac71 in the ,la ,caze ,room1 he rivals the rich quality of pigment and mellow tone of ,guardi at his best4 ,robert was ,fragonard's constant companion in ,rome1 and exercised considerable influence upon his friend1 as may be seen from ,fragonard's landscape drawings4 ,there is scarcely a trace of ,italian classicism in the superb ,view in the ,neighbourhood of ,paris 7,no4 #fej71 by ,louis ,gabriel ,moreau 7#agdj-ahjf71 which in its silvery-grey tonality1 in its sense of atmosphere1 and in the treatment of the receding distances1 rather recalls the manner of the ,dutchman ,philips de ,koninck4 ,that ,moreau1 who also worked in ,england1 was not always free from conventionality1 is proved by the rather formal composition of the ,view of the ,hills of ,meudon from ,saint-,cloud 7,no4 #fea74 ,illustration3 ,,plate ,,xliv4--,,elisabeth ,,louise ,,vig,e ,,le ,,brun 7#agee-ahdb7 ,no4 #ebb4--,,portrait ,,of ,,the ,,artist ,,and ,,her ,,daughter 7,portrait de ,mme4 ,le ,brun et de sa ,fille7 ,the artist1 in a white bodice with purple sleeves and a yellow satin skirt1 is seated on a green sofa4 ,her head is inclined towards her right shoulder4 ,she presses towards her1 with both arms1 her little girl1 who is resting on her lap1 with her head turned towards the spectator4 ,painted in oil on canvas4 #c ft4 #e in4 #b ft4 #i in4 7#aje x #jhe47 ,,louis ,,david ,the boudoir art of the ancien rgime came to a natural end through the great social upheaval of the ,revolution1 of which ,jacques ,louis ,david 7#agdh-ahbe7 is the very personification in the realm of painting4 ,as a pupil of ,boucher1 ,david in his early years was essentially a child of the eighteenth century4 ,that he became the founder and head of a new classicist school1 as tyrannical in his sway as had been ,le ,brun during the reign of ,louis ,,xiv41 was due to the teaching of ,joseph ,marie ,vien1 whom he accompanied to ,rome in #agge1 the year in which ,vien was appointed ,director of the cole de ,rome4 ,vien was an eclectic and a purist of greater ability than would appear from his two dull pictures at the ,louvre1 ,st4 ,germain and ,st4 ,vincent 7,no4 #ifd7 and ,the ,sleeping ,hermit 7,no4 #ife74 ,david's participation in the events of the year #aghi and his ardent republicanism did not1 as has often been stated1 attract him to subjects from ,republican ,roman history4 ,indeed1 he had already painted ,the ,oath of the ,horatii 7,no4 #ahi7 and ,the ,lictors taking to ,brutus the ,corpse of his ,sons 7,no #aia71 for ,louis ,,xvi41 and was only following the current of taste in devoting himself to the study of the antique and to antiquarian research4 ,these two pictures1 in spite of their cold classicism and theatricality1 met with sensational success on their first appearance at the ,salon4 ,it is not in such works as these1 nor in the ,rape of the ,sabine ,women 7,no4 #ahh71 compared with which even ,poussin's version of the same theme appears like a glimpse of actual life1 that ,david's talent found its happiest expression1 but in the unaffected and irresistibly charming ,portrait of ,mme4 ,rcamier 7,no4 #aii1 ,plate ,,xlv47 reclining on an ,empire sofa4 ,whatever this picture may owe to the sitter's grace and beauty and to the fact that it was never finished1 and thus retained the freshness of a sketch1 it is certainly one of the most attractive masterpieces of the ,french school4 ,here1 as in the group of ,three ,ladies of ,ghent 7,no4 #bjj;,a71 in which the luminous quality of the fresh tones is enhanced by the general greyness of the scheme1 we have the work of a real painter1 whilst ,david's bombastic historical compositions are scarcely more than tinted cartoons4 ,,the 8,,coronation0 ,,picture ,when ,napoleon rose to power1 ,david became his favourite painter4 ,the erstwhile ,jacobin was chosen to paint the official ,coronation picture 7,no4 #bjb;,a71 an enormous canvas1 which1 like most ceremonial pictures of this kind1 has more historical than artistic significance4 ,the lifelike portraiture of the numerous personages surrounding the central group of ,napoleon placing the crown on ,josephine's head1 is the chief point of interest4 ,on the restoration of the ,bourbons in #ahae1 ,david was sent into exile4 ,he died at ,brussels in #ahbe2 but his influence is reflected in official ,french art to this day4 ,it was he who imposed upon the modern academic school a rigid canon of formal classic beauty which is fatal to evolution and progress1 because it does not permit personal emotional expression4 ,less severely classic in form1 and showing at least an attempt at approaching a little nearer to truth than ,david1 is the painting of the figures of ,the ,three ,graces 7,no4 #gfi71 by ,david's rival1 ,j4 ,b4 ,regnault 7#aged-ahbi71 in the ,la ,caze collection4 ,the worst type of academic art is represented in the bituminous reconstructions of classic antiquity by his pupil1 ,p4 ,n4 ,gurin 7#aggd-ahcc71 whose ,return of ,marcus ,sextus 7,no4 #cic7 enjoyed1 perhaps owing to its supposed political allusion to the return of the emigrants1 a success which cannot be accounted for on artistic grounds4 ,illustration3 ,,plate ,,xlv4--,,jacques ,,louis ,,david 7#agdh-ahbe7 ,no4 #aii4--,,portrait ,,of ,,mme4 ,r,,camier 7,portrait de ,mme4 ,rcamier7 ,the sitter wears a white ,empire dress1 the train of which hangs down to the ground from the ,empire sofa on which she is half reclining1 with her left elbow resting on a pair of round horse-hair bolsters4 ,her face is turned towards her right shoulder4 ,a wide black riband is tied round her fair curled hair4 ,a low footstool in front of the sofa on the right1 and a standing candelabrum of classic design on the left4 ,the candelabrum is said to have been painted by ,ingres4 ,painted in oil on canvas 7unfinished74 #e ft4 #g in4 #g ft4 #aj in4 7#agj #bdj47 ,,baron ,g,,rard ,among the numerous pupils and followers of ,david who rose to fame1 honours1 and wide popularity before ,ingres became the acknowledged head of the official school1 the most distinguished were ,grard1 ,girodet1 and ,gros4 ,baron ,f4 ,p4 ,s4 ,grard 7#aggj-ahcg71 whilst following on the whole the principles laid down by his master1 knew how to invest his work with more individual character1 which stood him in particular good stead in his portraiture4 ,that this was recognised by his contemporaries is proved by the fact that he became the portrait painter par excellence of the ,first ,empire and the ,bourbon restoration1 although his inclination drew him towards allegory and mythology4 ,there is undeniable distinction and fine characterisation in such portraits as ,the ,painter ,isabey and his ,daughter 7,no4 #ccb74 ,the nature of the subject debarred him from showing the strongest side of his talent in the chillingly unemotional1 but undeniably graceful1 ,psyche receiving ,cupid's ,first ,kiss 7,no4 #cbh71 and in the ,daphnis and ,chlo 7,no4 #cbi71 which was bought in #ahbe for #ajjj4 ,they have their counterpart in the cold and antique ,french sculpture of the period4 ,a4 ,l4 ,girodet de ,roucy-,trioson 7#agfg-ahbd7 was of all ,david's artistic progeny the one painter who devoted himself to the purely pictorial problem of concentrated light and shade1 without1 however1 being able to free himself from the domination of linear design4 ,the compromise of the two principles led to such unfortunate results as ,the ,sleep of ,endymion 7,no4 #cfa7 and ,the ,burial of ,atala 7,no4 #cfb74 ,in ,the ,deluge 7,no4 #cfj71 which was painted later1 he shows pronounced leanings towards a crude naturalism which exceeds in horror the most cruel inventions of ,ribera's genius4 ,,baron ,,gros ,antoine ,jean ,gros 7#agga-ahce71 though a classicist by training1 was forced by circumstances1 and by the patronage of ,napoleon who ennobled him1 to devote his brush to an important phase of contemporary life--the glorification of his hero's warlike achievements4 ,he was by no means a realist2 and although he followed ,napoleon on many of his campaigns and presumably brought back with him rich material in sketches and vivid recollections1 his forceful compositions accentuate the heroic aspect and the imaginative appeal of warfare1 and are not spontaneous glimpses of actuality4 ,the whole glamour of the ,napoleonic legend is expressed in the group of wounded soldiers who1 oblivious of their suffering1 cheer their great captain in ,napoleon at the ,battle of ,eylau 7,no4 #chi74 ,the sense of the heroic is as pronounced in the large painting1 ,napoleon visiting the ,plague-stricken at ,jaffa 7,no4 #chh71 in the ,bonaparte at ,arcole 7,no4 #cia71 and even in the impressive ,portrait of ,lieutenant-,general ,fournier-,sarlovze 7,no4 #cib;,a71 silhouetted against a smoke-filled battlefield4 ,a careful inspection of this large canvas shows pentimenti in the painting of the legs1 of which the ,general seems now to have two pair6 ,gros's weakness1 like that of all ,david's pupils1 was his neglect of colour4 ,his popularity waned rapidly after the fall of ,napoleon4 ,he became a victim to melancholia1 and drowned himself in the ,seine in #ahce4 ,,pierre ,,prud',,hon ,though not entirely detached from the ruling school of the period1 ,pierre ,prud'hon 7#ageh-ahbc7 occupies a unique position among his contemporaries4 ,having absolved his preliminary studies at ,dijon1 he became the pupil of the old masters--of ,correggio and ,leonardo--first in ,paris and then in ,rome1 where he worked for seven years before definitely settling at ,paris in #aghi4 ,to his sympathy with the ,italian masters he owed that mellowness of colour and understanding of chiaroscuro which escaped the grasp of the ,davidists4 ,he was a real painter as distinguished from the classicist draughtsmen of the official school4 ,even if it is impossible to share to-day the enthusiasm at one time evoked by the somewhat grotesque allegory1 ,justice and ,divine ,vengeance pursuing ,crime 7,no4 #gdg71 this picture1 which was intended for the ,palais de ,justice1 rises immeasurably above the average of the 8imaginative0 paintings produced by ,prud'hon's contemporaries4 ,vastly superior as regards pictorial quality and the whole conception1 is the ,abduction of ,psyche by ,zephyrus 7,no4 #gef74 ,in the ,crucifixion 7,no4 #gdd71 his last picture1 ,prud'hon rises to telling dramatic effectiveness of colour1 and heralds the advent of ,delacroix4 ,but the most masterly of his seventeen paintings at the ,louvre is the magnificent ,portrait of a ,young ,man 7,no4 #gec71 which the ,louvre was fortunate enough to secure for #ce in #ahie4 ,it is a strangely living evocation of a personality1 searching1 intimate1 and mysterious--a portrait not so much of the superficial features1 but of the inner life of the sitter4 ,the large ,portrait of the ,empress ,josphine 7,no4 #gea7 suffers from comparison with this masterpiece4 ,the pose is affected1 the background dingy1 and the red of the shawl introduces a harsh and disconnected note of colour4 ,,the ,,nineteenth-,,century ,,french ,,school ,g,,ricault ,the revolutionary movement of the ,romanticists1 which was to find a strong leader in ,eugne ,delacroix1 may be said to have been initiated by ,gricault's epoch-making picture ,the ,raft of the ,medusa 7,no4 #cch1 ,plate ,,xlvi474 ,thodore ,gricault 7#agia-ahbd71 a pupil of ,carle ,vernet and ,gurin1 was an unusually gifted draughtsman1 who from the outset strove to go beyond the dead perfection of the ,david school1 and to infuse into his work the spark of life4 ,the ,raft of the ,medusa1 which caused an enormous stir at the ,salon of #ahai1 was inspired by a tragic incident from actual life2 and ,gricault was the first who dared to represent in all its horrible reality this scene of human suffering--the survivors of a shipwreck driven by hunger to madness and mutual destruction4 ,he set aside all arbitrarily ignored canons of formal beauty and the 8grand style10 and applied himself to depicting fierce passions and emotions4 ,gricault was a passionate lover of horses2 but his knowledge of equine anatomy did not prevent him1 in his portrait of an ,officer of the ,guard 7,no4 #cci71 from exaggerating the action of the charging horse to a point dangerously near the border-line between the sublime and the ridiculous4 ,most of his other pictures at the ,louvre are studies of soldiers1 and horses on the race-course or in the stable4 ,he died in #ahbd from the effects of a fall from a horse4 ,,delacroix ,the topical interest of the ,raft of the ,medusa had caused the public to receive this picture with favour1 in spite of its daring departure from the generally accepted canons of the 8grand style40 ,the case was different when ,delacroix showed at the ,salon of #ahbb the ,dante and ,virgil 7,no4 #bjg1 ,plate ,,xlvii471 which was inspired by ,gricault's great picture1 but applied that artist's principles to a subject taken from literature1--from ,dante's 8,inferno10--and was therefore considered as a direct challenge to the academic host4 ,to-day it is difficult to understand the indignation aroused by the young artist1 who became forthwith the acknowledged head of the so-called ,romanticist school1 although he refrained from taking part in any propaganda4 ,in this1 his first important exhibited picture1 he proved himself a true painter in the sense in which ,rubens was a painter--that is to say1 he no longer gave primary importance to drawing1 with colour added afterwards in the manner of a tinted cartoon4 ,in the ,dante and ,virgil colour and the actual sweep of the brush assumed at once a vital and constructive function1 no longer separable from drawing and design4 ,illustration3 ,,plate ,,xlvi4--,,jean ,,louis ,,andr ,,th,,odore ,g,,ricault 7#agia-ahbd7 ,no4 #cch4--,,the ,,raft ,,of ,,the ,,medusa 7,le ,radeau de la ,mduse7 ,the raft of the wrecked ,medusa1 with the survivors of the crew1 is floating on the stormy sea4 ,in the foreground on the left1 surrounded by dead sailors1 a father is holding with his left hand the nude body of his dying son4 ,on the right1 a corpse is partly resting on the raft1 partly floating on the water4 ,farther back the officer1 ,corrard1 is seen pointing out to the surgeon1 ,savigny1 the brig ,argus1 which appears on the far horizon under the clouded sky4 ,at the far end of the raft a mulatto and a sailor have hoisted themselves on to some barrels to wave some rags1 so as to attract the attention of the distant ship4 ,painted in oil on canvas4 #af ft4 #a in #bc ft4 #f in4 7#dia #gaf47 ,eugne ,delacroix 7#agih-ahfc71 who belonged to a family that had given to ,france many distinguished statesmen and soldiers1 was a pupil of ,gurin1 whose conventional teaching1 however1 was little to the taste of a young man whose passionate nature had been fired by his extensive reading of romantic literature1 and who preferred to form his style on the works of ,rubens and other old masters at the ,louvre1 and to benefit from his intercourse with ,gricault and ,bonington4 ,the ,dante and ,virgil1 which is now in a deplorable state of neglect1 was bought by the ,state at the not very generous price of #ej4 ,delacroix's next ,salon picture1 ,the ,massacre of ,scio 7,no4 #bjh71 caused an even greater storm of abuse of the young artist who had dared to depict the horrors of this scene from the ,greek ,war of ,independence1 as it was thought1 in all their crudeness1 without the heroical and theatrical poses that were deemed necessary for pictorial 8histories40 ,the magnificent atmospheric background owes its origin to ,delacroix's first acquaintance with the ,hay ,wain and two other pictures sent by ,constable to the ,salon of #ahbd1 which caused the impetuous young artist to repaint in a few days the sky and landscape4 ,the picture was again bought by the ,state1 the price this time being raised to #bdj4 ,a superb study for the dead mother and child in the right-hand corner has been bequeathed by ,m4 ,cheramy1 the present owner1 to the ,national ,gallery1 where it is to be hung next to 8the best ,constable40 ,it is impossible here to give a full account of the twenty-one paintings by ,delacroix at the ,louvre1 to which should be added his decorative masterpiece1 the centre of the ceiling in the ,galerie d',apollon4 ,we must content ourselves with a brief reference to his more important canvases1 first of which in order of date is ,the #bhth of ,july #ahcj3 ,liberty leading the ,people 7,no4 #bji71 better known as ,the ,barricade4 ,the introduction of a bourgeois with a top-hat in this stirring scene of contemporary heroism was another act of defiance4 ,but the dramatic power of the conception1 which suffers but is by no means destroyed by the wretched allegorical figure of ,liberty1 and the artist's appeal to political passion1 caused the picture to be an enormous success4 ,,delacroix',s ,,oriental ,,pictures ,delacroix's journey to ,morocco1 with ,count ,morney's mission in #ahcb1 was of the greatest benefit to the artist's progress as a colourist4 ,although he had no time during his travels to paint any pictures1 he brought back with him a wealth of rapid sketches which1 with his vivid recollections of ,eastern life and colour1 led to the production of such masterpieces as the ,algerian ,women in their ,apartment 7,no4 #baj71 the ,jewish ,wedding in ,morocco 7,no4 #baa71 and ,the ,entry of the ,crusaders into ,constantinople 7,no4 #bac74 ,in the sumptuous scheme of ,crusaders the last traces of the influence of ,gros's colourless palette have vanished4 ,the picture was commissioned by ,louis ,philippe for the ,chteau at ,versailles1 the remuneration being fixed at #djj4 ,a copy of the picture is in one of the ,salles des ,croisades at ,versailles1 and a small sketch is at ,chantilly4 ,the ,algerian ,women is particularly remarkable for the luminous sparkle of rich pigment through the ambient of silvery atmosphere4 ,among ,delacroix's masterpieces must be counted the ,portrait of the ,artist 7,no4 #bad71 which he left on his death to his servant1 ,jenny le ,guillon1 stipulating that she should give it to the ,louvre on the day of the restoration of the ,orlans family--an event which never happened1 though the picture reached its destination in #ahgb through the generosity of ,mme4 ,durien4 ,the ,shipwreck of ,don ,juan 7,no4 #bab71 painted in #ahdj1 is based on ,lord ,byron's epic poem1 of which it is1 however1 by no means a literal illustration4 ,it is one of the most stirring renderings of human passion and despair in the whole history of art1 the livid light and general sombre scheme of colour contributing towards the tragic effect1 as though ,nature herself were entering into the mood of the horrible scene4 ,although1 on the whole1 an unsatisfactory picture1 ,delacroix's ,roger delivering ,angelica 7,no4 #bhde7 may serve to illustrate the true significance of his art in its relation to the official school1 as there is in the same collection another rendering of the identical subject 7,no4 #dai7 by his great antagonist ,ingres1 the greatest draughtsman of his century1 and the acknowledged leader of the ,classicist school4 ,comparison between the two works will show that ,delacroix's version1 with all its obvious imperfections1 far surpasses ,ingres's in emotional intensity and fierce vitality4 ,the academic perfection and exquisite finish of ,ingres's picture only accentuate the dulness and lifelessness of his conception4 ,illustration3 ,,plate ,,xlvii4--,,ferdinand ,,victor ,,eug,,ne ,,delacroix 7#agih-ahfc7 ,no4 #bjg4--;,,dante ,,and ,,virgil 7,dante et ,virgile aux ,enfers7 ,in a boat1 steered by ,charon across the river ,styx1 ,virgil1 laurel-crowned and dressed in a red cloak1 holds with his right hand the left hand of ,dante1 who1 in a blue cloak with a red hood1 raises his right arm in a gesture of horror at the sight of the ,damned1 who1 half-buried in the turbulent waters1 cling despairingly to the sides of the boat4 ,in the background are seen the towers of the burning city of ,dite4 ,signed3--8,,eug,,ne ,,delacroix40 ,painted in oil on canvas4 #e ft4 #aa in4 #g ft4 #aj in4 7#ahj #bdj47 ,,ingres ,jean ,auguste ,dominique ,ingres 7#aghj-ahfg7 was a pupil of ,david4 ,having gained the ,prix de ,rome in #ahja1 he did not leave for ,italy until #ahjf1 but spent the next eighteen years in ,rome and ,florence1 returning to ,paris in #ahbd4 ,although ,ingres was brought up in the cold tradition of the ,david school1 he had a much clearer perception of the true spirit of ,greek art than his master4 ,when he became acquainted with the work of ,raphael in ,rome1 he found it the very acme of perfection1 and henceforth frankly strove to emulate that master1 seeking to arrive at an eclectic ideal of the human form which in its dogmatic rule of the proportions that constitute absolute beauty1 allowed none of the accents and variations which make for life and character4 ,himself greater than his theories1 ,ingres achieved that perfection of grace and beauty in his deservedly famous ,the ,spring 7,no4 #dbb1 ,plate ,,xlviii471 one of the few 8gems0 in the ,salle ,duchtel1 and in the very ,raphaelesque ,odalisque 7,no4 #dbb;,b71 which was purchased in #ahii from the ,princesse de ,sagan for #bdjj4 ,on the other hand1 the imposition of an inflexible1 rigid ideal of form did incalculable harm to his numerous and less gifted followers1 in whom every spark of individuality was extinguished by the tyranny of the dogma4 ,yet ,ingres1 when he applied himself to portraiture1 was as uncompromising a realist as ,holbein1 of whose sensitive1 subtle drawing and plastic modelling1 without the introduction of entirely unnecessary shiny high lights1 we are forcibly reminded by the ,portrait of the ,painter's ,friend1 ,m4 ,bochet 7,no4 #dbh;,a74 ,something of the same perfection of modelling1 suggested rather by the sensitive contour than clearly stated by pronounced lights and shadows1 is to be noticed in the nude figure of ,the ,odalisque1 and in the creamy white drapings of the oval ,portrait of ,mme4 ,rivire 7,no4 #dbg74 ,perhaps his best portrait at the ,louvre is the one of ,m4 ,bertin1 ,founder of the ,journal des ,dbats 7,no4 #dbh;,b71 a masterpiece of character painting1 in which the marvellously drawn fleshy hands1 with their tapering fingers1 are as expressive as the fine head4 ,this portrait was acquired in #ahig for the sum of #cbjj4 ,the less admirable side of ,ingres's talent is illustrated by the circular composition of the ,virgin of the ,host 7,no4 #daf71 a crude scheme of 8,sassoferrato blue0 and red1 on entirely conventional lines2 and by the ,apotheosis of ,homer 7,no4 #dag71 a tame ,raphaelesque design in which ,homer is seen enthroned in the centre1 with allegorical figures of the ,iliad and ,odyssey seated on the steps of the throne1 and a winged goddess placing a laurel wreath on his head4 ,to the left of the central group are the figures of ,hesiod1 schylus1 ,apelles1 ,raphael1 ,virgil1 ,dante1 ,tasso1 ,corneille1 and ,poussin2 to the right1 ,pindar1 ,plato1 ,socrates1 ,alexander1 ,camoens1 ,racine1 ,molire1 and ,fnelon4 ,there is a touch of the grotesque in the combination of rather mechanical dry portraiture with trite allegory that constitutes the design of the terribly cracked ,portrait of the ,composer ,cherubini 7,no4 #dah74 ,his failings as a colourist are most aggressively obvious in the ,christ handing the ,keys to ,st4 ,peter 7,no4 #dae74 ,ingres died in ,paris on the #adth ,january #ahfg4 ,illustration3 ,,plate ,,xlviii4--,,jean ,,auguste ,,dominique ,,ingres 7#aghj-ahfg7 ,no4 #dbb4--,,the ,,spring 7,la ,source7 ,a nude figure of a fair-haired young maiden stands facing the spectator1 the background being formed by a perpendicular rock partly overgrown with clinging plants4 ,she raises her right arm over her head to hold the foot of a tilted vase1 the mouth of which is supported by her left hand1 and from which issues a streamlet of water that falls into a pool at the base of the rock1 in which are reflected the feet of the maiden4 ,signed on a stone on the left3--8,,ingres1 #ahef40 ,painted in oil on canvas4 #e ft4 #e in4 #b ft4 #g in4 7#a4fe #j4hj47 ,,delaroche ,,and ,,scheffer ,among the painters who were influenced by ,delacroix1 and whose name was associated with the ,romanticist movement1 none rose to greater fame than ,paul ,delaroche 7#agig-ahef71 a pupil of ,gros1 and the ,dutchman ,ary ,scheffer 7#agie-aheh71 who1 like ,delacroix1 studied under ,gurin4 ,but neither of these artists managed wholly to shake off the trammels of the academic tradition1 and both became popular for the very reasons for which a more critical generation has denied them the right to figure among the world's great artists3 ,delaroche for the theatricality of his historical anecdotes1 of which ,the ,death of ,queen ,elizabeth 7,no4 #baf7 and ,the ,princes in the ,tower 7,no4 #bag7 are typical examples2 and ,scheffer for the sickly sentimentality displayed in such pictures as ,st4 ,augustine and ,st4 ,monica 7,no4 #hda74 ,contemporary with the fighters in the great battle between the ,romanticists and the ,classicists were a group of able painters who were not connected with either of these main currents of artistic thought1 but drew their inspiration from the ,dutch genre painters4 ,the ,arrival of a ,diligence at the ,messageries 7,no4 #bh71 by ,louis ,leopold ,boilly 7#agfa-ahde71 and ,the ,interior of a ,kitchen 7,no4 #bfa71 by ,martin ,drolling 7#ageb-ahag71 may be quoted as characteristic instances of these 8small masters0 without possessing the luminosity of their ,dutch exemplars4 ,,decamps ,something of the precious quality of pigment and of the luminosity of these ,dutchmen is to be found in the genre pictures of ,alexandre ,gabriel ,decamps 7#ahjc-ahfj71 of which a large number form part of the ,thomy ,thiry ,bequest--notably ,the ,knife-,grinder 7,no4 #bhca7 and ,the ,gipsy ,encampment 7,no4 #bhcc74 ,decamps owes his historical importance to his position as the head of the ,orientalists4 ,unlike his contemporary explorer of the ,east for pictorial purposes1 ,delacroix1 he found the facts of ,eastern life1 scenery1 and customs sufficiently attractive to be satisfied with the realistic statement of his visual impressions1 instead of making them the basis for the invention of romantic incidents4 ,yet the ,street in ,smyrna 7,no4 #bhbg7 and similar works are by no means of merely topographic interest1 for ,decamps was a great painter to whom pigment yielded beauty independent of the subject represented4 ,the ,rat retired from the ,world 7,no4 #bhcd7 vies in quality with the still-life pictures of ,chardin4 ,decamps was also the greatest animal painter of his time1 as may be gathered from his ,chevaux de halage 7,no4 #bjd71 ,the ,bull-,dog and ,scotch ,terrier 7,no4 #bjf71 and the precious little genre piece1 ,the ,kennel-,boy 7,no4 #bhch74 ,,the ,,orientalists ,brought up in the tradition of the ,classicist school1 ,prosper ,marilhat 7#ahaa-ahdg7 only 8formed himself0 when the world of colour was discovered to him under the glowing sky of the ,holy ,land and ,egypt1 where he painted ,the ,mosque of the ,khalif ,hakem1 at ,cairo 7,no4 #fae74 ,another ,orientalist of great distinction1 who1 after being a favourite pupil of ,ingres1 became attracted by the fiery romanticism of ,delacroix1 was the ,creole ,thodore ,chassriau 7#ahai-ahef74 ,his works at the ,louvre illustrate the earlier better than the later phase of his art4 ,chassriau was still entirely under the spell of ,ingres when he painted1 in #ahdd1 the decoration of the ,cour des ,comptes1 which building was destroyed under the ,commune4 ,peace 7,no4 #aba;,a7 is a fragment of this important decorative work1 which may be said to constitute a link between ,ingres and ,puvis de ,chavannes4 ,the ,chaste ,susannah 7,no4 #aba7 and the ,portrait of ,father ,lacordaire1 ,dominican ,preacher 7,no4 #aba;,b71 are again clear evidence of ,ingres's influence upon ,chassriau at the beginning of his brief career4 ,a man of profound culture and rare critical acumen1 ,eugne ,fromentin 7#ahbj-ahgf7 was perhaps greater as a critic than as a painter4 ,he1 too1 travelled repeatedly in ,algeria and ,egypt1 where he found abundant material both for his brush and pen4 ,he did not look upon the ,east with the curiosity of the traveller1 nor did he let the strange land work upon his romantic imagination4 ,his pictures1 somewhat timid in technique but marked by great refinement1 reveal1 on the other hand1 a thorough understanding of the sad monotony of the sun-parched desert1 and the chivalrous1 noble bearing of its ,arab inhabitants4 ,his refined talent shows to best advantage in ,hawking in ,algeria 7,no4 #cje74 ,,regnault ,the ,orient was by no means the uncontested field of the ,romanticists4 ,but the followers of the official school who devoted themselves to the depicting of ,eastern life and scenery1 approached these subjects in the same spirit of parti pris which robs all their work of real significance--unless1 like ,henri ,regnault 7#ahdc-ahga7 in his famous and often reproduced ,moorish ,execution 7,no4 #gga71 they treated them as rank melodrama4 ,regnault is1 however1 not to be judged by this overrated piece of sensationalism4 ,killed in the ,franco-,german ,war in #ahga at the early age of twenty-eight1 this young painter gave rare promise of brilliant achievement in an altogether unacademic direction in his superb equestrian portrait of ,general ,prim 7,no4 #ggj74 ,there is something truly heroic in the way the ,spanish general sits his horse1 arresting its forward movement with a sudden jerk at the reins2 but the ruggedness and unkempt appearance of the rider displeased ,general ,prim to such an extent that ,regnault1 who would not alter the picture1 preferred to keep it on his hands4 ,,academic ,,painters ,it will suffice here merely to indicate the names and chief works at the ,louvre of the principal artists who carried on1 about the middle of the nineteenth century1 the academic tradition1--capable painters all1 but without clearly-marked individuality4 ,thomas ,couture 7#ahae-ahgi71 a pupil of ,gros and of ,delaroche1 in painting the huge composition1 ,romans of the ,decadence 7,no4 #aef71 produced a picture which may be taken as typical of the ambitions and failings of the whole school--of their literary tendencies1 theatricality1 and uninspired dulness4 ,he was1 however1 an accomplished master of technique1 which is more than can be said of ,joseph ,devria 7#ahje-ahfe71 the painter of ,the ,birth of ,henri ,,iv4 7,no4 #bej72 or of ,ingres's pupil1 the dull ,hippolyte ,flandrin 7#ahji-ahfd71 who is only represented by two ,portraits 7,nos4 #bhd and #bhe74 ,nor is it possible to-day to grow enthusiastic over the historical paintings of ,joseph ,nicolas ,robert-,fleury 7#agig-ahij71 whose ,conference at ,poissy 7,no4 #bihb71 ,galileo before the ,inquisition 7,no4 #bihc71 and ,christopher ,columbus received by ,ferdinand and ,isabella on his ,return from ,america 7,no4 #bihd71 can only be regarded as unnecessarily large coloured illustrations4 ,,michel ,,and ,,huet ,in the much-neglected branch of landscape painting the classic tradition of ,claude ruled supreme until a new conception arose with the victory of the romantics in the third decade of the nineteenth century4 ,two names only need be mentioned before we pass on to the new movement--the return to nature--which was inaugurated by the group of painters vaguely known as the ,barbizon school4 ,both ,georges ,michel 7#agfc-ahdc7 and ,paul ,huet 7#ahjd-ahfh7 may be regarded as forerunners of that great movement2 and both have only in recent years received the recognition which is their due4 ,michel developed his style in copying and closely studying the ,dutch landscape masters1 and must in his maturity have been well acquainted with the art of ,constable1 who exercised1 together with ,bonington1 a prodigious influence on the whole course of ,french landscape painting4 ,if ,michel's breadth of style1 which may be judged from ,near ,montmartre 7,no4 #fbf71 had been accompanied by a greater range of subject-matter1 he would probably rank more highly in the roll of ,french artists2 but he contented himself with the endless repetition of the same motifs which he found close to ,montmartre1 where he spent his whole life4 ,the care with which he studied the works of ,jacob van ,ruisdael earned for him the nickname of 8the ,ruisdael of ,montmartre40 ,huet1 again1 learnt more from the old masters and from his friends1 ,bonington and ,delacroix1 than from his actual teachers4 ,he1 too1 thrust aside the recipes of composing classic or 8noble0 landscapes1 and was inspired by an altogether emotional outlook upon nature1 calm and serene1 as in ,the ,still ,morning 7,no4 #dac71 or threatening and tempestuous1 as in ,the ,inundation at ,st4 ,cloud 7,no4 #dab71 or in his masterpiece1 ,the ,breakers at ,granville 7,no4 #bieb74 ,,the ,,barbizon ,,school ,the term 8,barbizon school0 has been extended from its narrower meaning1 in which it merely comprises ,rousseau1 ,diaz1 ,millet and the disciples who joined them1 to form a little artistic colony on the edge of the ,forest of ,fontainebleau1 to a less accurate but now generally accepted wider application1 embracing 8the men of #ahcj10 who collectively and individually set out1 inspired indirectly by ,constable1 upon the conquest of light and atmosphere through intimate communion with nature4 ,in a pedantic survey of this ,barbizon school1 ,rousseau would have to take honour of place as the leader of the group1 whilst ,corot and ,daubigny1 neither of whom actually worked at ,barbizon1 would have to be altogether excluded4 ,but in the more liberal interpretation of the term1 which we have here adopted1 ,jean ,baptiste ,camille ,corot 7#agif-ahge7 must be given first place as the doyen of the whole group1 since he alone was born before the eighteenth century had run its course4 ,,corot ,corot1 the son of a coiffeur and a modiste in comfortable circumstances1 was destined in his youth for the drapery trade1 and was only enabled to follow his bent for the artistic profession when1 at the age of twenty-five1 he entered into possession of a small annual allowance1 sufficient to meet his modest requirements and to save him from the desperate struggle for very existence which was the fate of some of his later friends and companions4 ,his early work from nature had already laid the foundations for his subsequent style when he entered the studio1 first of the academic painter ,michallon1 and then of ,bertin4 ,in #ahbe ,corot went to ,rome1 where he painted1 among many pictures of equally rich luscious quality1 the ,view of the ,forum ,romanum 7,no4 #aci71 and the ,view of the ,coliseum 7,no4 #adj71 which he himself bequeathed to the ,state4 ,although these early works have none of the elusive charm and lyrical feeling of his mature style1 and are of rather topographic character1 they reveal in every touch the artist enamoured of atmosphere and of the quality of pigment4 ,the touch is precise1 but not tight4 ,the two pictures were painted in #ahbf1 but already they hold more than a hint of that unrivalled mastery of tone-values which found supreme expression in ,a ,street in ,douai 7,no4 #ada;,f71 painted in #ahga4 ,from the precision of his early manner ,corot gradually advanced to freedom and airy looseness of touch2 from statement of fact1 to the suggestion of the very spirit and essence of nature in terms of paint that1 more than any other artist's work1 justify the expression 8colour music40 ,his later canvases are filled with the soft shimmer of vibrating atmosphere and with the tender poetry of dawn and dusk4 ,whilst retaining a truly classic sense of style1 and adapting nature to his purposes by arrangement and generalisation1 he never fails to convince the beholder of the reality of the scene represented4 ,even if his glades are peopled with dancing nymphs and satyrs1 as in ,a ,morning 7,no4 #ach71 these mythical beings no longer suggest classic statuary1 but they belong as much to the landscape as do the trees and shrubs and clouds1 as do the peasant woman and the cow in ,the ,dell 7,no4 #bhja1 ,plate ,,xlix471 or the piping shepherd in the exquisite ,souvenir d',italie3 ,castel ,gandolfo 7,no4 #ada;,b74 ,of the twenty-two paintings by the master at the ,louvre1 no fewer than twelve form part of the ,thomy ,thiry ,bequest to which the great ,french national collection owes so many of its chief treasures of nineteenth-century art4 ,t4 ,,rousseau ,the real head of the ,barbizon school was ,thodore ,rousseau 7#ahab-ahfg71 who was one of the first exponents of the 8romantic0 as opposed to the 8classic0 landscape4 ,if ,corot was the lyric1 ,rousseau was the epic poet of ,nature4 ,in his early works he was considerably influenced by ,constable1 but he failed for a long time to gain the approval of the public and of the ,salon juries4 ,fourteen times in succession his pictures were refused admission to the ,salon1 and success only came to him late in life4 ,in #ahea1 at about the same time as ,millet1 he settled at ,barbizon1 on the outskirts of the ,forest of ,fontainebleau1 where henceforth he found the subjects for his pictures4 ,rousseau was a most conscientious artist1 who 8constructed a group of trees with the care that an ,academician puts into the construction of a nude figure40 ,his love of accurate detail did not1 however1 make him lose sight of the general effect4 ,his insistence on bold silhouettes made him favour the sunset hour when1 as in his masterpiece1 ,an ,opening in the ,forest at ,fontainebleau 7,no4 #hbg71 the trees would form effective dark masses against the glowing sunset sky4 ,more characteristic of his favourite manner of composition is the imposing group of oak trees in the middle of a plain in the picture known as ,les ,chnes 7,no4 #bijj74 ,in this1 as in ,marais dans les ,landes 7,no4 #hcj71 which was bought in #ahha for #eafj1 and1 indeed1 in all the pictures where cattle are introduced1 it will be noticed that the animals form part and parcel of the landscape1 and are no longer individual 8portraits0 of animals1 as they were apt to be in the pictures by the earlier ,dutch cattle-painters4 ,the same unity of vision is to be noted in all his sixteen pictures at the ,louvre4 ,illustration3 ,,plate ,,xlix4--,,jean-,,baptiste ,,camille ,,corot 7#agif-ahge7 ,no4 #bhja4--,,the ,,dell 7,le ,vallon1 avec des paysannes et une vache7 ,a grass-covered hill descends from the horizon line on the left to the right-hand bottom corner of the picture4 ,a low hedge with a clump of trees in the centre divides the grassy plot from the field rising beyond towards the horizon-line1 from which projects a church in the far distance4 ,the sun is behind the trees1 which throw a deep shadow on the dale4 ,a cow occupies the centre of the foreground4 ,to the left a group of three peasant women and a child2 to the right a farm labourer4 ,signed on left3--8,,corot40 ,painted in oil on canvas4 #a ft4 #a in4 #a ft4 #i in4 7#jce #jed47 ,c4 ,,troyon ,this oneness of inanimate and animate nature is less completely realised in the art of ,constant ,troyon 7#ahaj-ahfe71 who1 having been trained as a porcelain-painter1 was subsequently attracted by the romanticism of ,dupr1 but followed such ,dutch masters as ,paul ,potter in subordinating the landscape to the cattle4 ,it is for this reason that ,troyon is known to the public as a 8cattle-painter0 rather than as a landscape painter4 ,at the same time1 he was a close observer of the effects of light on fields and meadows1 which he rendered with a skill only rivalled by the solidity1 the suggestion of weight and movement1 the well-accentuated forms and sinuosities of his cattle4 ,the huge canvas ,oxen going to ,work 7,no4 #hhi7 is an unrivalled achievement of its kind--a piece of realism that is not without poetry and grandeur4 ,next to it in importance ranks the ,return to the ,farm 7,no4 #hij74 ,among the eleven ,troyons 7,nos4 #bijf-biaf7 of the ,thomy ,thiry ,bequest1 the ,morning 7,no4 #biji7 strikes a more cheerful and hopeful note than is this artist's wont4 ,another artist of this group1 who devoted himself almost exclusively to the painting of sheep1 is ,charles ,jacque 7#ahac-ahid71 from whose brush the ,louvre owns the ,flock of ,sheep in a ,landscape 7,no4 #dcj;,a71 a characteristic work of unusually large dimensions4 ,j4 ,,dupr ,jules ,dupr 7#ahaa-ahhi7 began1 like ,troyon1 as a china-painter1 and1 like ,rousseau1 with whom he was for years on terms of intimate friendship1 benefited by the example of ,constable1 whose art he had presumably occasion to study during a visit to ,england4 ,it was from him that he acquired the sense of movement in nature1 which is so much more pronounced in his landscapes than in ,rousseau's1 whom he exceeded in breadth of touch and in power4 ,more particularly in his later manner he loved to apply his colours in a thick impasto laid on to every part of the canvas1 including the sky4 ,only on rare occasions did he adopt the more fluid1 suave manner shown in ,morning 7,no4 #bidj7 and ,evening 7,no4 #bida71 the two decorative panels executed for ,prince ,demidoff1 and acquired by the ,louvre in #ahhj at the ,san ,donato sale4 ,more typical of his virile1 forceful style are the twelve signed pictures by ,dupr in the ,thomy ,thiry ,bequest 7,nos4 #bhfd-bhge71 especially the fine autumn landscape ,the ,pond 7,no4 #bhfg1 ,plate ,l471 the intensely sad1 sunless ,flock in the ,landes 7,no4 #bhga71 ,the ,large ,oak 7,no4 #bhgc71 and ,the ,sunset on a ,marsh 7,no4 #bhgd71 with the golden glow of the sky reflected in the water4 ,before turning to ,diaz1 who has been aptly called 8the most romantic of the ,romanticists10 we must briefly mention ,eugne ,isabey 7#ahjd-ahhf71 who connects the art of the ,first ,empire with ,romanticism1 and who knew how to invest his historical paintings with genuinely pictorial interest at a time when that class of subject was generally treated from the literary and anecdotal point of view4 ,his exuberant temperament led him not infrequently to exaggerated movement4 ,the twelve pictures which bear his signature at the ,louvre 7,nos4 #bhgh-bhhd1 #biec-bief1 and #biec;,a7 are illustrative of every phase of his art4 ,as a landscape painter he may be considered a forerunner of ,rousseau4 ,,diaz ,narcisse ,diaz de la ,pea 7#ahji-ahgf7 was born at ,bordeaux1 the son of political fugitives from ,spain1 and1 like so many artists of this group1 started his artistic career as a china-painter4 ,he afterwards gained considerable success with his romantic figure pictures of mythological and ,oriental subjects1 like the ,nymphs in a ,wood 7,no4 #bhed71 ,venus and ,adonis 7,no4 #bheh71 ,venus disarming ,cupid 7,no4 #bhei71 and above all the ,fe aux ,perles 7,no4 #bef74 ,as a landscape painter he delighted in rendering the sparkle of sunlight penetrating through the dense foliage of forest and brushwood4 ,diaz must be placed between ,isabey and ,millet1 who followed his example in his early figure pieces2 but he was also influenced by ,rousseau and by ,delacroix4 ,among his eighteen pictures at the ,louvre are several landscapes of superb quality1 notably the ,study of a ,birch ,tree 7,no4 #beb71 ,sous ,bois 7,no4 #bec71 and ,dogs in the ,forest 7,no4 #beg;,a74 ,illustration3 ,,plate ,l4--,,jules ,,dupr 7#ahaa-ahhi7 ,no4 #bhfg4--,,the ,,pond 7,la ,mare7 ,autumnal landscape with a pond in the middle distance on the left1 bordered on the right1 in the centre of the composition1 by a group of oak trees4 ,in the foreground some cattle and a cowherd4 ,cloudy sky4 ,signed on left3--8,,jules ,,dupr40 ,painted in oil on canvas4 #a ft4 #a in4 #a ft4 #f in4 7#jcb #jdf47 ,,daubigny ,of all the ,barbizon painters and their artistic kinship1 ,charles ,franois ,daubigny 7#ahag-ahgh7 is the one who approached nature with the most reverent spirit4 ,he is in a way the least subjective of them all1 because his love of nature even in her simplest aspects prevented him from imposing his own personality upon her2 and for this very reason he is more varied in his range of landscape subjects than any of the other masters of this important group4 ,the most fugitive effects of light and atmosphere were seized by him with a masterly sureness which found expression in every touch of his summary brush4 ,every hour of the day1 every season of the year1 every mood of nature appealed to him with equal intensity1 although the choice of his subjects is most frequently inspired by serene optimism4 ,daubigny belonged to a family of artists4 ,he received his first instruction from his father1 and afterwards studied under ,delaroche4 ,before he began to paint landscapes in the neighbourhood of ,paris1 he gained his livelihood by painting sweet-boxes6 ,he found his best subjects on the banks of the ,oise1 but worked also in other districts of ,france1 in ,italy1 and in ,england4 ,of his sojourn in ,england we are reminded by ,the ,thames at ,erith 7,no4 #bhba71 one of the thirteen ,daubignys bequeathed to the ,louvre by ,thomy ,thiry1 which also include the sun-flooded ,weir ,gate at ,optevoz 7,no4 #bhah1 ,plate ,,li471 ,the ,pond with ,storks 7,no4 #bhae71 ,les ,pniches 7,no4 #bhbj71 ,morning on the ,river 7,no4 #bhbd71 and ,the ,banks of the ,oise 7,no4 #bhbc74 ,the ,vintage in ,burgundy 7,no4 #ahd71 which was bought by the ,state at the ridiculously low price of #djj1 is a picture of unusually large dimensions for an artist who generally needed but a small surface to express his ardent worship of nature4 ,the delicious ,spring 7,no4 #ahe71 with its blossoming apple trees and young grass1 must be counted among his finest achievements4 ,it is a picture that fills the heart of the beholder with the joy and contentment engendered by the blithe atmosphere of a bright spring day in the country4 ,,millet ,the ,louvre is fortunate in possessing no fewer than a dozen pictures by ,jean ,franois ,millet 7#ahad-ahge71 the great painter of the peasant's unceasing struggle with the forces of nature to gain his livelihood from the soil4 ,millet himself was the son of a peasant1 and was kept busy with farm work until he had attained the age of twenty1 when he began to study art at ,cherbourg4 ,his studies were repeatedly interrupted before he definitely took up art as his profession4 ,before he went to ,barbizon1 in #ahdi1 to devote himself exclusively to the genre in which he was to achieve immortal fame1 he gained popular favour and admission to the ,salon by following the eighteenth-century tradition of mythological art1 and painted a number of nude studies of nymphs1 goddesses1 and cupids1 not unlike in style to those of ,diaz1 but already marked by that firmness of design and by the monumental character that are so remarkable in his later work4 ,the study of ,bathing ,women 7,no4 #fdb7 belongs to that period4 ,illustration3 ,,plate ,,li4--,,charles ,,fran,,ois ,,daubigny 7#ahag-ahgh7 ,no4 #bhah4--,,the ,,weir ,,gate ,,at ,,optevoz 7,la ,vanne d',optevoz7 ,in the limpid clear water of the river1 in the foreground1 are reflected the blue sky and the opposite river bank1 which1 from a grassy slope on the left changes abruptly1 near the weir gate1 into a steep1 low1 sandstone cliff1 on the crest of which some trees and bushes are silhouetted against the sky4 ,on the left some ducks are swimming on the mirror-like water4 ,signed on left3--8,,daubigny1 #ahei40 ,painted in oil on canvas4 #a ft4 #g in4 #b ft4 #d in4 7#jdi #jgc47 ,after he had settled at ,barbizon1 ,millet1 whose peasant origin was probably the cause of his intense sympathy with the struggles and hardships of the field labourers' fatiguing work1 devoted his brush to creating that profoundly moving record of labour and toil which constitutes his claim to be considered one of the world's great masters4 ,he knew how to invest scenes of humble life with truly monumental grandeur1 and brought out the hopeless monotony and cruel hardships of the life led by the tillers of the soil with such incisive strength1 that he was accused of propagandist tendencies4 ,nothing1 however1 was further from his aim4 ,he was an artist pure and simple1 who1 in following his own unpopular ideal1 preferred to suffer neglect and extreme poverty to a compromise with the taste of the vulgar4 ,the ,women ,gleaning 7,no4 #fdd1 ,plate ,,lii47 may be considered his supreme achievement1 and an epitome of his whole art4 ,millet alone could have invested so bald and unpromising a subject with so much epic grandeur4 ,there is in the rhythmic repetition of the action of the two women in the centre of the composition a sense of the inevitable hopeless monotony of labour in the fields1 even if the picture is not 8a plea against the misery of the people40 ,the same struggle for existence and the resulting physical fatigue are admirably expressed in the statuesquely silhouetted figure of ,the ,weed-burner 7,no4 #bhij74 ,the ,woodcutter 7,no4 #bhie71 ,the ,strawbinders 7,no4 #bhib71 and ,the ,winnower 7,no4 #bhic7 all exemplify this phase of ,millet's art4 ,the domestic life of the peasantry is treated with equally profound sympathy in ,maternal ,precaution 7,no4 #bhid71 ,la ,couseuse 7,no4 #fdd;,a71 and ,la ,lessiveuse 7,no4 #bhia74 ,among his comparatively rare pure landscape subjects ,the ,church of ,grville 7,no4 #fda71 which was found in an unfinished state in the artist's studio after his death1 takes very high rank4 ,it is as remarkable for the simple telling truth with which the normal aspect of the landscape is rendered1 as the ,spring 7,no4 #fdc7 is for the realisation of a more uncommon effect--a rainbow and the shrill accent of sunlight in the orchard under the leaden grey of the departing thunder clouds4 ,,daumier ,what ,millet did for the life of the country1 ,honor ,daumier 7#ahjh-ahgi7 did for the life of the town1 of which he was a shrewd and critical observer4 ,but his long practice as a caricaturist made him look upon the types that engaged his brush with a certain cruel bitterness which is far removed from ,millet's human sympathy4 ,with a palette restricted almost to black and grey1 ,daumier yet proved himself a great colourist through the infallible accuracy of his tone-values and the suggestion of rich colour in his almost monochrome schemes4 ,his design is as massive and monumental as ,millet's4 ,the touch of the macabre1 which is so characteristic of ,daumier's art1 is very evident in ,the ,thieves and the ,donkey 7,no4 #bicg74 ,the ,portrait of the ,painter ,thodore ,rousseau 7,no4 #bich7 holds a hint of the caricaturist's vision4 ,,courbet ,equally far removed from1 and hostile to1 ,classicism and ,romanticism was ,gustave ,courbet 7#ahai-ahgg71 who as head and founder of the ,realistic school exercised a prodigious influence upon nineteenth-century art4 ,he was essentially a fighting spirit1 determined to overcome official hostility to his revolutionary principles4 ,excluded from public exhibitions1 he held a private show of his own works1 and defended his theories by spoken and written arguments4 ,his just claim was that it did not matter what you paint1 but how you paint what you actually see2 and in conformity with his loudly proclaimed principles he often chose subjects that were offensive to the taste of his day4 ,at the same time we can see now that he was endowed with a keen instinctive feeling for pictorial fitness1 and that most of his pictures are far from being haphazard snapshots of actuality4 ,in his student years he had copied many masterpieces by ,rembrandt1 ,velazquez1 ,hals1 and ,van ,dyck4 ,how much he benefited from the example of the old masters is to be judged from his portrait of himself1 known as ,the ,man with the ,leather-belt 7,no4 #adg74 ,illustration3 ,,plate ,,lii4--,,jean ,,fran,,ois ,,millet 7#ahad-ahge7 ,no4 #fdd4--,,women ,,gleaning 7,les ,glaneuses7 ,in a harvest-field three female gleaners1 seen in profile to the left1 are occupied with picking up blades of corn4 ,two of them are bending right down1 with their right hands touching the ground2 the third woman is half erect4 ,in the background some ricks1 a cart and horses1 harvesters1 a farm building1 and a horseman4 ,signed on right3--8,j4 ,f4 ,,millet40 ,painted in oil on canvas4 #b ft4 #h in4 #c ft4 #h in4 7#jhb #aab47 ,by far his most famous picture is the gigantic ,funeral at ,ornans 7,no4 #adc71 which1 as a study of the life and types in a small ,french provincial town1 has aptly been compared with ,flaubert's great novel ,madame ,bovary4 ,each individual head in this vast composition is a marvellous study of facial expression4 ,in his landscapes1 again1 he was by no means photographic1 and he never failed to consider the decorative effectiveness of his pictures4 ,his influence upon ,whistler's early work is to be judged from ,the ,wave 7,no4 #adg;,a74 ,if his landscapes retain to a certain extent the atmosphere of the studio1 such pieces as ,la ,remise des ,chevreuils 7,no4 #ade;,a7 and ,le ,ruisseau du ,puits noir 7,no4 #adf;,a7 clearly show that he possessed a sound understanding of the way in which colours react upon1 and modify1 each other4 ,courbet's revolutionary tendencies made him take part in the political movement of the ,commune1 and forced him to leave his native country4 ,he died in ,switzerland in #ahgg4 ,,meissonier ,it was realism of a very different kind that made public opinion place ,jean ,louis ,ernest ,meissonier 7#ahae-ahia7 on a pinnacle1 from which he has only in recent years been transferred to the more modest position due to him1 for the exquisite minute care he bestowed upon the working out of insignificant details4 ,meissonier was a draughtsman and an illustrator rather than a painter4 ,as a colourist he does not count4 ,he had no appreciation of values1 textures1 substances1 and surfaces4 ,nothing could be more to the point than ,manet's mordant remark that in ,meissonier's pictures 8everything is of iron except the cuirasses40 ,still1 the mind that finds delight in small things will dwell with pleasure upon the microscopic details of his little costume pictures ,the ,flute ,player 7,no4 #bhhg71 ,the ,poet 7,no4 #bhhi71 and several similar 8gems0 at the ,louvre4 ,strangely enough the ,portrait of ,mme4 ,gerriot 7,no4 #bife71 which he painted at the age of nineteen1 has more breadth and real character than any of his later works4 ,the chief task of ,meissonier's life was the glorification of ,napoleon ,i4's campaigns4 ,of this famous series the ,louvre includes no example4 ,on the other hand1 the collection owns three important historical pictures from his brush in ,napoleon ,,iii4 at ,solferino 7,no4 #bieg71 which long hung in the ,luxembourg ,gallery1 ,napoleon ,,iii4 surrounded by his ,staff 7,no4 #bieh71 and ,the ,siege of ,paris 7,no4 #bifi71 in the painting of which he had at least the advantage of personal experience1 as he had followed the ,emperor's army on the ,italian campaign1 and was in ,paris during the siege4 ,altogether the ,louvre owns no fewer than twenty-nine paintings by ,meissonier4 ,,ricard ,if ,meissonier is beginning to find his proper level after having been grossly overrated1 ,louis ,gustave ,ricard 7#ahbd-ahgc71 one of the most remarkable portrait painters of his century1 has only just in recent years been rescued from almost complete oblivion4 ,a pupil of ,l4 ,cogniet1 ,ricard spent several years in copying the works and analysing the technical methods of the old masters1 and in travelling in ,italy1 ,belgium1 ,holland1 and ,england4 ,it was not before his return to ,paris in #ahej that he began to exhibit4 ,ricard was exclusively a portrait painter4 ,technically his early studies enabled him to arrive at a method of singular morbidezza and warm luminosity4 ,there is a certain truth in a modern critic's description of ,ricard's pigments as being composed of 8crushed jewels1 flower juice1 and gold and silver powder40 ,the great merit of ,ricard's portraits is1 however1 his extraordinary insight into his sitters' psychology4 ,to him a portrait meant more than a correct record of the model's superficial aspect3 he endeavoured to paint the very soul in so far as it can be read from eyes and lips4 ,in this respect he is the descendant of ,giorgione and the forerunner of ,watts and ,carrire4 ,the portraits of ,the ,painter ,heilbuth 7,no4 #ggh;,a71 of ,mme4 de ,calonne 7,no4 #ggh;,e71 of ,his ,own ,portrait 7,no4 #ggh71 and the badly cracked ,portrait of ,paul de ,musset 7,no4 #ggh;,b71 may be quoted as admirable instances of his art4 ,,manet ,we must close this necessarily fragmentary survey of ,french art at the ,louvre with the mention of ,edouard ,manet 7#ahcb-ahhc71 whose ,olympia 7,no4 #fac;,a1 ,plate ,,liii47 is the first1 and so far the only painting of the ,impressionist school that has gained access to this gallery4 ,it was formerly exhibited at the ,luxembourg4 ,hung as it is now in ,gallery ,,viii4 amid the works of ,david1 ,gros1 ,ingres1 ,delacroix1 ,delaroche1 and other early nineteenth-century painters1 this ,olympia fully explains the sensation1 but certainly not the indignation1 caused by its first appearance at the ,salon of #ahfe4 ,it sings out with such brilliant purity of colour and is so emphatic in the patterning of its design1 so daring in the placing side by side of almost unmodulated but infallibly accurate colour masses1 that everything around appears more or less dingy and artificial4 ,manet's ,olympia marks the dawn of a new era1 not because it is based on a revolutionary rejection of tradition1 but because it is true to the spirit of the best tradition1 which is not carried on by literal and mechanical imitation1 but by evolution and adaptation to modern life and thought4 ,illustration3 ,,plate ,,liii4--,,douard ,,manet 7#ahcb-ahhc7 ,no4 #fac;,a4--,,olympia ,a nude woman1 with blue-edged yellow satin slippers on her feet1 a narrow black riband round her neck1 and a gold bracelet on her right arm1 is reclining on a bed1 her right arm resting on the cushion4 ,beneath her is spread a yellowish1 flowered ,indian shawl4 ,a black cat with raised tail stands at her feet on the bed4 ,behind the bed is seen a negress1 who brings a large bouquet of flowers to her mistress4 ,signed on left3--8,,ed4 ,,manet1 #ahfe40 ,painted in oil on canvas4 #d ft4 #b in4 #f ft4 #c in4 7#abg #aij47 ,,the ,,british ,,school ,if the representation of ,french art at the ,national ,gallery in ,london is admittedly meagre and inadequate1 the ,british section at the ,louvre can scarcely be considered worthy of serious consideration4 ,its entire removal1 with the exception of about half a dozen pictures1 would not only entail no serious loss to the collection1 but would be an act of justice to the reputation of several great artists who are here made responsible for pictures upon which they presumably never set eyes4 ,under these circumstances it is quite impossible to illustrate the progress of ,british art by the two-score or so examples in the ,long ,gallery1 part of which is devoted to the ,english pictures4 ,of the leading masters1 ,hogarth 7#afig-agfd7 and ,gainsborough 7#agbg-aghh7 will be vainly looked for1 since the two ,landscapes 7,nos4 #ahaa and #ahaa;,b7 attributed to the latter in the ,la ,caze ,room are inferior conventional compositions in ,italian taste1 which can no more be connected with the name of ,gainsborough than the wretched ,still ,life which has lately been added to the ,louvre collection4 ,,constable ,,and ,,his ,,imitators ,in view of the powerful influence exercised by ,constable and the ,british ,landscape school in general upon modern ,french art1 it is surprising that no attempts should have been made to secure a few examples of greater importance and more certain authenticity than the ones now exhibited4 ,six pictures are catalogued under the name of ,john ,constable 7#aggf-ahcg72 the only one that can be unreservedly accepted as the work of his brush is the little view of ,hampstead ,heath 7,no4 #ahji1 ,plate ,,liv471 which was presented to the ,louvre in #ahgg by the painter's son1 ,mr4 ,lionel ,constable4 ,it is a fresh1 masterly study for the picture in the ,sheepshanks collection at the ,victoria and ,albert ,museum4 ,the ,weymouth ,bay 7,no4 #ahjh71 which realised as much as #bbdj at the ,marquis de la ,rochebrune's sale in #ahgc1 has been enthusiastically commented upon by ,brger1 but cannot pass the ordeal of searching criticism4 ,it is incoherent1 and in the details of the foreground and the painting of the figures and sheep lacks the purposeful sureness of touch which is the hall-mark of ,constable's art4 ,the ,cottage 7,no4 #ahjf7 has the same provenance4 ,mr4 ,p4 ,m4 ,turner1 in an article in the ,burlington ,magazine1 suggests that ,f4 ,w4 ,watts1 a feeble imitator of ,constable1 is the real author of this timidly executed painting--an attribution which is certainly more convincing than the one in the official catalogue4 ,the ,glebe ,farm 7,no4 #ahaj7 tallies closely1 as regards the superficial aspect1 with the picture of the same title at the ,national ,gallery1 to which it is1 however1 so inferior as to put ,constable's authorship out of the question4 ,the ,windmill 7,no4 #ahaj;,a71 a gift of ,mr4 ,sedelmeyer1 seems to be a copy of the ,spring at the ,victoria and ,albert ,museum4 ,the ,rainbow 7,no4 #ahjg7 may possibly be by ,constable1 although its authorship has been questioned by several reliable authorities4 ,james ,webb 7#ahbe8-ahie71 a painter of undeniable talent for imitating the manner of artists greater than himself1 is beyond much doubt responsible both for the ,landscape 7,no4 #ahbj71 which is officially given to ,richard ,wilson 7#agad-aghb71 and for the view of the ,pont ,neuf 7,no4 #ahai71 which is still exhibited as an example by the greatest ,english landscape painter ,j4 ,m4 ,w4 ,turner 7#agge-ahea74 ,unfortunately ,turner's name has to be added to ,hogarth's and ,gainsborough's in the list of eminent ,british masters who are not represented at the ,louvre4 ,illustration3 ,,plate ,,liv4--,,john ,,constable 7#aggf-ahcg7 ,no4 #ahji4--;,,hampstead ,,heath 7,vue de ,hampstead ,heath7 ,a wide-spreading landscape view1 with little incident1 from ,hampstead ,heath looking in a northerly direction4 ,painted in oil on canvas4 #a ft4 #a in4 #a ft4 #b in4 7#jbf #jcf47 ,,bonington ,that ,richard ,parkes ,bonington 7#ahja-ahbh7 should be seen to better advantage in this collection1 is only natural in view of the fact that by his training at the cole des ,beaux-,arts in ,paris and under ,gros he belongs to the ,french rather than to the ,english school4 ,he was closely allied by the bond of friendship to ,delacroix1 and played an important part in the romantic movement4 ,the two little pictures ,franois ,i4 and the ,duchesse d',etampes 7,no4 #ahjb7 and ,mazarin and ,anne of ,austria 7,no4 #ahjc7 are conceived quite in the spirit of the ,french ,romanticists4 ,bonington's genius as a colourist is1 however1 best displayed in the sparkling and animated ,view of ,venice 7,no4 #ahje74 ,admirable1 too1 in their spontaneous freshness are the ,view of the ,gardens at ,versailles 7,no4 #ahjd7 and the ,view of the ,coast of ,normandy 7,no4 #ahjd;,a74 ,the ,old ,governess 7,no4 #ahje;,a71 one of ,bonington's rare attempts at portraiture1 is remarkable for the accentuation of the modelling1 which somehow suggests the broad treatment of the planes adopted by a wood-carver4 ,the picture which is catalogued as ,la ,halte 7,no4 #ahad71 by ,george ,morland 7#agfc-ahjd71 is merely a poor copy of that artist's painting ,the ,public-house ,door1 engraved by ,ward4 ,it was presented to the ,louvre by the proprietors of the magazine ,l',art4 ,when we come to the great school of ,british portrait painting1 we have to record at least two or three masterpieces worthy of being included in a great museum4 ,a picture of unquestioned authenticity and great charm is the ,portrait of ,master ,hare 7,no4 #ahah;,b7 by ,sir ,joshua ,reynolds 7#agbc-agib71 who in this1 as in other similar pieces1 proved himself the painter par excellence of childhood in all its innocence and ingenuousness1 even though this picture is by no means impeccable as regards draughtsmanship4 ,the ,master ,hare was bequeathed to the ,louvre by ,baron ,alphonse de ,rothschild in #aije4 ,the badly repainted ,portrait of a ,lady 7,no4 #ahah;,a7 in a white dress1 and with powdered hair1 is certainly not the work of ,sir ,joshua1 under whose name it figures in the catalogue4 ,,raeburn ,among the recent additions to the ,louvre collection is the excellent life-size portrait of ,captain ,robert ,hay of ,spot1 by ,sir ,henry ,raeburn 7#agef-ahbc71 which still hangs on a screen in ,gallery ,,xv4 and has not yet been provided with a number4 ,it is a full-length portrait of the sitter1 in uniform of scarlet coat1 white breeches1 black gaiters1 and fur busby1 his hand resting upon his gun1 standing against a conventional landscape background with a sky of characteristic tawny hue4 ,the picture was formerly in the collection of ,mr4 ,sanderson1 at the sale of which1 in #aijh1 it was bought by ,messrs4 ,agnew for #fej gs4 ,to ,raeburn are also ascribed the extremely puzzling ,portrait of an ,old ,sailor 7,no4 #ahag71 which1 in spite of certain technical affinities with the ,british eighteenth-century school1 is so un-,english in spirit that it would be rash to ascribe it to any master of that school2 the negligeable ,portrait of ,anna ,moore1 ,authoress 7,no4 #ahag;,a72 also the utterly commonplace and wretchedly drawn ,mrs4 ,maconochie and ,child 7,no4 #ahag;,b71 which was bought in #aijd1 together with the equally questionable ,portrait of a ,lady and a ,young ,boy 7,no4 #ahab;,b71 by ,hoppner1 for #djjj4 ,,sir ,,thomas ,,lawrence ,the strangely exaggerated estimation in which ,sir ,thomas ,lawrence 7#agfi-ahcj7 is held by ,french connoisseurs1 is to a certain extent to be accounted for by the superb quality of the picture by which he is best known in ,france3 the portrait group of ,j4 ,j4 ,angerstein and his ,wife 7,no4 #ahac;,a7 at the ,louvre1 which was acquired in #ahif for #cjjj4 ,this fine group displays all his bravura and pleasing freshness and brightness of colour1 without any of the vulgar tricks and shallow mannerisms of his later years4 ,next to it should be mentioned the charming half-length life-size ,portrait of ,mary ,palmer 7,no4 #ahac;,c71 in a yellow dress1 seated in a garden4 ,the completely wrecked ,portrait of ,lord ,whitworth1 ,english ,ambassador to ,france in #ahjb 7,no4 #ahac71 and the ,portrait of a ,man 7,no4 #ahac;,d71 are of no artistic significance4 ,neither is it necessary to dwell upon the mediocre ,brother and ,sister 7,no4 #ahja71 by ,sir ,william ,beechey 7#agec-ahci72 the ,portrait of ,charlotte ,sophia of ,mecklenburg-,strelitz1 ,princess of ,wales 7,no4 #ahah71 by ,allan ,ramsay 7#agac-aghd72 and the ,portrait of ,lamartine1 ,french ,poet and ,politician 7,no4 #ahaf;,a71 by ,henry ,wyndham ,phillips 7#ahbj-ahfh74 ,the ,woman in ,white 7,no4 #ahaf7 is at least a sound piece of craftsmanship1 even if the attribution to ,john ,opie 7#agfa-ahjg71 8the ,cornish ,wonder10 is subject to doubt4 ,,other ,,portrait ,,painters ,we have already mentioned the portrait group 7,no4 #ahab;,b71 a picture in deplorable condition1 to which the name of ,john ,hoppner 7#ageh8-ahaj7 has been attached without sufficient reason4 ,no less doubtful is the authenticity of the ,portrait of the ,countess of ,oxford 7,no4 #ahab;,a71 a meretricious picture which serves to show the mannerisms and striving after prettiness of ,lawrence's rival1 rather than the more estimable qualities by which his better achievements are distinguished4 ,george ,romney 7#agcd-ahjb71 on the other hand1 is seen in his most serious mood in the ,portrait of ,sir ,john ,stanley 7,no4 #ahah;,c7-- a thoroughly honest 8likeness10 well drawn1 and painted straight-forwardly1 without tricky accents and mechanical recipes4 ,on a screen in ,gallery ,,xv4 has been temporarily placed a recently acquired ,portrait of the ,artist1 by ,romney4 ,he is seated1 palette in hand1 in a landscape background4 ,the features are well modelled1 and the light and shade managed with considerable skill4 ,strangely enough the most remarkable ,english picture at the ,louvre is by a little known painter1 who is not represented in any of the leading ,british galleries4 ,charles ,howard ,hodges 7#agfd-ahcg71 who was born in ,london1 but went at the age of twenty-four to ,holland1 where he spent the rest of his life1 was really a mezzotint engraver1 in which craft he had been trained by ,john ,raphael ,smith4 ,he produced many plates after pictures by the ,dutch masters1 and also painted a few portraits1 among them the masterly ,portrait of a ,woman 7,no4 #ahab71 at the ,louvre4 ,at a time which was too much given to conventionality and to the desire to please by concessions to a popular craving for prettiness1 this picture strikes a note of almost brutal realism4 ,it is painted with surprising vigour and with an appreciation of correct tone-values1 in a low key1 which heralds the art of the ,glasgow school in the later decades of the nineteenth century4 ,with ,the ,bathing ,woman 7,no4 #ahaj;,b71 by ,william ,etty 7#aghg-ahdi71 and ,the ,watering ,place 7,no4 #ahae71 by ,william ,mulready 7#aghf-ahfc71 we reach the full decadence of the ,british school in early ,victorian days before the great revival initiated by the pre-,raphaelites4 ,,indexes ,i4 ,,index ,,of ,,artists ,albani1 ,francesco1 #e1 #aai4 ,albertinelli1 #aa1 #dc1 #df4 ,altichieri1 ,altichiero1 #gi1 #he1 #aje4 8,alunno di ,domenico10 #cd1 #db4 ,amberger1 ,c41 #acc4 ,ambrogio da ,fossano1 #id4 ,ambrogio da ,predis1 #ce1 #ig4 8,amico di ,sandro10 #da4 ,andrea dal ,castagno1 #be1 #bh1 #cj4 ,andrea de ,milan1 #aic4 ,andrea del ,sarto1 #b1 #c1 #de-df1 #ahf1 #bci4 ,angelico1 ,fra1 #aj1 #bb-bd1 #bf-bg1 #abf4 ,anguissola1 ,sofonisba1 #ajc4 ,anselmi1 ,michelangelo1 #dg4 ,antonello da ,messina1 #fe1 #ie4 ,portrait of a ,condottiere1 ,plate ,,ix4 ,antoniazzo ,romano1 #ee-ef4 ,arellano1 ,juan de1 #aij4 ,arentzen1 ,arent1 #baf4 ,artois1 ,jacob van1 #aed4 ,asselyn1 ,jan1 #bag4 ,audran1 ,claude1 #bfa4 ,bacchiacca1 #df4 ,backhuysen1 ,ludolf1 #bbb4 ,bagnacavallo1 ,h41 #fj1 #aae4 ,baldovinetti1 ,alessio1 #bh1 #cj-cb1 #ec4 ,balducci1 ,matteo1 #ej4 ,balen1 ,hendrick van1 #acg1 #adf1 #adi1aef4 ,bamboccio1 #bba4 ,baroccio1 #aag4 ,bartolo di ,maestro ,fredi1 #ag4 ,bartolommeo di ,giovanni1 #cd4 ,bartolommeo1 ,fra1 #dc1 #dd4 ,bartolommeo ,veneto1 #ff4 ,bassano1 ,jacopo1 #gc1 #gf1 #agc4 ,bassano1 ,leandro1 #gc1 #aij4 ,bastiani1 ,lazzaro1 #fe4 ,beccafumi1 #ej4 ,beechey1 ,sir ,wm41 #cjg4 ,beerstraten1 ,abrahamsz1 #bbb4 ,bega1 ,cornells1 #bjh4 ,begeyn1 ,abraham1 #bbj4 ,beham1 ,hans ,sebald1 #afb4 ,bellechose1 ,henri1 #bbh4 ,bellegambe1 ,jan1 #bcj4 ,bellini1 ,gentile1 #fa-fc1 #fe-ff1 #fh1 #fi1 #aji4 ,bellini1 ,giovanni1 #fa-fd1 #ff1 #fh-fi1 #ie4 ,bellini1 ,jacopo1 #fa-fe1 #hj1 #he1 #aje4 ,bellini1 ,niccolosia1 #hj4 ,belotto1 ,bernardo1 #gh4 ,benozzo ,gozzoli1 #aa1 #be4 ,benson1 ,ambrosius1 #acj4 ,benvenuti1 ,giovanni ,battista1 #ia4 ,berchem1 ,nicolaes1 #bac1 #bbj-bba4 ,berckheyde1 ,gerrit1 #bbb4 ,bermejo1 ,bartolom1 #bcc4 ,berreguete1 #agb4 ,berrettini1 ,pietro1 #hg4 ,bertin1 ,n41 #bia4 ,besozzo1 ,michelino da1 #ic4 ,bianchi1 ,francesco1 #aa1 #ajg1 #aac4 ,bicci di ,lorenzo1 #ba4 ,bicci1 ,lorenzo di1 #ba4 ,blomaert1 ,abraham1 #aig1 #bbd4 ,bloot1 ,pieter de1 #baf4 ,boccaccino1 ,boccaccio1 #ajc4 ,bol1 ,ferdinand1 #bje4 ,boltraffio1 #aj1 #ff1 #ih4 ,bonifazio ,veronese1 #gc4 ,bonington1 ,r4 ,p41 #bha1bhi-bij1 #cje4 ,bono da ,ferrara1 #hf4 ,bononi1 ,bartolommeo1 #ii4 ,bonsignori1 #ib4 ,bordone1 ,paris1 #aj1 #gb4 ,borgognone 7,ambrogio da ,fossano71 #id-if4 ,borgognone 7,le ,bourguignon71 #bec4 ,bosch van ,aeken1 ,hieronymus1 #acj1 #aed4 ,both1 ,jan1 #bag4 ,botticelli1 #bi1 #cd1 #ci-da4 ,giovanna degli ,albizzi and the ,three ,graces1 ,plate ,v4 ,botticini1 ,francesco1 #db4 ,boucher1 ,franois1 #bdf1 #beh1 #bfe-bfi4 ,vulcan presenting ,arms to ,venus1 ,plate ,,xl4 ,boulogne1 ,bon1 #bea-beb4 ,boulogne1 ,louis1 #bea-beb4 ,boulongne1 ,jean de1 #bdc4 ,bourdichon1 #bci4 ,bourdon1 ,sbastien1 #bjj1 #bdi4 ,bouts1 ,dierick1 #abe-abf1 #aed1 #aic1 #baf4 ,bramante1 #eh1 #ia1 #ib4 ,bramantino1 #ib4 ,breenberg1 #bba4 ,brekelenkam1 ,quiryn1 #baj4 ,bril1 ,matthias1 #ach4 ,bril1 ,paul1 #acg-ach4 ,broederlam1 ,melchior1 #abc4 ,bronzino1 ,agnolo1 #aa1 #df4 ,brouwer1 ,adriaen1 #aeb-aec1 #bjh1 #bab4 ,brueghel1 8,hell10 #adi4 ,brueghel1 ,jan1 #acg1 #ada1 #afg4 ,brueghel the ,elder1 ,pieter1 #acf-acg1 #aeb4 ,brueghel the ,younger1 ,pieter1 #acg4 ,brunelleschi1 #bg4 ,brusasorci1 ,domenico1 #he4 ,brusasorci the ,younger1 #gg4 ,bruyn1 ,bartolomus1 #afa4 ,bugiardini1 #dc4 ,buonconsiglio1 ,giovanni1 #aji4 ,butinone1 ,bernardino1 #ib4 ,calcar1 ,giovanni1 #gb1 #aie4 ,calvaert1 ,denis1 #aae4 ,campi1 ,bernardino1 #ajj1 #ajc4 ,campin1 ,robert1 #abd-abe4 ,canale1 ,antonio1 #gh4 ,canaletto1 #gh4 ,cantarini1 ,s41 #abj4 ,caravaggio1 ,michelangelo1 #abj1 #aea1 #agg1 #bbd1 #bdc4 ,cardi1 ,lodovico1 #dg4 ,carducho1 ,vincente1 #aij4 ,cariani1 #fh4 ,caroto1 ,francesco1 #hg4 ,carpaccio1 ,vittore1 #aj1 #fe4 ,carpi1 ,alessandro da1 #ajg4 ,carracci1 ,agostino1 #aah4 ,carracci1 ,annibale1 #e1 #f1 #aj1 #aai1 #ach4 ,carracci1 ,antonio1 #aai4 ,carracci1 ,lodovico1 #aah4 ,carreo de ,miranda1 ,juan1 #ahc1 #aij4 ,carrire1 #cja4 ,casanova1 ,franois1 #gh4 ,castagno1 ,andrea dal1 #be1 #bh1 #cj4 ,castiglione1 ,g4 ,b41 #aah4 ,catena1 ,vincenzo1 #ff4 ,caterina di ,vigri1 #aaf4 ,cavedone1 ,jacopo1 #ajg4 ,cazes1 #bfg4 ,cellini1 ,benvenuto1 #b4 ,cenni de' ,pepi1 ,giovanni1 #ai4 ,cerquozzi1 ,m4 ,a41 #aah4 ,cesare da ,sesto1 #ci1 #ig4 ,champaigne1 ,philippe de1 #aee1 #beh4 ,chardin1 ,j4 ,b4 ,s41 #ac1 #beh1 #bfj1 #bfg-bfh1 #bga4 ,grace before ,meat1 ,plate ,,xli4 ,cigoli1 ,h41 #dg4 ,cima1 ,giovanni ,battista1 #aa1 #fd4 ,cimabue1 #aa1 #ae1 #ai4 ,civerchio1 #aje4 ,claesz1 ,pieter1 #bbj4 ,claeszoon1 ,alart1 #aie4 ,claude1 #f1 #aeg1 #bag1 #bdg-bdh1 #beg1 #bgd1 #bhi4 ,view of a ,sea ,port1 ,plate ,,xxxviii4 ,clouet1 ,franois1 #bcg4 ,clouet1 ,jean1 #bce-bcf4 ,codde1 ,pieter1 #bjg4 ,cogniet1 ,l41 #cja4 ,collantes1 ,francisco1 #aij4 ,coltellini1 ,michele1 #ib4 8,compagno di ,pesellino10 #cj4 ,constable1 ,john1 #bha1 #bhi-bij1 #bib1 #bid1 #cjc-cjd4 ,hampstead ,heath1 ,plate ,,liv4 ,conti1 ,bernardino de1 #ch1 #ig4 ,cooper1 ,t4 ,sidney1 ,r4,a41 #bah4 ,coques1 ,gonzales1 #aej1 #aed4 ,corneille de ,lyon1 #bch4 ,cornelissen1 ,cornelis1 #aii4 ,corot1 ,j4 ,b4 ,c41 #bij-bib4 ,the ,well1 ,plate ,,xlix4 ,correggio1 #g1 #i1 #ajg1 #aac-aad1 #aag1 #agg1 #bgh4 ,marriage of ,st4 ,catherine1 ,plate ,,xv4 ,cossa1 ,francesco1 #ij1 #aja4 ,costa1 ,lorenzo1 #e1 #ij-ia1 #aja-ajb1 #aae4 ,coter1 ,colin de1 #acc4 ,cotes1 ,francis1 #bga4 ,cottignola1 ,zaganelli da1 #fj4 ,courbet1 ,gustave1 #bih4 ,courtois1 ,jacques1 #bec4 ,cousin1 ,jean1 #bdj4 ,couture1 ,thomas1 #bhh4 ,coxie1 ,raphael van1 #aea4 ,coypel1 ,antoine1 #beb4 ,coypel1 ,charles ,antoine1 #beb4 ,coypel1 ,nol1 #beb4 ,coypel1 ,nol ,nicolas1 #beb1 #bfg4 ,craesbeeck1 ,joos van1 #aeb4 ,cranach the ,elder1 ,lucas1 #afb4 ,cranach the ,younger1 ,lucas1 #afc4 ,crayer1 ,gaspar de1 #aea4 ,credi1 ,lorenzo di1 #aa4 ,crespi1 ,g4 ,m41 #abj4 ,crivelli1 ,carlo1 #fd1 #hj4 ,cuevas1 ,pedro de las1 #aij4 ,cuyp1 ,aelbert1 #h1 #bag4 ,dalmau1 ,luis de1 #aga-agb4 ,daniele da ,volterra1 #dg4 ,daubigny1 ,charles ,franois1 #bie-bif4 ,the ,weir ,gate at ,optevoz1 ,plate ,,li4 ,daumier1 ,h41 #bih4 ,david1 ,gerard1 #abh-acj1 #aic4 ,marriage at ,cana1 ,plate ,,xviii4 ,david1 ,jacques ,louis1 #bed1 #bfi1 #bge-bgf1 #bgh4 ,portrait of ,mme4 ,rcamier1 ,plate ,,xlv4 ,de ,la ,fosse1 ,charles1 #beb4 ,debar1 ,b41 #bfd4 ,decker1 ,cornelis1 #bag4 ,delacroix1 ,eugne1 #bej1 #bgi1 #bha-bhc1 #bhe1 #bij1 #bie4 ,dante and ,virgil1 ,plate ,,xlvii4 ,delaroche1 ,paul1 #bhe1 #bhh1 #bie4 ,delli1 ,dello1 #aga4 ,denner1 ,baltasar1 #afg4 ,desportes1 ,franois1 #beh4 ,devria1 ,joseph1 #bhi4 ,diamante1 ,fra1 #bh4 ,diaz de la ,pea1 ,n41 #bij1 #bid-bie4 ,diepenbeeck1 ,abraham van1 #aea4 ,dietrich1 ,christian ,w41 #afh4 ,dolci1 ,carlo1 #aah4 ,domenichino1 #e1 #aj1 #aai1 #bde4 8,domenico1 ,alunno di10 #cd4 ,domenico ,veneziano1 #bf1 #ca4 ,donatello1 #bg1 #ca1 #gi-hj4 ,donducci1 ,g4 ,a41 #abj4 ,dossi1 ,dosso1 #fe1 #ia-ib4 ,dou1 ,gerard1 #bjh-baa1 #bae4 ,the ,dropsical ,woman1 ,plate ,,xxxii4 ,drake1 ,sir ,francis1 #aif4 ,drost1 ,cornelis1 #bje4 ,drouais1 ,f4 ,h41 #bgj4 ,dubois1 ,ambrose1 #bda4 ,duccio di ,buoninsegna1 #ae1 #ai4 ,duchtel ,collection1 #cj4 ,duchatel1 ,franois1 #aed4 ,duck1 ,jacob1 #bjg4 ,dulin1 #bfd4 ,dupr1 ,jules1 #bic-bid4 ,the ,pond1 ,plate ,l4 ,duquesnoy1 #bde4 ,drer1 ,albrecht1 #aei1 #afa-afb1 #aie4 8,eclectics10 #aag-aai4 ,eeckhout1 ,g4 van den1 #bje4 ,elias1 ,nicholas1 #bje4 ,elsheimer1 ,adam1 #afg1 #beg4 ,engelbrechtsen1 ,cornelis1 #aid4 ,ercole de' ,roberti ,grandi1 #ij-ia4 ,ercole ,roberti1 #ij-ia4 ,escosura1 #ahc1 #ahi4 ,ettore de' ,bonacossi1 #hi4 ,etty1 ,william1 ,r4,a41 #cjh4 ,everdingen1 ,allart van1 #bah4 ,fabritius1 ,karel1 #bac1 #bad4 ,faes1 ,pieter van der1 #bje4 ,farinati1 ,paolo1 #hg4 ,fassolo1 ,bernardino1 #aig4 ,fei1 ,paolo di ,giovanni1 #aga4 ,ferramola1 ,floriano1 #aje-ajf4 ,ferrari1 ,defendente1 #aaa4 ,ferrari1 ,francesco ,bianchi1 #ajg1 #aac4 ,ferrari1 ,gaudenzio1 #aaa4 ,feti1 ,domenico1 #aag4 ,fiorenzo di ,lorenzo1 #cj1 #ej1 #ec4 ,flandrin1 ,hippolyte1 #bhi4 ,flinck1 ,govaert1 #bje4 ,floris1 ,frans1 #ach4 ,foppa1 ,vincenzo1 #ic-id1 #aje4 ,fosse1 ,charles de ,la1 #beb4 ,fouquet1 ,jean1 #bca1 #bcc4 ,fragonard1 ,j4 ,h41 #beh1 #bfj1 #bfh-bfi1 #bgd4 ,music ,lesson1 ,plate ,,xlii4 ,francesca1 ,piero della1 or ,franceschi1 ,piero dei1 #ac1 #cj1 #ca1 #ec1 #hf4 ,francesco di ,giorgio1 #ej4 ,francia1 ,francesco1 #df1 #ee-ef1 #ajb1 #aje1 #aae4 ,francia1 ,giacomo1 #ajb4 ,franciabigio1 #df4 ,franck1 ,frans1 #ach4 ,franck the ,third1 ,frans1 #ach4 ,franck the ,younger1 ,frans1 #ach4 ,francken1 ,sebastiaen1 #aeg4 ,franco ,bolognese1 #ii4 ,frminet1 ,martin1 #bda4 ,froment1 ,nicolas1 #bcb4 ,fungai1 ,bernardino1 #ej4 ,fyt1 ,jan1 #aea4 ,gaddi1 ,agnolo1 #ba4 ,gaddi1 ,taddeo1 #ba4 ,gainsborough1 ,t41 ,r4,a41 #cjc-cjd4 ,garofalo1 #ia4 ,geertgen tot ,s4 ,jans1 #aic4 ,gentile de ,fabriano1 #aa1 #ec1 #fb1 #he4 ,grard1 ,baron ,f4 ,p4 ,s41 #bgg4 ,gerard of ,haarlem1 #aic4 ,gricault1 ,j4 ,l4 ,a4 ,thodore1 #bha-bhb1 ,the ,raft of the 8,medusa10 ,plate ,,xlvi4 ,grin1 #bfa4 ,ghiberti1 ,lorenzo1 #bf4 ,ghirlandaio1 ,benedetto1 #cc4 ,ghirlandaio1 ,davide1 #cc4 ,ghirlandaio1 ,domenico1 #aa1 #bd1 #cb-cd4 ,portrait of an ,old ,man and his ,grandson 78,the ,bottle-nosed ,man071 ,plate ,,iii4 ,ghirlandaio1 ,ridolfo1 #cd1 #df1 #eg4 ,giambono1 ,michele1 #fa4 ,gillot1 ,claude1 #bfa1 #bfd4 ,giltinger1 ,gumpold1 #aff4 ,giordano1 ,luca1 #aba1 #aga1 #aia4 ,giorgione1 #f1 #dj1 #df1 #fd1 #ff1 #fh-gj1 #gc4 ,pastoral ,symphony1 ,plate ,x4 ,giottesques1 #bj1 #fa4 ,giotto1 #aa1 #af1 #ai-ba1 #bg1 #fi1 #gi1 #aja4 ,giovanni d',allemagna1 #fc4 ,giovanni di ,paolo1 #ag1 #ej4 ,giovanni ,francesco da ,rimini1 #ec4 ,giovenone1 ,girolamo1 #aaa4 ,girard d',orleans1 #bbh4 ,girodet de ,roucy-,trioson1 ,a4 ,l41 #bgg4 ,girolamo da ,carpi1 #ij4 ,girolamo dai ,libri1 #hg4 ,girolamo di ,benvenuto1 #ej4 ,giulio ,romano1 #ef1 #eh-fj1 #aae1 #aag4 ,glauber1 #bbj4 ,goebouw1 #bef4 ,goltzius1 ,hendrick1 #aii4 ,gossart1 ,jan1 #acb-acd1 #bcf4 ,goya1 #aia-aib4 ,gozzoli1 ,benozzo1 #aa1 #be4 ,grandi1 ,ercole de' ,roberti1 #ij-ia4 ,grebber1 ,pieter de1 #bjf1 #bbj4 ,greco1 ,el1 #agc-agf4 ,greuze1 ,j4 ,b41 #bfi-bgb4 ,the ,broken ,pitcher1 ,plate ,,xliii4 ,grief1 ,anton1 #aeg4 ,grimaldi1 ,g4 ,f41 #abj4 ,grimou1 ,j4 ,a41 #bei4 ,gros1 ,baron ,a4 ,j41 #bgg1 #bgh1 #bhb1 #bhh1 #cje4 ,grnewald1 ,m41 #afb-afc4 ,guardi1 ,francesco1 #gh1 #bgd4 ,guercino1 #aj1 #abj4 ,guerin1 ,p4 ,n41 #bgf1 #bgi1 #bha1 #bhe4 ,hals1 ,dirk1 #bjf4 ,hals1 ,frans1 #aeb1 #aih-bja1 #bjf1 #bdi1 #bii4 ,the ,gipsy ,girl1 ,plate ,,xxvii42 ,portrait of a ,lady in ,black1 ,plate ,,xxviii4 ,heda1 ,willem ,claesz1 #bbc4 ,heem1 ,david de1 #afg1 #bbc4 ,heem1 ,j4 ,davidsz de1 #bbc4 ,heemskerck1 ,egbert van1 #bbd4 ,heinsius1 ,johann ,e41 #afh4 ,herrera 8the ,old10 ,francisco1 #age1 #ahj4 ,heusch1 ,guilliam de1 #bbj4 ,hobbema1 ,meindert1 #bai4 ,hodges1 ,c4 ,h41 #cjh4 ,hogarth1 ,w41 #bga1 #cjc-cjd4 ,holbein the ,elder1 ,hans1 #afc4 ,holbein the ,younger1 ,hans1 #ch1 #aei1 #afa1 #afc1 #bcf1 #bhd4 ,portrait of ,erasmus1 ,plate ,,xxiv4 ,hondecoeter1 ,melchior1 #bbd4 ,hondius1 ,abraham1 #bbd4 ,honthorst1 ,gerard1 #bbd4 ,hooch1 ,pieter de1 #bac-bad4 ,dutch ,interior1 ,plate ,,xxxv4 ,hoppner1 ,john1 ,r4,a41 #cjf-cjg4 ,huet1 ,paul1 #bhi4 ,huysmans1 ,cornelis1 #aed4 ,huysum1 ,jan1 #bbc4 ,ingegno1 ,l'1 #ef4 ,ingres1 ,j4 ,a4 ,d41 #bed1 #bgg1 #bhc-bhe4 ,the ,spring1 ,plate ,,xlviii4 ,innocenzo da ,imola1 #aae4 ,isabey1 ,eugne1 #bgg1 #bid1 #bie4 ,isenbrant1 ,adriaen1 #abi4 ,jacobello del ,fiore1 #fa1 #ff-fg4 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#fe1 #abc-abf1 #abi-acj1 #agb1 #baf4 ,the ,virgin and ,child and the ,chancellor ,rolin1 ,plate ,,xvi4 ,van ,falens1 ,carl1 #aeg4 ,van der ,goes1 ,hugo1 #baf4 ,van ,goyen1 ,jan1 #h1 #bab1 #baf1 #bah1 #bbb4 ,van ,goyen1 ,margaretha1 #bab4 ,van der ,hagen1 ,joris1 #bag4 ,van ,heemskerck1 #bjj4 ,van der ,heist1 ,bartholomeus1 #h1 #bje4 ,shooting ,prize1 ,plate ,,xxxi4 ,van ,hemessen1 ,jan1 #acc4 ,van der ,heyden1 ,jan1 #bba4 ,van ,leyden1 ,lucas1 #abe4 ,van ,loo1 ,carle1 #bfe4 ,van ,loo1 ,charles ,andr1 #bfe4 ,van ,loo1 ,j4 ,b41 #bfd4 ,van ,loo1 ,j4 ,c41 #bfd4 ,van ,loo1 ,jacob1 #bjf4 ,van ,mander1 ,karel1 #aii4 ,van der ,meer van ,delft1 ,jan1 #bad4 ,van der ,meer of ,haarlem1 ,jan1 #bad4 ,van der ,meulen1 ,adam ,frans1 #aed-aef4 ,van ,mieris the ,elder1 ,frans1 #baj4 ,van ,mieris1 ,willem1 #bbe4 ,van ,mol1 ,pieter1 #aea4 ,van der ,neer1 ,aart1 #bag4 ,van ,noort1 ,adam1 #adj1 #aej4 ,van ,oost the ,elder1 ,jacob1 #aeg4 ,van ,oostsanen1 ,jacob ,cornelisz1 #aid4 ,van ,orley1 ,barend1 #acc1 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,woverius1 #adj4 ,printed by ,,morrison ,,gibb ,,limited1 ,edinburgh 99 99 99 99 99 99 ,transcriber's note3 - ,blank pages have been removed4 - ,obvious typographical errors have been silently corrected4 - ,some missing or mismatched chapter headings have been corrected to match the table of contents4