THEART OFfHE MUNICH •GALLERIES The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020497610 N 2317A61™*" ""'**""" ^'"'^'^ The art of the Munich galleries, being a 3 1924 020 497 610 Zhc art of the Munich (Ballettes ^ Hrt (Ballcries of jeurope Cl^^ Eac& one volume^ large z2tno, cloth decorative ^VJ printed on a special /eatker-weight Paper, pro- ^^:\) fusely illustrated witk /%ll-Page plates in duo^ j^^O gravure. J2.00 net S5 tTbc art of tbe IDatfcan yp BY MARY KNIGHT POTTER fN; trbe art ot tbe ©tttf palace ^^V BY JULIA DE W. ADDISON SS Q^be art of tbe Xouvre BY MARY KNIGHT POTTER ©be art of tbe Wenice acaaems BY MARY KNIGHT POTTER Cbe art of tbe IRatfonal ©allers BY JULIA DE W. ADDISON Ube art of tbe Dresaen ©allcrw BY JULIA DE W. ADDISON XTbe art of tbe iPraOo BY CHARLES S. RICKETTS trbe art of tbe metberlanO Galleries BY DAVID C. PREYER Cbe art of tbe JBelgfan (Balleries BY ESTHER SINGLETON Ube art of tbe /Iftunicb (3aUeries BY FLORENCE JEAN ANSELL AND FRANK ROY FRAPRIE g!g L. C. PAGE & COMPANY JV7 Publishers, Boston, Mass. _■-. ^- " ^"'^' ■ i '" ' '^ *^'^ci*^^ iH^ iMIn >' ^^^^^^1^^-^ * ■K "^U i# ^^^ B |V^ .Ji ^jSm ^fc. ^^^^^ mm ij knf ^^ -"^^■^^■fc. .>* ':hi?^'' ^1 K^ • - '^W i^y RUBENS. — WIFE AND CHILD. (Ste fage 134..) I)e ^rt of ^ ^ tfje iWuntel) ^ Being a History of the Progress of the Art of Painting Illuminated and Demonstrated by Critical Descriptions of the Great Paint- ings in the Old Pinakothek, the New Pina- kothek and the Schack Gallery in Munich By Florence Jean Ansell and Frank Roy Fraprie, S. M., F. R. P. S. Author of " Castles and Keeps of Scotland," " Among Bavarian Inns," etc. Illustrated Boston L. C. Page & Company MDCCCCX Copyright, iQio, By L. C. Page & Company (incorporated ) All rights reserved •I. cl\ c4- First Impressibn, October, 1910 Electrotyted and Printed iy THE COLONIAL PRESS C. H. Simtnds &> Co., Boston, U.S.A. Eutbor'fii iForewotb Munich has long enjoyed a high reputation as a place of study and training for painters. Many masters of many lands owe thanks to the city for some of the knowledge which has brought them glory. This is due in great part to the excellent opportunities for study of the old masters afforded by the magnificent gallery, the old Pinakothek, which in some respects is unrivalled by any gallery of Europe. There exists in the world for example no such opportunity for the study of Rubens as in this gallery; nowhere will one find such a judiciously selected wealth of pictures covering so wide a range of schools and styles. But the Old Pinakothek is not all. The modern galleries contain superb col- lections, even though these are not to be compared in power with the older collection. The authors of the present volume do not lay claim to the preparation of a revolutionary treatise. The opinions expressed will be found to follow in the main accepted judgments, necessarily tempered by personal likes and preferences. We hope that we have produced a book which will enable the vi Hutbor's jforcwort* visitor to the galleries to employ his time to the best advantage, and enable the distant reader aided by the numerous illustrations to form some con- ception of the importance of the galleries. A word on the subject of the spelling of proper names, which offers peculiar difficulties, is perhaps in order. It is absolutely impossible to attain to any exact standard of consistency in this matter. The readiest and most useful method we believe is to adopt the forms likely to be most familiar to the English-speaking general reader, and this we have endeavoured to do, leaving absolute accuracy as a goal to be striven for in the works of archaeological specialists. In addition to many reference books on art, we must acknowledge our special indebtedness for the facts contained in the first chapter to Von Reber's history of the gallery, published in the official cata- logue, and to Grautoff's " Gemaldesammlungen Miinchens," on which, though with considerable ad- ditions, are based the chapters on the New Pinako- thek and the Schack Gallery. WlMAEJIFEN AM B£RG, AugUSt, I9IO. Contents CHAFTEB PAQE I. History of the Pinakothek Collection i II. Lower Rhenish and Old Dutch Schools . 33 III. The Dutch School -* 99 IV. The Flemish School 142 V. The Italian School 190 VI. The Spanish School 305 VII. The French School 328 VIII. The New Pinakothek ....... 348 IX. The Schack Gallery 413 Index ■ • 43^ Xlst of irilusttattons PAGE Rubens. — Wife and Child (See page 154) Frontispiece RiBERA. — Old Woman with a Hen .... 16 WiLHELM OF KoLN. — St. VerONICA WITH THE HAND- kerchief 33 Van der Weyden. — St. Luke Painting a Portrait OF the Virgin 53 Hans Memling. — St. John the Baptist ... 57 QUENTIN MaTSYS. — PlETA 62 , Michael Wolgemut. — Crucifixion .... 69 Albrecht DiJRER. — Portrait of Himself ... 72 Albrecht Durer. — Luke Paumgartner as St. George and Stephen Paumgartner as St. Eustace 77 Albrecht Durer. — St. John and St. Peter (De- tail). Albrecht Durer. — St. Paul and St. Mark (Detail) 80 Hans Holbein the Younger. — Portrait of Sir Brian Tuke 89 Rembrandt. — Descent from the Cross . . . 107 Gerard Dou. — The Spinner 115 Pieter de Hooch. — Interior of a Dutch Living Room 117 Adrian Brouwer. — A Party of Peasants at a Game of Cards 124 Meindert Hobbema. — Landscape . . • . • 133 ix X %i8t ot irilustrationd rAQE Rubens. — Battle of the Amazons .... 152 Rubens. — Helena Fourment 154 Rubens. — Wreath of Fruit. Rubens. — Lion Hunt 157 Van Dyck. — Burgomaster of Antwerp and His Wife . 171 Van Dyck. — Portrait of Himself. Van Dyck. — Portrait of Lady Mary Ruthven .172 David Teniers the Younger. — A Drinking Party 183 Franz Snyders. — Lioness Killing a Wild Boar 187 Fra Filippo Lippi. — Madonna . ... 205 Botticelli. — Lamentation over the Body of Christ 206 Ghirlandajo. — Madonna in Glory Being Wor- shipped BY Saints 208 Perugino. — Vision of St. Bernard .... 230 II Francia. — Madonna in a Rosehedge . . 233 Raphael. — Madonna of the Casa Tempi. Raphael. — Canigiani Holy Family 238 Titian. — Madonna and Child 259 Palma Vecchio. — Portrait of Himself . . 262 Tintoretto. — Portrait of a Sculptor . . . 267 Veronese. — Portrait of a Proud Venetian Lady 272 GuiDO Reni. — Assumption of the Virgin . . 283 TiEPOLO. — Worship of the Magi .... 303 Velasquez. — Portrait of Himself . . . -315 Murillo. — Dice Players. Murillo. — Melon Eaters 320 ZuRBARON. — St. Francis of Assisi .... 325 Antoine Pesne. — Young Girl in a Straw Hat . 345 %l3t Of irUttstrations xi PAGE Greuze. — Girl's Head 347 Feuerbach. — Medea 380 Franz Stuck. — Sin 385 Lenbach. — Portrait of Prince Bismarck . . 394 Segantini. — Plowing 403 Gabriel Max. — Katharine Emmerich . . . 406 Lenbach. — The Shepherd Boy 425 Feuerbach. — Idyll in Tivoli 428 BocKLiN. — Villa on the Sea. Bocklin. — Triton and Nereid 430 tCJjt iirt of fift CHAPTER I HISTORY OF THE PINAKOTHEK COLLECTIONl At the time that the brothers Van Eyck first raised painting on wood in Germany to the level of a fine art, a Bavarian prince was their first pa- tron. John of Bavaria, a grandson of the Emperor Ludwig, from his seventeenth year Bishop of Liit- tich, and later through the expulsion of his niece Jacoba, Count of Luxemburg, Brabant and Holland, had in 1422 taken Jan Van Eyck into his service, where he remained till the death of the count in 1424. That his title of a " valet de chambre " was no sinecure is evident from the fact that Jan left his home and his brother and settled at The Hague, where Count John held his court. As Jan Van Eyck's strength lay in portraiture, there is no doubt that the first Bavarian royal por- 2 Ube Htt of tbe /IDuntcb Galleries traits of an artistic character date from that period. But unfortunately among the many portraits by Van Eyck still preserved, not one can safely be ac- cepted as representing the prince whom he served; and it is to be deplored, that of the many widely distributed works of this great master none have reached Bavaria, as the art treasures of Ludwig's successors were all lost with their possessions in Brandenburg, Tirol and Holland. Regarded from the standpoint of artistic devel- opment in the Middle Ages, Bavaria proper was behindhand. Not only could Rhineland and Sax- ony, from the eleventh century on, boast an enthusi- astic cultivation of art, with correspondingly great results, but the neighbouring ecclesiastical princi- palities and imperial cities like Wiirzburg, Bam- berg, Regensburg, Augsburg, Ulm and Nuremberg, raised themselves to positions of relatively great brilliancy, while Bavarian cities, even the capitals, remained poor and destitute of art. Even in Mu- nich, the Emperor Ludwig the Bavarian lived in a castle conspicuously inartistic, and, until the re- building of the Frauenkirche (1468-88), not a sin- gle important example of architecture could be found. Similar was the situation of Ingolstadt, and only in Landshut was some advance to be seen, that city boasting not only of an important castle (Trausnitz), but also of the Church of St. Martin, Distort of tbe iptnaftotbel^ Collection 3 whose artistic worth greatly exceeded that of the Munich Frauenkirche. Belonging, as do all these churches of the hall type, to the very end of the Middle Ages, they are not even remotely to be com- pared with a jewel like the late Romanesque dome at Bamberg or the Gothic cathedral at Regensburgi Still more conspicuous was the late development of painting, where the only achievements worth mentioning were in glass painting, which found in Tegernsee its first industrial centre. Otherwise it was not till the beginning of the sixteenth century that Bavarian painting reached a position in any considerable degree superior to that of rude bar- barism, the Italian influence of Giotto having found its boundary at the water shed of the Alps, while that of the Netherlands and the Rhine reached its natural frontier at the rivers Lech and Danube. Not only Nuremberg, but also the nearer city of Augsburg, remained for a very long period without visible influence on the Bavarian capital, and Al- brecht IV seems to have neither coveted nor pos- sessed a single work by any of the painters of either of these cities. The facilities for travel and trans- portation of that day were so limited that the dis- tance between Nuremberg and Munich was com- paratively great, particularly as Munich was not touched by any of the great commercial roads lead- ing to Italy. As to the more adjacent Augsburg, 4 Zbc Htt ot tbe /iDuntcb eallettes her relations with the capital seem to have been somewhat strained. The earliest fostering of painting in the cities of Nuremberg, Augsburg and Regensburg is attrib- uted to Duke Wilhelm IV (died 1550), who gave employment to Altdorfer, Feselen, B. Beham, Burgkmair, Prew, A. Schopfer, L. Refinger and others. Proof of their employment by the Duke is furnished by the portraits of himself and his wife, Jacoba of Baden, painted in 1526, and also in the series of great historical pictures of classical sub- jects of which the " Alexander in Battle," by Alt- dorfer, " The Martyrdom of Marcus Curtius," by L. Refinger, " The Siege of Alesia by Caesar," by Feselen, " The Reception of Cloelia by Porsenna," by the same artist, " Esther," by Burgkmair, and the " Discovery of the True Cross," by B. Beham, have been brought together in the Pinakothek. The much defaced " Battle of Cannae " by Burgkmair has remained at Augsburg and the " Battle of Zama " by J. Prew, the Elder, must also have been taken there. Others, however, like " Mucius Scae- vola " by Abraham Schopfer, " Horatius Codes " and " Manlius Torquatus " by Refinger, were seized by the Swedes in the Thirty Years' War, and found their way into the National Museum at Stockholm (Nos. 294, 29s, 296). Two pictures of this series have in the past few years been recovered from ftistors of tbe iPinaftotbcft Collectton s Swedish private owners, viz., " The History of Susannah " by Feselen ( ?) now in the gallery at Burghausen, and the " Lucretia " by Prew, now in Erlangen. Besides these, a " Love Scene " by Cranach and a " Judgment of Paris " by Hans Schopfer, the Elder (Nos. 258 and 297 of the Swe- dish National Museum), were obtained from the art collection of the Duke of Bavaria. It was under Albrecht V (1550-79), the mag- nificent pioneer of the line of princely Bavarian art patrons, that anything like a real collection began its existence, but the " collector's fever " of this prince was intense, and was directed with prodigal- ity and taste to the acquisition of objects of value, magnificent furniture, etc., so that since then the Bavarian treasure chamber, which owes to him the most precious of its treasures, is one of the most valuable in the world. He was less fortunate in his collection of antiques, his principal object being to get together a series of portraits. He was un- fortunate in his advisers, and oftener than not was the victim of the duplicity or the ignorance of his Italian agents. Furthermore, his object seems to have been far more the hoarding of curiosities, such as crowded the so-called " art chambers " of the princely courts, than the accumulation of pictures, which latter, even when chosen, were selected far more because of their subjects, than for the sake 6 tCbe art ot tbe /Cunicb Galleries of art or artist. Portraits play the chief role, em- peror, prince or philosopher, famous men, half- mythical heroes, aye, even noted criminals. The descriptions of the period dwell insistently upon works which belong rather to the field of curiosi- ties, for instance, a " Salvator Mundi " " with a little string, by means of which the eyes of the pic- ture could be made to move." Otherwise, the in- ventories are ignorant and scanty to a point of actual uselessness. Consequently one finds among the nearly seven hundred works mentioned in the Fickler Inventory of 1 598, besides the already men- tioned historical painting of William IV, only a few dozen pictures, and among these only three appear to be of especial importance, viz., the life- size " Lucretia " by Diirer, the " Portrait of the Chancellor Bryan Tuke " by Holbein, and the " Su- sannah " by Altdorfer. In the five volumes relating to the acquisition of the art treasures of Albrecht V in the local archives, the purchase of pictures is mentioned only inciden- tally, without the names of the artists, or in con- nection with names obviously incorrect. Titian is to be sure, mentioned frequently, but only in con- nection with the purchase of jewels and antiques, while of works of his brush we learn nothing re- liable. Wilhelm V (1579- 1597) was not in a position 'bistort of tbe pinaftotbefi Collection 7 to indulge such a passion for collecting as that dis- played by his predecessor. It is true that annually from 1580 four hundred gulden were appropriated for the purchase of pictures ; but when we consider that with a ducal income of only 112,000 gulden, the church of St. Michael and the Jesuit convent, even after their consecration, devoured during the years 1590-97 the sum of 263,000 gulden; that at the same time the Maxburg in Munich and the old Castle at Schleissheim were being built; that fur- thermore the pious Duke was endowing churches in all directions and was a generous fosterer of church music (Orlando di Lasso), one can easily appre- ciate that painting, so far as the practical assistance of the Duke was concerned, was necessarily limited to the decoration of church buildings and the illu- mination of liturgical books. He was still further handicapped by the pronounced action of the higher social classes of the country, who immediately on the accession of Wilhelm, announced their deter- mination to no longer comply with the demands which the resolute Duke Albrecht had known how to enforce. They insisted upon putting an end to "the ruinous purchase of curious and worthless objects " and insisted that the collection of Al- brecht V should be sold; in fact Wilhelm V in 1583 declared that further purchases would be discon- tinued. 8 ube Hct of tbe /iDunicb Oalleties The pious wish with reference to the sale of the collection remained, fortunately, ungratified. The cultivated and energetic son of Wilhelm, Maxi- milian, later the first Elector of Bavaria, seemed much more inclined to follow in the princely foot- steps of Albrecht V, than in those of his father, and although the restoration of his palace, almost to- tally destroyed by fire in 1580, absorbed his means, the treasure chamber and the antique coin collec- tion remained his favourite relaxation. Tlie cele- brated cabinet of carved ivory used as a case for the gold coins, and now preserved in the National Mu- seum, was an order given by Max to Christian Angermair of Weilheim. The first of his line who in painting valued art for art's sake, he acquired for little money, but by means of many letters and acts of grace, his favour- ite works, viz. Diirer's masterpieces. These in- cluded in 1613 the " Paumgartner Altarpiece " from St. Catherine's church at Nuremberg and in 1614 the " Heller Altarpiece " from the Dominican church in Frankfort (burned with the palace in 1729). Then in 1627, despite the calamities of war, he acquired the " Four Apostles " from the Rathaus in Nuremberg, and the first half of the Emperor Maximilian's prayer book. He also secured Hans Holbein's " Spring of Life," which in 1632 was taken by the Swedes and Distort of tbe iPinaftotbeft Collection 9 via England carried to Portugal. In intelligent appreciation of the decline of German art, which after Hans Mielich (died 1573), Christopher Schwartz (died 1597), and Adam Elsheimer (died 1620) had wholly sacrificed its independence in characterless imitation of Italian art, especially that of Tintoretto, and on the other hand, in anticipa- tion of the brilliant development of the art of the Netherlands, Max surrounded himself with artists from that country, whose work was to be the dec- oration of his castles. Among these Peter de Witte became a sort of intendant. Apparently too, he favoured the German artists who had been edu- cated under Netherland influence, for example Nicholas Prugger, the court painter, to whom he gave employment for a long time. The building of Heidelberg Castle possibly gave access to Northern artists and induced a leaning towards Northern art in contradiction to the Ital- ian inclinations of the Imperial and ecclesiastical courts of South Germany, opening to the Nether- lands the way to precedence in painting. At firsts of course, the war rendered any great advance in this direction impossible; but we learn, through a letter from Rubens to Sir Dudley Carleton (16 18), that he had delivered the great "Lion Hunt " to the Duke of Bavaria, which painting was the nucleus of the Rubens collection in Munich. lo Ubc Hrt of tbe /iDuntcb Galleries Later the gallery was robbed far more than en- riched, especially during the second half of the war, so calamitous for Bavaria, when it was scarcely possible even to think of art. Maximilian's successor, Ferdinand Maria (1651- 79), turned, but temporarily, in other directions. He married Henrietta Adelaide of Savoy, and through this connection found himself surrounded by Italian architecture, sculpture, painting and music. In addition he felt so keenly the influence of the time that his acquisitions were almost wholly in the temporarily highly valued field of the Eclec- tics, and therewith fell to the low level of the de- cadent style of the day. Furthermore Ferdinand Maria was far more interested in the decoration of his castles in Munich and Nymphenburg, and the Theatinerkirche, than in the actual collecting of pictures. It remained for his son and successor Max Em- manuel (1679- 1 726) to make the collection of paintings one of the greatest in Europe. His long connection with the courts of Spain, France, Ger- many, and Italy afforded him rich opportunities, and, unaccustomed to place any restraint upon his own inclinations, he always found either the means or the credit to purchase what he desired. In con- sequence, in the first few years of his reign, he had acquired such additions to the collection that he IbistorB ot tbe ipinaftotbeft Collection n considered it necessary to add to Castle Schleiss- heim a special wing for a gallery, for which the architect E. Zuccali was called from Italy in 1684, and devoted himself to the work until the occupa- tion of Bavaria by the Austrians. As Governor of the Netherlands, Max Emman- uel found increased inspiration as a collector, and in a single transaction in 1698 with Gisbert van Cuelen at Antwerp he spent 90,000 Brabantine gulden for one hundred and five selected canvases. Among these were twelve Rubens, of which the life-sized portrait of Helena Fourment, with the naked child on her knees, two other portraits of her, two landscapes, the " Walk in the Garden," and "Peace and War" are still in the gallery; while " Mars and Venus " and " Lot and His Daughters " were presented by the Emperor to the Duke of Marlborough during the Austrian occu- pation. The " Adoration of the Three Kings " was taken to France in 1800 and is now at Lyons, and the " Diana with the Beasts " by Snyders was taken as part of the dowry of the Grand Duchess Mathilde, to Darmstadt. Of the same origin as the foregoing were the fifteen Van Dycks, of which even now the portraits of the organist Liberti, the painter de Wael and his wife, the sculptor Col3nis de Nole and his wife, the Duke of Croy and his consort, and the " Crucifixion " are ornaments of 12 ube art of tbe /iDuntcb ©alleries the Pinakothek, while " Charles I on Horseback " through the presentation already mentioned passed to the Duke of Marlborough, and from his collec- tion in 1885 to the National Gallery at London. Six others have disappeared entirely. Snyders' " Lion and Wild Boar," two large hunting scenes by Peter de Vos, with two by Fyt and two by Boel were in the collection. There were eight paintings by Brouwer, of which the most important was given by Max Joseph III in exchange to Herr von Triva, who also secured four Claudes at the same time. Besides these there were the two large de Heems, as well as the " Still Life " by Verendael and de Heem, three flower studies and seven others by Brueghel, a landscape by Paul Bril (circular), five by Wouverman, a Gerard Dou, two large flower studies by Monnoyer, and finally the celebrated " Dice Players " by Murillo. Besides this immense acquisition, the last pay- ment for which was not made until 1774, Max Emmanuel, inspired by the frequent opportunities incidental to the War of the Spanish Succession, left unused no opportunity to obtain treasures even beyond the bounds of his revenues. As Carl Albert (1726-45) and Max Joseph III (1745-77) did lit- tle or nothing to enrich the gallery, one is safe in accepting the collection, as described in the Schleiss- heimer inventory of 1761 as being in the main that DtstotB of tbe tt>inaftotbeft Collection 13 of the time of Max Emmanuel. That inventory refers to 1,016 paintings, and it is possible that an equally large number could have been counted in the castles of Munich, Nymphenburg, and Dachau. We find, however, in Schleissheim comparatively few important Italian works, among them " Charles V " and " Vanity " by Titian (the latter formerly attributed to Giorgione), the double por- trait by Bordone, " Jupiter and Antiope " by Paul Veronese (formerly called a Titian), and " St. Peter " by Ribera. To the previous Rubens are added the " Massacre of the Innocents," " Meleager and Atalanta," " Helena Fourrrtent " (full length), " Peter and Paul," and to be added to the Van Dycks already mentioned are the portraits of the etcher Malery, '• Mary Ruthven," " Spinola," " Mirabella," the beautiful sketch of the " Battle of Martin d'Eglise " and the magnificent picture, " Rest During the Flight into Egypt." Besides eleven Brouwers, there were seventeen Teniers, a couple of dozen by Jan Brueghel, and half a hun- dred more striking Dutch pictures. Of Murillos we find in 1788 three in Munich (a spurious copy of the " Card Players " not included). Many of these are doubtless jewels from the Spanish crown, which fell to the share of the Elector, before the death of the Crown Prince ended Max Emmanuel's can- didature for the Spanish throne. 14 Ube Hrt of tbe /IDunfcb aallerfes In 1777 Max III died, and with his death ended the Bavarian line of the Wittelsbachs. According to the family statutes the principal heir to the Pa- latinate, Karl Theodor, became also ruler of tlie Bavarian provinces, which combination opened up the possibility of unusual growth through the addi- tion of the art treasures of the Palatinate to those of Bavaria. But Karl Theodor was prejudiced against Mvmich as a home, and was always hoping to re-establish his capital in the Palatinate, so he left his gallery at Dtisseldorf, and contented him- self with erecting for the Bavarian collections a building in Munich, where access was easy even for amateurs and students. This gallery is on the north side of the palace garden, is architecturally unimportant, and is now used for housing the Eth- nographic Museum and a collection of casts. An attractive picture of this gallery, in which were housed pictures got together in Munich and Schleiss- heim, is given by Rittenhaus in his " Merkwiirdig- keiten Mtinchens " (1788). Karl Theodor, how- ever, did not neglect to enrich the gallery by pur- chases, principally Dutch cabinet pictures, among them some striking productions, as the " Dutch Interior with a Woman Reading " by de Hooch, but it was only at the close of his life that he deter- mined to move his Mannheim collection to Munich. This collection was established by the Elector Distori? of tbe pinaftotbeft Collection is Karl Philipp, the last descendant of the line of Pfalz-Neuburg, who cared neither to restore Hei- delberg, nor to remove the remote capital of his ancestors to Diisseldorf, and it was further enriched by Karl Theodor. The principal dealer in these transactions seems to have been Nicholas de Pi- gage, who in 1783 made a demand for 65,000 livres, and was later granted an annuity of 5,500 livres payable in Mannheim from the Alsatian revenues. The collection of 758 pictures was mostly Dutch. To it belong the two great Rembrandts, " The Holy Family" and "The Sacrifice of Isaac" (formerly attributed to Bol), also the "Man and Wife " by Ferdinand Bol, four Brouwers, includ- ing the " Village Barber," several Adrian and Isaac Ostades, and many by Dou and Mieris. Particu- larly valuable are Terborch's " Boy with Dog," J. Steen's " The Brawl," " Admiral van Tromp," by Nicholas Eliasz and du Jardin's " Sick Goat." There are also several canvases by the German master Elsheimer, compared with whom the once highly honoured Netscher and Denner scarcely de- serve mention. The Flemish schools are very sparsely represented; still the collection furnishes the works of Rubens, " The Shepherd Idyll," " The Sabine Women," and the alleged portrait of the master's mother. This collection contained also by Van Dyck that little jewel, the " Portrait of i6 ttbe Hct of tbe /iDunfcb ©alleries Snayers," and the large " St. Sebastian." By- Brueghel and Balen there were no less than twenty- two cabinet pictures, among them the " Flora," for whose beauty Rubens is partly responsible. Among the few Italian pictures in the collection, were those of the school of Naples, represented in no mean way by the " Martyrdom of St. Andrew," "The Death of Seneca," and the "Woman with the Hen " by Ribera, and others by Carlo Dolce, and his school. The " Pastry Eaters " by Murillo was also included. When after Karl Theodor's death in 1799 the Pfalz-Zweibriicken line succeeded in the person of Max Joseph, a third Palatine collection from Zwei- briicken was added to the general Wittelsbach pos- sessions. This collection, originally of two thou- sand or more pieces, had, during the Revolution, survived so many dangers, that its very existence seemed a wonder. On the approach of the Sans- culottes in 1793 it was rescued at the last moment, just before Castle Carlsberg in Homburg, where it had been stored, was destroyed by fire along with the costly cabinet of natural curiosities which had been left there. The collection was next located in Mannheim, still in a very doubtful position as to safety. For not only was the protection prom- ised in a special article of the treaty with the French in 1795, insufficient, but it was again placed RIBERA. OLD WOMAN WITH A HEN. Distort ot tbe iPinaftotbeft Collectton 17 in great danger during the siege of the city by the Austrians, when it was removed to subterranean vaults. A still greater danger threatening the col- lection was also outlived, viz., the scheme planned by Rumford for its sale, the motive for which was the depressed condition of Max Joseph's finances. This fortunately did not proceed beyond the trans- fer of the medal and jewel collections, before Karl Theodor died and the ducal family of Zweibriicken succeeded to the Bavarian electorate. The conveyance of the Zweibriicken collection to Munich in 1799, from its dangerous position at Mannheim, was rendered possible only by the pru- dence of Mannlich, and his readiness to make sac- rifices ; but even then its dangers were by no means passed, for the safety of the Bavarian capital was anything but secured. Scarcely were the pictures distributed among Munich, Schleissheim and Njmi- phenburg, when once again a number of the best works were withdrawn, and from early in 1800 to October, 1801, concealed in Ansbach. In the spring of 1800 when General Moreau occupied Munich, not only did General LeCourbe seize for his private ownership a number of paintings from the royal castle, but the French Commissioner of Science and Art in Germany, Citizen Neveu, se- lected in Munich and Schleissheim seventy-two can- vases as booty. There was a promise given of rec- i8 Zbc art of tbc /iDunicb (Balleries ompense after the establishment of peace, but the only guarantee for this was the character and sense of justice of the First Consul. At all events the promise to replace the pictures stolen from the German galleries by works of French masters, was not considered seriously until the general reclama- tion of 1814, which act so far as the Bavarian paintings were concerned, was performed by Franz Thursch and G. Dillis. The latter on October 15, 1815, gave a receipt for twenty-eight canvases from the Louvre, which had been taken frorri Munich and Schleissheim, but at the same time advised his court to renounce all claims to the other two-thirds, which had been placed in either the provincial mu- seums or the various churches of France, as the expense and labour of recovering them, would ex- ceed the importance of their possession. Although on the whole Dillis was correct in his estimate, as among the twenty-eight pictures re- covered there were only three really important ones, Titian's " Crowning with Thorns," Rubens' " Me- leager," and the " Combat between Alexander and Darius " by Altdorfer, it is nevertheless true that by the renunciation of the others, several very val- uable works were lost, for example Rubens' " Ado- ration of the Three Kings," one of the earliest works of the master, now in Lyons. The increase of the Bavarian paintings by the IbistorB ot tbe iPinaftotbeft Collection 19 collection from Zweibriicken had gradually been reduced to 964. The peculiar impress given by the preponderance of French over German artists is explained by the locality of Zweibriicken. Among the French pictures specially worthy of mention are the two great Claudes, " Sunrise " and " Midday," the " Cook paring Turnips," by Chardin, and the " Girl's Head " by Greuze, besides others by Pous- sin, Le Brun, Le Moine, Le Prince, Subleyras, Desportes and others. Among the Flemish masters Rubens is not to be found, but eight Teniers are mentioned. The majority of better canvases are from Holland, by the two Ruysdaels, Ostade, Wouverman, Berchem, Both, and the two de Heems. Besides these we must not forget the " Dutch Cook " by Metzu, and the two large Wy- nants and the great Hondekoeter, now in Schleiss- heim. These collections had scarcely been placed in the galleries in Munich and Schleissheim and the cas- tles of Munich and Njnnphenburg, when in 1803 large additions were made, occasioned by the secu- larization of the ecclesiastical estates in Bavaria and the Tyrol. Unfortunately, in addition to the fact that a great deal was squandered, the transfer was in the hands of inartistic commissioners, be- sides which the gallery officials, although doubtless keen critics of Dutch and late Italian works, knew 30 Ube Hrt ot tbe /iDuntcb Gallerfes nothing of the art of the fifteenth and sixteenth centuries. The works attributed to Dtirer, Holbein, and Cranach were absolutely ludicrous; besides these the names of Scorel and Israel van Meckenen were apparently the only ones at their command and were applied indiscriminately. Everything else was simply old Franconian, and as to distinction between the different schools, Van Eyck, Cologne, Suabian and Franconian, there was not a sign. When one considers the state of learning at that time one can scarcely reproach these functionaries, still it does seem unpardonable as well as irrepara- ble, that in that critical moment all reliable book- keeping, with reference to the places of acquisition, was neglected, thereby sacrificing a mass of impor- tant artistic data. The fact that a large number of altarpieces were torn from their places and piled in masses unstretched, to be later either buried or sold at absurd prices, is the least of their crimes, although by that means a great number of churches were uselessly defaced. The result of the secularization was particularly to release pictures of the Old German schools, among the monasteries contributing being those of Kempten, Ottobeuren, Benedictbeuren, Tegernsee, Kaisheim, Ulm and Wettenhausen. Nor were there wanting works of a later period, as the great " Crucifixion " by Tintoretto, taken from the ttistots of tbe ^inaliotbeft Collection 21 church of St. Augustine in Munich; Rubens' " Trin- ity " from the same church, and his " Woman of the Apocalypse" from Freising Cathedral; the " Adoration of the Magi " by Tiepolo from the cloister of Schwarzach. The galleries of the bish- ops of Wiirzburg and Bamberg, which had fallen, like the others, under the act of secularization, con- tained works of no less importance. In 1803 and 1804 the castles of Dachau, Neuburg and Haag were rifled, and although a few valuable pictures came to light, Munich did not gain much by the transfer. At the same time or a little later came the annexations of the free imperial cities, the mar- gravates and foundations of Franconia, and al- though the pictures here were of more importance, none of these places has much to complain of. The galleries of Bamberg, Augsburg and Nuremberg have received since far more than was then taken from them, and the gallery of Ansbach remains practically intact in the castle there, as is also the case with the castle of the former Elector of Ma- yence at Aschaffenburg, where there is a collection of the greatest value. All the other acquisitions from the whole king- dom taken together, stand in value far behind that of one single one, the gallery of Dusseldorf. In the last days of his electorate, while still Duke of Berg, Max Joseph ordered the removal of this col- 22 Zbc Hrt ot tbe /iDuntcb Galleries lection to Munich (Dec. 31, 1805). It is well- known that through the marriage of the Elector Palatine Philipp Ludwig of Neuburg-Sulzbach with Anna, heiress of Wilhelm, Duke of Julich and Berg, Diisseldorf came into the possession of the Palatinate. The son of the above couple, Wolfgang Wilhelm, married in 1613 the daughter of Duke Wilhelm V of Bavaria, and in the same year was converted to Catholicism, much to the distress of his father. This marriage, by reason of the owner- ship of the dukedom of Jiilich and Berg (so near the Netherlands), opened the way to the establish- ment of a connection with Rubens, and later with Van Dyck. From the former in 1618, he pur- chased for 3,500 gulden the large " Last Judgment " and in 1620 four other altarpieces, principally for the new Jesuit church in Neuburg. These works are now in the Rubens Room in the Pinakothek. Later he found opportunity for personal negotiation with Van Dyck, who sold him, besides other works, the superb picture of " Wolfgang Wilhelm with a Dog," now in the Van Dyck Room. The corre- spondence with Rubens, relative to these transac- tions, is still preserved. It does not appear that Wolfgang Wilhelm was interested in his galleries when making these purchases, nor does his son and successor Philipp Wilhelm (165 3- 1690) appear to have been more interested. When this latter sue- Dfstocs of tbe iPinaRotbcft Collection 23 ceeded the Elector Carl in 1685 he apparently did not take anything from the gallery of Heidelberg, numbering 272 pictures ; at least not one Bavarian picture can be certainly identified in the Heidelberg inventory of 1685, still preserved. Wolfgang Wilhelm's love of art was inherited in a most unusual and self-sacrificing degree by his grandson Johann Wilhelm (1690-17 16), who re- sided permanently in Diisseldorf, and this is a cause for rejoicing, as despite the fact that the periwig style was at his strongest during his time, his taste not only remained unspoiled, but was combined with the finest appreciation for things of real and permanent worth. Consequently there was no dan- ger to the collection itself in the fact that the prince surrounded himself with court painters from the Netherlands and Italy, such as Van Douven,Van der Werff, Weenix, Ruysch, Zanetti, etc., particularly as the Italians were principally occupied in decorating the castle of Bensberg. More important were the already existing acquisitions of Wolfgang Wilhelm, of which several were removed to Diisseldorf from the churches of Neuburg, an act entirely wanting in respect for the original purpose of the paintings, and accomplished not without opposition on the part of the Vatican. But most important of all, so far as art was concerned, was the marriage of the Elector with the Princess Maria Louisa de 24 Zbc art of tbc /iDunicb Oalledea Medici, who, besides a number of Italian master- pieces, brought to Diisseldorf a considerable dowry, and thereby reinforced the scanty means of her husband. There has been no other collection so limited numerically as that of Diisseldorf (only 358 can- vases) whose composition has been so choice and significant. In Germany certainly, there is no par- allel. While there is hardly a picture which can be ascribed with any certainty to the Heidelberg cabinet belonging to the Elector Carl, in the Diis- seldorf Gallery there is hardly one about which there is any doubt, aside from the purely decorative pieces. The Rubens Room contains from it no fewer than forty canvases, all masterpieces, besides the Rubens collection already mentioned, which causes it to be recognized as the most important in the world. Of the twenty-nine greater Van Dycks which the Van Dyck Room of the Pinakothek at present contains, seventeen are from Diisseldorf, as are three of the most beautiful Snyders, two pro- fane pictures by Jordaens, the great Caspar de Crayer and the two Douffets. Add the celebrated Rembrandt series, consisting of six Biblical sub- jects, the great Dou, the " Bean Feast " by Metzu, and many first-class cabinet pictures by Dutch and Flemish painters. Of the Italian school, besides masterpieces by Caracci, Domenichino and Reni, Dtstocs ot tbe ipinahotbeft Collection 25 are the " Portrait of Vesalius " by Tintoretto, the two Madonnas with Saints and Donors, by Palma Vecchio and Titian, and, notable even among all these treasures, the " Holy Family " by Andrea del Sarto, and the " Madonna of the House of Cani- giani " by Raphael. The founder of the gallery was deprived by his death (which followed immediately upon its com- pletion) of any pleasure in its possession, and his successor, Karl Philipp, took little interest in this magnificent creation, though while residing in Mannheim he made a collection for himself. His heir, Karl Theodor of Sulzbach, was also opposed to the great works suitable for a gallery, as com- pared with the cabinet pictures he so enjoyed. Dur- ing the Seven Years' War, when Diisseldorf was besieged and bombarded by General Wangenheim in 1758, the gallery was removed to Mannheim, but six years later, giving as excuse the want of room (although Mannheim Castle is tolerably large) Karl Theodor sent the collection back to Diisseldorf. How he settled the aflfair with France is not clear. Mannlich in his manuscript memoirs states that Denon on the occasion of Napoleon's second so- journ in Munich declared that in accordance with an old treaty of peace made by Karl Theodor with France a right to select forty pictures from the Diisseldorf Gallery existed. King Maximilian Jo- 26 Zbe Hrt of tbe /iDunicb Galleries seph had also tried to induce the Emperor to annul such a treaty if one existed. On the other hand, Max Joseph, immediately after the death of Karl Theodor, was at the point of getting rid of the valuable treasure. On the 17th of December, 1799, he wrote to Finance Min- ister von Utzschneider that owing to the exhaus- tion of his finances through calamities of war, he had resolved at the time of Bernadotte's advance on Gliickstadt in 1794 either to pawn or to sell the fugitive Diisseldorf Gallery. Von Utzschneider was ordered to conduct the business through his London correspondents, but luckily without any result. Shortly before the cession of the duchy of Berg to France in exchange for the margravate of Ansbach (1805) the gallery was removed from Gliickstadt for a third time, and placed for safety in Kirch- heimbolander. This was at that time French terri- tory and the collection was removed on Jan. 19, 1806, in twelve well filled four and six horse wag- ons, arriving safely on the 7th of February at the palace in Munich. On account of the unprecedented influx of works of art into the Bavarian capital between 1802 and 1806, it is a cause for wonder that state and court let no opportunity pass for obtaining further ac- quisitions. Leprieur, Lucchesi and Artaria were the most active dealers. Especially gratifying are ftistors of tbe ptnaftotbeft Collection 27 some chance acquisitions, like the marvellous can- vas of Paul Potter, which in 1803 was exchanged for the Ribera " Mater Dolorosa " (now in the gallery at Cassel) or the " Portrait of Himself " by Diirer, which in 1805 was obtained from Coun- sellor von Pez for 600 florins ; a noteworthy com- plement to the purchase thirteen years earlier of the picture of the " Capuchin Monk " by Raphael Mengs for 4,000 gulden, not a thousandth part of its present value. Also the " Sebastian Altar " by Holbein, and fifteen other pictures from the College of St. Salvator in Augsburg, were obtained in 1809 for 2,710 gulden, and the Crown Prince in 1810 paid 340 ducats for the portraits of Wolgemut and Hans Diirer by the latter's brother Albrecht. From this time, too, dates the beginning of the acquisition of the fourteenth and fifteenth century Italian paintings, principally at the suggestion of the Crown Prince, although his interest in the col- lecting of antique objects always predominated. He acquired the Altoviti Raphael, upon which alone 49,000 lire was expended. In 18 15 at the conclu- sion of peace in Paris, Dillis purchased pictures to the amount of 215,000 francs. When one takes into consideration that from General Sebastiani, Murillo's " St. Thomas healing a Lame Man " and Titian's great " Madonna " were acquired for 20,000 and 40,000 francs respectively, and from 28 zbc Htt of tbe /D>unfcb 6alletfes the collection of the Empress Josephine at Mal- maison the " Madonna in the Rosehedge " by Fran- cia, and the " Santa Conversazione " by Cima da Conegliano, were purchased for the ridiculously low prices of 15,000 and 8,000 francs, four pictures which alone are worth far more than was paid for the whole fifteen, we cannot complain if a few, like the " Madonna " of Guercino, which cost 10,000 francs, and the " Venus Landscape " by Albani, for which 24,000 francs was given, were bought too dear. If in these acquisitions some poor pictures had crept in, in those of King Ludwig I a definite aim was always in view. His art intuition knew well the three groups which had been neglected in the Bavarian galleries, namely the fourteenth and fif- teenth century Italians, the Dutch and the German school. It is not our purpose here to enumerate or to criticize the acquisitions of King Ludwig. We can only be astonished at the wealth of intuition and knowledge, of perseverance and sacrifice which we find here and which succeeded in enriching Munich with the best that was still to be had. We can mention only the marvellous works of Filippo and Filippino Lippi, of Botticelli, Ghirlandajo and Pe- rugino and especially the two Raphaels, the Ma- donnas "di Tempi" and " della Tenda." The amount paid for them was a very large sum, but Distorg of tbe ptnaftotbeft Collection 29 nothing like their value. He also acquired the two old Dutch and old German collections of the Broth- ers Boisseree and the Prince Wallerstein, the first costing 240,000, the other 54,000 florins. All these new acquisitions were paid for out of the King's private purse, and given under a deed of trust with- out restrictions for the general enjoyment. Even before the addition of the Dusseldorf Gal- lery, the increase of the collections from Mannheim, Zweibriicken, and the Bavarian castles, and also from the secularization of the monasteries, had made it evident that the space afforded by the Hof- garten gallery, the galleries at Schleissheim, Nymphenbucg and the rooms available in the palace were not sufficient for the pictures to be housed, and so, in 1803 Director von Mannlich was commis- sioned to draw a plan for a new building. The un- quiet political state, luckily, hindered the execution of the project, and after the Peace of Paris restored quiet, the matter was once more brought under ad- visement, and it was thought wiser to build such an enlarged building as would house all the collections. In 1822 Klenze was engaged in the matter, and the Zweibriickengarten in Brienner Street bought as a building site. It was in May, 1823, that the Art Committee of the Academy decided that the first plan was unsatisfactory, and early in October of the same year, a second plan utilizing the space west 30 Ube Hrt of tbe /IDunicb (3alleried of the barracks in Tiirken Street was approved by the Academy and the king. King Maximilian did not live to see the laying of the foundation stone, the building being started in the first decade of the reign of King Ludwig I. There were yet troubles to be overcome on account of the then remote posi- tion of the building; the proposed expenditure of 35,000 gulden for silk carjpets for the rooms also found lively opposition among the painters. In 1836 the building was begun. But now another cloud appeared on the horizon, namely the claim which Diisseldorf and the duke- dom of Berg, and through these the Prussian gov- ernment, made for the Diisseldorf Gallery. The noisily expressed protests on the part of many of the Diisseldorfers when King Max removed the gallery had caused him to remark that they might as well dispute his claim to the Bavarian throne, and so the matter rested until Berg became Prus- sian. Journalistic discussion was lively from 18 18 on, but the Prussian government took no action until 1837, when a Rhenish deputation pressed the matter earnestly. Bavaria answered Prussia so firmly and logically that the matter was dropped for thirty years. In 1866 the matter was opened again and articles appeared in the Rhenish journals relative to the reclamation of the Dusseldorf pic- tures. In the treaty of Berlin, Aug. 22, 1866, it Ibistori? of tbe ipfnaftotbeft Collection 31 was provided that the claim to the Dusseldorf Gal- lery should be settled by arbitration and the matter brought to a decision. The matter had not even got to the stage of appointing the tribunal, when it was finally settled by the treaty of alliance between Bavaria and Prussia, Nov. 23rd, 1870, one of the articles of which declared that any claim to the Dusseldorf Gallery should be definitely and for ever renounced by Prussia. Independent of this treaty, careful research has shown that the pictures were always the personal property of the electors, bought and cared for with their own revenues, and passed from one to another by will or treaty. They were removed from Dusseldorf before it was trans- ferred to Prussia, and so Bavaria's moral as well as legal right to the pictures appears indisputable. Before entering the gallery proper our attention is called to portraits of those rulers and collectors who made the gallery possible. (i) Elector Maximilian I of Bavaria (1597- 1651), donor of the picture gallery which he built in his Munich palace. (2) Elector Maximilian Emanuel of Bavaria (1679-1726), donor of the picture gallery of Schleissheim. (3) Elector Johann Wilhelm of the Palatinate (1690-1716), donor of the Dusseldorf Gallery, which came to him through marriage. 32 Ube art of tbe /©unfcb ©alleries (4) Elector Karl Theodor of the Palatinate and Bavaria (i;?77-i799), founder of the Gallery of Mannheim. (5) Maximilian Joseph, Elector 1799, who as Maximilian I, King of Bavaria (1806-1825), united the Palatine and the Bavarian collections. (6) Ludwig I, King of Bavaria (1825-1868), who on the 7th of April, 1826, laid the comer- stone of the Pinakothek and enriched it especially by the acquisitions of the Boisseree and the Waller- stein collections. WILHELM OF KOLN. ST. VERONICA WITH THE HANDKERCHIEF. CHAPTER II LOWER RHENISH AND OLD DUTCH SCHOOLS School of Cologne and the Lower Rhenish Masters The oldest picture in the gallery is the famous " St. Veronica with the Handkerchief," bearing the impress of the features of Christ ( i ), from the brush of Wilhelm of Herle, commonly called Meister Wil- helm of Koln, who according to the Luneburg Chronicle " was a famous painter in Cologne and who painted a man as though he lived." He was born in the small village of Herle, near Cologne, and from 1358 to 1372 he lived and painted in the latter city; he died about 1378. In the " St. Veronica " the colour has suffered through retouching and has not the purity of its original splendour, which this picture has in com- mon with all good examples of the period. But the colouring is not only piquant in the merry groups of cherubs at the right and left, but dig- nified in the shimmering red in the dress of the Saint. The transparent blackish-brown of the face 33 34 ^be art of tbe flDunicb Galleries pf Christ is perfectly amazing, reminding one, as it does, of the finest goldsmith's art of the Middle Ages. The other painting by Meister Wilhelm in our collection is a charming one of the " Virgin " (2), seated on a throne, holding a rose in her right hand, and supporting the Child Jesus, who is playing on a zither, which an angel holds for him on her knee with the left hand. Near the throne stand Saints Catherine and Barbara, while Saints Agnes and Appolonia are seated on the ground in front. Blue- winged angels playing various musical instruments float around the Christ Child and two of them hold a crown over the head of Mary. The picture is beautifully conceived and carried out with great mastery. This so-called Meister Wilhelm must not be placed, as is usually done, in the period in which good painting had not begun to exist. One should rather say that he and his contemporaries in Ger- many, France and the Netherlands brought the painting of the Middle Ages to an extremely high standpoint. He typifies the Golden Age of a style which strove to make apparent the inward repre- sentation of the feelings and ideas of the times, rather than the outward symbol. As can be seen by a study of the " St. Veronica," the Lower Rhenish school bore at the end of the Xowcr iRbentsb an& ©lb Wntcb Scbools 35 Middle Ages a strong resemblance to that of the Netherlands, but in the course of the fourteenth cen- tury the two schools developed upon quite different lines. The Lower Rhenish was certainly more ver- satile and raised problems of a boldness unheard of at that date, but it had no concentration. It was lacking in strong spirits such as the brothers Van Eyck, in patrons like the Dukes of Burgundy and above all in that sort of national compelling force, which would have gathered all its schools, to a certain extent, into a whole. The German artists of the early fifteenth century dissipated their strength in a somewhat large num- ber of local schools, attempted tasks for which they were not technically sufficiently mature, and conse- quently, in spite of their merits, they remained be- hind the school of the Netherlands. This is espe- cially true of the school of Cologne. Till recently Cologne was considered the capital city of German painting of the fifteenth century, because a large number of good and even important paintings have come down to us, which were executed in or for that city. They have a certain uniform character so that we are led to speak of the Cologne school, but this appearance is deceptive. It is true that art was systematically and liberally cultivated there and that art of the fifteenth century is deeply indebted to Cologne, but it is also true that most of the 36 Zbc Hrt of tbe Aunicb Gallerfes painters — and the best of them — were not na- tives of Cologne, but came from Wiirtemburg, from the Netherlands, from Westphalia and even from France. They brought strength with them, and found there a taste that united them in spite of their various origins, and so they adapted them- selves to the traditions of the city. How strong this influence was we can realize in the works of Stephan Lochner, the most impor- tant Cologne painter after Meister Wilhelm. He came from Suabia, a finished artist, and yet his works bear almost no trace of the Suabian style. In spite of his great talent and strong individuality, he was conquered by the customs and traditions of Cologne and may be regarded as the greatest mas- ter of this school between 1430 and 1450. There exists an erroneous idea that he was a pupil of Meister Wilhelm, but there is really nothing to sustain this contention. This much we know of him, that in 1442 he worked and owned his own home in Cologne, in 1448 he represented the Guild of St. Luke as a member of the senate, and that he died poor and uncared for in 145 1. There exists also an entry in the journal of Al- brecht Diirer, which first made known the claims of Meister Stephan to the praise of critics. " Item, I have just paid two silver pennies to have opened the picture which Meister Stephan painted at Co- Xower IRbenisb an& ©l& H)utcb Scbools 37 logne." This is the famous altarpiece in the Co- logne Cathedral, and previously attributed to Meis- ter Wilhelm. In our collection there are two wings of an altar- piece. It was painted as a votive offering for the Muschel-Metternich family of Cologne, bears their arms, and represents in one picture (3) "St. An- thony the Hermit " with staff and belt, the Pope Cornelius with tiara and cross, St. Mary Mag- dalen with the box of ointment, and below a small figure of the donor of the altarpiece; while in the companion picture (4) we find " St. Catherine of Alexandria " with sword and wheel, St. Hubert with his bishop's staff and a book upon which one may see his emblem, the stag, and St. Gereon in the armour of a knight, bearing a lance floating a red pennon. This also has a portrait of the donor. Besides these two works of Lochner's we have a small "Madonna in a Rosehedge " (5), which represents the Virgin seated on a golden cushion with the Child Jesus, his hand raised in the act of benediction, on her lap. Four angels are bring- ing her flowers and above is God the Father and opposite to him the Holy Ghost between angels. The question has arisen as to whether this picture is the handiwork of Lochner or merely that of one of his pupils. Be it as it may it is extremely deli- 38 Ube Hrt of tbe /iDunicb (Balleries cate and quite characteristic of the art of Cologne of this period. In this Madonna Lochner displays the difference in his technique to that of the Netherland school, proving that his art had not remained stationary. This is markedly true in his treatment of colour, a brilliant diversity of which has taken the place of the delicate, monotonous style, which marked the latter school. His colouring is rich and brilliant in tone like a translucent enamel. There is almost the splendour of a crown set with gems in the colour scheme of the picture, which is an immense ad- vance over former styles. The figures of the Ma- donna and Child are physically rounded, not flat as in the older pictures, and the artist has obviously taken great pains to give distinctness of form to Mother and Child. It is noticeably different from the school of Van Eyck. The great Netherland painters demanded a concreteness combined with the strictest accuracy in the rendering of form. For Lochner it was sufficient if the figures were round and to this effect he sacrifices even the indi- viduality of form, showing that the aim of the Ger- man school of the fifteenth century was plasticity, as opposed to the absolute accuracy of that of the Netherlands. In the works of the school which derived its influence from Lochner the Pinakothek is very rich (6-21). They all display similar char- Xowet Hbentsb and mt> 2)utcb Scbools 39 acteristics, so that detailed description is unneces- sary. An artist, who is supposed to have been named Johann von Duren, supplied what was most lacking in Lochner's work. He is generally known as the " Master of the Life of Mary," and in the Pinako- thek hang seven panels of the Life of the Blessed Virgin (the eighth is in the National Gallery in London). This series is the chief work of the school of Cologne after the death of Lochner and goes to show that the influence of the Netherland thoroughly felt in school was Cologne. The first panel (22) represents " Joachim and Anna by the Golden Gate." In the background is Joachim and the shepherds, and further front is the meeting of Joachim and the angel who gives him the heavenly message ; the " Birth of Mary " (23), in which Anna lies in a red covered bed and an attriidant brings her the newly born child, an- other holding a swaddling cloth. Three women are in conversation, one, in the foreground prepares a bath and still another is taking linen from a cab- inet ; " Mary being brought to the Temple " by her parents and relations (24); the "Marriage of Mary and Joseph " in which the High Priest is giving his benediction to the wedded pair, who kneel under a Gothic tabernacle (25) ; the " An- 40 Ube Htt of tbe /E>unicb Galleries nunciation," dark blue gowned and winged angels hold a golden curtain in the background, over which sweeps God the Father in an angel glory. Below this is the Holy Ghost bringing to Mary the Christ Child bearing the cross (26) ; the " Visitation," the meeting between Mary and Elizabeth, with a background landscape, showing a city and moun- tains. To the right stands a maid servant holding a fur mantle and overshoes in her hand and to the left is a portrait of the donor of the altarpiece in fur-trimmed garments and a golden chain, with his coat of arms near him (27); the " Ascension of Mary " who is being received by Christ in glory (28), and lastly the "Coronation of the Virgin" in which God the Father wearing a papal tiara is seated on a throne, the Saviour near him, and placing the crown upon Mary's head. Singing aad musical angels bear and surround the throne and below the portraits of the kneeling donors, man and wife, with their coats of arms, are to be seen (29). With the "Adoration of the Magi" (30) the series ends; this represents two of the kings kneeling on either side of the Virgin, who holds the Christ Child on her lap. Behind stands the third of the Magi and St. Joseph and still further back are the retainers of the kings with three flags. An altarpiece (31-33) of three groups of apostles, each bearing his name in the nimbus which surrounds Xower TRbenisb anb ®l& Dutcb Scbools 41 his head, is by the same hand as this series of the Life of the Virgin. The types of figures in these pictures, especially of the angels and men, are the direct descendants of Dirck Bouts and the composition also betrays his strong influence. The figures now have room to move. They no longer stand, as in the Heister- bach altar, squeezed up between narrow lofty arch- ways, nor are they so close together as to be inca- pable of action, but are distributed evenly and nat- urally over the canvas. We further note the happy way in which our painter depicts the costume of the day and the narrative art, which borders on the genre. The " Presentation of Mary at the Temple " (24) is a charming picture. How delicate the dainty figure of the future Mother of God as she ascends the broad steps of the Temple. How amusing, at the same time how accurate, the two dogs playing in the foreground. This series of the Life of Mary was intended as an altarpiece with two rows of panels, and it is somewhat difficult to judge them fairly now in their present arrange- ment. An altarpiece, painted for the High Altar of the Church of St. Columba at Cologne, the work of an artist known to posterity as the " Master of the Holy Kith and Kin," from his most noted work, now in the Museum at Cologne, has as its centre- 42 Ube art of tbe /iDunfcb Galleries piece the " Circumcision of Christ " in a lofty Gothic hall (43). To the right and left kneel the donors with their coats of arms displayed. In the back- ground is a representation of the " Birth of Christ " and to the right the " Adoration of the Magi." The right wing portrays " St. Christina " with the Mag- dalen and St. Barbara, with two church towers and a castle in the background (45), and the left one " St. John the Evangelist " with St. John the Bap- tist and St. Bartholomew on either side (44). A picture painted by some unknown member of the school of this last master is that of " St. Je- rome " as a cardinal with his lion, St. Peter with his book and key and near them St. Joseph, with his pilgrim stafif guiding the Christ Child (46) ; and another representing the " Adoration of the Magi " with Mary seated in a ruin holding the Infant Jesus under a baldachino held by angels. One of them kneels and kisses the foot of the Holy Child and behind Mary, but scarcely visible, stands St. Joseph. On the reverse of this picture is that of the Trinity, in which the Father, seated on a throne, behind which angels hold a green curtain, holds the dead body of Christ on his knees, while the Holy Ghost sweeps overhead. Beneath them to the right kneels a nun. The next stage in the development of German art is represented by the nameless painter of the OLower TRbenisb an& ®l^ Dutcb Scbools 43 " Bartholomew altar," though he was not a purely German artist. The altar consists of a centre panel (48) in which stands St. Bartholomew with a book and the knife of his martyrdom. St. Agnes reading in a book is on the left and on the right is St. Ce- cilia playing on an organ, which an angel holds for her. The right wings show us " St. Christina " with the millstone and two arrows and St. James minor, with club and book (49), and in the left one (50) we see " St John the Evangelist " holding a chalice and St. Margaret with her cross in her hand, the dragon at her feet. The painter of these pictures lived in Cologne, but it is hardly credible that he was born there. He must have received his artistic training in the Netherlands and he leaned chiefly towards the Dutch school. His best period was about the year 1500. He was the first of the Cologne school to lay more stress on elegance of technique than on serious deep art. For this reason he was fond of fashionable garments, which his saints wear with a somewhat too keen enjoyment of the glories of this world. We note also the rather affected style which is in curious contrast to the soullessness of the whole compositions. It seems almost like the beginning of the Baroque style, and has, in spite of its national difference, a certain affinity with the style of Crevelli and of the late period of Botticelli. 44 Ube art of tbe jflDunicb Galleries Then follows the work of another painter, whose paintings belong to the end of the school of Cologne, and who is known as the " Master of the Death of Mary," from a painting representing the " Death of the Virgin" (55). In a Renaissance chamber, in a bed with red curtains lies the Virgin, over whom bends St. John. St. Peter kneels on the other side in tears, with cross and sprinkling brush, while the other apostles bring holy water. All are sunken in deep grief. Through an open door and window may be seen glimpses of the city. " Saint George and Nicasius " (56) who are taking under their protection the donor of the altarpiece, the head of the family of Hacquenay, are the subjects of the left wing of the painting. The background of this wing is a romantic landscape, with the arms of the family in the left hand corner. On the reverse of the wing are Sts. Anna and Christopher and the family arms repeated. The right wing is a pic- ture of "St. Christina" (57) with her millstone and St. Gudula, who wards off the attack of the Devil with her burning lantern. On the back of this wing are Sts. Sebastian and Roch. We now come to the paintings of the brothers Viktor and Heinrich Diinwegge, by whom a large " Crucifixion " (63) is in the Pinakothek. It must have been painted under the influence of the Dutch school, as it had developed in Haarlem, in OLower iRbenisb an6 ®lb 2)utcb Scbools 4s the beginning of the sixteenth century. The seated women on the left look purely Dutch and many of the types suggest those painted by Dirck Bouts. The rich colouring with deep blue and brilliant red is also Dutch. The figures are somewhat afifected and angular, still the picture possesses much charm and is thoroughly indicative of the period to which it belongs. Another work, which was long attrib- uted to a painter, Geraert von Haarlem by name, a pupil of the " Master of the Holy Kith and Kin," but which is now known to have been executed by one or the other of the brothers Diinwegge, is the " Body of Christ " borne by Joseph of Arimathea and Nikodemus, with the customary group of the Maries and St. John at the foot and the portraits of the donor and his wife who kneel in the fore- ground (64). A follower of the style of the " Master of the Death of Mary " was Bartholomew Bruyn who was born in Cologne in 1493, ^^^ died there in 1556, and who in his later work was greatly influ- enced by the prevailing tendencies of Southern art. He was at first influenced by the Dutch, but his later works display the most vivid tendencies from which he contrived to make up an art of his own. Best representative of his pictures in the Pinako- thek is the " Lamentation over the Body of Christ " (75). Broad emphasized forms, sharply defined 46 Ubc Hrt of tbe /Dunfcb ©alleries movements, bear witness to his study of the so- called newly discovered Southern art, as does also a certain coquettishness in his efforts to obtain rounded beauty in his women. The landscape with lofty fantastic rocks is quite in the style of the times, which could not represent Nature naturally but tried to make her more interesting by em- bellishment. His broad definition of form stood Bruyn in better stead in his portraits, of which his mostly full faced ones are the best, with the exception of Holbein and Diirer, of the Lower German art of the period. They are powerful, and without being sentimental are serious in their character. Of the twenty-three pictures by him, we have but one ex- ample of this style of his art in our collection, but this serves to show the effectiveness of his com- position. It is that of a beardless man in black clothing. His right hand lies on an open book (which bears his coat of arms) and lies on a green covered table. Noteworthy in this picture is the allegory of death, as behind the person depicted is a most characteristic skull. The unity of composi- tion of this picture should be studied, to be later compared with a portrait by Holbein also contain- ing a death's head. It is also noticeable that this skull, painted in 1550, shows little knowledge of anatomy. It is, accurately speaking, not a skull at Xower "Rbenisb an& ©15 2)utcb Scbools 47 all, but the face of a living man, emaciated down to the very bone (90). Old Dutch Schools We do not know what was the immediate start- ing point of the Van Eyck style of painting but we may assume that the " milieu " in which the great masters of the Netherland realism of the fifteenth century received their first artistic training, was composed of painters whose art differed in local points only from that of Meister Wilhelm. In the year 1420 a new style began to be formed in the Netherlands, which had much of the ex- traordinary mastery of colour of the older school, combined with a new technique and a wholly dif- ferent cohception of form and composition. The leaders of the new school were Hubert and Jan van Eyck. Of the life of the elder, Hubert, we know very little. He was born at Maaseyck in the valley of the Maas about 1366. He lived at Bruges and also at Ghent, being a member of the Guild of Painters in the latter city in 1421. There he died in 1426 and was buried with great pomp by Judocus Vydt, his patron, in the church of St. Bavon. It has been asserted that the Van Eycks invented the art of painting in oils, a mistaken contention, as linseed oil had been used as early as the eleventh century. But undoubtedly one great reason for 48 "2:56 Hrt of tbe /iDunicb ©allerfes their marvellous success is the discovery of a new process of mixing colours with oil, a discovery which originated probably with Hubert and was by him transmitted to Jan. This new discovery, which was eagerly sought for by the Italian painters, has given the world a distinctive colour known as " the purple of Van Eyck " which ranks with the " gold of Titian " and the " silver of Veronese." The date of the birth of Jan van Eyck has been placed about 1390, which would make him many years his brother's junior. Of his early life we know nothing, save that he studied under his brother and from him learned the process of suc- cessfully mixing colour. He entered the service of the famous John of Bavaria, Bishop of Liege, where he remained till the latter's death in 1424 deprived him of a comprehending patron. But before the Bishop died he sent Van Eyck with a recommendation to Philippe le Bon, Duke of Bur- gundy, known then as one of the most liberal lovers of the fine arts, and there we find him established as " varlet and painter, receiving an annual salary of one hundred livres, with two horses for his use and a * varlet in livery ' to attend him," acting as confidential friend and companion to that imperious but liberal prince, upon whose secret service he was frequently employed. In 1428 Jan van Eyck was sent to Portugal with Xower IRbenisb and Qlt> 2)utcl) Scbools 49 an embassy which was to negotiate a marriage be- tween the Duke and the Princess Isabel of Portu- gal, while our artist's mission was to paint the por- trait of the proposed bride for his patron. When this picture was dispatched, Van Eyck started for a tour in Portugal and Spain and for the first time luxuriated in a climate and a vegetation brighter and more brilliant than that of his native country, the influence of which may be seen in the pictures which he painted after his voyage. He returned to Bruges in 1429 in order to be present at the ducal marriage, and Van Eyck received from his patron the then large sum of one hundred and fifty livres, for the portrait of the Princess. He settled in Bruges in a home of his own and married, and there exists a record showing that Duke Philippe stood as one of the sponsors for Van Eyck's daughter and presented his godchild with no less than six silver cups. The painter retained the ducal friendship throughout his whole life, dying at Bruges in 1440. The greatest work of the school of Bruges, which combines all the characteristics of early Flemish art — devotion, religious symbolism of a realistic type, depth of colour and mastery of execution, is the famous " Agnus Dei " or " Adoration of the Mystic Lamb," which was painted by the famous brothers for Judocus Vydt as an altarpiece for the 50 Zbc Hrt of tbe ^unicb Galletted chapel of St. Bavon at Ghent, from which it takes the name by which it is most generally known, the " Ghent altar." This work is a polytych of twelve panels, besides a central one of the " Adoration of the Lamb," which with their shutters form twenty- four paintings divided into two rows, and was com- menced by Hubert van Eyck, who lived to complete the top portion of the interior of the altarpiece. The balance of the work was completed by the younger brother in 1432, only eight years previous to his death. In the Santa Trinita Museum in Madrid is to be seen the picture next in importance to the " Agnus Dei," the "Triumph of the Catholic Church" which for power of conception and depth of rendi- tion no picture of the Flemish school has ap- proached, except the " Adoration of the Lamb " mentioned before. There exists no original of either of the brothers in the Pinakothek, but there are two panels, copies of part of the Ghent altar painted by Michael van Coxcyen of Mechlin, a pupil of Barent van Orley, for King Philip II of Spain. These two panels, the originals of which were the work of Hubert van Eyck, represent the "Virgin as the Queen of Heaven " (97) in a richly adorned blue mantle, with a crown on her flowing hair, reading in an open book; and "John the Baptist" (98) in a Xowet IRbentsb and Ql^ Butcb Scbools 51 green mantle over an undergarment of hair, a book in his lap and his right hand raised in the action of teaching. The only copy of a work by Jan van Eyck is that of a " Head of Christ " (99) the original of which is to be seen in the Museum of Berlin, but of his school there is a " Portrait of a grey haired beard- less Teacher" (219) with a mathematical instru- ment in his right hand. Of course little is to be learnt from these two insignificant canvases, which are of interest only as being even remotely con- nected with the master to whom art owes so much. Rogier van der Weyden, formerly considered to be a pupil of Jan van Eyck, but now known to have been his rival, exercised an even greater influence over the later German art than the Van Eycks, as he and the Dutch artist Dirck Bouts helped to es- tablish a still more advanced style. He was born probably in 1400 at Tournai, an ancient and noted city, famed for its tinted sculptures. It is believed that the master himself practised the art of tinting statues, and the influence of coloured sculpture is clearly noticeable in his pictures. He was, in 1426, the pupil of an unknown master, one Robert Campin, and ten years later had attained to the dignity of being made Town Painter of Brussels. In 1449 he went to Italy, where he very probably taught the method of painting in oils so success- 52 XTbe Hrt ot tbe /Dunicb Galleries fully used by the Van Eycks. He was one of the first of the Northerners to visit Italy, but he re- tained his originality, a fact in which he differed from so many of them. He died in 1464 and was buried at Brussels " under the blue stone before St. Catherine's altar " in the church of St. Gudule. The earlier pictures by Van der Weyden have all been lost, but in the Pinakothek there hangs a masterpiece of his late period, the " Epiphany Altar " of 1460. The centre panel, from which the altar takes its name, is the " Adoration of the Magi " ( loi ) in which the Virgin sits in a straw bedecked ruin over which the Star of Bethlehem beams. In the grey haired king who kisses the hand of the Child, we see a portrait of Philip the Good of Burgundy, while the proudly erect figure who stands behind him bears the features of Charles the Bold. The unknown donor of the altarpiece may be noticed behind St. Joseph. In the back- ground is a richly developed landscape, showing the life and movement of a street in a Flemish town. This picture, with its two accompanying wings, were painted for a chapel in the Church of St. Columba in Cologne. The right wing (102) depicts the "Annuncia- tion " in which Mary, kneeling at a prie-dieu, turns to receive the heavenly messenger, who bears in his hand a golden wand. Through the window appears VAN DER WEYDEN. ST. LUKE PAINTING A PORTRAIT OF THE VIRGIN. Xower IRbenlsb anO ©15 Butcb Scbools ss the dove typifying the Holy Ghost, whose beams descend to the kneeling Virgin. The face of the angel Gabriel is full of great beauty and the colour- ing of the whole composition is clear, lofty and brilliant. The " Presentation at the Temple " (103) is the subject of the left wing of the altarpiece. In this Simeon receives the Child from Mary at the altar, behind him is the grey haired prophetess Anna, while Joseph bearing a light and a woman with some doves stand at the other side. The scene takes place before the church of St. Gereon at Cologne, at the entrance of which stands a begging cripple. The figure of the Virgin in this picture is very fine and noble, perhaps the most successful rendering of the " Handmaid of the Lord " that has descended to us from the hand of this master. " St. Luke painting a portrait of the Virgin " ( 100) forms the subject of another famous picture. In this Mary is seated on a bench in an open pillared hall, offering her breast to the Holy Child, while opposite to her the Evangelist sits portraying her features. In the background a man and his wife gaze down from a parapet, on a view of a peculiar looking river panorama. Though the Epiphany altar shows a marked ad- vance over his earlier works, it has at the same time the character of the first epoch of the realistic 54 tTbe Hrt of tbe ilDuntcb ©alleriea old Netherland school. It is thirty years older than the Ghent altar but on account of the want of flexibility of the artists of that day, is, in style, practically on the same level. Many of the figures look as if they had been cut out with a fretsaw and then laid into the canvas, and this is especially true of the figure of the Christ Child in the picture of St. Luke painting the portrait of the Madonna. The stiffness of this school was caused by the over conscientious study of these pioneers and it is so much the more worthy of admiration, that despite the heaviness caused by this laborious technique they contrived to give expression to their enjoy- ment of the beauties of Nature. Though Rogier van der Weyden had a large school, and for a century and a half many imitators, the really decisive influence which affected the prog- ress of art came from abroad and above all from Holland where Derich, or as he is commonly called, Dirck Bouts, who in feeling and treatment showed himself to be a disciple of Van der Weyden, was born in Haarlem somewhere about 1400. From his native place he went to the town of Louvain in Belgium, where he soon became municipal painter, and his two greatest works were painted for the Council Chamber in the Town Hall of that city. They represent the " Triumph of Justice," as ex- hibited in the legend of Otho HI, who, having OLowet iRbenisb anb ©15 S)utcb Scbools ss executed a guiltless courtier on the testimony of a false witness, discovers the truth and commits the accuser, though his own wife, to the flames. Of Bouts' works we have, in our collection, two of the four wings of an altarpiece painted for St. Peter's Church at Lowen, between 1465 and 1467. The more important panel is the " Gathering of the Manna" (iii) remarkable for the rich splendour of the Dutch colouring. The blue garment of the man kneeling in the foreground and the golden red dress of the woman on the left, are truly remark- able for depth and transparency of colour. The delicate shading of the landscape is more notable than those of his contemporaries. The companion piece to the above, the " Meeting between Abraham and Malchisidek" (no) though highly esteemed by experts is hardly taken seriously by the general public. The contrast between the subject and the treatment, which is strictly of the time of the artist, seems to have an element of the comical, but we must note especially the movements of the extraordinarily expressive hands, which seem almost as if they were gifted with souls. An unknown painter of great ability was he to whom we owe a small, but very beautiful Epiphany altar, known as the " Pearl of Brabant," which consists of the centre panel, the " Adoration of the Magi" (107), and the two wings representing 56 Ube Hrt ot tbe /iDunicb aalleries "St. John the Baptist," carrying the lamb (io8) and " St. Christopher," bearing the Christ Child (109). In his types and form the artist, who is known to us only as the " Master of the Pearl of Brabant," is closely allied to the style of Dirck Bouts, so much so that the above altarpiece was long ascribed to the latter artist. The " Pearl of Brabant " is to be regarded as a sample of the middle Old Netherland style and this because of its great elegance and beauty of colouring, although it can scarcely have been painted later than 1470. It shows an interesting transition from the style of Dirck Bouts to that of the last great master of- the Old Netherland school, Hans Memling. Specially noteworty in this altar are the landscapes, that of the left wing with St. John the Baptist in daylight, and of the right, St. Christopher bearing his Heavenly Burden over the water in the bright rays of the setting sun. The real successor of Dirck Bouts was the famous Hans Memling, who was born in 1440 near Mainz and went to Belgium as a child. His style has nothing German in it, being purely of the Netherland school. The record of Memling's life is exceedingly meagre, though there is a romance connected with him, which is interesting even if untrustworthy. It relates how, after the fatal battle of Nancy, where Charles the Bold fought his last '^■■-->^iill\ I 'ififly HANS MEMLING. ST. JOHN THE BAPTIST. Xower IRbenisb anb ©lb S)utcb Scbools si fight, a man of middle age was brought wounded and fainting into the Hospital of St. John at Bruges. Thanks to the kindly treatment of his nurses he recovered, and having acquainted his dehverers with the fact that he had been a painter previous to becoming a soldier, he asked for material and painted the " Sybil Zambeth " and other works on the walls of the hospital in token of his gratitude. The painter, the legend saith, was Hans Memling. But stern fact has robbed his history of this pleas- ing illusion. He appears to have been a quiet citi- zen of Bruges, where he died in 1495. One of his finest works was a large altarpiece of the " Last Judgment," which he was commissioned to paint for an Italian patron. But this picture was cap- tured at sea by a pirate ship and brought to Dant- zig, where it may now be seen in the Cathedral. In the Pinakothek is a " St. John the Baptist " (115) seated meditating in a trim Belgian park- like landscape. This painting shows a complete change of taste from the paintings which had pre- ceded it. Instead of the dignified but somewhat stiff splendour of the Van Eycks and Dirck Bouts, we see in Memling a certain elegance and lovable- ness which is distinctly his own. The finished deli- cacy of the technique can be explained by the fact that the artists of the second half of the fifteenth century had a certain amount of tradition to look 58 Zbc Hrt ot tbe /Dunicb Oalletfes back upon and therefore painted less laboriously than the founders of the school. The greatest work by Memling in the Pinakothek is the altar known as the " Seven Joys of Mary " (ii6), and the best idea of his art can be gained by studying this particular picture. It appears some- what odd to our eyes, as on a single surface, with no divisions, a whole series of events are depicted, widely apart as to time and scene, and it speaks volumes for the taste of the artist, that he has made as much out of this antique style of composition as it was possible to make, and that the landscape is sufficiently important for it to be a frame for the whole. The faults of Memling are very few, his faces are characterized by some of the asceticism of his master Van der Weyden but tempered with sweetness, and his pictures are full of a devout and reverential feeling. As a colourist he is even more remarkable than Jan van Eyck or Van der Weyden and his landscape backgrounds are crowded with minute detail executed with exquisite finish and atmos- phere. The works of the old Netherland artists of this period, though fully as devout in feeling as those of the early Italian school, dififered from them completely in their elaborate realism of treatment. The simple broadly-painted figures with gold back- grounds, of the Sienese and the Florentines, were Xower IRbenisb an5 ®l& S)utcb Scbools S9 unknown to the Flemish painters, who crowded their backgrounds with minute details of architec- ture, landscape and other rich accessories, painted with an exquisite purity of tint and a perfection of finish, which has never been equalled by any other school or at any other time. In these points the Flemish artists as far exceed the Italians as the latter are superior to them in the grandeur and simplicity of style, which they gained from their practice in fresco. Mantegna or Antonello da Messina may be said to have rivalled the Flemish in point of finished execution, and the early Vene- tians excel them, if not in the harmonious com- binations of their colours, yet certainly in the luminous glow in which their pictures seem to be steeped; but the extraordinary clearness and bril- liancy of colour in the works of the Flemish artists, due to the care and precision with which they pre- pared and used their pigments, and the marvellous perfection of their workmanship, added to their other high artistic qualities, give a special and ex- ceptional interest to the works of this school. Gerard David, who painted under the influence of Hans Memling, completed the transition from Gothic art to the style of the Renaissance, preserv- ing the national character of his school while intro- ducing many new elements into art. A most charming little picture of his is to be seen in our 6o trbe art ot tbe /iDuntcb ©alleries collection in the " Mystical Marriage of St. Cath- erine " (117) to the Child who sits on his Mother's knee. St. Gertrude, bearing the offering of her ducal crown, St. Kunigunda reading and St. Bar- bara carrying her palm and book are grouped on the left, while on the right side we see St. Gudula, patroness of Brussels, with book and cross, and near her St. Agnes with a rosewreath and her lamb. While the fourteenth century in composition, form and colouring laid so much stress on single objects that the whole was lost in detail, the Renais- sance, and Gerard David before it, strove to sub- ordinate the detail to the whole. His picture of the " Adoration of the Magi " ( 1 18) is the most typical of this northern Renaissance. The unanimity with which the treatment of both form and colour strives to reach the same goal, in this picture, is remark- able. A comparison with Rogier van der Wey- den's masterpiece shows that the old system of strong colours, unblended, has given place to a style which makes a certain general tone dominate the whole colour scheme of the picture and that in the drawing much more attention is given to the flow of line. The founder of the noted school of art at Ant- werp in the middle of the fifteenth century was Quentin Matsys, popularly known as the " Black- smith of Antwerp." Born at Louvain, the son of Xowec iRbentsb and ®lb Dutcb Scbools 6i a blacksmith, there is every probabihty that Quen- tin worked first at his father's trade, but owing to the fact that the father of the woman he desired to marry refused to give her to any but an artist, he determined to follow his artistic bent to its high- est achievement, and commenced the study of art, probably under Dirck Bouts. In 1497, when he was thirty-seven, he settled in Antwerp and joined the Painters' Guild, rapidly becoming famous. His masterpiece, the " En- tombment " executed for the Chapel of the Joiners' Company, is now in the Museum at Ant- werp. The authenticity of the works ascribed to Matsys in the Pinakothek has been called into dispute, though the picture of the " Madonna " giving her breast to the Heavenly Child (132) is mentioned in the inventory of the gallery belonging to the Grand Duke Maximilian VI as the work of the painter's own hand. In this picture are many homely articles of household use, notably a kettle over a fire, which indicates a reference to earthly wants quite opposed to the feelings of the older masters, but well in keeping with the ideas of Matsys and his times. The famous portrait of " Jehan Carondelet " was for a long time accredited to Holbein the Younger but it is now known to be the work of 62 Ube Hrt of tbe /IDunfcb (9alletfes Matsys himself, though some authorities still con- tend that it was painted by some scholar closely con- nected with him and under his immediate tutelage. An undoubted school copy of Quentin Matsys' favourite subject, the Mocking of Christ, is an " Ecce Homo" (13s) and another work of one of his followers is "Two Tax Collectors" (136), the original of which is in the Galleria Zambeccari at Bologna. Doubtful, too, is the picture of " St. Jerome " seated in his chamber meditating on a skull upon which his left hand rests (137), which has been held to be a copy of a picture painted by Bartel Bruyn, and lastly a very beautiful " Pieta " (134) in which Mary holds the head of her dead son between her hands, and which, even if it be not an original work of Matsys himself, gives us an idea of the clear purity of form at which he aimed. It is quite independent of Italian predecessors and yet, in a way, suggestive of a relation to con- temporary Florentine art. Joachim Patiner of Dinant, pupil of Geraert David at Bruges, was a member of the Guild of Painters at Antwerp in 15 15. He mainly painted sacred subjects in which the figures were subordi- nate to the wide expanses of landscape. In the Pinakothek we have three portions of an altar- piece (another part, the " St. Sebastian," is in the QUENTIN MATSYS. PIETA. Xowec iRbenisb an& Qli) Dutcb Scbools 63 Germanic Museum at Nuremberg), the " Holy- Trinity " (141), the "Virgin" (142), and "St. Roch" (143). Two very beautiful paintings, the works of Lucas van Leyden, are " The Madonna and Child " ( 148) with the Magdalen very richly clad and the donor of the picture painted as St. Joseph with a lily branch and his working tools ; and an " Annuncia- tion " (149) in which the angel Gabriel appears to Mary as she kneels with an open book in her hand at her bed foot. The figures in both these pictures have great dignity both as to attitude and drapery. They were executed while Albrecht Diirer visited the Netherlands and when Lucas van Leyden was a member of the Guild of Painters at Antwerp. But the style and activity of the master can better be estimated by his engravings, which are most remarkable but of which our collection, unfortu- nately, possesses no example. Three small pictures (151-153), in the same cabinet, were painted by Jan Mostaert, a Dutch painter from Haarlem who was Painter in Or- dinary to Margaret of Austria, for eighteen years. In style of painting and development of landscape he shows a close affinity to the masters of Bruges. He treated his religious subjects with an elevation and purity of feeling remarkable at so late a period. His pictures are distinguished by warmth and clear- 64 Ube Brt of tbe /iDunicb (5alleries ness of tone and a certain softness denoting careful handling. That the Italian influence under which so many of the artists of the Netherlands and the Dutch schools came at this time, was little to their advan- tage is to be seen in the works of the diflFerent periods in the artistic career of Jan Gossart, known more generally as Mabuse from his native town of Mabeuge. He first studied under Geraert David and Quentin Matsys and later in Italy under the in- fluence of Leonardo and Raphael. He greatly ex- celled in his native style of art, and possessed much influence upon the generation which followed him, but when he deserted it for the Italianized style of painting, it became only the outward imitation of something foreign to himself, and therefore was never successful or beautiful. His pictures of this class, even of religious subjects, have but little at- traction, as may be seen in his painting of the "Madonna" (155). Still less pleasing is his " Danae in the Golden Shower" (156) which borders on the ludicrous. His most attractive works were his portraits, of which, unfortunately, we possess no example in the Pinakothek. His contemporary Bernhard van Orley was closely allied to the old school in moral and techni- cal qualities, but on the other hand, in works imita- tive of the Italian school he was warmer in feeling aLowec IRbenisb an& ®l& 2)utcb Scbools 65 and more tasteful in form than Mabuse, who could never entirely shake off his Netherland training. During his short stay in Italy, van Orley devoted himself to the study of the works of Raphael, an influence which discovers itself in his later pictures. His canvases in the Pinakothek are not very worthy specimens of his art, though in the " Preach- ing of St. Norbert" (157) the sentiment of the picture is elevated in form and feeling. A number of other pictures painted by unknown Netherland artists of about 1 520-1 530 hang in our collection, all betraying, more or less, the influences of Quentin Matsys and his contemporaries. South German School The Nuremberg school is represented in the Pinakothek as fully and as well as that of Cologne, but we are not carried as far back as to the days of Meister Wilhelm, but at the same time, the " Cruci- fixion " (233) painted by Hans Pleydenwurff (probable date 1540) is closely allied to the Middle Ages. The technique is very old style and renders the subtle modelling of the fourteenth cen- tury impossible in many places. The figures are not individual or true to life and the colouring of flesh and of the darker parts of the picture is heavy and dull. It may be that it was originally clearer and lighter, like that of the figure of the Magdalen so 66 Ube art of tbe /iDunfcb Oallerfes delicately painted in grey tones, but it must, as a whole, always have been resinous. The old fashioned details of the picture do not harm it for us but rather tend to interest us in its undoubtedly gifted author, who, with his great power of expression and his ability to idealize the world-remote style of the Middle Ages, pressed forward to the very border of the realistic art of modern times. The lofty subject of the Stabat Mater has scarcely been treated, a second time, by the Northern painters of the fifteenth century, with such an overwhelming depth of conception. Its depth lies not only in its representation of mental agony but also in the truly artistic conception, which is not satisfied merely to render play of expression, but rather expresses all mental values by means of bodily and visible factors. The touching Madonna is marvellous in this re- spect. She is overcome with indescribable sorrow, so much so that her limbs, too, give way under it. Her head droops not from grief, but from absolute weakness ; her hands hang down powerlessly. Her face wears an expression, not only of cruel mental agony but also of complete physical exhaustion, hence the immediate impression her figure makes upon us. This fine narrative art, together with the power of expressing it, belongs specifically to the Nurem- Xower IRbenisb an6 ®l^ Dutcb Scbools 67 berg school. It prevailed even before Pleydenwurff and lasted till the time of Diirer. Everywhere we see the same grasp of that which is really significant. To this the above picture owes its impressive sol- emnity and at the same time a certain vivacity, which, notwithstanding the tragic nature of the sub- ject, is charmingly rendered in the accessories, for instance in the vividly painted lizards in the fore- ground on the right. The artist does not know very much of the anatomy of these lively little animals, but at the same time, he has caught the grace and intelligence of the timid little creatures. Henry Thade, the art critic, ascribes to Pleyden- wurff the beautiful " Mystical Marriage of St. Cath- erine " (234) which is undoubtedly not the work of the latter, but of another more celebrated Nurem- berg painter, who studied under and was on per- sonal terms of intimacy with him, Michael Wolge- mut, the famous teacher of the still more famous Albrecht Diirer. It is exceedingly difficult to get a thoroughly re- liable idea of his art from his pictures in the Pinakothek, although the composition painted for the Trinity Church at Hof and known as the " Hof Altarpiece " is a very comprehensive work. It dates from 1465, and must have contained a carved group in the centre. On the front of the wings is a repre- sentation of the Passion, on the back, among other 68 Ube Htt of tbe ^unicb (Balleties subjects, a very beautiful Annunciation, and a pic- ture of the Archangel Michael, which is very impor- tant in the history of the development of painting under the influence of Albrecht Diirer and his im- mediate predecessors. If we had only one wing of this large picture it would be easier to form a de- cided opinion of the confused, but important subject, painted by Wolgemut. But while these four panels, painted on both sides, are part of a whole, and cer- tainly came from the studio of Wolgemut, it is almost impossible to form any opinion, beyond the fact that whilst the design was undoubtedly the work of one man, — and that man in all probability Wolgemut — at least three painters' work can be traced on the altarpiece. Whether the artist who conceived the whole helped to carry out his designs in colour it is im- possible to say but the " Crucifixion " (231) is by far the finest of the paintings and is undoubtedly the work of a great master. The second — and still more noted panel — the "Resurrection" (229), is not so finely carried out either in the detail, as wit- ness the flowers in the foreground, or in the treat- ment of the figures^ though it far excels the " De- scent from the Cross " (232) and " Christ on the Mount of Olives" (230). It would seem as if Wolgemut, at this time, had several assistants and that he himself merely designed the work and super- MICHAEL WOLGEMUT. CRUCIFIXION. 3Lower IRbenisb ant> ®lb 2)utcb Scbools 69 vised its execution, though froift the beauty of its execution we have grounds for regarding the " Cru- cifixion " as the work of the master's own hands. It is a logical continuation of the problems first evolved by Pleydenwurfif, but it is of less artistic value, though a very beautiful work. The colouring is exceedingly luminous and tasteful and some of the heads, especially those of the women and the grey haired men, are most delicate in tone. While the landscape with its light tints is by no means true to nature, the colouring in itself is much better than that of Pleydenwurff. The picture exhibits a curi- ous mixture of diaihetrically opposite tendencies. On one hand the figures, which both in dress and tjT)e remind us of Pleydenwurfif, have a much more human expression — a marked advance this — on the other hand they have a much more general char- acter, are less sharply drawn and less full of temper- ament. The " Resurrection " gives rise to a com- parison between Wolgemut and Dirck Bouts, be- cause in the latter's " Gathering of the Manna " the treatment of the sky is very similar, but the opinion of the critics that Wolgemut was influenced by Bouts cannot be actually sustained, as his colouring is in many ways entirely different and the " Hof Altarpiece " was very probably painted before the " Gathering of the Manna." Wolgemut is a very much underrated master, 70 Ube art of tbe /iDunicb Galleries since the contention has been made that his plod- ding dihgence was the chief merit of his pictures. His " Crucifixion " shows many beautiful and deli- cate qualities and notably fine in form and expres- sion is the head of a young woman on the extreme left of the picture. Near her is another beautifully drawn figure, that of the worshipping Longinus. His versatility in the painting of landscape is to be noted in the different treatment of the one which forms the background of the " Crucifixion " to that of the " Resurrection," each beautiful in its OTAm way. The background of the famous " Krell " portrait, and the centre part of the " Paumgartner Altar- piece," both the works of Albrecht Diirer, the famed pupil of Wolgemut, are closely allied to the style of the latter as a landscape painter. Special attention must be bestowed on the carefully and accurately drawn plants with which Wolgemut and the Nu- remberg school in general used to adorn their fore- grounds. This was the case in other places in the fourteenth century but Wolgemut went especially far in this respect, and it is not therefore due to mere chance that Diirer later on drew his famous studies of plants. This close association of Diirer with the school of Nuremberg is not remarkable since he himself tells us that his earliest studies were made under its influence. There is no doubt what- Xowev IRbenisb an& ®Vb Z>utcb Scbools 71 ever that he gained much knowledge while travel- ling in various countries in pursuance of his art, and in studying the works of other artists, but the es- sential characteristics of his works can only be ex- plained by his own natural tendencies and the milieu in which he grew up. He is such a thorough Nu- remberger that the influences exercised over him by Suabia and Italy take quite a secondary place. We can best see this in the Pinakothek, which con- tains some of his finest and most famous works, in the "Portrait of Oswolt Krell" (236) painted in 1499. Even if we did not know that this was the work of Diirer we would undoubtedly assign it to the school of Nuremberg. The characterization is unusually powerful for the period, but this too is in the old Nuremberg style, though all must acknowledge, of course, that the great merits of the portrait belong to Diirer alone. No German master before him achieved such a grand, pure style in portrait paint- ing. We may consider the expression of the eyes strained and find fault with the defective perspective of the head, but we are bound to recognize the unity of conception, the organic construction of the pic- ture and the happy blending of seriousness with an almost decorative freedom. Next to be noted is the very famous portrait of the "Master by Himself" (239) and this picture presents one of the greatest puzzles with which 72 Ube Bet of tbe ^untcb Galleries Diirer's work confronts us. It cannot possibly, in the state in which we now see it to-day, have been painted in the same year as that of " Hans Diirer " (237). The colouring is too decidedly different. As a matter of fact the inscription with the date is not genuine in its present form. The old cartouche, which bore the original inscription, shimmers proudly through that now visible. Thus we have at present no really reliable information as to its date of painting, and we are forced to admit that it has not come down to us in its original state. More- over the head, breast and fur are covered with an extraordinarily thick layer of varnish, which makes it impossible to arrive at the date of the picture by a close examination of its condition. Many attempts have been made to solve the prob- lem by other means. The picture is said by some to be no true portrait but a built up ideal one, painted in the year 1505. Its lofty dignity has been attributed to Italian influence, which would make its earliest possible date 1506, but none of these assertions can be proved. It is difficult to believe the portrait to be that of a young man of twenty- eight, as Diirer looks to be in the late thirties here, but this is no guide either. At that time even the greatest masters were lacking in means of expres- sion sufficiently light to render the freshness of youth adequately. tftt 1\- ^^^1 ■•rr^' ; • ' «^ f^"% -^ , : -^''^0 r/ %^#\ -'•: / ■' Jv :'r { ^. ■ ' ' ' '''.<• ./f? ^'■^■• 111/ , ' -J^ .^^^^Hjp "■'■<* '», J ■'. -: - ■ W^"'!'^'' «. -e^. ■ ^^^■nRi|H BMNhHBI^^^^^^I ' ■ S-iil^^^ ■ '' 1^ "■■*■""■ ALBRECHT DURER. PORTRAIT OF HIMSELF. Xowet iRbentsb anb ©16 Dutcb Scbools 73 What makes Diirer's portrait of himself so strik- ing and sets it apart from his earlier work, is that it is a full faced portrait. Till then, more or less, three quarters profile was the style in vogue. Whether Diirer himself hit on this novelty or merely adopted it from Italy we have no means of knowing. The spirit of the age no longer de- manded that strikingly faithful likeness afforded only by profile or nearly profile position, but rather required the more powerful effect which a full face portrait only can give. In the portrait of Oswolt Krell Diirer ap- proached the full face position but the vivid impres- sion was reached at the cost of a certain amount of stiffness. But in his own portrait he takes a de- cisive movement forward; freedom is there with- out any decisive straining after it. It is important to note that this portrait of Diirer is not, as has been asserted, a Renaissance work, but belongs strictly to the Gothic period. The strandlike treat- ment of the hair, with the accentuated rendering of its wavy curls, the want of repose in the frequently interrupted flow of line in the garments, the strik- ing hands with their outspread pointing fingers, are all features of the late Gothic style. Whilst there is a certain symmetry in the picture, due to the full face position, it must be regarded as unavoidable and not classed with the harmony of the Renais- 74 Ube Hrt of tbe /iDunfcb Galleries sance. This can be proved by the fact that the pic- tures executed by Diirer under Italian influence are quite different in feeling and atmosphere. This portrait is conceded to be the finest expres- sion of personal greatness produced by the late Gothic art in the realm of portraiture. It possesses an expression of such strength and sublimity, that taking into consideration various peculiarities of dress, it is thought to be not merely a portrait of the great master, but in reality a Divine type, and there can be no question that later on Durer consciously used his own features as a foundation for the coun- tenance of Christ. It seems to have given expres- sion to the general usage of the Nuremberg school of his day, because in the Cook Collection on Rich- mond Hill, London, is a head of Christ, ascribed to Jacobo Wahl, which bears an unquestionable like- ness to Diirer when he was young. The year 1500 is the date of the painting of the "Bewailing over the Body of Christ" (238) a work which, though badly damaged, is still most impressive. The original force of this mighty work can no longer be fairly estimated owing to the poor state of preservation of the various parts — for example the group of women at the foot of the Cross — but we can see that Diirer deliberately tried to conceive the scene as a great whole. Deep melancholy broods over the entire scene, Nature, Xowct IRbenisb an6 ©15 S)utcb Scbools 75 steeped in the gloom of night, seeming to join in bewailing her Lord. Dark clouds cover the heavens, and are reflected in the lake, wrapping, as it were, the landscape in a garment of mourning. The year 1500 was a remarkably fertile one for the production of Diirer's paintings, for during it he also painted the " Portrait of Jacob Fugger " (249). The picture is, unfortunately, not very well preserved, the green background having been very poorly touched up and the portrait itself badly treated. This is caused by the technique, which was not very durable. Diirer here painted on canvas (or so called "handkerchief") with distemper, which is very easily damaged. The masterpiece of Diirer's early period was the " Paumgartner Altarpiece " painted for the Chapel of St. Katherine in Nuremberg. The Elector Maxi- milian I succeeded in obtaining this for his collection in 1 61 3, though he met with obstinate resistance from Diirer's fellow-townsmen, who naturally de- sired to retain it, as this altarpiece, especially on account of the votive wings, is esteemed to be a most striking and characteristic example of the old Nuremberg style of painting. A painter named Hans Briiderl lived at his court, whose business it was to paint over " the naked Lowland pictures." It was Briiderl — and not as is generally supposed the court painter Fischer — who had to transform 76 Zbc Hrt of tbe /»unicb ©allerfes into the Baroque style those portions of the " Be- wailing over the Body of Christ " and the " Paum- gartner Altarpiece " which were not either in com- position or colouring in accordance with the taste of the seventeenth century. He made considerable alteration in the pictures but fortunately, to his honour be it said, he had a certain amount of rever- ence. These alterations were removed from the Paumgartner Altarpiece some years ago. This great painting is perhaps the most notable monument of German painting of the end of the fifteenth and the beginning of the sixteenth centu- ries. Though it portrays the " Birth of Christ " (240) in small figures, there is still much of the intricate late Gothic style and the beautiful Christ- mas atmosphere of the picture has all the charm of old time poetic attractiveness, a charm which makes us quite overlook the obvious weakness of its per- spective. Dtirer had not yet succeeded in freeing himself entirely from the influence of Wolgemut, though we can trace his efforts to attain the per- spective achieved by the Renaissance. The regu- larity and the strict arrangement observable in this picture were quite in accordance with the spirit of his age. The colouring of this " Birth of Christ " is re- markable : it must originally have been charmingly bright and fresh, as it is still very clear in the middle ALBRECHT DURER. LUKE PAUMGARTNER AS ST. GEORGE AND STEPHEN PAUMGARTNER AS ST. EUSTACE. Xower "Kbenisb an& ©ID 2)utcb Scbools 77 distance. Wolgemut has similar colouring, though not employed in precisely the same way. Purity of colour was the aim always striven after by him and his school, but how Diirer contrived to lay on his colours so thinly and yet to get such tones we do not know. He may possibly have been influenced by the Venetian painter, Jacopo Barbari, who was living in Nuremberg at that time. On the outer side of the wings of the Paumgart- ner Altar is an Annunciation, of which only the life sized gracious Madonna has been preserved. She became visible when the work was restored, but un- fortunately the angel on the other panel has been destroyed. The inner sides show the donors of the altar — on the left the Nuremberger Luke Paum- gartner as St. George with the slain dragon at his feet (241) and on the right his brother Stephan Paumgartner with a banner as St. Eustace (242). Here we have something new in German art history and parallel to Diirer's making his own portrait resemble the Christ type. Pleasure in his own per- sonality, pride in the efficiency of the community to which he belonged, together with the glamour of the powerful Nuremberg patricians, induced Durer to produce this unique glorification of the German commoner, for the Paumgartners belonged to the middle class, not to the nobility, although their striking personalities enabled them and the Nurem- 78 Ubc Hrt of tbc /Duntcb aallcries berg patricians in general to look upon themselves practically as the equals of those of knightly descent. The drawing is still the angular Gothic style and though the figures are replete with interest and are very richly clad, still they stand there like bronze statues. In this masterpiece Durer showed to what a height German Gothic art could rise without any incentive from without, but he himself at a later period did not regard his early works, even the Paumgartner Altar, with unmixed joy and so he adopted an absolutely different style, much simpler and yet equally full of meaning, though not so pul- sating with life. Possibly his long stay in Italy (from the end of 1505 till well into 1507) helped to ' win him over to classical simplicity. This is clearly evinced in some of his pictures, such as his "Lucretia" (244) which dates from 15 18 but which was undoubtedly painted under the influ- ence of Mantegna's " Venus," now in the Louvre, but which at the time of its completion hung in Mantua. The chief works of Diirer's last period are his great panels of the four Apostles, painted in 1526, which may be considered the epitome of old Ger- man art. They were his last work and were painted at a time of mental and physical distress. Diirer felt that he was drawing near the end of his Xowec lRbeni0b and ®l& Z>utcb Scboold 79 strength, and although he might well have been proud of the great things which he had accomplished yet he told himself that he had not spoken the last word in art. He desired and hoped that others after him would further German painting and bring it to the lofty goal to which he had ever sought to ele- vate it. It was for this that he painted his last works as an example and a stimulus. Few artists have ever shown such calm self knowledge or such unselfish love for art and mother country — a love which no amount of success could dazzle — and it was therefore but natural for Diirer to present these panels to his native city, partly in remem- brance of himself, but also because this noble work did not have the same significance in any other place. In these panels Diirer has not only learned the simpler rendering of form of which German art stood in such need, but in strange contrast to this outward simplicity, he has concentrated himself almost too forcibly upon their inner import. The dignified simplicity of the material figures, the lack of ornament in the treatment of the drapery, are in startling contrast to the intense stress laid on the spiritual side. In the panel of " St. John " (247) this is perhaps an advantage — one is the more readily absorbed in the solemn religious frame of mind which seems to emanate from this noble saint, 8o Ube art of tbe ^unicb Galleries reading the Scripture with such fervour and keen attention. Of the four apostles it is perhaps he who best embodies the atmosphere of the rehgious world of the Germany of that day, Protestant and Catho- lic alike. With him is St. Peter carrying his em- blem, the key. More powerful and intense still is the figure of St. Paul (248) on the other wing. The arrange- ment of the light blue mantle which falls in such grand folds from the shoulders to the ground is worthy of the highest admiration. We compare these broad regular masses of drapery — utterly devoid of ornament and almost motionless as they are — with the votive figures of the Paumgartner Altar and we cannot fail to be struck with the enor- mous advance which Dtirer had made over his ear- lier work. And the same applies to the treatment of the heads; Dtirer modelled the bald head of the apostle with the same intense feeling which he be- stowed on the figure as a whole. The impression produced is powerful to a degree, but not exactly pleasing from an artistic point of view. Here Diirer was guided not only by his own inclinations, but also by the taste of the period, which had begun to lay great stress on a forcible rendering of the sub- ject in question. Moreover he tried experiments with this head of St. Paul, which was much smaller originally than it is now. The traces of these ex- Xower iRbenfsb anJ> ©lb 2)utcb Scbools si periments have in the course of time become visible again, and mar the impression produced by the pic- ture if we look into it closely. The compositions are not those originally planned. St. Paul and St. John were intended to stand alone, St. Mark and St. Peter were only added later and are carried out somewhat carelessly — for Durer — which accounts for those heads being less well pre- served. There are other signs showing that Diirer was obliged to complete the work less fully and carefully than he had originally intended; the only part which is carried out in complete accordance with his original design is the figure of the painting of St. Paul, and noting the thoroughness with which the mantle is treated in this picture, compared with the weaker, more superficial execution of the figure of St. John, the disparity becomes very evident. The difference is still plainer when the feet and sandals of St. Paul are compared with those of St. John. The former are wonderfully modelled down to the smallest detail, care is devoted even to such outward trifles as the stitches with which the sharply marked layers of leather composing the soles of the sandals are sewn together, while the feet and shoes of St. John are much more sketchily painted. Few of the works of Diirer's pupils are repre- sented in the Pinakothek. The most remarkable are 8a JLbc art of tbc /iDunicb Galleries the two inner wings of an altarpiece, painted it is not positively known by whom but very often at- tributed to Diirer himself. The one represents " Saints Joachim and Joseph " (245) and the other "Saints' Simeon and Lazarus" (246). The out- sides of these wings represent the " Trials of Job," of which one panel hangs in the State Mu- seum in Frankfort, and the other in the Museum at Cologne. The centre compartment has been lost. Besides these there is a copy of Dtirer's " Martyr- dom of Ten Thousand Christians " by the Persian King Sapor II (253) which is of interest from the fact that in the centre one may observe a portrait of Diirer himself and also one of his friend Wili- bald Pirkheimer. It was to this friend that he addressed his letters from Italy which have come down to us and afford us so many interesting particulars of the art world of his time. Durer's most pleasing pupil was Hans Wagner, known better as Hans von Kulmbach, who adhered faithfully to the style of his master, and while far beneath him in power of conception, still equals him in taste and harmony of colour. Of his works we have four panels of beautiful and brilliant effect (254-257). The Suabian school was the next in importance to that of Nuremberg but no earlier works of this Xowet IRbenisb and Oli> Dntcb Scbools 83 school are to be found in our collection. Of the later works we have the famous and charming " Birth of Christ" (174) usually, but without any- absolute certainty, attributed to Martin Schongauer. This painter, more generally known as Martin Schon — the "Bel Martino" of the Itahans, and the " Beau Martin " of France — so named for the beauty of his works, was born at Colmar about 1450, and was one of the greatest painters whom Ger- many produced in the fifteenth century. What we know of Schongauer, beyond the fact that he was a pupil of Rogier van der Weyden, is very slight. None of the pictures attributed to him can be authenticated and it is as an engraver that he appears as an artist of the greatest power and invention in the department of ecclesiastical art, both in representing single figures and also in very animated composition. The pictures which are supposed to be painted by him show a warm, powerful and transparent colour but his treatment is less true and his blending of colour less subtle than that of his master, Van der Weyden. In all probability the pictures attributed to him are by his pupils after his engravings and this is very likely true of the " Birth of Christ " in the PJnakothek. In this the Virgin, in a red gown and mantle, sits with the Holy Child on her lap, holding out a flower towards him. The features of 84 Zbc Hrt of tbe ^unicb (Ballecies Mary are noble and pure in expression, and her red drapery has a very fine and luminous effect. The school of Suabia laid far less weight than that of Nuremberg on vivid characterization and form, but aimed rather at a certain calm type of beauty. Its colouring was not so bright, having more the effect of light clear enamelling. The fig- ures are less individual but rounder, the movements not so stiff and austere but still with a certain strongly marked emphasis. The Suabians, there- fore, approached the ideals of the Renaissance ear- lier than the other German artists. The tendency is notable even during the Gothic period of Bartholo- mew Zeitblom. The Pinakothek possesses two of his characteristic pictures, "St. Margaret" (175) and "St. Ursula" (176). It is very obvious that Zeitblom's master Schongauer exercised a very great influence upon him, for, though inferior to the latter in sense of beauty, Zeitblom has a power of attraction in the simplicity, purity and earnest- ness of his religious feelings which few artists of his time possessed. His pictures, with their mild, placid faces and figures, form a decided contrast to the sterner Nuremberg school, and for a long time this style was considered the best embodiment of German art, so that Zeitblom has been called the most German of all the masters. This is, perhaps, going somewhat too far, but his pictures undoubt- Xower TRbenisb anb ©10 ©utcb Scbools 8s edly show the transition from the Gothic to the Renaissance style, at a time when everywhere else pure fourteenth century art reigned supreme. The greatest masters of the late fourteenth and early fifteenth centuries were undoubtedly the Augs- burger Hans Holbein the Elder and his illustrious son of the same name. Many of the finest works of the elder Holbein were accredited to his namesake son and the signatures attached to them forged to make it appear that they were the work of Hol- bein the Younger. These forgeries were in time dis- covered, and the elder Holbein restored to the place which he naturally fills in the annals of the art of his country. He is to be recognized as a remarkable master who first formed his style on that of Rogier van der Weyden, but later tempered it by the study of local and Italian conditions. In his early period, in which he exhibited depend- ence on the models of Van der Weyden, he produced some remarkable canvases, among them an altar- piece of eighteen or twenty panels painted in 1502 for the high altar of the cloister church at Kais- heim. Sixteen of these hang in the Pinakothek (193-208). This work, which covers the principal events in the life of Christ and in that of the Virgin Mary, is purely Gothic in style. Specially notice- able are the heads, many of which are treated almost as portraits, and therefore it is not surprising that 86 Ube Hrt ot tbe /iDunicb ©alleries an artist who could paint such heads, at a time when Gothic painting with its strict adherence to pattern was dominant in Germany, should have been the father of the greatest of German portrait painters. It is clear that during the early years of the six- teenth century a strong Italian influence was felt in South Germany, due largely to trade intercourse, and painters of the German schools gradually be- came familiar with Venetian and Paduan art. The elder Holbein was one of those artists who derived much advantage from this intercourse. Without abandoning altogether his early training, he softened his art to a large extent, throwing off the impress of Van der Weyden's school, for that of the Van Eycks, which came to him modified through the medium of Antonello da Messina and the Venetian school. With this and a feeling for architectural decoration derived from a study of Mantegna and Bellini, he took a serious part in the production of a revolution of German art. A triptych in which we are introduced to the first bloom of the German Renaissance is his " Martyrdom of St. Sebastian " (209) painted for the Dominican church of St. Salvator at Augsburg and esteemed to be one of the greatest of the works produced by the Suabian school of that period. The centre panel, the martyrdom of the saint, is one of the gems of the Knakothek collection and is undis- Xower IRbentsb an5 ®15 Dutcb Scbools 87 putably the work of the master himself. The right wing of the altar presents " St. Elizabeth of Thurin- gia" succouring the sick and aged (211) and the left one, " St. Barbara " with a chalice, over which the Holy Ghost sweeps, in her hands (210). On the reverse of these wings is a representation of the Annunciation, the Virgin on the one panel, the mes- senger angel Gabriel on the other. When we com- pare this Annunciation with that on the " Kaisheim Altar," hanging just above it, we cannot fail to note that in the latter everything is circumscribed and the figures wooden in their modelling. On the wings of the " St. Sebastian " altarpiece the extremely tasteful and happy treatment of space proclaims an artistic revolution. In the Kaisheim altar the orna- ments form a flat decoration and curtail the space, but they have here become of architectural im- portance and create the conditions of space required by the situation ; they help to build up the whole and consequently the figures themselves have more freedom and ease of movement. In place of the somewhat affected mannerism of the Gothic style we have now the serious and splendid beauty of the Renaissance. In the by no means perfect angel of the Annunciation there are traces of want of cer- tainty, indicating that this might be the work of one of the pupils of the master, but in the two delightful figures of Saints Barbara and Elizabeth of Thurin- 88 Ube Hrt ot tbe /Dunicb (BaUeries gia on the inner sides, we have a practically finished example of the new style, and much in the treatment of these two wings supports the contention that they were work of Hans Holbein the Younger. The colouring leads us largely to this conclusion. In- stead of the subdued brownish tone beloved of the elder Holbein, a clear silvery charming tone treat- ment prevails, heralding the wonderful colouring of the younger Holbein's later work. Hans Holbein the Younger was born at Augs- burg in 1497 ^^^ what we know of his life can be told briefly. He was painting independently and for profit at fifteen, and when only twenty he left Augsburg and went to Basle. His earliest works extant are to be seen there. They are the " Last Supper," a " Flagellation " and the portraits of Jacob Meyer and his wife. After a visit to Lucerne we find him a member of the Painters' Guild at Basle and some years later he painted the frescoes for the walls of the Rathaus, of which only frag- ments remain, now in the Museum at Basle. Shortly afterwards we find him in England where he lived in the house of Sir Thomas More at Chelsea and he worked as an honoured guest, paint- ing portraits of the ill-fated chancellor and his fam- ily. Having returned to Basle for a while, hard times once more forced Holbein to seek work in England. This was in 1532, when he was taken into 1 i ^ 1 f^%,'- V 1 ,1 », r# /-' -, :-A ■o- "Vl^ "■. 6 1 ■ '"i -',' ' 'H ^ V -'^^ ^s ■m&^ fi 1 ^ fej M ^rr4« tt* :PS?S8?!Hiit: 1 p HANS HOLBEIN THE YOUNGER. PORTRAIT OF SIR BRIAN TUKE. Xovvec iRbentsb and ®ld Dutcb Scbools 89 the service of Henry VIII, a position not without its dangers. He was appointed court painter at a salary of £34 a year, with rooms in the palace. Holbein was employed for many years at the royal court, during which he produced some o^f his masterpieces. He died in London in the year 1 543 . One of the best works ever painted by him is the miniature " Portrait of Derich Born " (212) which, small as it is, serves to show the younger Holbein's mastery of style in its psychological grasp of char- acteristic points and its beautiful luminous flesh tints. World famous, too, is the " Portrait of Sir Brian Tuke " (213), treasurer at the court of Henry VIII of England. There can be no possible doubt that this likeness is the handiwork of the master himself, but the background, with its well known figure of Death, was undoubtedly added later on. In 1598, when the picture was mentioned in the in- ventory of the collection of Duke Heinrich in Mu- nich, where it had already been placed, there was no mention of the Death's head, which certainly could not have been overlooked. The addition has won much popularity for the picture, but has considerably lessened its value as an artistic whole. The authenticity of a recently acquired " Portrait of Derich Berck " (213a), a German merchant who resided in London while Holbein was court painter at that city, is much disputed, and it may well be 90 Ubc Htt of tbe /iDunicb eallectes the work of an English imitator ; the drawing is far too uncertain and the colouring too glittering and lacking in depth and luminosity to be the work of the great master. In Holbein the Younger, the German school of realism attained its noblest and highest development, and he may unreservedly be pronounced to be one of the greatest masters who ever laboured in that field. With respect to grandeur and depth of feel- ing in the field of ecclesiastical art he stands some- what below his great contemporary Albrecht Diirer, but he decidedly excelled his great rival in closeness and delicacy of observation in the delineation of nature. A proof of this is afforded by the evidence of Erasmus of Rotterdam— gifted himself with a fine understanding in manners of art— who says that of the portraits painted of him by the two artists . that of Holbein is the truer and better likeness. In the art of painting, having derived from his father a beautiful manner of fusing colour, in tasteful ar- rangement of drapery, in grace of movement and in feeling for beauty of form, Holbein must be placed above the great Nuremberg master, so that he, unit- ing with all these qualities admirable powers of drawing and composition, may justly be considered, of all the German masters, the one most fitted by na- ture to attain that supremacy of art displayed by the works of his great Italian contemporaries. In por- Xower IRbenisb anb ®I5> 2)utcb Scbools 91 trait painting, to which he especially devoted him- self, he stands on a level with the greatest masters. Another exceedingly excellent portrait painter was Martin Schaffner of Ulm, though the only like- ness painted by him which our collection contains is an early and not very pleasing one of " Count Wolf- gang von Getting " (218). Far finer is the great al- tarpiece from the convent church of Wettenhausen, the centre compartment (214) and three wings (215-217) of which hang in the Pinakothek. It dates from 1523 and therefore belongs to the Renaissance period. Of the paintings of Bernhard Strigel, whose work tended more to the style of the Tyrolese and Aus- trian, but who was court painter to Maximilian I, the Pinakothek possesses several finely modelled ex- amples of saints, and a number of excellent por- traits. He painted Kaiser Max himself and one of the variations of this portrait is to be found here (191). His best portraits are those of the patrician, Konrad Rehligen (188) and his children (189). The life-sized portrait of the father is full of the dignity characteristic of the time, but the tablet with the children's portraits is more interesting. Spe- cially noticeable is the difference between the little two year old boy in the front and his grown up brothers in the back row, and also between the shy yet smart little girls and the much rougher boys. 93 Ube Hrt of tbe /Dunicb Galleries The " Miracle of a Woman being raised from the Dead " (267) on beholding the true Cross, which was discovered by the saintly Empress Helena, is the work of Barthel Beham, of Nuremberg, who was sent by Duke William IV of Bavaria to Rome, where he died suddenly. His early work is quite in the style of his model, Albrecht Diirer, but during his stay in Italy he attempted (but with little suc- cess) to adopt the Italian manner, and in this style our picture is painted. He was a much finer por- trait than historical painter, and more noted still as an engraver, but our collection contains only the one picture from his brush. Another picture which is attributed to him, but which was painted by Ludwig Refinger, who married his widow, is the " Leap of Marcus Cur- tius " (269). This picture contains many animated figures but is marred by the gaudy and overladen antique architecture. A contemporary of Albrecht Diirer, who occupied an entirely independent position, was the Alsatian painter, Matthias Grunewald, who in the year 15 18 painted for the Cardinal Albrecht von Brandenburg an altarpiece, of which the celebrated " Conversion of St. Maurice by St. Erasmus " — the latter a por- trait of the cardinal — forms the centre compart- ment (281). This picture, so far as delicacy of colour is concerned, is one of the finest of the Ger- Xowet IRbenidb and Olb 2>utcb Scboola 93 man school. Many exceed it in form and execution, but for colouring this almost belongs to a later age. The quiet way in which the two saints are discuss- ing with each other, is in marked contrast to the manner of the ecclesiastical companion of the bishop and the mocking follower of St. Maurice. " St. Mary Magdalen" (282), "Lazarus" (283), "St. Chrysostom" (284) and "St. Martha" (285) form the wings to the above " Conversion of St. Maurice." They display such a variety of styles that it has been surmised that they must be the works of Grunewald's assistants, probably of Lucas Cranach, who afterwards became so famous. Waagen justly says " The figures are colossal, drawn with great mastery, and of earnest, dignified, and grandly individual character." A peculiar position in the Suabian school was that occupied by Hans Baldung, who modelled himself so entirely in style of conception, drawing and treatment upon Albrecht Diirer that there can be little doubt but that he studied in the latter's studio. From his hand we have two small but excellent portraits, one of " Count Philip the Warrior" (286), the other that of " Markgraf Bernhard III of Baden " (287). The characteristic of his heads is their rotundity, and in point of colour and general keeping it must be confessed that he is inferior to the other Suabian masters. 94 Ube Zltt of tbe /Dunfcb Galleries Even far back in the Middle Ages there was a flourishing school of art in the Tyrol, but there are very few examples of its work in the Pinakothek. There are, however, two pictures, works of Michel Pacher, " St. Gregory " (298a) and " St. Augus- tine" (298b). Pacher was also a wood carver, the mastery of which craft is noticeable in the hard- ness of the modelling of many of his figures. His specially good points are his treatment of space, and his colouring, which is very reminiscent of that of Mantegna. The Bavarian and Tyrolese painters seem to have had a special love for clearness of perspective, apparently closely connected with their talent for landscape painting. Albrecht Altdorfer, one of the most original and important of all the imitators of Diirer, was the finest German landscape painter of the sixteenth century, being the first artist to paint landscape as such and not as a mere adjunct or background. The Pinakothek contains a small but very beauti- ful picture of a thickly wooded forest by him, as an incident of which he has painted the " Fight of St. George and the Dragon" (288). Notable, too, is the idyllic treatment of the garden in his picture of "Susannah and the Elders" (289), but most re- markable of all is his " Victory of Alexander the Great over Darius" (290), of which Napoleon is Xowet iRbenisb and ®li> Dutcb Scbools 95 said to have remarked that it was the best battle picture in existence. At first it appears, confused, from the multipHcity of figures which it contains, but on observation it is like a fairy tale in the number of episodes which it contains. The scene is so arranged that the battle begins at sunrise and ends in the dim moonlight. The point of greatest inter- est stands out brilliantly from the centre of the whole, the personal conflict between Alexander and Darius, both in armour of burnished gold, Alex- ander on Bucephalus, far in front of his warriors, pressing on the fleeing Darius, whose charioteer has already fallen on his white horses, and who looks back upon his conqueror with all the despair of a vanquished monarch. The costume is that of the artist's own day; men and horses are sheathed in plate and mail, with coverings of gold or em- broidery, and with the glittering lances and stirrups, and the variety of the weapons, form altogether a scene of indescribable splendour and richness. There is also in our collection a beautiful little mountainous landscape with pine and other trees on both sides of a wayside (293) and a "Virgin with the Child" (291). Altdorfer was particularly re- markable as a painter of atmosphere, as one cannot fail to observe when contrasting the "Victory of Alexander over Darius " with another battle pic- ture, the " Siege of Rome under Porsenna " (294), 96 Ube Hrt of tbe /iDunicb 6alletie8 painted by Melchior Feselen, which hangs op- posite to it. This picture, while possessing much taste, and figures which are almost as fine as those in the picture painted by Altdorfer, is inferior to the latter work in poetic feeling. In the picture by Feselen all the clouds have a flat appearance and the whole tone of the picture is unsatisfying. No original school can be traced in Saxony, but various Franconian artists exercised their art in these parts, among them Lucas Cranach, a pupil of Grunewald, whose works bear the impress of his master's influence. Though inferior to the latter in grandeur of conception and in thoroughness of execution, he excels him in richness and variety of invention, in a peculiar clearness of colour and in the lightness of his treatment. He stands forth, properly speaking, as the painter of the Reformation, as he was intimate both with Luther and Melanc- thon, whose portraits he has painted with that of the Grand Duke Frederic III of Saxony, in a small bust picture of the three (274). Probably his most noted picture in the Pinakothek is the "Self destruction of Lucretia" (271), the colour of which is almost Gothic in its clear enamel- like brilliance. This Lucretia was originally more than nude, she having been painted with a thin veil- like garment, which suggested rather than concealed the flesh tints. Out of deference to the feelings of Xower IRbenfsb an^ ®l& 2)utcb Scbools 97 the times, she was later supplied with a roughly- painted and almost comical little skirt, which quite spoilt the original effect. When Lucretia had thus been made respectable, she and Diirer's Lucretia were made up into a sort of a box, very character- istic of the times. Cranach's touched-up picture formed the lid, upon opening up which one could enjoy the unmarred Renaissance nudity of Diirer's Lucretia. In course of time, naturally, this box was divided up and now the pictures hang separately in our collection. By far the most satisfactory artist whom Ger- many produced at the end of the sixteenth century is Adam Elsheimer of Frankfort am Main, born in 1578, who studied in Rome and also in Venice. He largely contributed towards preparing the way for the change of style of the seventeenth century, more particularly in his handling of atmosphere in his small but powerful landscapes. We have a fine ex- ample of this quality in a little picture painted on copper, portraying a hilly countryside with cattle in the foreground (1394). His mastery in this branch of painting may be noted in all his works in the Pinakothek, particularly in his " Flight into Egypt" (1391), the original of many copies, and his "Burning of Troy" (1390), which shows the frightened citizens of the doomed city fleeing to- wards the harbour, Aeneas bearing the aged 98 Ube Htt of tbe /iDunicb aalledes Anchises on his back, and the Wooden Horse in the foreground. " St. John the Baptist " (1392), " St. Lawrence " (1393) and an allegorical painting representing "Hermes" (1389) leading a richly clad woman who holds an apple in her right hand, completes the number of Elsheimer's pictures in the collection in the Pinakothek. It is contended by von Schlie that this last is not an original at all but a copy by Nich- olas Knupfer of a lost painting of Elsheimer's. Among the many German painters who at this time flocked to Italy in order to further perfect their art, was Johann Rottenhammer of Munich, whose paintings show to such a large extent the influence exercised over his work by Tintoretto and Paolo Veronese. Rottenhammer is frequently underesti- mated, partly because he was by no means as talented as his great models, partly because he has something of the sentimentally conventional in his work, but chiefly because his work is not distinguished from that of his imitators. He is represented here by half a dozen small pictures of dainty workmanship (1383-1388). CHAPTER III THE DUTCH SCHOOL We must notice briefly some examples which the Pinakothek possesses of an early Dutch school, totally distinct in aim and character from that bril- liant school which made Holland of the seventeenth century as famous in painting as in war. It was founded by Albert van Ouwater at Haarlem in the early part of the fifteenth century, but none of his works are extant. From the brush of Cornelis Cornelisz, of Haar- lem, an artist few of whose works are in existence, we have a " Suffer Little Children to come unto Me " (303), Christ seated with a little boy on his knee, in the midst of children guided by their mothers. This shows a careful modelling and warm and clear colouring. Two canvases by Abraham Bloemart, " Plato in the midst of his Scholars " (306) and the " Raising of Lazarus" (307), a work of excellent compo- sition, acquaint us with an artist who is better known as the earliest master of his famous pupil 99 100 Ube art of tbe /BJunfcb ©alleries Gerard von Honthorst. Considering the originally realistic tendency of the Dutch school, it is not sur- prising that Caravaggio, who imitated nature with- out displaying much discrimination but with great truthfulness and uncommon mastery of hand, should have strongly influenced many a Dutch painter who visited Rome. Gerard von Honthorst was the most notable of these, for though earlier in life a pupil of Bloemart in his native land, he acquired with perfect success the form of art belonging to Cara- vaggio. The amazing facility of his powers of pro- duction gave rise to an extraordinary number of works. These cover the departments of sacred and profane history, mythology, allegory and genre. His works are distinguished by a skilful arrange- ment, good drawing and keeping, masterly handling and extraordinary power and clearness of effect of light. This latter quality is his prevailing charac- teristic. Two versions of the parable of the " Prod- igal Son" (308-309) illustrate his versatility in handling the same subject. They are in the genre style and verge on the vulgar in treatment. His charming handling of light is well illustrated in his picture of the "Angel freeing St. Peter" (310) where all is dark save for the light which emanates from the angelic form. Attractive specimens of his m3rthological pictures are those of " Ceres " (311), who while seeking her daughter Proserpine, who Zbc Dutcb Scbool loi has followed her husband Pluto into Hades, trans- forms into a lizard a boy who has derided her ; and that of " Pero," the devoted daughter of Cimon, who, condemned to death by starvation, is saved by feeding from his daughter's breast (312). In our collection we have two portraits, the handi- work of Bartholomaus van der Heist, who occupied the position of one of the best portrait painters of his time. Almost nothing is known of his life or his teachers, but his work strongly suggests the influence, if not the direct teaching of Franz Hals. Van der Heist's works are full of animated incident. His two pictures (315, 316) in the Pinakothek are both portraits, one of a man holding a glove in his left hand, and the other of a lady, clad in a black gown with a richly gold embroidered underdress and carrying an elaborately jewelled fan. Both portraits exhibit a warmth and a clearness of tone and a cer- tain chiaroscuro which is very characteristic of this master. The Dutch painter of the seventeenth century is not a diiificult person to comprehend if we try to look at his work from his point of view. He is an observer, a student of what he observes and a consummate technician. He has an eye for the external and he gives little beyond the pictorial, with a smack of individual style in the expression of it. There are, however, many exceptions among the 102 Ubc Htt of tbe /iDunicb (Balleries Dutch painters, and the most famous exception of all was Rembrandt. There were few of the great truths of nature that escaped that Rembrandt eye, which we have all seen so many times, looking out at us from his own portraits. He saw truly when looking outward, but his eye was not fashioned for the outer view alone. It had a habit of reversing itself and looking within to read the thought of the painter's mind. The inner vision told of joy or sad- ness, love or sorrow, triumph or defeat. The mystery of existence, the burden of inequality, the problems of good and evil, all were there. The personal thought and feeling of the man crept into all his work, all that he enjoyed and en- dured and suffered; all that he loved and believed in, and sympathized with, so swayed and dominated him that they became part of his art. Shut away from the world in a small northern country, and even there a solitary among his fellows, he probably did not realize that his joy and his sadness were, in different form, the joy and sadness of the whole world, and that in the end he would be accounted one of the great expositors of human passion. We can trace him in his work step by step, year by year, and can feel his sympathetic feeling deep- ening and intensifying as he grows more wise. At first he has something of the gaiety of youth about him and his pictures take a happy joyous tone. Ubc Dtttcb Scbool 103 Chains, armour, jewelry, rich dresses, turbans. Ori- ental trappings, he dresses himself in these and paints himself with fine bearing and a charming dare-devil smile. He is fond of the physical and paints portraits of the hale type, like the " Gilder ; " paints Europas and Proserpinas ; paints sacred sub- jects, all with much seriousness but not with the depth and penetration of later years. Saskia is his wife and he is happy in painting her, now in one rich costume, now in another. In the portrait in the gallery at Cassel she is gorgeous in rich robes and plumed hat, with features frank, honest and very dignified; at Dresden she is seated on her artist husband's knee, smiling, while he holds aloft the glass in which he has just been drinking to her and to their happiness. This is his time for laugh- ter; success is his, he is renowned and has many pupils, but still he never neglects, nor pauses in his study of humanity. The trend of his mind is towards pathos, he is interested in old men, beg- gars, Jews, the forlorn and the miserable. A little later he was asked to paint the " Night Watch " as it is now called (it is in reality an " Af- ternoon Sortie of the Company of Franz Bannings Coqs "), a task at which he practically failed, there being little chance here for the play of emotional feeling across face or figure, little chance for a subjective nature to show itself. Besides his mind 104 XEbc art of tbc /iDunicb ©allerfes was too serious for the gay sortie of a shooting company. Saskia, his dearly loved Saskia, was dy- ing. After her death misfortunes came thick upon him, but his art only deepened and saddened under, the burden of increasing sorrow, neglect and pov- erty. In one year he painted his " Good Samari- tan " and the " Supper at Emmaus " and in these we have the full expression of Rembrandt's emo- tional power. The Pinakothek, in comparison with other gal- leries, makes rather a poor showing of Rembrandt's works. The large "Holy Family" (324) was probably the first picture which Rembrandt painted life size. He had a talent for small, delicate work which he kept up to the end of his life, but this could only satisfy one side of his nature, which demanded larger scope. One sees in this " Holy Family " that Rembrandt had not fully realized the laws which govern the painting of large pictures. The group does not fit very well into its space. One thing, however, shows him to be the great master and that is the picture of the Christ Child. This Child is one of the most beautiful that has ever been painted, and yet Rembrandt did not choose a charm- ing model, but just an ordinary little red-haired human child, with nothing " sweet " or " exquis- itely beautiful " about it. In place of the Christ Child of the Italian Renaissance, which was taken Ube Butcb Scbool 105 more or less from the antique cherub, Rembrandt depicts, in the Northern way, a little boy without any idealizing accessories. Herein is not only the value but also the beauty of the picture. The calm of sleep is beautifully reproduced and we note how safely and warmly the Child rests in the fur which seems to be one with him. Here, if anywhere, we see that there is no higher poetry than that which is absolutely true to nature. Rembrandt has shown this in the style of the detail painters, while develop- ing into the broader school. He sees the Child and its wrappings as a whole, distinct from the figure of the Madonna, and he makes this still plainer by the careful way in which the' Mother's hands are lying on the fur. The hands are worthy of special note, for while not beautiful, they are full of feel- ing. One holds the fur, while the other protects the feet of the Child so that they may not become uncovered. A costume study, that of a grey bearded Turk (325), with a rich turban and gold embroidered mantle, claims our attention. It was painted in 1633 and shows marvellous force both in concep- tion and execution, especially considering the sim- plicity of the subject. This combination of power and simplicity is characteristic of Rembrandt, who, as an independent and original genius, did not care to represent everyday subjects in an everyday man- io6 tTbe Hrt ot tbe ^unicb aalleties ner. The sitters for his portraits are in no way different from those of his contemporaries but his wonderful power and delicate feeling made them things quite apart. Therefore this picture is far more than a mere study, it is the embodiment of a powerful Eastern potentate. Two years later comes the " Sacrifice of Abra- ham " (332), of which he seems, and justly too, to have been proud, and which he permitted his pupils to copy. It is a remarkably fine Scriptural painting and shows the Patriarch in the act of sacrificing his only son, in obedience to the Divine command, be- ing stayed by the hand of the angel, just as the sacrifice is about to be consummated. The task before Rembrandt was a most difficult one, particu- larly in the Baroque period, which would have been easily offended unless the inhuman spirit of human sacrifice was well marked. Rembrandt was a Baroque painter, and this period fancied, on the one hand, the idyllic and homelike, and on the other, pathos, the theatrical and the sensational. Thus there was the danger that Rembrandt would repre- sent the old father either as too emotional or too violent, but he chose a way of depicting it which allowed him to show the unveiled horror of the sacrifice, and yet to add reconciling subjects from the Biblical story, so that the horror of the scene is resolved into an artistic harmony. The figure of REMBRANDT. DESCENT FROM THE CROSS. Ube H)utcb Scbool 107 Isaac is remarkable as a treatment of the nude, as may be seen by a comparison with the pictures of Gerard von Honthorst which hang in the same room. The wonderful Passion cycle, painted for the Governor of the Netherlands, Prince Frederick Heinrich, between 1633 and 1639, and the " Adora- tion of the Shepherds," are among the gems of the Pinakothek. Rembrandt's development in this dec- ade can best be studied in this series. He had to reckon with the same size and the same conditions while painting these pictures, but within these limits they are totally different, especially between the first of the series — the " Descent from the Cross " (326), and the "Adoration of the Shepherds" (331) added later. The former is indeed a mag- nificent work and can bear comparison — spite of its modest size — with the much larger work of Rubens in the Cathedral of Antwerp. The sudden light transition, for which Rembrandt is so famous, plays an important part in this picture, which shows five of Christ's devoted followers reverently remov- ing his body from the Cross while the Virgin falls fainting into the arms of the Magdalen. The " Elevation of the Cross " (327) is the next of the series, somewhat brighter in colour but in the same style. Behind the principal group is an Oriental on horseback and in the man who stands io8 Ubc Htt of tbe /©unicb ©allertes at the foot of the Cross in a blue doublet we see a portrait of Rembrandt himself. These pictures were painted in Amsterdam but have something of the character of Rembrandt's Leyden period, especially in the somewhat too round and plastic modelling of the figures. Totally different is the " Ascension " (328) painted three years later. The colouring now is stronger and the whole surface freely and pictur- esquely filled, so that the picture appears larger though in reality the same size as the others. The darkness of the shadows is not so marked here but is softer, more balanced and brings harmony into the whole composition. The earlier heaviness has disappeared, everything is light, and Christ hovers, free and victorious, on the clouds borne by angels. Rembrandt throws off the old style definitely in the two pictures painted in 1639, the " Burial " (330) and the "Resurrection of Christ" (329). The lighting here is more thoroughly consistent. In the " Descent from the Cross," painted only a few years before, the light is intended to throw up only the chief figures, certainly with great efifect, but at the expense of truth. The light now is free and falls everywhere, with nothing in its way. The culmination of the Munich series of Rem- brandt paintings is the "Adoration of the Shep- Ube Dutcb Scbool 109 herds" (331). When Rembrandt painted this he had already painted some of his most famous works, among them the " Night Watch," but just about 1645 (°^^ picture was painted in 1646), he seems to have been blessed with an almost overwhelming wave of genius. In this picture the fervour with which the shepherds accept and adore the Miracle, which they, as yet, so little comprehend, is most remarkable. This purity of feeling may be com- pared with the most noble works of Fra Angelico, yet with this greater poetic power there still remains a bold continuation of his specially picturesque achievements. There is also in our collection a " Portrait of a Young Man" (345), which was formerly ascribed to Fabritius, but belongs to Rembrandt's early and most immature period. The only portrait of the artist himself in the Pinakothek is probably not an original at all, but a copy by one of his pupils. It is dated 1654 and the signature is probably a forgery. The most marvellous feature of Rembrandt's works is that he could venture into the most distant realms of fancy, or even of the fantastic, without ever losing touch with truth. One can never cease to wonder at his manner of treating space; he creates effects of depth which are perfectly amazing. One feels that the forms in his pictures are sur- no xcbe art of tbe /Dunicb Oallcries rounded by some ethereal fluid. It apparently is not light but it imparts to the figures that dreamy physical life which, in spite of their realism, raises them into the realm of the purely artistic, which is only accessible to the imagination. A modern theorist has recently told us, with a love of the sensational, that there was virtually no such painter as Rembrandt and that the majority of the paintings assigned to him were painted by his pupil Ferdinand Bol. The logic of the argument, if there be any, seems to be based on the fact that Rembrandt at times painted down to the level of Bol, but how about the reverse of the contention? Did Bol ever paint up to the level of Rembrandt ? The leader of a school is always held responsible for the works of his pupils ; but it is not often that the pupils are credited with the works of the master. Bol is said to have been the first and best pupil in Rembrandt's house in Amsterdam and to have quite superseded his master in public favour at one time. This is no matter for wonder. The populace prob- ably preferred a catching likeness, a white skin and a finished surface to a broader and stronger render- ing, but a portrait by Rembrandt placed by one by Bol will quickly indicate which was the finer artist. A comparison of the modelling of the jaw, the cheek bones, the mouth, the eye, the hand ; of the colours of flesh and dress, or the transparency of light and Ube H)utcb Scbool m shadow, will prove that Bol never rose to the height of his master; he could not, he had neither the knowledge nor the skill of hand, and above all he had nothing like the mental grasp of Rembrandt. Bol was an excellent painter of the second class. He belongs to that rank because he had no great originality in either mind or method. He appar- ently did not believe in what he himself sawj he believed in Rembrandt's way of seeing. In his early pictures he modelled himself on Rembrandt, as may readily be seen by his portrait of Saskia, the latter's wife, in the Brussels Museum, in which he came very near his master. In the portraits of "Govert Flinck " (328) and "his Wife" (329), now known to have been painted by Bol, we have two likenesses which were long attributed to Rem- brandt. There are also three other portraits painted by Bol in the same room. One of the painters who was most strongly in- fluenced by Rembrandt was Jan Livens of Leyden, whose sense of beauty was almost as high as that of his famous contemporary, though in depth of feel- ing, in power and warmth and in harmony of colour he in no way equalled him. On the other hand he was a famous draughtsman and in his portraits ap- proached Van Dyck in style of lighting and in gen- eral composition. Two portraits of old men (335, 336) are warm in colour and charming in treat- 112 Ubc Htt of tbe /Duntcb Galleries ment. The latter is particularly distinguished by the beautiful painting of the hands. Govert Flinck, whose inimitable genre pictures are well represented in the " Guard Room" (343) in which three soldiers are throwing dice at a table, while a fourth looks on at their play, was not only a pupil, but also a friend of Rembrandt. He painted the portrait of the latter, in return for which Rem- brandt painted him and his wife. He was an artist of great talent and was among the scholars who most closely approached the manner of the great master, so much so that his pictures are often taken for those of Rembrandt. A fine picture, that of the " Aged Tobias giving thanks for the Recovery of his Eyesight " and the return of his son, who had been guided by the Arch- angel Raphael through the heavenly realms (357), is the work of Jan Victoors, one of the numerous Dutch artists, whose life was, until recently, a puzzle to historians. His colour is uniform in tone, but his flesh, with its yellow-red tones, is not painted with the subtlety peculiar to Rembrandt, and by him imparted to a certain extent to his pupils. Gerbrandt van der Eckhout inherited more fully than any of the others of Rembrandt's scholars the master's gift of composition and peculiar conception of Biblical subjects. Even in clearness of colour, power and warmth he occasionally approaches his Ube Dutcb Scbool 113 great teacher. His picture " Christ teaching in the Temple " (348) is very reminiscent of Rembrandt in beauty of composition and glow of colouring. The charming little twelve year old lad expounding the law, while his astounded elders listen amazed at his wisdom, has all the naive grace of childhood. Besides this we have two other unimportant Bibli- cal pictures (349-350). Also trained in Rembrandt's studio was Carel Fabritius, who painted some pictures of great merit in his short but active life, among them the " Por- trait of a Young Man" (344) with brown curly hair, in a black cap, a red vest with a standing col- lar and a black coat, which picture is so well painted that it has b^en attributed to Rembrandt. Fabritius was the master of an artist who is only just now being recognized and restored to the honour he deserves, Jan van der Meer, of Haarlem, of whose landscapes our collection boasts two examples. Another version of " Christ in the Temple " (353) between Scribes and Pharisees, is the work of Solomon Koninck, a pupil of David Coleyns, but an ardent follower of Rembrandt, though he pos- sessed mu 1 less^ animation and was inferior in force and clearness of colouring to his great model. Of the same school was Nicholaes Maes, whose genre pictures are so much admired and prized. His work possesses much naivete and depth of feel- 114 Zbc Htt of tbe /iDunicb (3alleties ing as well as admirable, even generally striking, lighting. Our pictures in the Pinakothek are of the class of work in which he least excelled, though sometimes his portraits show great mastery. One of them is that of a young man (363) with long blond hair, in a brown mantle, looking over his shoulder; and one that of a young lady (364), seated resting her arms on a green covered table on which stands a vase of flowers. The Pinakothek collection can boast of sixteen small paintings (393-408) from the gifted brush of Gerard Dou of Leyden, a pupil of Rembrandt, whose talents developed themselves very early in life. He entered Rembrandt's school when only fifteen and in three years attained the position of an independent master. He devoted himself at first to portraiture, and, like his great model, made his own face frequently the subject of his paintings, as witness his own " Portrait " (397) standing in a pillared arcade, his right arm on a tapestry cov- ered table and a stick in his left hand. To the right may be seen a view of the Haarlem Gate at Leyden, his birthplace. Later he left this branch of painting and com- menced treating scenes from the life of the lower and middle classes. He very rarely painted the upper classes, though we have one specimen, in which a lady of high degree (407) is seated at an GERARD DOU. THE SPINNER. Ube ©tttcb Scbool us open window, before her toilet mirror, while her' maid arranges her hair. We have chosen for illustration as a fairly typi- cal example of his usual style " The Spinner " (403). His pictures are usually of warm clear effect and marvellous finish. No other master has ever rendered candlelight pictures with more telling effect. Gerard Dou possessed to the full his master's feeling for the picturesque and for the most refined charms of chiaroscuro ; for power and transparency of warm colour, and, combined with these qualities, a rare insight into nature with a marvellous distinctness of perception and an almost unexampled precision of hand. Of the many pupils who followed in the footsteps of Gerard Dou the best was Franz van Mieris, who, like his master, developed his powers very early. In chiaroscuro and delicacy of execution he is not much inferior to his master. He treated very similar incidents, but in his preference for subjects "taken from higher life, we see the influence of Metsu; and in a certain humour which obtains in some of his works, that of his friend Jan Steen. The pictures which Van Mieris painted are gen- erally very small but executed with an extraordinary minuteness of finish. The Pinakothek is quite rich in his works, pos- ii6 ubc art of tbe /»unicb Oalleries sessing fifteen (409-423), many of which are ex- ceedingly characteristic. The composition in them is attractive, the light but warm tones very clear and the handling of wonderful delicacy. In the Spanish section of the Pinakothek under the name of Pereda hangs a " Portrait of an Offi- cer" (1298) which is certainly not Spanish but Dutch, and extremely like a portrait in the Louvre by Gabriel Metsu. He was a Leyden painter, a pupil of Gerard Dou and closely related to that school of detail painters. Metsu, from his paintings, for we know little of his life, seems to have been a combination of Ter- burg and Gerard Dou. In addition he was a strong admirer of Rembrandt, and absorbed much from the latter that was wise and profitable. He seems to have been somewhat uncertain of his aim in early life; but later he developed independently and showed a great deal of inventive power, more particularly in his treatment of the conventionalized interior group. He had that delicacy and charm which went towards the making of an art highly estimated and praised by so great a painter critic as Fromentin. He was particularly strong in his characterization by movements, actions and ges- tures, something he may have gotten from Rem- brandt, though he applied it in his own way to his own people. PIETER DE HOOCH. INTERIOR OF A DUTCH LIVING ROOM. Zbc 2)utcl) Scbool 117 The Pinakothek possesses a masterpiece of his painting, the "Bean Feast" (424), which repre- sents a peasant interior in which the feast in honor of the Bean King is being celebrated. Seated in an easy chair is the King of the occasion emptying his drinking glass. Two women sit opposite to him at either end of a table, and in front is a little child in his small chair. Behind the table are a boy and a man with a fool's cap, and the sense of enjoyment and jollity pervades the whole atmosphere. The colour is made up of somewhat broken tones, but delicately blended, and the painting is broadly and freely executed. There is also a small charming picture of a " Cook " (425) in a red and blue garment, looking out of a window in a kitchen, a half plucked chicken in his hand. In the " Interior of a Dutch Living Room " (426) Pieter de Hooch, who belonged to the same school as Gerard Dou and Metsu, has given us a most beautiful, though exceedingly simple picture. It represents only a woman, in the dress of the mid- dle class, seated, reading in a book, her back towards the spectator. On the floor are to be seen her wooden shoes. The sun plays on the walls, gilding her footstool, a green covered coffer and a red leather chair. It is the epitome of homelike daintiness. Much of the meagre information concerning ii8 Zbc Hrt of tbe /iDunicb Gallettes De Hooch is dubious, even the year of his birth being doubtful. In 1655, however, he became a member of the Painters' Guild in Delft, but left that city for either Haarlem or Amsterdam two years later. It is thought that he must have died soon after 1677, as that is the latest date borne by any of his pictures. De Hooch is one of the most charming of the Dutch masters. He delights in giving us glimpses of the cheerful and peaceful aspect of the domestic life of the times. One can linger for hours before his simple scenes with the greatest delight without tiring of them, and wonder what it is that gives so mysteri- ous a charm to his works. Much of the secret of his fascination is due to his wonderful feeling for light and shade and to his refined sensitiveness for values. Of the work of Franz Hals, the greatest painter of the Dutch school after Rembrandt, the Pina- kothek possesses but one authenticated and one dis- puted picture. In Cabinet X (258a) is to be found a " Portrait of Wilhdm Croes," which belongs to Hals' best period. This portrait, lyhich is more in the style of a sketch, brings the subject physically and mentally in front of us. This association of likeness and characterization is of the utmost im- portance in Hals' portraits. It is difficult to say which strikes us most, the individuality of the painter or that of the portrayed. The large "Family Portrait" (359), in which Ube 2)utcb Scbool 119 the parents sit in an open hall, which gives a view of the park beyond, with two little boys on the left busying themselves with a drawing and one on the right playing with a dog, while three little girls amuse themselves with a basket of fruit, was long ascribed to Hals. It bears a certain resemblance to his work in composition and drawing, but it is on the whole of Flemish character, as witness the colouring, which is very different to that employed by Hals. Franz Hals is one of the very few Dutch artists who cannot be thoroughly appreciated or studied outside of his native town. To really know him one must go to Haarlem, where in the Museum of the Town Hall he is represented by eight large can- vases, varying in length from eight to thirteen feet, the figures of which are life sized. They are cor- poration and regent pictures, of which class of paintings Hals and Rembrandt have painted the finest examples, their works being not merely groups of portraits but actual pictures. It is only within the last quarter of a century that Hals has received the recognition due to his genius. Unfortunately the records of his life are exceedingly meagre, but what we know of his history, from latest researches, shows him to us as a very dif- ferent character from the mere sot that his former biographers have made of him. True, his habits I20 trbe art of tbe ^unicb ©alleries were convivial and he took no thought for the mor- row, but as he was a member of the Guild of Rhetoric and of the Guild of St. Luke, and received a pension in his old age from the town of Haarlem, it is safe to conclude that much that has been said about him by his detractors is untrue. The Hals family occupied a place of distinction among the patrician families of Haarlem for two centuries before the birth of the artist, but owing to misfortunes consequent upon the War of Inde- pendence, his parents removed to Antwerp, where about the year 1580 Franz was born. His family returned to Haarlem, however, while he was a boy, and there he was educated and spent the most of his long and eventful career. He is supposed to have studied art before he left Haarlem, but it is known that in the latter place he worked under Karel van Mander in the beginning of the seventeenth cen- tury. He was one of the first to lead the way in genre painting, and to be reckoned among the leaders who sought to' break up the hitherto staid and serious forms and to introduce homely reality and easy comedy in his pictures. He is particularly happy in the delineation of mirth, in fact he has been called the master of the art of painting a laugh. The titles of many of his pictures to be found in the dif- ferent galleries of Europe, such as " The Jester," Ube Z>utcb Scbool 121 " A Jolly Toper Sitting at a Table," " The Jolly Trio," "Laughing Women," "The Frolicsome Man," " Table Company," are sufficiently suggestive of the good humour which has earned for him the title of " Jolly Franz Hals." A story is told of a visit which was paid to Hals by Van Dyck when the latter was twenty-two and Hals nineteen years his senior. As a pleasantry Van Dyck suppressed his name, giving himself out to be a wealthy stranger, who wished to sit for his portrait, but had only a couple of hours to spare. Hals completed the portrait in even a shorter time than that stipulated, to the feigned delight of his sitter, who said. " Surely painting is an easier thing than I thought. Let us change places and see what I can do." The exchange was made. Hals instantly saw that the person before him was no stranger to the brush, but he could not imagine who his guest might be. But when the second portrait was completed in still less time than the first, the mystery was solved. Rushing to his guest he clasped him in a fraternal embrace. " The man who can do that," he cried, "must be either Van Dyck or the Devil." Franz Hals was obviously the model which the great Dutch school directly or indirectly followed and he thus assumes a significance in the history of art which has never been sufficiently acknowledged. 132 xcbe Htt of tbe /iDunicb Oallettes The best pupil of Hals in his genre style was Adrian Brouwer, who was born at Oudenaerde, though many contend that Haarlem was his birth- place. Like his master Hals, he has suffered much at the hands of his biographers, who have repre- sented him as a drunkard and the companion of drunkards. Though recent research has not brought to light many facts concerning his life, still they serve to show that he was not quite so bad as the chroniclers of his life would have us believe. Brouwer studied under Hals at Haarlem, then worked at Amsterdam and subsequently at Antwerp, where he was received into the Guild of Painters and also into a society of artists known as the " Violets " three years later. He was an extremely exact and accurate ob- server and a most thorough worker, and though the eighteen pictures of his which hang in the Pinako- thek (which contains the best collection of his paint- ings extant) are mainly the same style of subject, i. e. drinking scenes, gambling in taverns, scrim- mages, wounds being sewn up, and others of the same character, each piece is a novelty, almost a revelation. He never repeated himself because he had always a new idea and never painted from memory or in a cut and dried fashion. We know that he was for a time a state prisoner under the Spanish military rule, but at the same Tlbe Dutcb Scbool 123 time he had his liberty as a painter, and while he probably drank many an unnecessary glass as he sat among the Spanish soldiers, as an artist he utilized this time of enforced inaction by conscien- tious study. The period in which Brouwer painted was fond of psychological hits and sharply defined representations. He was a contemporary, of Mo- liere and there was a certain relationship between them. He created these small works in which he depicted human joys and weaknesses in a manner most humourous. His satire was sharp but never ruthless and it never repels us. We recognize Brouwer's merits best when we compare him with David Teniers, who undoubtedly imitated him, while remaining purely Belgian. The latter's colour is firm and enamel-like, whilst that of Brouwer is so full of artistic brilliance, warm and soft, that we can well understand the high esteem in which Rubens held the powers of this artist. Teniers could not resist trying to make Brouwer's subjects more refined, at least outwardly. His peasants have always quite new tools, the pots have never been used, the pans are bur- nished like mirrors, and the coats are carefully washed. This is not the case with Brouwer, who painted his drunkards, gamblers, soldiers, as they appear in their every-day guise, with no striving after effect. 124 Zbc Hrt of tbe /iDunicb Galleries One of the finest of his pictures in the Pinako- thek is that of " Two Peasants Quarrelling " (889). They have just been sitting, quite on good terms, at an empty barrel head which has served them as a table. Anger has mastered them and one gives the other a blow on the head. You see the man that has been assaulted stagger, but the angry joy of the victor gives balance to the picture. In another painting — and a very noted one — a "Village Barber" (885) is probing his patient's foot. Brouwer has reproduced the fear and irri- tation caused by the performance so perfectly that even the spectator feels as nervous as the patient. In the "Cheating at Cards" (879), of which the painting is so true to nature that it makes us feel the excitement of the moment, the subtlety of the artist can best be studied. The momentary action of the figures, each being individualized with singu- lar accuracy, even to such a detail as complexion, is incomparable, and the execution is of extraordi- nary delicacy. A " Party of Peasants at a Game of Cards " (888) is an example of the brightness and clearness of those cool tones in which Brouwer became the model of Teniers. All the rest of his pictures in the Pinakothek which represent the lower orders eating, drinking, gambling or fighting are so true and lifelike in character, that they lead to the belief Ube Dutcb Scbool 125 that this master must have painted them from scenes of his own actual experience. Another very celebrated pupil of Franz Hals was Adrian van Ostade, who, though an earnest fol- lower of his master, also devoted himself to a study of the pictures of Rembrandt, and to this study may be ascribed the warm and clear colouring which has led to his being called the " Rembrandt of genre painters." He differs from Brouwer in that the latter has a liking for the sharp and aggressive, while van Ostade depicted the idyllic. Instead of fights with a serious element in them, he paints scuffles, and is still fonder of peasants and old folks seated cozily over pots of beer and pipes in inns or gardens. He was born in Haarlem in 1610 and continued to live there till he died in 1685. His father, who is said to have been a weaver, was of considerable standing in the community and had eight children, to whom he was able to give the advantages of good circumstances. Adrian was the third, and his brother and pupil Isaac, the youngest of the fam- ily. He entered the school of Franz Hals when that master was in the full vigour and practice of his art and while Adrian Brouwer was still studying under him. When his apprenticeship was finished he opened a workshop of his own in his native town, and here his brother and Jan Steen were among 126 Ube Hrt of tbc /Dunlcb aalleries his pupils. In more than one picture he has given us a view of an artist's workshop of that time. There is a note in Van Ostade's paintings nearly related to the philosophic science of life. We have an example of this in a little " Drinking Scene " (372) in a tavern, where a rather disreputable drinker is sitting in the foreground. There doesn't appear to be a whole garment on him; his toes peep out of his shoes and stockings, and yet he looks at the party, who are boisterously enjoying themselves with an equanimity bordering on con- tempt. There is much accurate observation in this misunderstood village genius. All Van Ostade's pictures in the Pinakothek are tuned to the same key, all happy, laughing, smoking, dancing, careless peasants, with the single exception of a " Fighting Scene " (371), where some country folks are quar- relling after a drinking bout; their wives are seen hastening to the assistance of their men folk, so there seems every likelihood that a general scrim- mage will be the outcome. Van Ostade's colouring is very different from Brouwer's. He liked a rich mixture of light tones and not seldom worked his colours up to a flower- like beauty. In his best period he bound his colours together with a rich golden tone for which his pic- tures are noted. Of the comparatively rare works of his brother TLbc 2>utcb Scbool 127 and pupil Isaac van Ostade, the Pinakothek pos- sesses six examples, four of them scenes from peas- ant life, showing how closely he followed in the footsteps of his teacher, and two winter landscapes, with figures skating and sledging on a frozen canal. Two excellent pictures indicative of the best period of Jan Steen can be observed and studied in our collection. They are a " Fight between Two Card Players" (391) in which one of them tries to defend himself from the sabre with which the other is attacking him. A third man and a woman attempt to hold the pugnacious scuffler back, and in the entrance to the doorway stands a drunken na- tive of the place with his beer-glass and pipe. The other is that of a " Doctor Visiting a Sick Woman " (392), whose weakness, apparently, could better be cured by the presence of her lover than by any other medicine. Steen resembled Brouwer in some ways, in others he was totally different. The fertility of Dutch art in the seventeenth century is indicated by nothing so clearly as by the fact that while all these artists, such as Hendrik Potuyl, Cornelis Bega, Hendrik Sorgh, Quiryn Brekelenkam and many others (from whom we have many paintings, mostly of interiors of taverns and tavern life), worked in the same field, they developed along quite different lines, and so, though the subjects which they treated 128 Zbc Hrt ot tbe /iDunicb Galleries were those which pertained mainly to the labouring classes, in their work or at their amusements, there is never any monotony in their portrayal of these scenes. Steen was fond of depicting scenes of lower and middle class life, but his characterization, while equally clear, had much more charm than that of Brouwer. His choice of subjects was very varied. He was not a specialist but depicted the fashionable world with the same verve as the doings in a low public house. He showed much skill in painting religious subjects and great charm in his genre pictures. Taken all round he was a laughing phi- losopher, whose quick eye caught the humourous side of every event and situation. When he saw the charming and the beautiful he had real joy in depicting it, when he beheld anything coarse he was in nowise disconcerted thereby, but pointed out smilingly the useless and not the objectionable side of vice. More picturesque if not so intellectual was Ger- ard Ter-Borch, who also belonged to the Haarlem school. His " Boy with the Dog " (389) is one of the most famous of the Dutch genre paintings. There is great charm in the gray colouring so full of tone and also a wonderful kind of balance in the arrangement of the picture. Another altogether striking painting is that of a " Soldier Bringing a XTbe Dutcb Scbool 129 Letter to a Lady " (388), which, in the presence of her maid, she seems to hesitate to receive. Ter- Borch was also noted as a painter of portraits, which he generally painted full length but of very small size, and usually he depicted his sitters in black against an olive coloured background. Of this class of his work we have two examples in his portraits of a man and a woman (389 a, b), the latter holding the inevitable fan. Our collection contains some excellent works (1398- 1 402) painted by Caspar Netscher, born at Heidelberg, a pupil of Ter-Borch and a follower, as well, of the style of Metsu. If somewhat inferior to the former in refinement of keeping and to the latter in touch of spirit, he equals them both in tasteful arrangement and the elegance of his figures and surpasses them in sense of beauty of form. He especially understood how to depict the charms of childhood. One of the finest of the painters who formed himself upon the model of Netscher and Van Mieris, was Eglon Henri van der Neer, who was appointed court painter to Philip II of Spain in 1687. His favourite and most successful subjects were ele- gantly attired ladies, engaged in some domestic avocation, and perhaps the finest of these is that of a " Lady in White Satin " (435), tuning her lute, a picture unusually large for him, taken in full light 130 Ubc Hrt of tbe ^unicb Galleries and very warm and harmonious. The fine taste which pervades all the details of his compositions, his feeling for harmony and the melting delicacy of his execution, entitle this artist to rank with the masters he chose for models. In the Pinakothek collection is the best oppor- tunity of studying the works of Adrian van der Werff, born 1659, died 1722, who at this epoch stood quite alone in the school of Dutch painting. While others devoted themselves to a healthy, nat- ural, realistic tendency and developed it in various directions with pleasing and original results, he, on the contrary, adhered to the pursuit of the ideal. He presents us, therefore, with mythological or Biblical subjects conceived with the utmost beauty and elegance of form, and executed with that won- derfully finished smoothness of touch which he learned from his master Eglon van der Neer. From him, too, he acquired a power of realistic concep- tion, and various works by him executed in this feeling show happy invention, animation and truth. His pictures were so much in demand that he found it impossible to fill all the commissions he received. His greatest patron was Elector Johann Wilhelm of the Palatinate, which will explain how, through the acquisition of the Diisseldorf Gallery, our collection came to be so rich in his paintings. A specimen of the union of almost absence of Ube 2)utcb Scbool 131 feeling with rare perfection of technical execution is a representation, in which the Elector Johann Wilhelm and his consort are seen surrounded by allegorical figures of the Arts (465). An " Ecce Homo" (439), painted in the year 1698, is one of his greatest compositions. Here the ivory tone of the flesh of Christ is particularly beautiful and the shadows and ground more than usually dark. There is also a celebrated series of fifteen pictures, scenes from the life of Christ, from his Birth to the Ascension, which are for the greater part dark in general effect, if we except that of the Adoration of the Shepherds, in which we se that he was capa- ble of a warm and clear light effect (448-450, 452- 463). Dutch painting was so thoroughly national that it produced little but pictures of native life and por- traits of Dutch worthies. In landscape only have the Dutch gone beyond the limits of purely national art. This branch of painting developed later than any other. It cannot be asserted that it is more difficult to paint a good landscape than good fig- ures, but the history of art shows us, in no uncer- tain terms, that figures came first, landscape later, and thus the Dutch landscape of the seventeenth century, though great pains were bestowed upon it, was not always upon a level with figure painting. Quite apart from the fact that landscape painting 132 Ube art of tbe ^unicb Galleries only came into its own in the nineteenth century, some of the old Dutch masters prepared for the great development of our age. Unluckily we can- not follow this process of evolution in the Pinako- thek. The earliest stage is best represented by three small examples of paintings by Jan van Goyen (535-537). Two are entered under his name, the third is marked " Goyen." The two signed pic- tures are characteristic of the artist's most mature period, but the finest of his works in the Pinako- thek is one wrongly ascribed to Cuyp (475). It is rare indeed to find among the older masters such breadth of vision and such rich, noble colouring. Nearly related to the style of Goyen is that of Solomon van Ruisdael, of whose works we have four in the Pinakothek collection. One is " Canal View" from a wooded shore (540), another a scene of a shoreway at the mouth of a river (541), while two others are a Dutch landscape with a charming river view on the banks of which may be seen the peasant houses shaded by trees, with animals peacefully grazing, and another landscape showing a water tower. The drawing recalls the graceful Dutch etchings, and the whole pictures, with their delicacy of colouring, are wrought into harmony by a soft brown tone shading into green. Of the more mature Dutch landscape painting the greatest masters were Meindert Hobbema and ^ ^ Hit' :''-'>'^ V 1 ;: '\ ;f:.. i -^ m r .A, '1 1 1 Y /f ^^I"- .1 r m ■..■■;, "^ S-y f' 1 m ' 4^ V, XCbe 2)utcb Scbool 133 Jacob van Ruisdael. By the former, whose works were little known or appreciated until about a cen- tury after his death and of the details of whose life we know comparatively nothing, our collection possesses only one little picture, a " Landscape " (570). the authenticity of which has been disputed. Hobbema is said to have been the pupil of Solomon van Ruisdael, though most authorities agree that he studied under the latter's nephew, Jacob van Ruisdael, whose friendship and advice he enjoyed, as he was his junior by a few years only, and as might naturally be expected, his works bear a cer- tain affinity to those of his famous contemporary. He is known to have resided in Amsterdam, where he married, his friend Jacob van Ruisdael being his witness, but he had not the elements which make for success, as he died in poverty and obscurity, his last lodging place being in the Roosgraft, the street in which Rembrandt had died, just as poor, forty years previous. Jacob van Ruisdael, although but a few years younger than his uncle Solomon, represents a much more advanced style. He, too, draws admirably, but colour was the chief thing to him. His pic- tures are composed of bright tones which must have been perfectly glorious when they were fresh. The works of van Ruisdael are generally, it is true, looked upon as the work of a melancholy man pur- 134 Ube Hrt of tbe /iDunfcb Galleries sued by bad luck, a contention of which we have not the slightest proof as a matter of fact. They are as typical of the splendid Baroque style as land- scapes can be. Simple enjoyment of nature's moods was not the metier of this artist, who, except in his very early period, did not care to portray nature exactly as she is. He preferred a more compli- cated style and vigorous life in his landscapes, while his later pictures savour to us of the pathetic. They have become much darker with time, and appeal to us more through the great contrasts of the massed effect and his handling of light and shade, even than through their delicate, wonderfully executed structure. Van Ruisdael is one of the artists who must be studied in detail. Compare his " Waterfall " (547) with a similar picture by AUart van Everdingen in the same room. How clear and full of meaning Van Ruisdael's work appears when contrasted with Van Everdingen's weaker, almost superficial style. As a Baroque painter Van Ruisdael's compositions are full of diagonal lines which are very effective in the structure of his landscapes. The founders of the French Impressionist school were great admirers of Van Ruisdael and regarded him as their forerunner, chiefly on account of his style of drawing and his strong lights with small patches of colour. The more modern of this school. Ube Dutcb Scbool 135 on the other hand, who lay the greatest weight on the accurate reproduction of the characteristic pe- cuharity of a place under certain conditions, in cer- tain lights, find his compositions almost artificial. At the same time, his smaller works, like the "Thunderstorm Scene" (545) or the "Path at the Sand Hills" (548), are among the best pro- ductions of the Dutch landscape painters. Two large sized pictures, the works of Jan Wy- nants, a " Morning (579) and an Evening land- scape " (580), show clearly the object with which the pictures of this period were painted, that of adorning cozy rooms. They are typical show pic- tures of the Baroque style, though treated with an exactitude characteristic of the Dutch school of painting, as are his other landscapes of which the Pinakothek possesses five. But it is astonishing to see the difference in the atmosphere of the two pic- tures, in spite of the similarity of treatment. How clear the morning, how softly blended the evening light. The animal painters of Holland cannot be treated separately from the landscape artists, as they were invariably as skilled in the one branch of their work as the other. As an instance of this versatility we may cite Adrian van der Velde, of whose works our collection contains five excellent specimens, the best being his "Herd of Cattle" (491), a very 136 Ube Hrt or tbe A^unicb Galleties harmonious composition full of rich tones; and an " Idyllic Landscape " (489) which shows a shep- herdess bathing her feet and listening to the flute playing of an Arcadian shepherd who leans against an ancient column. A saddled horse (473) held by the bridle is the work of Peter Cornelis Verbeck, a pupil of Wou- verman and a skilful animal and landscape painter. His colour is forcible but somewhat heavy, his execution careful but in tone rather dry. His master, Philip Wouverman of Haarlem, born 1619, died 1668, was at first the pupil of his father, Paul Joosten Wouverman, and later of Jan Wy- nants, from whom he acquired an admirable man- ner of treating the landscape portions of his pic- tures. Horses play a very important part in his compositions, in fact he almost invariably introduces a white horse for the chief mass of light. Occa- sionally he painted landscapes and sea coasts. His paintings evince a delicate feeling for the pictur- esque, his figures and animals being splendidly drawn and full of animation; his general feeling is singularly tender and his touch unites great finish with equal delicacy and spirit. When we consider the amazing number of his works — they have been estimated at nearly eight hundred and all produced in the course of a comparatively short time — we feel that he must not only have exercised great XLbc Dutcb Scbool 137 industry, but also great rapidity of execution. Our collection contains nineteen of his compositions (496-514) of rare harmony and clearness. A painter who was much influenced by Wouver- man was Johann Lingelbach, who spent some time in Italy where he made some very careful studies. On his return to his native country he studied at Amsterdam. His colouring is characterized by a cool and often delicate silvery tone which at times degenerates into coldness and want of harmony. The only picture of his which hangs in the Pinako- thek is "Haymaking" (1,403). The most noted Dutch animal painter was Paulus Potter, of whose works this collection possesses one early and not very characteristic canvas, a " Land- scape with Reposing Cattle" (471), and a very small but extremely clear and beautiful landscape (472). His career was of very short duration, but the number of works he executed, and the zeal and untiring energy with which he laboured, were ex- traordinary. He was born at Enkhuyzen, a fishing village on the Zuyder Zee, and studied art under his father, an obscure landscape painter, yet such was the precocity of his talents that at fourteen years of age he executed a charming etching and from that time forth he produced work upon work, until Death carried him away at the untimely age of twenty-nine. He lived the earlier part of his life 138 Zbc Hrt ot tbe /iDunicb Galleries with his father at Amsterdam, but at the age of twenty-one he went to Delft, where during the two years he resided there he painted many of his fa- mous pictures, among them the one with which his name is always associated, the celebrated " Young Bull," now in the Museum at The Hague. Later he took up his residence at the latter place, where he joined the Painters' Guild and rose to fame and princely patronage. He married and then returned to Amsterdam at the instance of one of his chief patrons, the Burgomaster Tulp. Here, his health failed rapidly and he died of consumption super- induced by overwork. Of the masters who have strived pre-eminently after truth, he is, beyond all question, one of the greatest that ever lived. In order to succeed in this aim, he acquired a correct- ness of drawing, a kind of modelling which imparts a most plastic effect to his animals, and extraordi- nary execution of detail and a truth of colouring which all harmonize astonishingly. A very beautiful landscape, one of profound pas- toral peace under a warm summer sky, with light clouds heaped up against the blue and a yellow light flooding the foreground (475), is by Albert Cuyp of Dordrecht, one of the finest cattle painters of the Dutch school. There is no action in the scene; no dramatic incident to break the spell. All is rest ; and the great charm of the picture undoubtedly lies Ube ©tttcb Scbool 139 in the soft light that pervades and tinges every- thing with summer warmth. No other painter, with the exception of Claude, has so well under- stood how to represent the cool freshness of morn- ing, the bright but misty light of a hot noon, or the warm glow of a clear sunset, in every possible gra- dation, from the utmost force in the foreground to the tenderest tones of the distance. The effect of his pictures is further enhanced by the skill with which he availed himself of the aid of contrasts; as, for example, the rich dark colours of his repos- ing cattle as seen against the bright sky. There is also a portrait by him of a " Young Ofificer " with a plumed hat, brown riding jacket and high riding boots, standing near his saddled steed (474), but this is by no means as fine a paint- ing as the landscape mentioned above. For por- traits Cuyp seems to have had no special aptitude, but speaking of his landscapes Fromentin says: " No one could go further in the art of painting light, of rendering the restful and pleasing sensa- tions with which a warm atmosphere envelopes and penetrates one." Of the painters who represented dead animals the size of life, our gallery is particularly rich in the works of Jan Weenix, a pupil of his father, Jan Baptist Weenix, who has also contributed one work to the Pinakothek collection. The fame of I40 Xlbe Hrt ot tbe /iDunicb Galleries Jan Weenix is especially based on his dead hares, which, both as to form and colour, and the repre- sentation of every hair in their skins, are specimens of the most masterly execution. He painted many of these pictures for Elector Johann Wilhelm of the Palatinate, which are now in our gallery. The finest of these pictures represents in the foreground a noble stag, two hares, a wolf and a wild boar, all dead, with a boar hunt in the distance (644), and is admirable for its cool harmony, as well as for the truthfulness of its accessories, and for the great- est possible completeness, combined with breadth of treatment. We have also pictures of his inimitable dead hares, and a dead peacock and other birds, which for arrangement, power, harmony, clearness and truth, exhibit the master in full perfection. There is also a masterpiece by the scarcely less famous sea painter, Jan van der Capelle, depicting a " Dutch Canal " with large and small boats (611). His favourite subject was a quiet sea, and generally under the aspect of clear weather, with warm light- ing, so that objects are clearly reflected in the water. There is also a "Thunderstorm at Sea" (612), the work of Willem van der Velde, whose paintings are rarely to be found. He was undoubtedly the greatest marine painter of the Dutch school. This picture of the gathering tempest is exceedingly realistic. It is brilliantly lighted and of great deli- tibe Dutcb Scbool 141 cacy of tone, but the foreground has darkened some- what. As a beautiful contrast to this we have a picture of a "Quiet Sea" (613), in the centre of the middle distance of which is a frigate, and in the foreground smaller vessels. The fine silvery tone in which the whole is kept finds a sufficient counter- balance of colour in the yellowish, sunlighted clouds, and in the brownish vessels and their sails. Noth- ing can be more exquisite than the tender reflection of all these objects in the water. CHAPTER IV THE FLEMISH SCHOOL The second " Golden Age " of painting was not vouchsafed to all countries, hitherto distinguished for their achievements in painting. Italy, indeed, held her own, but Germany fell into the shade. Belgium and Holland received a wonderful impetus and Spain produced masterpieces of the very high- est order. In the Netherlands we must distinguish between the Northern and the Southern provinces, between the Belgian towns where the French and Romanesque element prevailed, and the Dutch com- munities where the Germanic influence played an important part. It is easy to understand why Bel- gium became artistically important before Holland. Flanders and Brabant were always in close touch with Romanesque culture, and as it was this cul- ture that struck the decisive key in the century which saw the Renaissance Belgian art developed more quickly than that of Holland, whose relations to antique and Renaissance culture were more su- 142 Xi;be jFlemisb Scbool 143 perficial. This also explains the fact that the con- nections with sixteenth century art are so apparent. Belgian colouring has much the coldness and flow- ery decoration of old times. It lacks any kind of warmth and makes the decorative side the promi- nent one. These Flemish painters had, moreover, other tasks set them than their Dutch neighbours. They had to adorn the ornate churches of the Jes- uits and the palaces of the rich, so that even had their natural talent not leant towards splendour, they would have had to turn it in that direction. Of the many artists who represented the transi- tion from the older art to that of the seventeenth century the most important was the Brueghel family, of which the head was Pieter Brueghel the Elder, called " Peasant Brueghel," from the fact that he was the first to apply himself to a serious study of the peasant life which he made the chief subject of his art. He also painted Biblical subjects which he conceived in a realistic and genrelike manner. His mode of viewing his peasant scenes was always clever but coarse, and sometimes even vulgar. Un- fortunately we have no example of his works in our collection, but there hangs in the Pinakothek one small canvas, the work of his eldest son, Pieter the Younger, known as " Hell Brueghel," from the nature of his general subjects. Our picture is a departure from his usual liking, being a. "Village 144 Ube act of tbe /iDnnicb Galleries Kermesse" (679), a small canvas filled with dan- cing, singing and playing villagers. We have a number of subtle, beautiful landscapes and excellent genre pieces by Jan Brueghel — the so-called " Velvet Brueghel." He was a painter of such splendid parts that Rubens deemed him worthy of being associated with him. Rubens ever attached himself to the finest of his immediate predecessors and his contemporaries, which accounts for his con- nection with Jan Brueghel. The Pinakothek is ex- ceedingly rich in his works, having no fewer than twenty-six, in all his periods and in every style for which he is famed. His versatility is displayed by the diversity of his subjects, which vary from " John the Baptist " preaching to the multitude in the wilderness (680) and his " Crucifixion " (681) to his " Fish Market on a Harbour " (684) and his forest scenes with knights, peasants, etc. A study of these paintings will soon explain why Ru- bens considered Brueghel worthy of working for and with him. There was a split in the Netherland school of painting in the second half of the sixteenth century. One side worked on a large scale and in the most classical and academic style. These were the Ro- manesque painters. The others, who did not wholly escape the fashionable craze for the antique, pre- ferred small, clearly drawn pictures in the national trbe iflemisb Scbool 14s style for the distinguished patrons who loved to include such delicate work in their collections, and this school helped to preserve the national art. The old Netherland school resembled at this tran- sition period a plant in winter and took up as little room as possible, but just as a plant in winter is only apparently lifeless, whilst the most complicated processes of nature are taking place within, so it was with the old Netherland school. These years of apparent standing still saw it pass through a process of transformation for which we have to thank landscape painters like Brueghel, Mompers, Bril, Valkenbergh, etc. A great personality, and a period which demanded the fulfilment of great tasks, alone were necessary for the plant to burst into bloom. The painter was Peter Paul Rubens, born in 1577 and the pupil, first of the Antwerp landscape painter Verhaegt, then of the historical painter Adam van Noort and later still of Otho van Veen. From 1600 to 1608 he lived in Italy, probably in Mantua and after- wards in Venice, Rome and Genoa. He also lived in Spain, in England and in Paris, and died in the city of Antwerp. Rubens, contrary to the general opinion of the early works of the great master, formed his style at the'beginning of his career. It is curious to note that at a period when his technique is still faulty 146 Ube art of tbe /iDunicb ©alleries and his colouring far too heavy, he had already found the way his feet were to tread for his whole life. Even as a novice he was the real Rubens and this fact makes it very difficult to place the dates of his pictures. His " Dying Seneca " (724) and the " Martyrdom of St. Lawrence " (726) are un- doubtedly early works. In the " Seneca " he kept to an antique model as was then usual, but it is characteristic that at the same time he treated his subject in other important points quite differently from the prevailing custom. Even after 1600 many artists sought salvation in a slavish imitation of the antique — the more a figure resembled a statue the better it was held to be. Rubens took a stand op- posed to this view ; both in his writings and in his pictures he lays down the principle that a painting must be indebted for its effect only to its pictorial qualities, and that it is a very doubtful form of praise to consider a picture as if it were a statue. Thus " Seneca " as a subject is taken from the antique but it is treated as a painting. Rubens recognized the problem his art had before it but had not yet mas- tered the light fresh colouring of his more mature years. The " Seneca " is heavy, brown in colouring and lacking in clarity. On the other hand he shows already here the delicate poetic atmosphere for which he was noted. He evinced a special preference for mythological tibe iflemlsb Scbool 147 subjects when he was quite young, and of this style of picture we have a glorious example in the " Two Satyrs" (743), of whom one has a heavy bunch of grapes in his hand, while the other drinks their sweet juice out of a shell-like vessel, a picture painted probably more nearly the time of the " Sen- eca " than any other of his works in the Pinakothek. The Munich masterpiece of his earlier works is the famous "Honeysuckle Arbour" (782), painted in 1609. In 1608 Rubens returned from Italy where he had for eight years been court painter to the court of Mantua; soon after his return he married Isabella Brandt, and our picture represents him with his charming young bride, seated hand in hand in an arbour of honeysuckles. The arbour is almost purely Flemish; the heads, with their lack of motion and the greenish shadows, show a marked resemblance to the work of Adrian Key. The ex- traordinary careful and sharp drawing and the richly carried out accessories show his transition from the Flemish school to that of Caravaggio. But we note here that Rubens, though now con- sidered the best painter in Antwerp, still consid- ered himself bound to carry out his work with the utmost care. It is the work of a man who has created a style of his own — the hall mark of genius. The technique and even the colouring, for Ru- 148 Ube art of tbe /»un!cb Galleries bens as a young man did not understand the bril- liant, forceful colouring for which his later works are so famed, are so unlike his later productions that the picture has been said by some critics to be the work of another artist and not by Rubens at all. Colouring is the most difficult and mysterious element in the technique of painting, and we con- stantly see works by great masters of immense importance as to mental conception, choice of type and splendid treatment of form and drawing but undeveloped in colouring. This was the case with Rubens' early work and therefore in the double portrait he passed by the opportunities afforded by the fine subject. A young couple seated in a honey- suckle arbour ! what an opportunity for the play of light and brilliance! Rubens was here content merely to indicate the situation by means of blos- soms and branches, without showing us the arbour and the gardens beyond. The blossoms are orna- mental and frame the subject, but play no part in the composition of the picture. They bear much the same relation to the flowers in Rubens' later pictures as do the ornaments of Holbein's " Kais- heim altar " to those on the wings of the " St. Sebastian " altarpiece. It is interesting to compare the " Honeysuckle Arbour " with the famous picture which portrays Rubens in the garden with his second wife, Helena TTbc iflemfsb Scbool 149 Fourment (798). This picture belongs to his most matured period and represents him strolling in his beautiful garden with his wife, but this time he does not miss the opportunities afforded by his sub- ject. While the " Honeysuckle Arbour " shows Rubens more as a Flemish painter, he did not, nevertheless, remain uninfluenced by his long stay in Italy. He was not Italianized nor had he adopted anything merely superficial, but he had absorbed much of what the South could teach, as we see in the series of the " Last Judgment," painted between 1615 and 1617, composed of the representation of Christ in glory, surrounded by the Virgin and the Saints, judging between the saved and the damned. Below is the group of the archangel triumphing over Satan (735). The "Combat between the Archangel Michael and the seven-headed Devil " (736) illustrates what may be termed Rubens' fan- tastic dramatic side, it is so wonderfully full of dramatic action, as is also his small " Last Judg- ment" (738), which serves to show how distinctly and poetically the mind of Rubens conceived the peculiar circumstances of his subject, and has car- ried it out with a rapidity of action in which he stands alone. The execution is in powerful but subdued tones. The great altar fresco of Michelangelo in the Sistine Chapel made a deep impression on the Flem- ISO Zc art of tbe /iDunicb Galleries ish master. The gigantic creation of the Floren- tine master was bound to appeal to the taste of an artist like Rubens, who belonged to a period intent on stirring movement and exciting narrative. Whilst Michelangelo can hardly be described as the father of the Baroque style, he was certainly one of its greatest forerunners, and almost everything the seventeenth century produced was, consciously or unconsciously, influenced by the magnitude of his genius. This applies also to Rubens, but he thought only of the further development of the problems left unfinished by Michelangelo, and he does not attempt to touch that which is perfect in the fresco in the Sistine Chapel. He only developed further that which was capable of development. The " Casting into Hell of the Damned " (737) is most remarkable for its power and for the ex- traordinary opulence of the boldly drawn figures. Gigantic flashes of lightning rend the air as if a thunder-storm would fain set the whole world on fire — and these flashes are but the white gleaming bodies of the damned, chained to one another and cast into hell by the brilliant ray of light sent out by the Archangel Michael. The picture looks as if it owed its birth to an inspiration of genius, which revealed to the master at a glance all the horrors of the Last Day, but that this is not the case a number of exceedingly carefully carried out Ube jflemisb Scbool 151 sketches, which are now in the National Gallery in London, testify. There are two variations of the "Last Judg- ment" in the Pinakothek — the smaller one (738), which Rubens apparently painted himself, and the larger (735), which in all probability he did not paint entirely himself. The former contains a num- ber of minute masterly figures like those in the " Fall of the Damned." It is lighter in colour than the larger picture and the treatment of light is much more picturesque. The modelling is marvel- lous, the foremost figures being almost plastic while those further back in the picture appear in gradu- ally lower relief, and yet perfectly clear in concep- tion. The saints in glory above and those on the left are scarcely more than silhouettes, lightly drawn and yet perfectly distinct. The large " Last Judgment " is probably the lat- est of the series and is distinguished by beautiful and even rhythm. The ascent of the saved corre- sponds exactly, and yet without being pedantic, to the " Fall of the Damned." Rubens has created such magnificent types that one is inclined to ascribe the whole of the panel to his handiwork, but a closer observation shows us that this is a matter of some uncertainty. Rubens' marvellous " Battle of the Amazons " (742), was painted for Cornelius van der Gheest, a IS2 tibe Hrt of tbe jflDunicb Galleries rich merchant with a fine feeling for art, and a most discriminating collector. The picture is t3T)ic- ally Rubens both as to conception and treatment, the defeat of the Amazons being entirely unembel- lished. In accordance with the feeling of the Ba- roque period, the irresistibly overwhelming force of masculine strength is glorified by making the heroic women go absolutely to destruction. Lances pierce their beautiful bodies, the sword decapitates fair heads and with ruthless hands they are dragged by trailing garments from their horses and trampled under iron hoofs. The last hope of salvation is in the leap into the treacherous stream, which has carried away so many of the corpses of their com- panions. Rubens has ruthlessly depicted the defeat of the brave troop of dauntless women, but with chivalry and artistic taste, he has, at the same time, celebrated the heroism and youthful beauty of the Amazons. In the colouring of the picture his Italian experiences are plainly expressed. We see by this painting that he must certainly have availed himself of the study of the Gonzaga cyclus of Tin- toretto, now at Schleissheim, for this series was then in the palace of the Duke of Mantua, for whom it was painted. The date of the painting of the " Betrayal of Samson " (744) cannot be very definitely fixed, for while the style of the picture points to Rubens' Xlbe fflemisb Scbool 153 early period, the colouring is that of his more mature years. Ruthless in the sense of the austere style of the older period is the contrast of the heroic man to the woman who frankly and without sign of pity revels in her deception. Old, too, is the sim- plicity of his treatment of form, which in Delilah is almost purely classic and in Samson shows a certain fulness and power of muscle due to the would-be antique taste of the day. In Delilah the type of woman for which Rubens is specially known and noted is already apparent. White, abundant flesh always attracted him, though he treated it for a long time firmly and severely. With the Delilah this severity ceases. In December, 1630, Rubens married Helena Four- ment, then considered the most beautiful woman in Belgium. She fulfilled the ideal of female beauty which her husband had formed early in life, and it is astonishing to find her type in his pictures be- fore she was born. With his second marriage began a new era in his creative power. Now he became just what he was destined to be, and his finest and most mature work was accomplished in the all too short space of the ten years which he was destined to spend with Helena Fourment. Nothing could be more charming than the portrait the fond husband painted of his second bride with her wedding flowers in her fair hair (794). He IS4 Ube art of tbe /BJunicb Galleries has managed with great dehcacy to convey what was childish in her and yet at the same time to show us the maturity of her already well developed figure. The picture was conceived and painted with great love and attains therefore a height rare even with Rubens. Helena was Rubens' favourite model and we have a later portrait of her in black with a white feather in her hat, in the act of drawing on her glove (795) ; and a still later, and the most famous portrait of her, seated under a portico, arrayed in a violet and green gown, with her little naked son on her knees — the incarnation of sunny domestic happi- ness (797). The original was only a three-quarter length picture, very much in the style of the Ma- donnas of the fourteenth century, but later Rubens made it, by his extraordinarily tasteful additions, into a show picture of the Baroque style. The picture known as the " Walk in the Garden " (798) shows the master wandering with his wife in the garden pavilion of their country home. Their Uttle son as a red clad page, and a large dog, follow them, as do also some charming peacocks. Rubens is not satisfied this time to make the situa- tion clear to our mind's eye by means of a few blossoms and branches, as in the " Honeysuckle Arbour," but shows the large garden in all its beauty. The figures here are not the main object RUBENS. HELENA FOURMENT. Ube jFlemfsb Scbool iss of the picture, as Rubens at this period became more interested in landscapes than he had formerly been and painted many, among them the " Landscape with the Rainbow " (761), a peaceful, happy scene of peasant folk, a herd of cattle in the foreground and a stream in which ducks are swimming. A much larger replica of this subject is in the Wallace collection at London. The canvas in the Pinako- thek is much better so far as freshness of treat- ment is concerned, but it is not so detailed as to decoration as the London one. That Rubens departed from the classical severity of his early style to that of the more dazzling ap- paritions by which he is so much better known, is evinced still further by the beautiful Magdalen in the picture of " Christ with the Repentant Sinners " (746). It is interesting to compare this figure with that of the debauched female form suckling her children, in the great procession of the "Drunken Silenus " (754), which has much in common with the Magdalen, though in the drawing of the arm and shoulder of the one, compared with the other, an immense difference will be seen. In the Magdalen the master shows his greatness, but the line is comparatively meagre compared to the rich and liquid style of the faun. The flesh colour of the former is simply painted as against the reality of the latter. is6 Zbc Hrt ot tbe /iDunicb (Ballerfes The technique in the Silenus is different above the knee to below. The head, trunk and thighs are firmly and tensely painted; below ever)rthing is much softer, much less detailed and extraordinarily warm in colour, even for Rubens. This indicates that this panel was painted in two different parts, that is, a kernel consisting of a half figure of the drunkard and his immediate companions, and, then, the additions on the right and left sides and lower part. The older part dates about 1620 and is among the best work of Rubens' early period. His " Wreath of Fruit " (728), a group of seven naked little cherubs carrying a garland of fruit, is, and will probably remain one of the most admired of Rubens' works in the Pinakothek. In this pic- ture he extols the inexhaustible quaintness of chil- dren's play. The composition is somewhat old- fashioned in the way the two little cherubs lie in the foreground and leave the space clear for the chief group, but one must remember that of the many pictures of cherubs with wreaths painted in similar form in the sixteenth century, all have disappeared from the memory of man. Rubens achieved a masterpiece by painting a subject re- ceived as a heritage from his predecessors, in a form which has outlived all others. The child at the extreme right of the picture is Rubens' own, as can easily be noted when we see him again in the ^^ RUBENS. WREATH OF FRUIT. RUBENS. LION HUNT. Zbc jFlemisb Scbool 157 picture which Rubens painted some years later of this child in the arms of his mother Helena. More nearly related in style to the " Last Judg- ment," since it displays his boundless enjoyment of bold movement and his characteristic treatment of space, is his " Lion Hunt " (734), which of all his hunting pieces is considered to be the best. Each figure is clearly developed, which means much when we look at the tangle of hunters and animals. As our collection also contains the famous " Fight of the Lioness and the Wild Boar " (957) by Snyders, it is possible to test Rubens' statement that while Snyders could paint dead animals brilliantly he alone could paint living ones, a boast which time has proved to be justifiable. It is a notable fact that at the end of his career, after painting so many allegories, mythological, his- torical and religious subjects, Rubens arrived at the genre style, but our gallery possesses none of his pictures painted in this fashion. Of his famous portraits of his family and friends we have many important examples, those of " Doctor van Thul- den " (800) and of " Doctor Brandt," the father of his first wife (799), being fine specimens of his early work. They are the type of healthy Flemish portrait painting, are excelled by none of the other masculine portraits of the master and equalled by few. is8 Ube art of tbe ^unicb 6aUeriea Probably the most charming piece of portraiture by Rubens in the Pinakothek is that of the " Earl and Countess of Shrewsbury" (784). The latter, seated in an armchair of noble proportions and decoration, faces the spectator, her right hand lying on the head of a beautiful white hound. Slightly behind her to the right stands her husband, in front of him being his page with his falcon on his wrist. To the left, from whence we catch a glimpse of a beautiful landscape, the fool holds back a curtain richly adorned with the family arms. We have also a finely executed " Portrait of the Artist's Brother, Philipp Rubens " (783) and also one of an old lady in a black, fur-trimmed gown and a black veil, by some, but without authority, said to be a portrait of " Rubens' Mother " (792). His portrait of King Philip IV of Spain (787) and of Elizabeth of Bourbon, Queen of Spain (788) and two of Don Ferdinand, brother of Philip IV, one in his cardinal's robes (790) and the other as a " Cavalier standing beside his Horse " ( 789) , are reminiscent of his work at the court of Spain. There exists a doubt in the minds of some au- thorities as to the authenticity of the " Rape of the Daughters of Leucippos " (727) by the twin brothers Castor and Pollux, though everything in the treatment of the picture, more particularly the female figures, point to it as being the work of the tlbe iflemisb Scbool 159 master's hand, but the " Massacre of the Innocents " (757) leaves no doubt of the fact that it emanated from his brain and palette. The colouring is so marvellous as to be beyond praise. It has a silvery- shimmer which robs the scene of much of its horror, which Rubens has depicted in all its intensity. The painters of the Baroque period fancied these coarse subjects, as men were then thoroughly hardened and enjoyed harrowing effects, though, curiously enough, there was a great fancy for the idyllic and simple. Such a theme as the scene of the fearful slaughter of the children in Bethlehem just suited Rubens' fiery spirit, though as ever he balances con- tending elements. The fury of the women is fear- ful, as they offer a despairing resistance, with the weak weapons of their sex, to the armed soldiery. Still more fearful is the picture of the mothers who have lost their senses in their hopeless agony at the murder of their innocent children. In spite of the horror of these details, the picture, with its light fresh colouring, has an almost cheerful effect, such emphasis has Rubens laid upon the angels of the Lord, hovering in silvery clouds to announce to mankind that this fearful sacrifice is connected with Christ's work of redemption. Sixteen sketches for the Marie de Medici Series (764-779), painted by Rubens for the decoration of the Palace of the Luxembourg and now in the i6o Ube Btt of tbe /iDunlcb ©allcriea gallery of the Louvre at Paris, are to be seen in our collection and are of exceedingly masterly hand- ling. In all the Pinakothek rejoices in seventy-six of Rubens' almost unmatchable works, a very large number of them being among the finest of his pro- ductions. Rubens died soon after painting his " Massacre of the Innocents ; " his school indeed lived on, but it may nevertheless be truthfully said that he carried the great art of his country into the grave with him. Among the numerous followers and pupils of Rubens there is none who has established such a claim to lasting renown as Anthony van Dyck, who was born in Antwerp in 1599, and died in London in 1641, only surviving his master by a year. He had not, as an artist, the power or the creative genius of his great teacher, but in the limited field of portrait painting he was one of the world's great- est painters. He was the seventh child of a family of twelve and his mother, Maria Cuypers, is said to have had a singular talent for design in the art of embroidery. She died in 1607, but she may even thus early have recognized in Anthony the inheritor of her gift for art, and one likes to think that it was she who fostered in him a budding taste for the profession of a painter. Throughout his life there may be observed a certain feminine emotional side in his temperament as an artist; this is the trbe jflemtsb Scbool i6i peculiar quality which differentiates him most markedly from the strong masculine character of Rubens. At ten years of age he had the advantage of Van Balen's instruction and after that he studied under Rubens. His remarkable capacity for art developed so quickly that at the age of nineteen he was admitted into the Guild of Painters in Ant- werp. He passed the next few years as assistant to Rubens, but his fame had so far extended that James I of England took him into his service. He did not remain in England long, however, but journeyed to Italy, where in Venice he was deeply influenced by the works of Titian. He painted also for some time in Rome, but by far his longest sojourn was in Genoa, where he painted many of the portraits for which he is so famed. His resi- dence in Italy was from 1623 till 1626, when he returned to his native city and there produced not only his finest historical works, but also some of his most notable portraits. In 1632 he entered the service of Charles I of England, as chief court painter, at a salary of £200, doubtless through the influence of the Earl of Arundel. Charles knighted him and showed in every way the highest estima- tion of his genius. But Van Dyck had the sincerest ambition to exer- cise his talents as a painter of historical works of a i62 Zbc art of tbe /iDunicb Galleries greater extent, and tried to obtain a commission to decorate the walls of the Banqueting Hall in Whitehall, the ceiling of which had been painted by Rubens, but, not succeeding in this matter, he went to Belgium in 1640, taking with him his wife, Lady Mary Ruthven, a member of a noble Scotch family. From here he went to Paris, as he had heard that Louis XIII of France was about to decorate the largest salon of the Louvre with paintings, but he found, to his extreme disappointment, that Nicholas Poussin, who had just returned to Paris from Rome, had obtained the commission. On returning to England, where without doubt the waning for- tunes of the king and the nobility, with whom he had been on such terms of intimacy, must have tended to depress him mentally and physically, he contracted an illness and died at the untimely age of forty-two. Van Dyck's sphere of invention was much more limited than that of Rubens; he possessed none of the fire which enabled his great teacher to grapple with the most terrible incidents, but he surpassed him in the intensity and elevation of expression which he gave to profound emotion. This explains why it is that Van Dyck treated with greater suc- cess such subjects as the " Crucifixion," the " De- scent from the Cross " and the " Lamentation over the Body of Christ," than did the more brilliant and Ube jflemtsb Scbool 163 forceful Rubens. Van Dyck's feeling for nature was of a more refined character than that of Rubens and in many instances his drawing was more cor- rect. For portraiture Van Dyck's qualities fitted him in the most eminent degree and Titian alone con- tests with him for supremacy in this branch of art. His portraits possess the highest characteristics of their class and he was the pioneer of a style which only reached its zenith in the eighteenth century, and then not in Belgium but in England. This is the historical significance of Van Dyck's painting, which it is difficult to judge to-day. He is not merely the descendant of Rubens, but the transition master from the forceful Baroque style to the light piquant grace of the Rococo. He is seldom rightly estimated as he is sometimes depreciated, sometimes overlauded. He was a premature, perhaps too pre- mature, genius as we see in his " Jupiter and Anti- ope " (864), which shows an extraordinary easiness of creation, doubtless learnt from Rubens, but which is in great contrast to the severity of the latter's early and middle periods. The mastery Van Dyck obtained so easily prevented him acquiring a gen- uine, artistic certainty of technique. If one com- pares the treatment of material in even the best Van Dycks, say the lace on the dress in the portrait of the wife of the sculptor de Nole with similar i64 tlbe art of tbe /iDunicb (Balleries work in Rubens' pictures, one can easily see that the Van Dyck handhng is coarser. Early maturity is frequently not so much the sign of independent power or force as of easiness of comprehension, and this was the case with Van Dyck. There are a number of examples of religious paintings by Van Dyck in our gallery, but that they were ever intended as altarpieces is very doubtful. As a matter of fact the appreciation of art in the Netherlands at this period was so great, that the subject of a picture was a subordinate matter to a purchaser, as it was valued purely for its artistic merit. For this reason one must not be surprised if one meets pictures in which nothing beyond the subject is sacred and every trace of religious feel- ing is absent. For instance, the picture painted by Van Dyck about 1620, the " Martyrdom of St. Sebastian" (824), owes its origin clearly in the first place to the young painter's desire to find an opportunity of painting a beautiful nude figure. The saint, a splendidly built youth with a brilliant white skin, is being bound to a tree by some ruffians, while horsemen with shining arms survey the ful- filment of their orders. It cannot be said, in spite of Sebastian's upward gaze, that the artist had en- tered into the feeling of his subject as the Church conceived it, by representing a hero meeting death for the sake of his faith. He is anything but pro- ITbe jFlemidb Scbool 165 found even on the purely human side. Everything else in the picture is subordinate to the bright flesh colour of the youthful form, and this colouring has quite a Rubenslike range of tone, except in-so-far as there is a suggestion peculiar to Van Dyck of a sad- der and a more subdued tone proceeding from the sky. The red of the flag held by one of the horse- men is as vivid and powerful as if Rubens himself had laid it on the canvas. Among the variations of the Van Dyck treatment of the " Lamentation over the Body of Christ," the two most famous are in the Museum at Antwerp and in the Pinakothek. In the Antwerp picture the sacred Body lies stretched out, long and rigid, with head and shoulders resting on the Mother's lap. The Virgin, leaning back against the dark side of the rock, a cleft of which is about to receive the departed, spreads out her arms in loud lamentation. The disciple John has grasped the Saviour's right hand and shows the bleeding wounds to a group of angels who draw nigh and burst into tears at the sight. This group of St. John and the angels stands out in soft warm tones from the pale blue sky. The picture in our collection (830) differs wholly in effect from that of the Antwerp one, in that all the movement is softer and more flowing. Here, too, the sentiment is softer, more prone to lamenta- i66 Ube Hrt ot tbe /iDunicb Galleries tion. The scene is placed at the foot of the cross, which is taken up and placed obliquely. The Vir- gin leans her head against the cross and turns her countenance — the antique head of Niobe faith- fully translated into painting — towards heaven. The sorrowful look is accompanied by a kind of a gesture of the outstretched right hand, while the other raises up the pierced left hand of her dead Son. The body lies with the whole trunk reposing in the Mother's lap, and the head rests, as if in slumber, on her bosom. Angels in coloured vesture, partly irradiated by the strong light which bathes the Saviour's form in a golden tone, partly veiled in a soft deep shadow, contemplate the dead in sorrow, whilst weeping heads of cherubim appear in the clouds in the sky, which is full of the red glow of evening. It is possible to accuse this pic- ture of a certain affectation in the way of beauty of form; but the feeling which has given rise to the whole composition is sincere. Besides these pictures of grief and sorrow. Van Dyck has given us some most charming conceptions of the Madonna. The most beautiful, perhaps, of these is that which represents the Virgin (826), a lovely figure, but solemn in conception, holding with both hands the Infant Jesus, who stands on a stone, while she thoughtfully looks down at the little St. John, who holds a scroll with the word " Ecce." XLbc jplemfsb Scbool 167 The right hand of the Virgin and the head of St. John stand out in strong outHne against a sky with Hght clouds ; in the other half of the picture, a wall in deep shadow, with which the dark upper garment of Mary forms a soft harmony, makes a deep back- ground for the light toned figure of the undraped Child. One is justified, certainly, in calling the contorted attitude of the Infant Jesus somewhat artificial, but that may be overlooked in the enjoy- ment of the true picturesqueness and exquisite col- ouring of the composition. A second figure of the Virgin in the Pinakothek is fascinating in its loveliness. It is that in the pic- ture of the " Rest during the Flight into Egypt " (827). The little Jesus has fallen asleep in the lap of the Madonna, leaning his head on her bosom, and she turns her head a little aside, gently, cau- tiously, that her movements may not wake the Child, in order to hear what the foster father Joseph says to her, as he bends over her shoulder. The group of the Mother and the Child and the head of the old man stand out in light and delicate colours, from the darkness of the trees, interrupted by glimpses of light sky between the branches. Our collection, in which every side of Van Dyck's genius may be studied, has several examples of pictures which take their subjects from the Scrip- tures without laying claim to being of a sacred i68 XLbc Hrt ot tbe /iDuntcb Galleries character. That one of " Christ speaking with the Paralytic whom he has healed " (867) was evi- dently produced while the impression caused by the works of Titian was still fresh. The composition, consisting of four figures, the Saviour, the subject of the cure with his bedding under his arm, a dis- ciple and a Pharisee, against a background com- posed of a light sky and a dark wall, presents itself to us unmistakably as an attempt to compete with the great Venetian as regards colour and expres- sion. Far more independent, and the more at- tractive on that account, is the picture of " Susan- nah surprised by the Elders " while in her bath (822). Here the painter has revelled in rendering the peculiar charm and delicacy of the nude figure in a strong light. In the dark reddish brown of the drapery with which Susannah seeks to cover herself he has found a tone in splendid contrast to the light flesh colour, which the dark tone of all the surroundings is also calculated to enhance ; the expressive heads of the two elders and the right hand of one, who touches the girl's soft shoulder with a wanton finger, are the only other bright objects which emerge from the gloom. A pleasant impression is produced in this picture by the absence of any affectation in the movement or expression of Susannah; admirably natural is the way she shrinks back and bends aside when sur- Ube fflemisb Scbool 169 prised, at the same time throwing a look of defiance at the man who assails her with his words and with his actual attempt to pluck away the drapery which she so firmly holds. Yet in spite of the happy real- ization of expression in this work, we need have no doubt that Van Dyck, like mostly all of the painters who have painted this subject, portrayed the chaste Susannah rather for her nudity than for her virtue. The brilliant rendering of a soft, youthful body was again the principal object he aimed at in the second picture of the " Martyrdom of St. Sebas- tian " (823) in the Pinakothek, but this latter re- veals quite a dififerent artistic character to that of the earlier picture of the same subject. The very youthful saint, so white and delicate in appearance that it is rather incongruous to think of him as having been a Roman soldier, seems to be thinking of nothing but the exhibition of his graceful bodily form for admiration. He fixes his gaze upon the spectator with a look that is almost coquettish, and he succeeds, in fact, in attracting our admiration so completely, that we can scarcely get up any feeling of sympathy for the unpleasant situation in which we find him. A half naked giant is tightening the cord by which the prisoner is being bound to the trunk of the tree; a savage trooper with a dark brown skin, standing out grandly against the white horse of the captain who conducts the execution, Zbc jflemisb Scbool 171 portra)dng people with convincing resemblance to life and at the same time a most attractive pose, and of turning such portraits into real works of art, perfect in form and colour, true pictures as artists use the word. This talent was so universally appre- ciated that hardly a person of consequence who lived at Antwerp, or stayed there for a passing visit, omitted to have himself painted by Van Dyck. In the Pinakothek we find a whole series of stately full length portraits. First in sequence of time are those of " Duke Charles Alexander of Croy" (841) and his wife, "Genevieve d'Urfe " (842). The duchess, a celebrated beauty in her day, whom we see standing in a black satin dress with a front of light coloured silk, has been less successfully painted than her husband, whose portly figure stands in lifelike attitude at the foot of a flight of steps, and whose countenance, framed in long, black locks, gazes at us with a friendly look. Nearby hangs the portrait of an unknown gen- tleman (843), belonging doubtless to the aristoc- racy. He stands with his left hand pressed to his side under his satin cloak and holding his hat in his right. There are also the portraits of a couple, usu- ally described, though without any really good rea- son, as the " Burgomaster of Antwerp and his Wife " (839-840). That of the lady, in which the 172 ^be art ot tbe /iDuntcb (Balledes dark silk dress and the handsome lace show up a pleasant face and delicate hands, is a masterly and fascinating picture. A three-quarter length portrait (849) of his beautiful young wife who before her marriage was the Lady Mary Ruthven, a member of a noble Scotch family, whom Van Dyck has immortalized in painting, hangs in the Pinakothek collection. She makes a most beautiful subject for a portrait with her fine and regular features and charming attitude, holding her cello in her beautifully mod- elled hands. In her love for music she was ably seconded by her artist husband, who delighted to provide brilliant music for the entertainment of the company he gathered round him. Hanging near this picture is to be seen a youthful bust portrait of the artist painted by himself (833). From this we can trace the likeness which he has utilized in his St. Sebastian in the picture of the martyrdom of that saint. But the most brilliant of this series of distin- guished figures is the princely form of " Duke Wolfgang Wilhelm," Count Palatine of the Rhine and Neuburg (837). This picture was painted in 1629, according to the statement of an old Diissel- dorf catalogue. Wolfgang Wilhelm, who became Duke of Berg in 1624, was the founder of the cele- brated collection of pictures which was removed to XCbe jflemfsb Scbool 173 Munich in 1805 for protection against the French, who had captured the duchy of Berg, and this col- lection has remained in the Pinakothek ever since. It is to his taste for art consequently that the Munich gallery owes its wealth in the works of Rubens and Van Dyck. The Count Palatine stands like a nobleman and a territorial ruler, in a per- fectly simple and natural attitude, with his left hand on the hilt of his dagger, the right one passed through the ribbon of the Golden Fleece. A pow- erful spotted mastiff stands beside him. No less expressive and masterly as paintings than the portraits of these aristocratic persons, and still more attractive by the thorough and, so to speak, intimate way in which they were treated, are the likenesses of Van Dyck's artist friends, " Jan de Wael and his Wife" (846), " Colyns de Nole and his Wife " (844-845), " Pieter Snayer " (850), "Karl Mallery" (847), and " Hendrik Liberti " (848) of Groningen, organist of Antwerp Cathe- dral. A preference for a cool tone, in which black is the basis underlying all the colours, may be taken as characteristic of Van Dyck's latest period in con- trast to the brown scheme of his earlier works. Two pictures in the Pinakothek serve to show this new treatment of the same subjects which he painted so frequently in earlier days, "The Crucifixion" 174 Ube Hrt of tbe /iDuntcb ©alleries (825) and the " Lamentation over the Body of Christ" (828). Besides these sacred pictures and portraits de- scribed above our collection rejoices in a series of small but exquisitely painted portraits in the vari- ous cabinets, and lastly we have the very lovely portrait of " Queen Henrietta Maria, wife of Charles I of England" (866). We have placed Van Dyck next to Rubens from a historical point of view but must return to other painters, who, in their best works, represent an older style than the former. Chief among these is Jacob Jordaens, who, like Rubens, first studied under Adam van Noort, and from him acquired that vigorous and harmonious colouring which is the chief distinction of his art. When he was only twenty-two he was admitted into the Guild of Paint- ers at Amsterdam, but oddly enough in the charac- ter of a water colour painter, and one year later he married the daughter of his master. Van Noort. This early marriage and the close relationship — half friend, half assistant — in which he stood to Rubens, prevented his visiting Italy, as the painters of his time were wont to do. He was very promi- nent, however, in the world of painting in Antwerp and painted a very large number of pictures. These show unmistakably the influence of Rubens, yet Jordaen's own artistic nature is very strongly Ube jflemisb Scbool 17s impressed upon them. His painting was so vehemently realistic in character as to degenerate at times into the rude and vulgar. His sphere of invention was not to be compared with that of Rubens, who indeed for versatility has never been equalled in the realm of painting, but in many of Jordaen's paintings a strongly humourous vein runs, as may be seen by the famous picture in the Pina- kothek of the fable of the " Peasant and the Shiver- ing Wood Imp" (813) wherein the former laugh- ingly tells the latter he must blow on his numb hands to make them warm and then on his soup to make it cool. In sense of beauty, as we can easily see, and dis- tinctness of form, Jordaens falls short of his great model, but, on the other hand, in power and trans- parency of colour and in mastery of general keeping, he may be placed on the same level. His works differ in merit according to the degree of their com- pletion and of his sympathy with his subject. Very seldom is one satisfied with his Biblical subjects, though his " Boy Christ preaching in the Temple " (815) is very charming. Of the works of Cornells de Vos, the well known Flemish painter of portraits, the Pinakothek can boast of the painting of the " Hutten Family " (812) with the famous children's likenesses. No other Belgian painter could catch a likeness or char- 176 Ubc Htt Of tbe /iDuntcb Galleries acterize so well as de Vos, but owing to his pale, cold colouring, reality is wanting in his rendering of the physical and his work does not produce the effect it should. In this picture the father sits in an armchair, his left hand lying on the shoulder of his little son, opposite is the mother holding her little daughter by the hand and near them sits the cunning little baby. The portraits of the children are particularly winning and attractive. From the brush of Hendrik van Balen, a pupil of Van Noort, whose claim to fame rests upon the celebrity of the painters who studied in his studio, we have a series of allegorical and classical paintings (708-716) representing the four seasons. In all his paintings which are in the Pinakothek he had the assistance of his friend and contemporary, Jan Brueghel, who painted the landscapes, flowers and animals, while Van Balen supplied the figures of the nymphs, fauns, satyrs and graces, who form the raison d'etre of the pictures. Quite a group of painters who formed themselves on the style of Jan Brueghel have pictures in the Pinakothek collection, among them being Roelant Savery, who, though a pupil of his elder brother Jacob, shows in his works the influence which Brueghel exercised over him. He also was influ- enced by the style of Paul Bril. There is in our gallery a " Hunting Scene" of his (717) in which tlbe jflemfsb Scbool 177 a wild boar, caught in a thorn bush, is being pierced by the spears of the two hunters who have been pursuing him. A " Portrait of Henrietta Maria," wife of Charles I of England (868), painted by Sir God- frey Kneller, who, though born in Antwerp, resided and became court painter at London, hangs in the same room as the picture by Van Dyck, after which it is clearly modelled. In Kneller's picture the queen, arrayed in a richly jewelled blue gown, sits in a chair holding some roses which lie on her knee in her left hand. The pose is an attractive one and the picture is a charming one even in the trying juxtaposition to that of the great Van Dyck. There was but little true intimacy in the Belgian art of the seventeenth century, as great historical and church pictures claimed the attention of the artists to a large extent. At the same time the Bel- gians could not entirely oppose themselves to the tastes of the age, and therefore we find two distinct styles in the Baroque period here. On the one hand great stress was laid on splendour and importance of demeanour, which frequently was carried to an excess bordering on the bombastic, but the same period was specially fond of simple little scenes of every-day life. Of this last type is a small picture of a " Village 178 Zbc Hct ot tbe /iDuntcb Galleries Alehouse " (897) showing a man and two women, one of whom has fallen asleep, seated round a beer cask. In the background are six other persons en- joying themselves convivially. This picture was painted by Joost van Craesbeeck, who painted under the influence of Adrian Brouwer. Of the same character is another small canvas, the work of Gillis van Tilborgh the Younger. In this a peasant is reading a letter to a woman (898) who stands listening, holding a beer mug in her hand. The companion piece to this, a woman read- ing a letter to a peasant (899) who sits upon a beer cask, is in the same cabinet. The connecting link between his own and the preceding periods of genre painters was David Teniers the Elder, born at Antwerp in 1582 and a member of the Guild of Painters of that city, who studied with Adam Elsheimer in Rome. His chief subjects were taken from peasant life though he also occasionally painted Biblical and mythological subjects. His earlier works are heavy in tone, crude in colour and somewhat hard in outline, but in his later pictures he approached somewhat more the manner of his illustrious son in freedom of treat- ment and in general keeping. In the Pinakothek two of his pictures are to be found, one a " Rocky Valley " (900) with a bridge-spanned brook, over- looked by a castle ; and another of a " Peasant " XTbe jflemtsb Scbool 179 carrying a fishing pole over his shoulder (901), the latter a charming piece of work in his later style. The earlier and weaker works of the younger Ten- iers are often attributed to his father. Between Van Dyck and Teniers the Younger stretches the whole length and breadth of Flemish art. They are the opposing poles and they stand for the two very different conceptions of painting held in Flanders in the seventeenth century. Van Dyck was a painter of elevated life, with a style largely influenced by the great Italian masters. He was a figure painter who, like Rubens, blended the Flemish with the Italian to create a new art. Ten- iers, on the contrary was never influenced by Italy; he never went there and had nothing to do with large decorative compositions. He was a thorough Fleming, painting the commonplace life which he found in his native land, a cousin in art to the Dutch genre painters Ostade and Steen, a painter of small easel pictures. He was a pupil of his father and learnt from him his subject, his point of view and his technique, but he was a far greater artist than his father, and excepting Brouwer, who was more Dutch than Flemish, he was certainly head and shoulders over all the other genre painters in Flan- ders. He painted all types, peasants, boors, alehouses, kitchens, fetes, musical parties, landscapes, portraits. i8o ^be Hrt of tbe /iDunicb 6alleries battles. Biblical scenes, allegorical subjects, etc., but he always treated them in the genre style with Flem- ish types and costumes and in the true Netherland spirit. Whether he told of the parable of the Prod- igal Son, or of an idle group of people in front of a tavern, the conception was the same. In this re- spect he was again like the Dutch painters, valuing his art for what it looked and caring little for what it meant. As depicting actual historic occurrences his pictures are often wanting ; but as art in colour, air, light and grouping they are superlatively excel- lent. Teniers was born in Antwerp in 1610 and as we have said studied with his father. At the age of twenty-seven he married the daughter of Jan Brueghel, Rubens being one of his witnesses, and on her death he wedded Isabelle de Fren, daughter of the Secretary of State for Brabant. Owing to his pleasing personality and his talents he reached a higher position in society than had before, or has since, been attained by any genre painter of the school. He was appointed court painter and also groom of the chambers (which included charge of the picture gallery) by the Archduke Leopold Wil- helm, Stadtholder of the Spanish Netherlands, and his successor confirmed Teniers in these offices. He was overwhelmed by commissions from other rulers, and from these he amassed considerable for- Ube jflemisb Scbool iSi tune, as he kept up his activity as a painter till he died at the advanced age of eighty-four. He was one of the first and also one of the most remarkable of those painters who, while possessing all the powers of representation which then flour- ished in the Netherlands, used these powers to illus- trate the most commonplace subjects, or even when treating Biblical or mythological subjects, included them in the same genre treatment; for though the painting of the peasant world — from a single figure to the crowds which gather at meetings of festiv- ity — was his favourite subject, yet the influence of his father-in-law. Velvet Brueghel, and of his wife's uncle, Hell Brueghel, shows itself in many a stray- ing into the realm of fancy, such as witches and incantations, and especially in portraying the " Temptation of St. Anthony," which Teniers treated with great humour. The subject of al- chemy, in the painting of which he was unrivalled, was the then prevailing mania, as the whole world seemed to be searching for the philosopher's stone. Guard-houses, with their old armour, drums and flags, formed another favourite subject, also cattle pieces and landscapes in which his delicate feeling for nature could display itself; but entirely want- ing in elevation was his treatment of sacred sub- jects, for which his talents were little adapted. The qualities which most attract in Teniers are i82 tibe Hrt of tbe /DJunicb Galleries his picturesque arrangement, his delicately balanced general feeling, the harmony of colouring in all his details, and that light and sparkling touch in which the separate strokes of the brush are left un- broken — a power in which no other genre painter ever equalled him. Conversely all the charm of his humour can hardly atone for a certain coldness of feeling, and there is a degree of monotony in his treatment of figures and heads, which is especially observable in scenes with many figures. So, upon the whole, his greatest triumphs are in his pictures which contain few, or only one figure. The dififer- ent periods of his work are distinctly marked. Those of his earliest style are painted in a some- what heavy brown tone, the figures are from twelve to eighteen inches high and the treatment is broad and somewhat decorative. The influence of Brouwer may be seen here, though the contention that Teniers was a pupil of his is an erroneous one. In his second period his colour tone became clearer and more golden and later again changed from that to a clear silvery hue, with which there came a more careful and precise execution. Pictures of this class are judged as his most characteristic and finest work. Later still he adopted a decided golden tone, which is often very powerful, but in his last years his colouring became heavy and brownish. The Pinakothek is very rich in his works, possess- Ube jflemisb Scbool 183 ing no less than twenty-eight of them, all of them, with the exception of the picture of the " Great Yearly Market" (925) in Florence, being cabinet pictures. Typical of Teniers' fancy is " A Drinking Party" (902) smoking and playing cards at a round table. It is rich in composition and warm in tone, belonging to his best period. Teniers' pictures give the impression of being produced with but little effort, and indeed it is said that he often painted a picture in a day. He worked with great rapidity and sureness and with a charm- ing sprightliness of touch. Sir Joshua Reynolds thought his work worthy of the closest attention and said, " His manner of touching, or what we call handling, has, perhaps, never been excelled; there is in his pictures that exact mixture of sharp- ness and softness which is so difficult to execute." Teniers left seven hundred pictures but no school; no pupils of consequence succeeded him. He was the last of the masterful painters of Flanders and after him came the eighteenth century decline — a period in art remarkable for littleness in men and measures. If we would know what manner of man was Teniers, we have but to look for his portrait (931) painted by Pieter Thys, who followed the style of Van Dyck, which shows him to be a serious looking young man in a black coat with broad white collar i84 Zbc Htt of tbe /iDunicb Galleries and cuffs and a gold chain with a medallion hanging from it. An exceedingly interesting canvas is one which shows an " Interior View of an Artist's Ateher " (934), a picture painted by Karl Emmanuel Biset, who was born at Mechlin in 1633 and died at Breda in his fifty-second year. In this the walls and ceil- ings are decorated with pictures and on the easels on the left side and in the middle are portraits of the various visitors to the studio painted by Biset himself. In the right corner is an allegorical group, Apollo with two muses and Mercury and the Three Graces, a copy of a picture by Jordaens. The different pictures of the collection are mostly the originals of different artists, of which the fol- lowing are signed : — "Still Life " by Carl de Heem and a "Jupiter and Antiope " by the same artist; a " Landscape with Animals " by Pieter Boll ; " Diana and Actaeon " and an " Adoration of the Shepherds " by Pieter Thys. Of the four pictures in the foreground one is a copy of a fish piece by Pieter Boll, another a study in architectural painting by Von Ehrenburg, and a mythological representa- tion by Boeyermans, all signed like the above men- tioned pictures. The originality of the conception and execution of the idea makes this picture quite a curiosity in the realm of painting. We must now consider the department of land- XTbe S'lemisb Scbool 185 scape painting, which during the course of the sev- enteenth century was represented in Belgium by several artists of great merit. Though they exhibit, from a technical point of view, more or less the influence of Rubens, they differ from him totally in conception. The subjects principally treated by some of these painters, and that with much poetry of feeling, are hilly landscapes, richly wooded, with sandbanks in the foreground ; others followed the more ideal class of subjects affected by Nicholas Poussin. The earliest of the first group was Lodewyck de Vadder, who followed in the foot- steps of Rubens in clearness and power of colour, in decision of lighting and in broad treatment. His beautiful " Landscape " (936) shows three horse- men in the foreground, hurrying towards a village above a wooded sandhill; in the middle distance is a flock of sheep and the background is an airy dis- tant view. A beautiful sunset "Landscape" (937), with trees reflected in a flowing brook, is inscribed with the name of Lukas van Uden, one of the assistants of Rubens. He very frequently painted the back- grounds of his master's pictures, but at the same time he executed many independent works in which Teniers sometimes painted the figures. He has also another little canvas in the Pinakothek, a " Land- scape " (938) with a distant view with mountains, i86 Ube Bet of tbe /iDunicb Galleries hills and trees. To the right is a rocky grotto in which two genie are strewing flowers on a table to adorn the meal of the Gods. Van Uden occasion- ally painted waterfalls and also more enclosed land- scapes, but always a deep and pure feeling for nature pervaded these works, which are invariably well drawn, the separate features with great individual- ity, the colouring powerful and clear (though some- times too monotonously green) and of a very care- ful finish. Next to Rubens the greatest animal painter of the Flemish school was Franz Snyders, who was born at Antwerp and registered in the Painters* Guild of that city as apprentice to Hell Brueghel. It is also said that he studied under Van Balen, but his whole treatment of the animal world, his de- veloped form of art, his clear and frequently glow- ing colour and his broad and masterly touch were inspired by the example of Rubens, to whom he stood in the relationship of a thoroughly independ- ent fellow-painter and in no way that of a pupil. This is shown in the human figures painted by Rubens in Snyders' animal pieces and the animals introduced by Snyders into Rubens' hunts, as well as by the flowers and vegetables executed by Sny- ders in other works by the great master and which were so painted as not to mar the unity of the compositions. Like Rubens, Snyders had the fac- ^"^'wm^m " tt**^^ ,-js . ^m 'i-tm- W' ^^^^^^m^' ^^^TVU^^ , ■* "|Ls^ jT^^* ^ -i ^^^K'^ '^^'^ v^^ Itf^ ' Hi^i;, :, '.;. 'fi !fe:.l- ..^fj'^w^ f^-,. ^^^^^^I^HH^tui^'- , . ' ^* i^ i F**^^^" ■■« ¥'■ .^■' -. ^^^^W^ f f- ' "J ^^^^^^^^^^Kl ■.i^tk ^^RkI ^hhk^^^b ^^^I^P^^HHjl^' ^^-^ III JniiM ^^^^il^l^ulfft^^ '^^681 ^^^^^'>^1B^^ ' jftf a^^k. ^HH^^ ^F^^Ib ^^K^i^i".!*!^^ ^jMH ^^^^K£ 'v^ "^IHk. ' '-t^^^^^.X R^^^Hi^^'"' ^^^^ '^^BK'o ' ' «■ ^^^^Vk!*''' ''^jk i^^^H.|H -;|^S ■^ ■ ^^^^^^W/'' ' ' JMUvfl ■ ;'S^t. 1 ;^^f^;^n. "; . vi^^^^m™ -■■ "^iS^ '^'''sf:4i*'^i'j^- s Ube jflemisb Scbool 187 ulty of depicting his subjects in the agitated mo- ments of combat and chase. The artistic arrange- ment of his animals in the space allotted in his pic- tures was probably owing to his visit to Italy, where he resided principally in Rome. Even in his large culinary subjects he is not more remarkable for the treatment of single objects than for the skill with which he places them together. He frequently as- sisted Jordaens in the same way that he did Rubens, being closely allied in friendship with the former and also with Van Dyck. Of his pictures in the Pinakothek we have exam- ples of all the styles in which he was so famous. Of astounding energy and admirably composed is his picture of " Two Lionesses pursuing a Roe- buck " (957) and of the same style of composition and possessing the same grim force is a " Lioness killing a Wild Boar," which she has caught by the nape of the neck (956) . A " Boar Baiting " forms the subject of another of his paintings of this same class (958). In this the boar, leaning against a tree stem, is defending itself against the onslaught of two boarhounds who attack him from either side. Three dogs lie dead in a heap in the left corner. Excellent examples of his culinary style are a " Kitchen Piece " (955) and " Fruit and Vegetable Store" (954)- Two pictures of still life (959, 188 Zbc Htt ot tbe /Dunicb Oallcvics 960) illustrate Snyders' versatility in this style of painting. The grand manner of painting animals proper to Snyders was also continued with excellent results by several other painters, among them Paul de Vos. He had a special facility for rapid and passionate action and therefore succeeded above all in depict- ing combats between dogs and bears or wild boars or with each other, and he had, too, a special apti- tude for painting hunting scenes. In power and transparency of colour and in mastery of touch he very nearly rivalled Snyders but he was greatly his inferior in drawing and in taste. Two of his pic- tures hang in the Pinakothek, — a " Bearbaiting " (961) and "Animals in the Garden of Eden" (962). Flower painting as a separate department of art was cultivated with much success at this time in Belgium, where its chief representative was Daniel Segers. He seldom painted a picture exclusively of flowers, but attached himself to the historical paint- ers by surrounding their sacred subjects, generally the Madonna and Child, with wreaths of flowers by way of festive decoration. In this way he col- laborated with Rubens, Cornelis Schut, Diepen- beeck and Erasmus Quellinus. His skill in depict- ing flowers was such that they combine admirable drawing with great truth to nature, and in painting Ube jflemisb Scbool 189 red roses he employed colours that have remained unchanged, while the roses of every other painter have turned violet or faded altogether. In our col- lection we have a painting of a " Marble Relief of the Bacchus Child playing with a Goat " (972) surrounded by an exquisitely painted flower wreath. CHAPTER V THE ITALIAN SCHOOL Art in the eleventh century in Italy was divided between the native and the Byzantine styles, the one fallen as low as the other was utterly rude, though the Byzantine was a little in the ascendency. But at the beginning of the twelfth century that pros- perity, which always brings in its train new life in art, and in all that makes for culture, dawned upon the country. Italy was restored to a sense of na- tional freedom and at the same time another ele- ment (that of the strengthening of the free town- ships, which had successfully maintained their rights against all comers) was now called into be- ing. Slowly but unmistakably, we now trace the use of a new and independent style in art, which by the thirteenth century had assumed much decision of character. We now see the Byzantine style and the old native Longobardian merging into one another to form a new method, always governed and impelled forward by an onward tendency. Rome, at this time, was reinstated as Mistress of 190 Zbc IFtaUan Scbool 191 the West, and here the term " Romanesque " comes into existence, for now it was that in Italy the change from the ancient tradition into the spirit of the newly created nationality first took place. The epoch of Byzantine art in Italy may be said to have been an intermediate school only, introduced and upheld by external circumstances. Even though a strong wave of Byzantine influence swept over the country, consequent upon the conquest of Con- stantinople by the Latins in 1204, and a large num- ber of artists and works of art of that school poured into Italy, still contemporary with this influence arose another in which a very considerable progress in the new tendency could be ascertained, and even earlier than this may be traced the first germs of a purely Western Italian mode of conception. In Venice, where Byzantine painting had struck the deepest root, the struggle between ancient and modern art assumed a different character to that of Rome. We have here the strange spectacle of a bold mind, at once, with one great work, breaking through the trammels of tradition, while succeed- ing artists lapsed deeper than ever into the old forms. In the works of the Lombard painters we also note a decided upward movement in the beginning of the thirteenth century. Here, where perhaps By- zantine feeling never entirely obtained the mastery, 192 Tlbe Hrt of tbe /iDunicb Oalleries an element of Art is observable, which often oc- curs in the German-Romanesque works, namely, a vehemence of dramatic representation. The foregoing serves to show that the rise of mediaeval painting in Tuscany, was no isolated circumstance, but that, on the contrary, the most opposite parts of Italy began at this time unani- mously to stir with new artistic life. The origin of Tuscan painting is still very ob- scure, and modern investigation has served to show the confusion which attended its history but fails to throw any positive light upon it. Thus far it appears certain that Tuscany, that is, Pisa, Siena and Florence as well, followed at the end of the twelfth century the Byzantine school, and we find that the Tuscan artists of the early part of the thir- teenth century remained in many respects far more dependent upon the Byzantine mode of procedure, than those of contemporary date in Rome though frequently they surpassed these latter in thought and invention. This therefore is the question which puts itself to us — What painter or school of paint- ing, within the dominion of Byzantine influence, first began to show an independent feeling? This brings us to consider that painter who is usually hailed as the rescuer of the Italian school from the restrictions and limitations of the Byzan- tine influence, and the founder of modem Italian Ube Italian Scbool 193 painting, Giovanni Cimabue, of the noble family of that name, born in Florence in 1240. He was destined by his father to become a teacher of rhetoric, and for that purpose he was sent to the convent school of Santa Maria Novella, but instead of devoting himself to his studies he passed his whole time drawing pictures, an occupation to which he felt himself impelled by nature. Happily for him, he lived in a time favoured by fortune, because the governors of the city had invited to Florence a number of noted Greek artists, as they were wish- ful to restore the art of painting, which had not only degenerated, through the dry Byzantine method, which up to now had been in vogue, but seemed almost entirely lost. These Greek artists, among other works, began to paint the chapel of the Gondi in Santa Maria Novella, and Cimabue, who had already himself made a commencement in the study of painting, would frequently stand all day, when he could es- cape from his lessons, learning from them all he could by observation. These artists brought to the notice of the boy's father his love for art. Cimabue was, to his great satisfaction, placed under them for tuition. He soon greatly surpassed his teachers in design and colouring, thanks to his incessant work and his natural powers. Though he imitated his Greek in- 194 Ube Hrt of tbe /iDunfcb Galleries structors, he very much improved on their manner, doing honour to his country by the name he ac- quired and by the works which he executed. In the Pinakothek there is nothing painted by Cimabue himself but there are two unimportant panels (979-980) which emanated from his school, and which were probably painted in the last quarter of the thirteenth century. Cimabue, in recognition of his genius, was ap- pointed, in conjunction with Arnolfi Lapi, an artist highly renowned in architecture, to superintend the building of Santa Maria del Fiore in Florence. He had many disciples, chief among them the famous Giotto, who carried still further the onward tend- encies of his master and who became an eminent painter. The Pinakothek contains three pictures, " Christ on the Cross," " Christ in Purgatory " and " The Last Supper," the works of Giotto, the famous pupil of Cimabue, who found him, a little shepherd lad, drawing a picture of one of the sheep he was minding in a field at Vespignano, a village near Florence. Struck with the promise that the boy's drawing gave, Cimabue took him to Florence and there gave him instruction in art. Aided by na- ture, the boy not only soon equalled his master, but he went further in the field of the imitation of nature, totally banishing the rude Greek manner Ube fltalian Scbool 19s and restoring art to the better path by reintroducing the practice of drawing from the living model, which practice had been in disuse for over two hundred years. The picture of " Christ on the Cross " (981) rep- resents the fainting Virgin supported by the three holy women, St. John the Evangelist on the right, with Nicodemus and Joseph of Arimathea. At the foot of the cross is a picture of the donor and St. Francis of Assisi in the act of kissing the wound in the sacred foot. Giotto was very prone to link the history of St. Francis with that of Christ, as wit- ness the series of twenty-six panels combining the two great subjects which respectively enlisted his art, the Life of Christ and the Life of St. Francis, painted for the church of Santa Croce in Florence. The " Christ in Purgatory " (982) shows the Re- deemer carrying a banner accompanied by the cross- bearing repentant thief. Adam and Eve and a host of other Biblical characters throng around him. Through a cleft in a rock may be seen flames into which devils are thrusting the souls of the damned. In the " Last Supper " (983) we see the disciples partaking of their last meal with their master. John, the well-beloved, rests his head against Christ's breast, and at the end of the table sits Judas, without a nimbus, reaching for the morsel, which Christ has dipped into the wine and offers to 196 Ube Hct of tbe ^unicb (Balleries him as a token of the disciple who should betray him. There is a singular variety in these pictures, not only in the gestures and attitudes of each figure but also in the composition of the paintings. An examination of Giotto's style will show us that he completely abandoned the Byzantine style. He was a master of dramatic narrative and nothing can limit or diminish his praise. But this, however, is not enough to say, as his narrative art was not a purely intellectual quality but founded upon the picturesque intuition of the master. He did not see so much in nature as did the masters of a later period, but of what he saw, his grasp was wonder- ful. He shows overwhelming power in the ar- rangement of his groups, in depicting figures and movement. His figures were not, as was usual in the art of the Middle Ages, representative merely of the ideas embodied in the situation or treatment of the moment. In this respect Giotto must be placed first in the new departure in painting, even before Jan van Eyck or Massaccio. At the same time Giotto belonged to the mature Middle Ages and cannot be associated with the Renaissance. The best in an artist is always his individuality, to which he owes everything great and beautiful he creates, but his environment helps to explain many peculiari- ties. Thus we may say that only in the Italy of Ube irtalian Scbool 197 his day could Giotto have become so great, and only south of the Alps, in the early fourteenth century, a school of painting of such artistic purity and power could have arisen. It is only needful to know something of the abject and degraded form given to the representations of the Crucifixion by the later Byzantine School, to ap- preciate to the full the extent to which Giotto im- proved upon the art he found before him. This sub- ject was the touchstone of the artist in the four- teenth century. Two variations of it are to be seen, the one in San Marco, the other in the Gondi-Dini chapel in the church of the Ognisanti, both in Flor- ence, recognized as works of the master. The fig- ure of the Lord in these is comparatively youthful and erect, conveying an expression of suffering without undue contortion. It is impossible to overestimate the influence of Giotto's genius. He opened the fountains of nature to the gifted generations who followed him in Italy, which permeated through the length and breadth of the land, spreading beauty and fertility in its course. Nor does painting alone claim him as her deliverer. The sculpture of the Renaissance may be said to be in a great measure his creation. It was his designs for the bronze doors on the north side of the Bap- tistery in Florence and for the Campanile, which gave new impetus to that branch of art. 198 Ube Hct ot tbe /iDuntcb Galleries Giotto's influence is particularly strongly dis- played in the frescoes painted by his pupil Giottino in the church of St. Francis of Assisi, that of St. Nicholas restoring a dead girl alive to her parents. In the Pinakothek we have a small picture attrib- uted to him, " The Bewailing over the Body of Christ" (984), which shows that the pupil was a close follower of the methods of his master. In this Mary sits at the foot of the cross, holding the out- stretched body of Christ on her knees. To the left Mary Magdalen sits by the open grave, around the body cower the other holy women, and behind them are seen the men who have removed the body from the cross. The most important of Giotto's scholars was Tad- deo Gaddi, who left a son called Agnolo. He in- herited his father's powers and also developed ex- cellences to which Taddeo had not attained. His colouring was brighter and more transparent and his works display more originality and less follow- ing of the grotesquely conventional. Two paintings by Agnolo now hang in the Pina- kothek, " St. Nicholas of Bari " (984a) and " St. Julian" (984b). The whole fourteenth century in Italy was influ- enced by Giotto, though various schools arrived at a certain individuality of their own, especially that of Siena. One of the leaders of this school was Lippo Ube Vtalian Scbool 199 Memmi, to whom is ascribed a small triptych, the centre representing the " Assumption of the Vir- gin " (986). This picture was unfortunately in a very bad state of preservation and has been entirely restored, not only the gilding but also a great por- tion of the garments. It represents Christ, sur- rounded by saints, awaiting the Virgin, who is being borne upward by angels, playing musical in- struments. The extremely interesting wings have fortunately suffered much less than the centrepiece. The right wing has for its subject two rows of fe- male saints with six apostles, the left one, three rows of male saints. In the upper corner, the An- nunciation. Here, as in the heads in the centrepiece, we see an art remote from the world, tender in colour, extremely full of feeling and taste in its style, aiming at the same goal as did fifty years later Meister Wilhelm of Cologne. This style was long the leading one in Italy, though it was only brought to perfection in the fifteenth century. Spinello di Luca Aretino, like most of the Flor- entine painters, is seen to much greater advantage in his frescoes than in his panel paintings. He com- bined the Sienese with the Florentine element, but his feeling for action and breadth of composition show that he followed in the footsteps of Giotto. He led a long and active life and laboured in Flor- ence, in Casentino and in his native town of Arezzo. 200 XLbc Hrt of tbe /iDunicb Galleries The Pinakothek possesses two pictures painted by him (987, 988), each representing five saints. A monk-painter, whose name is ever suggestive of the hohest ideals and the gentlest forms that relig- ious art has bequeathed, was Fra Giovanni da Fie- sole, known worldwide as Fra Angelico, the Blessed. He was born at Vicchio in Mugello, not far from Vespignano, which claims the honour of giving birth to Giotto. No record remains of Fra Angelico's in- structors but it may be assumed that he had passed his apprenticeship before joining the Order of St. Dominic. That the deepest religious principles in- spired this great master becomes apparent to whom- soever considers his art. An intensity of holy feel- ing, unprecedented in this form of expression be- fore or since, inspired him. Lessons in faith and examples in holiness were ever his aim, and he sought to invest the forms in which these were given with the utmost beauty and purity. The most deli- cate and beautiful colours were selected for the dra- peries and a profusion of golden ornaments lavished over the works, every possible accessory being em- ployed to give fresh charm to these sacred sub- jects. He ventured on none of the innovations al- ready becoming familiar in Florence, owing to his deep respect for prescriptive authority and his rigid adherence to national types. He is said never to have commenced his work without prayer and to Xlbe Vtaltan Scbool 201 have frequently been interrupted by tears while rep- resenting the sufferings of the Saviour. His first works are believed to have been the il- lumination of books and the exquisitely fresh and clear colour and also the flatness of his style seem to bear out such a contention. In his own way he was as extraordinary a painter as ever lived. Rapidity of movement, understanding of breadth in light and shade, and accuracy of anatomy, were not required by him and he was lacking in determined action and defective in knowledge of human struc- ture, but in all that was needful to assist his spiritual aim, the science of the varieties of human expres- , sion, he may be said to be the first to have felt and to have developed. And while preeminent in the art of expression, he excelled equally in harmony of composition, of colour and of beauty of drapery. Fra Angelico seems, as far as internal evidence may be accepted, to have been much influenced by Orcagna, who combined the Giottoesque and the Sienese feeling, and this sweetness of style of the early Florentine was carried to its extreme purity by the Dominican monk. Three of the four pictures by Fra Angelico in the Pinakothek relate to the history of Saints Cos- mas and Damian, the patron saints of the Medici family, and in all probability painted for them. In the first one (989) the two saintSi with their 202 XLbc Hrt ot tbe /Dunicb Galleries brothers Antimus, Leontinus and Euprepius, are brought before the Governor Lysia, who orders them to sacrifice to the gods. The second tablet represents Saints Cosmas and Damian being de- hvered by angels, when they and their three brothers, bound to rocks in the sea, are left to the fury of the waves (990). In the third tablet (991) the saints and their brothers (the former hung upon crosses) are being shot at with arrows and stoned with stones but all the missiles rebound upon their executioners. These with three other tablets formed a Predella, which was painted in 1438 for the high altar of the church of San Marco in Florence. A Madonna surrounded by the apostles formed the centre picture. Of the other sections of this predella (all of which relate to the legends of the holy Cosmas and Damian, two, the " Miracle of the Holy Bone " and " The Interment of the Saints," are in the Accademia collection in Florence, while the third, the " Death of the Saints " by burning, was formerly in the collection of the Lombardi-Bardi in the same city. There is a fourth picture in the Pinakothek painted by Fra Angelico, that of the " Man of Sorrows" (992). In this Joseph of Arimathea holds the body of Qirist upright, in front of the grave, while the arms of the Saviour are lifted by the Virgin and St. John. The delicacy of treatment Ubc f talfan Scbool 203 and beauty of colouring in these pictures is nothing short of marvellous. We must remark upon Fra Angelico's angels, which are the purest type to which imagination has reached. By no other hand are these beings of another sphere depicted so genuinely as the gentle guardians of man. No matter in which of his works they are to be seen, they have invariably an angelic property and an individuality which take the feelings captive. Of the works of Fra Filippo Lippi, who studied under Massaccio and whose paintings exhibit largely the influence of Fra Angelico, the Pina- kothek possesses two large and one small picture. Orphaned at the age of two, in his eighth year his name appears on the roll of the Order of the Car- melites. Recent evidence completely refutes the account given by Vasairi, and accepted by the world generally, of his romantic and not a little scan- dalous life. Nor did his leaving his monastery, which he did in 1432, when he was twenty years old seem to have meant that he gave up the life of a monk. On the contrary, many documents pertain- ing to the Carmelite monastery refer to him still as " Frater," and his own pictures, which were painted over a course of several years, are signed " Frater Philipus." In one of these pictures, which is now in the Accademia in Florence, which represents 204 Ubc Htt of tbe ^unicb Galleries " The Coronation of the Virgin," he has painted his own portrait with the tonsure, and lastly his death is recorded in the register of the Carmelite convent, which surely would not have been the case had he abandoned his vows in the manner re- lated about him. Then too, in refutation of the charge that his life was spent in vice, is the estab- lishment of the fact that in 1452 he was appointed chaplain of a nunnery in Florence and five years later Rector of St. Querico in Legnaia, two ap- pointments which would never have been bestowed upon him, no matter how loose the times, had he been a forsworn monk. In form and colouring Fra Lippo Lippi has a style peculiarly his own. His colour is broad and golden, almost anticipating Titian, his drapery finely cast and of fascinatingly broken tones. Mas- saccio's figures are grander and lean more to the ideal, but Filippo Lippi's have a reality of feeling which is tender and graceful, though at times it is somewhat rude, his angels especially being like great big high-spirited boys. His stately form of composition makes his style very attractive, espe- cially as it ever leans to the side of common nature. Two of his pictures in the Pinakothek are of the same subject, the " Annunciation," but they are of widely different cortceptions. In the one (1005) the Virgin, in a magnificent pillared hall, which FRA FILIPPO LIPPl. MADONNA. XTbc Utalfan Scbool 205 gives a view of a beautiful garden, stands by a low bed, as she receives the message of the angel Gabriel. The messenger of Heaven, rose-crowned, bearing a lily branch in his hand, kneels before her. A second angel, also bearing a lily, stands in the doorway. Above God the Father, between two angels, sends down the Holy Ghost. The other "Annunciation" (1007) is totally different, representing, as it does, a Renaissance building, of which we see a carpenter's shop and a sleeping room. There Mary kneels to receive the message of the angel. This picture lacks the magnificence of the other conception but in tender- ness of treatment and in beauty of colouring quite equals it. A charming and exceedingly beautiful " Ma- donna " (1006) seated on a stool, holding the scantily clad Christ Child on her knee, is the sub- ject of the third picture. Both figures are very winning, particularly the grand, chubby Child. The background is formed by a rich mountainous land- scape, which shows a view of a valley with a river flowing through it. One of the best, if not the best of Filippo Lippi's pupils was Sandro Filipepi, called Botticelli, who in common with a great many of the artists of his day started his life work by being apprenticed to a goldsmith. In vehemence and impetuosity of 2o6 Ube Hrt of tbe /Dunicb Galleries action, combined frequently with great grandeur, he stands above all his contemporaries. His pas- sionate imagination in expression renders him the most dramatic painter of his school and he espe- cially developed a power of movement, often finer in attempt than performance. He is allied to Michelangelo and Luca Signorelli in the Titanic force of some of his creations. Botticelli was peculiarly qualified to illustrate the mjrthological and allegorical tendencies which the revival of classic literature developed in Italy during the fifteenth century. Only one of his pictures is to be seen in our col- lection, a " Lamentation over the Body of Christ " (lOio), which Vasari says Botticelli painted for the Church of St. Peter Maggiore in Florence. In this the " Virgin," with the body of Christ on her knees, sinks unconscious, supported by St. John, while two of the holy women bathe the sacred head and feet with their tears, and a third, in an abandonment of grief, stands with the three nails in her hand. Nearby are Saints Peter, Paul and Jerome. This picture represents the deepest aban- donment of despair, the Maries around the Body of the Saviour being literally frantic with grief. There is good reason for doubting the so-called paternity of Filippino Lippi. A near relationship was not by any means proved by the adoption of .i**^'- -^ ^ /-'-I ■— ^ --ll %< _^ -^Wik .^'^^■i''.' "" Si l^-ii-'*' ^^S"-' \^'l 11 X' 1 - y^ii^^y. 1 ■ »*.. ii |P "' %^%' -^^'\ i i ?^'^ ^^.v. L,--;**'*^ w^k E p^^lmi 1 j^QI 1 ^7 ' ^^-i>. '',:-■':. 1% , /^,_ V^^^ W iii d'4^ -; 4|- ^B^^^HVol^^^^^i^iiSai^^BSw^^^Ira ^M l^^y ZbQ fltallan Scbool 207 a master's name, as that, at this time, was quite a common occurrence. From accounts it would ap- pear that Filippino came from Prato, where Fra Lippo Lippi's relatives resided, and so it is safe to assume that they were related. Filippino Lippi's education is attributed by Vasari to Botticelli, and there is certainly a closer resemblance between the works of the two than there is between Filippo and Filippino. Of his pictures in the Pinakothek collection, one (1008) shows the " Saviour Showing his Wounds to his Virgin Mother," both in kneeling positions. This painting belongs to the end of the fifteenth century and is in striking contrast to the works of his reputed father, which belonged largely to the school of the Middle Ages. Between the styles of Fra Lippo Lippi and his illustrious namesake a whole epoch of healthy progress in knowledge of nature stretches. A gradino, or ornamental part to this picture, is that of the " Man of Sorrows in the Grave" upheld by an angel. On his left are Saints Francis, Louis of Toulouse and Bernard of Siena and on the right. Saints Clara and Cather- ine of Siena. A picture, which has quite a little history attached to it, is the " Lamentation over the Body of Christ" (1009), which was ordered by the Com- pagnia di Balestri for their chapel in Cestello, now 2o8 Zbc Htt ot tbe /D^untcb Galleries the Church of San Frediano. There arose a dis- pute as to the amount to be paid for the picture when completed and by the decision of the arbiter, Ridolfo Ghirlandajo, 170 lire, an amount equivalent to $34, was paid. The painting represents the Virgin with the sacred body lying across her knees, the head supported by an angel, the feet by St. Mary Magdalen. Behind them stand St. John the Baptist and St. James, Major. In the clouds are to be seen three angels, with the instruments of the Passion. The background is formed by a land- scape against a clear sky. The head of the Florentine school of the end of the fifteenth century, Domenico Ghirlandajo, here is represented by one of his best works, an altar- piece, the " Madonna in Glory Being Worshipped by Saints" (loii). Mary appears in a flamelike aureole between seraph heads and two praying angels. At her feet, with a most beautiful and delicate landscape for background, stand St. Michael and St. John the Baptist, while to the right and left kneel St. John the Evangehst and St. Dominic. This picture was painted for the high altar of Santa Maria Novella in Florence and was, together with the frescoes in an adjoining chapel, a votive offering of the Tornaquinci family. The picturesque colouring, the clean, delicate and always expressive drawing, the plastic treatment Hhjlkv; ^ B^>- ...■■^■^^^.■^:---':^'"''^':'"-^^^i^ ^ ' •• -^^mI J^^ r^^:^^,' j^5I ^ i??TnnTi'unicb (Balleries youthful Christ, with his right hand raised in bene- diction. This was painted by Bartolomeo Gennari, a pupil of his father, Benedetto Gennari, who was a brother-in-law of Guercino. " Rinaldo in the enchanted Forest" (1185) res- cuing the nymph Armida, a picture painted by Francesco Furini, a pupil of Matteo Roselli, is a pleasing work, but Furini did not in any way ap- proximate his master in excellence. The Pinakothek contains two pictures by Gio- vanni Lanfranco, in his day the most popular of the students and followers of the Caracci. In his hands art degenerated into mere mechanism in an effort to produce an effect by superficial means. This sen- timental straining after effect may be noted in his picture of the " Mater Dolorosa " (1191), in which the eyes, under the brown head covering, are raised upward in an affected fashion. A much more powerful painter, who happily combined the more dignified conception of the school of the Caracci with the truth and vigour of Caravaggio, was Giocomo Cavedone. Both of his pictures in the Pinakothek are small and are of the same subject, " Angels lamenting over the dead Body of Christ" (1188), with a somewhat differ- ent treatment. In the one, the sacred body, the upper part of which lies over a rock, is being mourned over by an angel, who, kneeling, kisses the "Cbe UtaUan Scbool 287 left hand of the Redeemer. At the feet of Christ are the three nails. This picture is half life size, while the other (1189) is much smaller and shows the body in the grotto where it has been laid to rest, wept over by an angel. At the head of the Saviour is a burning light. A " Mater Dolorosa " (1193) the work of Guido Canacci, a pupil and follower of Guido Reni, shows the Virgin with the seven arrows in her heart, her head supported by her left hand, by a table upon which lie the instruments of the Passion. By the same hand are the pictures of " St. Mary of Egypt " (1194) being borne upward by an angel into the glory which awaits her above and the " Penitent Magdalen" (1195), with the crucifix, book, oint- ment vessel and skull before her, seated on the ground in a rocky cavern. These pictures exhibit a somewhat insipid ideality which approaches al- most to a vapid generalization without character, an empty, ordinary kind of a grace, though they have, it must be admitted, an agreeable warmth of colour. Influenced by the school of Titian through his master, Alessandro Varotari of Padua, known to fame as II Padavanno, was Lodovico Cardi, called II Cigoli. His work was frequently more mannered and conscious than that of his master, but was also far from being coldly academic. From his brush 288 Zbc Htt or tbe /iDuntcb Galleries our gallery shows a small picture of " St. Francis of Assisi " (1200) in a landscape, kneeling praying before a crucifix, out of an open book. Alessandro Turchi, of Verona, surnamed L'Or- betto, by the finish and grace of his pictures oc- cupied quite an important place among the artists of this period. In one of his canvases, the smallest of three in the Pinakothek, is the " Daughter of Herodias " (1199) receiving the head of John the Baptist from the hands of the executioner, who lays it upon a golden dish. A finely executed picture, a " Scene from the Life of Hercules " (1197), shows the latter spinning, seated near Omphale, who wears his lion's skin, while he is being mocked by her, his comrades and by the little God of Love. This picture was formerly attributed to Domenichino, to whose works it bears a marked resemblance. The other painting shows the in- furiated "Hercules killing his children" (1198) while the bystanding women seek vainly to rescue them. The Pinakothek possesses no work by Bronzino, who was an intimate friend of Vasari, but it has a "Portrait of a Young Man" (iioo), with short brown hair and light moustache, in a black garment and a white collar, by a pupil of the former, Santi di Tito. One of the finest artists of his time and one who Ube Italian Scbool 289 rose far above the confined aims of his contem- poraries, displaying a noble originality in his works, was Cristoforo Allori, the pupil of his father and of Santi di Tito. His three pictures in our collection are quite rep- resentative of his art. In one, " A Landscape " (1201), Mercury appears as a guide to the souls of an old greybeard and a somewhat younger man who follow him, the beautiful landscape being the predominating feature of the picture. Here his feel- ing for softly blended tones and harmonious colour- ing makes itself felt, as it does also in an example of his beautifully conceived nude women, of which we have one in "Susanna in Her Bath" (1202) surprised by the prying elders. The expression on Susanna's face, as she shrinks from her persecutors, is refined and noble, while that of the elders is in- dicative of their servitude to their baser selves. A smaller picture of a quite different character is his " Young Faun " (1204), with horns and long ears, who glances merrily at the spectator from out of the picture. Another school of the Eclectics was that formed by the Procaccini at Milan, which rose to quite some importance owing to the patronage of the Borromeo family. The founder was Ercole Procaccini, born and educated at Bologna, and who flourished in the second half of the sixteenth century. His works are 29° Ube Htt of tbe ^unicb Galleries not at all remarkable, but they evince a care and in- dustry which preserved him from the degenerate mannerism of his time, and well fitted him for the ofHce of a teacher. His best scholar was his son Camillo, and in the works of this artist we find, to- gether with the study of the older masters, some- thing reminiscent of Correggio and Parmigianino. We have an example of one of his beautiful and subtle Madonnas, in the " Virgin " (1121), who sits beneath an apple tree with her arm protectingly around the Christ Child. The latter leans against her and reaches out for the apple in her hand. St. Joseph looks over her shoulder, gazing down at Jesus, and to the left St. Elizabeth is seen with the little John. This picture is executed with a pecul- iar gentleness which reminds one of Sassoferrato, but without the latter's inclination to sentimental- ity. _ Giulio Cesare Procaccini, a brother of Camillo, also applied himself to the imitation of Correggio. His pictures in the Pinakothek are also Madonnas, the larger one, "Mary with the Christ Child" (12 12), who reaches for the apple which she holds in her left hand. In the background are Joseph and two angels and in the foreground a boy angel who carries a vase with roses and lilies. In the smaller picture (1213) the Madonna holds the Infant Jesus on her lap, the youthful St. John sits on the ground XTbe Utaltan Scbool ^97 looking up at them, and behind the group stands an angel, who holds out an apple and two roses to the Holy Child. These last two pictures are somewhat more mannered than the works of Camillo, but still have a certain charm about them, owing to their softness of tone. Of the works of Simone Cantarini, a pupil of Guido Reni, the Pinakothek possesses two speci- mens, one a "Noli me tangere" (1216) in which Christ appears to the Magdalen in a garden; the other the "Unbelief of Thomas" (1217), who places his fingers in the wounded side of his risen Lord ; and of those of Pietro Berettini of Cortona a picture of the " Woman Taken in Adultery " (1220), who with bound hands is being brought by a mailclad soldier to hear her doom. This latter and his followers may, without injustice to them, be termed " scene painters " because it was their chief aim to fill large spaces in the shortest possible time, with the most striking and attractive effects and that without reference to their own true gifts or to the true forms of nature. This holds true, too, of Ciro Ferri, a pupil of Berettini, though his " Rest during the Flight into Egypt" (1222) betrays more originality than most of the examples of that immediate time. In this Mary holds the Child on her lap, while an angel reaches apples to them, and in the background 392 Ube Hrt of tbe /iDunicb (Sallettes Joseph comes leading the donkey from which Mary has alighted. The example (1223) in the Pinakothek of the work of Gianbattista Salvi, called Sassoferrato from his native town, a follower of the school of the Ca- racci and probably a pupil of Domenichino, is not one of his pleasing works as it has a decided look of sentimentality. It is the type of the Sassoferrato Madonna which is so frequently copied — Mary in red dress, blue mantle and white head covering, praying with folded hands. He rather imitated, and not without success at first, the older masters of the beginning of the sixteenth century, and has, indeed, a certain affinity with them in his peculiar and not always unaffected gentleness of mien. His own original works have no particular depth but are pleasing, smooth and frequently of great sweet- ness of expression, though often it degenerates into sentimentality. The Madonna and Child were his constant subjects and every large gallery possesses one or more of them. Allied to the manner of his contemporary Sasso- ferrato, and about equal in merit to him, is Carlo Dolce, a pupil of Matteo Roselli. He also confined himself practically to painting Madonnas and saints, and that with much gentleness, delicacy and grace, but his works betray a greater degree of the senti- mental even than those of Sassoferrato, so much so Zbe irtalian Scbool 293 that it often degenerates into affectation and insi- pidity. The two large canvases of his which hang in the Pinakothek, one of " St. Mary Magdalen " (1226) kneeling by a rock on which are her em- blems, the ointment vessel and a book, her left hand lying upon the last, her right on her breast; and a " St. Agnes " ( 1230) holding the lamb in her two hands, are good examples of his style, being both painted with a cloying sweetness which borders on the insipid. The same fault is to be found with his smaller pictures, of which our collection pos- sesses four (1225, 1227-9), all in the same cabinet. Two things are to be noted in Carlo Dolce's work, one is the extreme beauty of the hands of his sub- jects and the other the degree of delicacy and finish of his compositions. Carlo Maratta, known to artistic fame more for his watchful care of Raphael's frescoes at Rome, while superintending their restoration, than for any historical work which he himself has produced, has contributed three pictures to the Pinakothek collec- tion. The finest, in a branch of painting in which Maratta specially excelled, is a bust " Portrait of Cardinal Giulio Rospigliosi " (1233) with the red gown and the scarlet biretta of his office, a portrait glowing with vitality and colour. There is also a "St. John at Patmos" (1231) and a sleeping "Nude Child" (1232) lying on a white coverlid 2^^ Zbc Hrt ot tbe /iDunicb Galleries under a blue canopy, with a beautiful background formed of a landscape. The hostility of the school of the Naturalists to that of the Eclectics, and particularly that of the Caracci, has already been alluded to. This school gained its name originally from its desire for direct imitation of nature, but strong passions were the chief representations of its followers, who did not care to portray nature in a refined state; their types lacked to a large extent the divine impulse and with them feelings of love and hatred are depicted with a boundless energy. The head of this school was Michelangelo Ame- righi da Caravaggio, whose tempestuous life and wild passions were in keeping with his pictures. In spite of the vulgarity of many of his conceptions, his works display a wonderful breadth, even a tragic pathos, which is especially assisted by the grand line of his draperies. His pictures possess a characteristic and original force indicating a pow- erful nature, which, in spite of its inferiority, claims a certain kindred to that of Michelangelo himself. But where his theme is of a sacred nature the want of harmony between the treatment and the subject is very marked. This violence is very noticeable in his picture of the " Crowning with Thorns " (1234), in which Christ, naked except for a loin Ube Utalian Scbool 295 cloth, and with bound hands, sits with bowed head, on a bench, while two men of ruffianly appearance press the thorns deeper into his head. Here thene is the deepest contrast between the action of the men who are afflicting him and the patient figure of Christ, who meekly submits to their torture. The two other pictures show a quieter composition. In the one " Saint Sebastian " (1236) hangs by both arms, dead, pierced through by arrows, and in the other (1236) the "Virgin with the Qiild " is seen standing, leaning against a pillar, with two pilgrims kneeling before her. To the right, in the Heavens, float two cherubs. In the colouring of these paint- ings Caravaggio betrays the immense influence which Tintoretto had upon him. There is the depth of tone, the wonderful colour harmony and the re- markable perspective appearance which shows how closely he modelled himself upon the Venetian mas- ter. Of his school, but not altogether forsaking the influences of his native city, was Carlo Sarecini, of Venice, who has given us two pictures, remark- able for beautiful effect of colour and mild grace. " St. Jerome " (1161), seated in a portico, with St. Anthony and the Magdalen behind him, and still further back St. Francis in ecstasy, and a " St. Fran- cis " ( 1 162), who lying on his couch has a vision of 296 Zbc Hrt of tbe /iDunfcb ©allcries angels playing musical instruments, while one of the brothers of his order who has been reading a book starts in aflfright at the apparition. A strikingly beautiful picture, which has been attributed to Leonardo da Vinci and also to Cor- reggio, is an "Ecce Homo" ( 1238), a patient Christ with his hands bound upon his breast, the work of Domenico Feti, a Roman, but who in his later work, inclined towards the manner of the Naturalists. A charming picture is that of the " Tribute Money" (1239), a painting by Bernardo Strozzi. In this Christ is being questioned by the Pharisee as to whether one should pay the tribute to Rome, and who received the tactful reply, " Render unto Caesar those things which are Caesar's, and unto God those things which are God's." Still another follower of the school of the Nat- uralists was Andrea Vaccaro of Naples, of whose works we have two examples in the Pinakothek. One is a charming landscape picture with the little " Infant Jesus " asleep in the arms of St. John (1241), and another, a "Scourging of Christ" (1240), who stands bound to a column, naked ex- cept for a loin cloth. One of his tormentors holds him by the hair, another by the right shoulder. An enormous "Assumption of Mary" (1259), in which the Virgin sweeps through the clouds to the heavens, borne and accompanied by angels, tCbe Vtalian Scbool 297 while the assembled Apostles gaze astounded, some into the open grave, some upward to the glorified being above them, was painted for the Archduke Johann Wilhelm, for the Jesuit church in Neuberg, as compensation for the " Last Judgment " of Ru- bens which had been taken from there and placed in the Gallery at Diisseldorf. It is the work of Carlo Cignani of Bologna, a pupil of Francesco Albani, at one time head of the Clementine Papal Academy at Bologna, a follower, too, of Correggio and the Carracci. His colouring is characterized by a graceful but somewhat superficial style. Painted for the same patron is a picture of " Jupi- ter as a Child" (1261) nourished by the she-goat Amalthea. On either side sit- nymphs on the ground, one of whom beats a tambourine, and behind are two flute-playing and cymbal-clashing satyrs. More sentimental in treatment but of very charming colourings is " St. Mary Magdalen " (1260) gazing upward, her hands lying crossed upon her breast. Before her on an open book is her emblem, the skull, a reminiscence of the vanity of things earthly. Antonio Belucci of Treviso has given our col- lection two pictures, the subjects of which, taken from ancient mythology, are very daintily conceived and executed. In the one (1262) Psyche is about to stab the sleeping Adonis, but succumbing to the 298 tibe Hrt of tbe /iDunicb Galleries power of his beauty, which she beholds by the light of the lamp which she carries, she is turned from her intention. The colouring in this picture is delicate and transparent, and clearly shows the Venetian influence under which Belucci had his early training. The other picture (1263) repre- sents Venus journeying rapidly over the waves in a small shallop, the sails of which are held by small Cupids. The almost passionate energy of the Neapolitan artists of the end of the seventeenth and the begin- ning of the eighteenth centuries was the most re- markable feature of their work, and the most note- worthy was one of the greatest of the geniuses of modern times (had he but put his talents to the use they deserved), Luca Giordano, called Fa Presto from the rapidity of his action. No painter has ever put extraordinary gifts to less advantage. Beauty, character, dramatic life, may all be seen in his works, but a slight and rapid mode of execution was all he cared for, and to this he sacrificed every other quality. A group of portraits, a branch of art in which he greatly excelled, is in the Pinakothek, and one picture with a religious motif, the " Massacre of the Innocents" (1252), in which Herod, in a noble pillared hall, in his palace, views the wholesale murder of the children in Bethlehem. The glow of colouring in this picture is extremely fine, but the Ube irtalian Scbool 299 rapidity of the action of its execution declares itself in its lack of finish. His own portrait, as a " Cynical Philosopher " (1253) with a roll of paper in his right hand and pointing with the left to a manuscript, is a fine piece of work, as is also the " Portrait of his Father " as a teacher, with a book propped upon a table upon which is an inkstand and some other papers (1254). A " Grey-^bearded Teacher " with spectacles on his nose and his hands folded over a globe (1255); an " Elderly Man " with a long light grey beard (1256) ; another grey bearded man with a judicial air, a book in his left hand, the right raised as in the act of teaching (1157), and the "Portrait of an old Man," with a grey beard and a bald head, looking downward (1258), complete the list. Four dainty views of Venice next claim our at- tention. They are a " View of the Grand Canal " from the Traghetto near the present Academy of Fine Art, ( 1267) ; a " View of the Piazetta " and the Riva de' Schiavoni from the water (1268) ; a " View of the Riva de' Schiavoni " from the en- trance of the Grand Canal (1269), giving also a glimpse of Santa Maria della Salute and the Semi- nario ; and a " View of the Grand Canal " with the Herb Market on the left (1270). These are the works of Bernardo Belotto of Venice, the pupil of his famous uncle, Antonio Canale, known as II Ca- 300 ube Hrt of tbe /Dunfcb Galletfes naletto, from the frequency with which he painted that subject so prolific in beauty, Venice and her canals. Of the paintings of Pietro Rotari of Verona, who studied in his native city, in Rome and in Naples, we have two pictures of the genre nature. One (1274) a young girl who has fallen asleep over a book and whose mischievous admirer is tickling her with a feather on the cheek; and the other, that of a young girl weeping over the contents of a letter, while another laughingly chaffs her and a dog gazes sympathizingly up at her (1275). About the middle of the eighteenth century a de- sire for severer study made itself felt among the confusion of manners which divided Italian art, and this aim made itself apparent in the paintings of Pompeo Batoni, who painted a fine altarpiece representing the " Fall of Simon Magus," in Santa Maria degli Angeli at Rome. Our collection con- tains a bust " Portrait of the Artist " (1276), also a noteworthy piece of work. In two branches of art the Italians had great gifts, namely, landscape and animal painting. The Pinakothek has not many examples, but the land- scapes of Salvator Rosa, with their piquant clear drawing and their, rich colouring, give a very good idea of the landscape painting of the period. There is little absolute truth to nature but much artistic XLbc irtaltan Scbool 301 fancy in these little pictures of wild mountain scenes. More is shown to the eye than it can take in at a glance. Salvator Rosa was a painter of remarkable ver- satility. He painted history, genre and landscape, and was besides a poet and a musician. In some of his landscapes may be traced the influence of Claude Lorraine. He displays great beauty and originality in the portraying of wild mountain scenes, lonely defiles and deep forests; but most of all in landscapes of small dimensions, where his fantastic conception of nature is more concentrated. In these he usually introduces hermits, robbers or soldiers, who assist in the general effect of the pic- ture and add to the impression of loneliness, deso- lation and fear. We have, in our collection, a very beautiful pic- ture of " Gideon and his Comrades at the Ford " (1242). It is rather overladen and therefore not easily comprehensible, but there is great power in the colouring, above all where the blue and gold energetically strive for the mastery. Two others of his landscapes are in the same cabinet, but neither of them is as fine as the one nientioned above. One of these is a "Rocky Coast" (1243) with a castle on the height. In the foreground to the left are fisher folk who have landed from their boats, on the other side a boatman in a skiff. A " Land- 302 ube Hrt of tbe /Dunicb ealleries scape with a View of the Sea " (1244) over a hilly expanse is the subject of the other picture. Three riders and a fisherman are to be seen in the fore- ground. His pupil and follower, Bartolommeo Torregiani, like Rosa, frequently reminds us of Claude Lor- raine. Like his master, he also introduces small figures which add to the charm of his pictures. In his mountainous and well-wooded landscape of a decidedly Italian tj^pe, with a bundle on her shoul- ders, is Hagar accompanied by her son Ishmael, and we have also another Italian landscape (1248), in the rocky foreground of which sits Narcissus, mirroring himself in the water, while a nymph coyly observes him. In the distance is the ruin of a castle. Michelangelo Cerquozzi followed in the foot- steps of Salvator Rosa, but also painted much under the influence of the Netherland painter, Peter van Laar, who in his time enjoyed great popularity at Rome. Not only in general naivete and humour, but also in careful completeness and in masterly handling of colour, he may be occasionally put upon a par with the best Netherland painters. It was not the beauty of Italian life, the gay costumes and bril- liant colouring that attracted him, but the battered Lazzaroni in their picturesque and artless charac- ter. Only one canvas by him is in the Pinakothek, a " Rest during a Hunt " (1249). Here in a deep TIEPOLO. WORSHIP OF THE MAGI. XCbe irtalian Scbool 303 wood have a party of hunters and beaters laid them- selves to rest and to partake of refreshment. In the flat landscape ig a continuation of the hunt. Wonderfully full of action and colour is the beau- tiful little picture, the work of a master hand. There is one very fine example of Italian eight- eenth century figure painting in the Pinakothek, the "Worship of the Magi" (1271) by Giovanni Battista Tiepolo, and the cheery manner of the Rococo shows to great advantage in this picture. The solemn treatment of the subject of which ar- tists have painted every variation during many cen- turies is here transferred — not lowered — into a sort of a fancy dress masquerade, and the result gives something extremely effective, quite in the style of the showy decorative fresco painting, which Tiepolo had' so completely mastered. In this pic- ture the two elderly Kings kneel in adoration before the Child, while the Moorish monarch, in highly, coloured Oriental garments, a large red turban on his head, stands to the left in the foreground. To the right kneels a page holding a jewel casket in his hands, and in the background are Joseph and the followers of the Magi. Besides this magnificent picture there are in the Pinakothek two beautiful little pictures by Tiepolo, the subjects of which have been taken from the history of Iphigenia. In the first (1272) Iphi- 304 TLbc Hrt of tbc /iDunicb (Ballecies genia is being brought from the harbour of Aulis to the temple, under the pillars of which the priest Calchas, with the sacrificial knife, awaits her. In front are pages with dogs and various vessels of sacrifice, and in the clouds above is Diana with her stag, attended by small Cupids. In the middle distance is the ship which has borne the victim to meet her doom. In the second (1273), Iphigenia sinks unconscious in the arms of a kneeling man, while Calchas, the sacrificial vessel in his right hand, prays from a book which a youth holds up for him. Over the group the gods sweep through the clouds surrounded by Cupids. Tiepolo, himself, was a master of original power and intellect, but the colouring of the period was on the decline, and another race of painters had to be born to open a new path for art in the nineteenth century, by completely transforming the treatment of colour. It is remarkable to note, while standing before the beautiful and intellectual " Adoration of the Magi," that the old art did not perish in weak- ness. It died literally in beauty, and it was for the new period to recognize its first master in Goya, a pupil of Tiepolo, who is almost more nearly related to the art of our times than to that of the old classic period. CHAPTER VI THE SPANISH SCHOOL The Spanish section of the Pinakothek is world famed, containing as it does a large number of the best known works of this school. It must, however, be admitted that the collection is neither system- atic nor complete and that it contains various works of dubious authenticity. We begin with two portraits by Juan Pantoja de la Cruz, Court painter to Philip II, which are exceedingly interesting, apart from their actual artistic merit, as showing the fashions of the old Spanish court. One is a " Portrait of Archduke Albrecht of Austria" (1277), husband of the In- fanta Isabella of Spain, in black clothing with a small grey mantle over it and a stif? ruff, and the other is the " Portrait of the Infanta Isabella " (1278), daughter of Philip II, in exceedingly rich court costume, a fan in her hand, painted seated by a table. This picture was painted in the year 1599 and that of the archduke a year later. These portraits, taken as a whole, exhibit the hardness, the lack of picturesqueness and the accuracy so characteristic of the portraits of the 30s 3o6 Zbc Hrt ot tbe /iDunicb (3allettes latter half of the sixteenth century. This dry style of painting could not in the nature of things last long, and we find the artists of the seventeenth century forsaking it to follow in the footsteps of Venetian art. A story is related of Francisco Ribalta, a native of Castellon de la Plana, that he fell in love with the daughter of his master, an artist whose name is now not even known. Being repulsed, he de- parted for Italy, taking with him his sweetheart's promise of fidelity. In that home of art he studied the works of Raphael and Sebastian del Piombo and very probably, while passing through Bologna, those of the Caracci. Returning to Valencia, Ribalta hastened to the home of his inamorata, and in her father's absence finished a sketch which stood upon an easel, in a manner so beautiful that on his return home the painter called his daughter and said, " See, I would have thee marry a man who can paint like this and not that miserable daubster, Ribalta." It is hardly neces- sary to add that he shortly afterwards felt himself honoured when he gave his daughter to the man whose works he had formerly derided, and Ribalta's earliest work at Valencia is a portrait, now in Eng- land, of himself and his wife, which clearly shows the Italian influence under which it was produced. In our collection is a beautiful picture by him Tlbe Spanisb Scbool 307 of the " Virgin and St. John " ( 1279) sadly re- turning home after having interred the body of Jesus. The picture is replete with the poetry of emotion, and the charming landscape, which forms its background, points to a careful study of the works of the Caracci. The school of the naturalists appeared in their greatest strength in Naples, where they devoted every effort to opposing the followers of the Caracci. Naples appears to have been volcanic ground, for it was in this very locality that Cara- vaggio broke into wild naturalism. At the head of this school was Giuseppe Ribera, born in a little village near Valencia, who was known to artistic fame as Lo Spagnoletto and who was a pupil of Ribalta. He formed his style chiefly upon Caravaggio though his earliest works show his Spanish training, but beside these influences, to a careful study of Correggio and the best Venetian masters he is indebted for his wonderful vivacity of colour, even in his latest works, the best of which are to be seen mainly at Naples and Madrid. In general his pictures exhibit a wild extravagant fancy; this is apparent in his numerous half fig- ures of apostles, prophets, anchorites and philos- ophers — all angular bony figures — and still more in his large historical pictures. He delighted in the most horrible of subjects, executions, tortures, 3o8 Ube Hrt ot tbe /iDuntcb Galleries martyrdoms, of all kinds. Many of his works have blackened with time and many that are ac- credited to him are not by his hand at all. The Pinakothek can boast of seven of his match- less works, several of them masterpieces. The three most noted are his " Martyrdom of St. Andrew" (1280), who is being executed head downward with all the revolting details that such a subject can afford. In this picture he has applied his great skill in anatomy to the depicting of suf- fering in its most hideous form. More placid in conception is the composition of the " Dying Seneca taking leave of his Pupils," whose faces and gestures exhibit every form of sorrow at losing their revered master (1281), and as a marked con- trast to these in its brightness and vivacity is his " Old Woman with the Hen," her egg basket on her arm ( 1282), the type of a sturdy, honest, cheer- ful peasant wife. There are also three of his saints, the " Re- pentant St. Peter" (1283); "St. Onophrius" (1285); St. Bartholomew (1284); and an old bald headed "Franciscan Monk" (1286). The school of Spanish seventeenth century paint- ing was absolutely dependent upon Italian art of the same period, so much so that it is difficult to conceive of even Velasquez, as we know him, had he not, through Greco and Tintoretto, been brought Ube Spanisb Scbool 309 under the direct influence of Titian. The connec- tion between Spanish and Italian painting is not due merely to the fact that Sicily and Naples once belonged to Spain; on the contrary the art of the two countries has always been nearly allied from time immemorial. Nevertheless the fact remains that the greatest Spaniards of the seventeenth cen- tury — Velasquez and Murillo — are more nearly related to the Dutch than to the Italian painters. They were so great that they can only be com- pared with the greatest masters of the century, and these chanced to be the Dutch. Their tech- nique and choice of subjects have, it is true, much in common with the Italian school, but the great masters far surpassed the Italian virtuosos of their time in colouring, and are moreover remarkable for that individual independence in the treatment of form, which at that period had been attained only by the Dutch realists. They raised the handicraft of the painter to a high state of culture, and consequently a great gulf divides them from the supei^iciality and showiness of the Italians of the period, even apart from the fact that there was nothing academic about them. This applies only to the really great masters and above all to Murillo and Velasquez. The Spanish artists generally have always been noted for their remarkable talent for realism, and 310 Ube Hrt ot tbe /iDunfcb 6alleries also for a sort of virtuosity, superficial sometimes it is true, but none the less dazzling. These characteristics are shared by the Southern Italians, and it is a matter for question whether this decided tendency to treat the plastic arts as an artistic handicraft may not be due to the strain_of Oriental blood in the two peoples. The Spanish have not, on the whole, achieved much in the realm of painting, but just in the seventeenth century, whose tendencies were so much in accordance with their own tastes, their star shone brilliantly. In Murillo and Velasquez they produced two past masters in the art of paint- ing, whose works are among the greatest the world has ever seen. Both came from the south of Spain, but while Murillo spent most of his life in Seville, Velasquez resided in Madrid at the court of Philip IV and in touch with the greatest painters of his day, Rubens and the Italian masters, whom he visited in their homes, and consequently his genius could develop more fully than the simpler painter of Seville. Diego Rodriguez de Silva y Velasquez was born at Seville in 1599, and as his name would indicate, he came of an aristocratic family. He received a good education and commenced his study of the art of painting in the studio of the elder Herrera, but soon leaving that master, who tlbe Spanisb Scbool 3" was a person of extreme arbitrariness, he studied under Pacheco, whose daughter Juana he after- wards married. Here, in the home of this learned artist, Velasquez mixed freely with the highest society in Seville, and gained much of the versa- tility, which later on was to stand him in such wonderful stead, by varying his labours in the studio with the study of anatomy from the writings of Albrecht Diirer, and by reading poetry, for which he had a great fondness. From the first the wonder- ful bent of his genius declared itself, and he is quoted as saying that he would rather be the first of vulgar painters than a follower of refined ones. He took Nature as his guide and followed her with unswerving fidelity, yet the simple reality, as he conceived it, becomes invested with such nobility that it never appears commonplace, and to this his works owe their unique impress of distinction. His earliest style was much affected by some foreign pictures which he saw and studied in Seville and by Spanish artists of other schools who came to that city. He thus profited by the Vene- tian colouring of Luis Tristan, and was also much attracted by the bold style of Caravaggio and Ribera. In 1622 Velasquez went to Madrid for the purpose of study and was very kindly i-eceived there by Don Juan de Fonseca, who became his patron, and in the following year, when he again 312 trbe Brt of tbe /iDuntcb Gallettes visited the capital, his portrait of Fonseca was shown to the king through the influence of the powerful minister, the Duke d'Olivares, and Ve- lasquez became chief court painter, a position which he retained till his death, even retaining it when d'Olivares had been disgraced and deposed in 1643. Within the next two years he executed many portraits of the king and the royal family, and among other paintings the celebrated " Bor- rachos " (the Topers), the humour of which en- titles him to be called the Hogarth of Spain. The following year is rendered interesting by his friendship with Rubens, then on his second visit to Spain, and an event still more important to him, the reception of permission to gratify his longing to visit Rome and study the art of the Italian masters there. Leaving Barcelona, he went first to Venice, where he studied the works of Titian and Tintoretto, and then proceeded to Rome, where he was well received by Pope Urban VIII, who gave him every facility for study. The two pic- tures which Velasquez painted at this time are specially important as showing the entire inde- pendence of his genius. Fresh from the study of Michelangelo and Raphael, he yet shows hardly a trace of their influence but seems bent on fol- lowing the more ordinary forms of nature. In the " Forge of Vulcan " much attention is paid to Ube Spanisb Scbool 313 anatomy and in the " Garment of Joseph shown to Jacob" the expression of anger and sorrow that conflicts in the face of Jacob is especially fine. During a short visit which he made to Naples in 1630 he painted the portrait of the Infanta Maria, Queen of Hungary, and formed a friendship with Ribera, and the following year found him again in Madrid and high in favour as before. A few years later he painted that noble picture, " Christ on the Cross," of which the expression of agony could not possibly be rendered with greater power, the anatomy is precise, the execution of the details per- fect. About the same time an expedition by Philip into Aragon gave Velasquez an opportunity of studying military scenes, and without doubt helped him in the composition of that famous historic masterpiece, " The Surrender of Breda." In this picture may once more be seen the union of wonder- ful technical execution with absolute truth of ex- pression. The year 1648 again found Velasquez on his travels, this time on a mission to collect pictures and statues for the king. Stopping awhile at Venice, Parma, Naples and other cities, he came at length to Rome, where he painted the glorious portrait of Innocent X and many of the cardinals. His sojourn in Rome was a continuous ovation 314 Ubc Hrt of tbe /©unicb aalleries and in 1650 he was made a member of the Academy of St. Luke. Returning to Madrid, he had many honours heaped upon him and- was much consulted by the king in affairs of state. About this time he painted the wonderful picture of " Las Meninas " (the maids of honour), which Luca Giordana called the Theology of Painting and which is often held to be the artist's masterpiece. This was the last great work of Velasquez as he died in the year 1660 and was buried in the Qiurch of St. Juan at Madrid. No contemporary artist displayed such wonder- ful power of variety as Velasquez. He attempted every branch of painting and he succeeded in all. His pictures are remarkable for their brilliant ex- ecution, masterly handling, the historic truth of his figures and above all for his marvellous gift of colour. In landscape, a field scarcely touched by Spanish artists, he was equally great, his work displaying the richness of Titian, and the breadth and picturesqueness of Claude and Salvator Rosa. His excellence in portraits is universally acknowl- edged, his works in this branch of painting stand- ing on the same level as those of Van Dyck and Titian. Ford says of them : " His portraits baffle description and praise; he drew the minds of men; they live and breath, and are ready to walk out of their frames." Of this branch of art VELASQUEZ. PORTRAIT OF HIMSELF. "Cbe Spanfsb Scbool 31s are his three pictures in the Pinakothek collection, one of them a " Portrait of himself" (1292) with long black hair, pointed mustachios, in a black doublet with a white standing collar and wearing a medal upon his breast. A much earlier work, which is evinced by its brusqueness of style,, is the " Portrait of a Young Man " clad in black, the beardless face looking out of the canvas at the spectator (1293), and the third is a likeness of the " Infanta Margarita, daughter of Philip IV," (1294), in childhood. The little princess, arrayed in a white and rose coloured satin dress, stands in the centre of the picture, her one hand on the edge of a table on which a vase of flowers is standing, the other holding her closed fan, a most winning picture, at once childlike and still bearing the im- press of the punctiliousness of the haughty Spanish court. The name of Bartolome Esteban Murillo is al- ways bracketed with that of Velasquez, though their styles were as far apart as the poles. The former owed very much to the breadth of mind and generosity of the latter, who, when Murillo ap- peared in Madrid asking of him help and advice, received him cordially and enabled him to study the works of Titian and Van Dyck and also his own masterpieces in the Escurial. This was the turning point in the life of Murillo as the experi- 3i6 trbe art ot tbe /TOuntcb ©alleries ence thus gained seems to have completely satis- fied him, for the wish to study in Italy faded from his mind and he returned to Seville to enter upon a career of uninterrupted labour and success. By the advice of Velasquez, Murillo went direct to nature for his inspiration, and translated the stories of the saints and the narratives of the Bible into popular dialect. He treated them as actually happening in Spain, among the very people who surrounded him and were his models; not in specially posed figures, set to the suggested appear- ance of god or of heroes, but in the men and boys who were about him, in the very ordinary details of their lives. For the first time Spain saw de- picted the beauty of her everyday life, the charm of the occurrences which went on in her own streets, and it was a revelation which took her by surprise. From the very first this was the line taken by Murillo, who loved his country passion- ately, revelled in its glorious colour, in its brilliant light, and in the soft rich depth of its shadows. Over this naturalism he cast the glamour of a strong emotion. He was an emotional painter, and to the emotions he made his appeal. A devoted son of the church, he worked steadily at religious art with a single aim and a fervent activity. We know but few details of his life. He was bom at Seville of exceedingly poor parents in 1617, Zbc Spanisb Scbool 317 studied and worked in that city, till he walked to Madrid in the year 1642 to implore assistance from Velasquez to obtain that teaching which he felt was necessary for the furtherance of his art, studied and worked with the latter for three years and then returned to his native city, where he married in 1648 a wealthy lady of Pilas, near Seville, whose beautiful face looks out of many of his canvases. He had one daughter, Francisca, who became a nun in the Convent of the Mother of God at Seville, and two sons, both of whom became priests. The name of Murillo will always be associated with the Franciscan monks he so loved to paint. The first works which brought him into prominence were the pictures — since burnt — which he painted for the cloisters of that brotherhood in Seville. These were in his earliest and least successful style, in which the outline was hard and the tones of the shadows and treatment of the lights sug- gestive of Caravaggio. But he gradually adopted his second, or warm style, in which a softer out- line and mellower colouring are apparent, and this was succeeded by his third and most beautiful style, called the "vaporoso," in which the outlines are lost in the light and shade, as they are in the rounded forms of nature. Between 1660-1674 Murillo painted for the Hospital of La Caridad the eleven great pictures which form the noblest work of his 3i8 Ube art of tbe /iDunicb (Balleries life, and show in their full extent the variety and power of his genius. But it is by his subject pictures that Murillo should be specially judged; it is in them that his greatest merit is apparent and by them that his fame should stand. They are the frankest and the most truthful expression of the life of the people that has ever been painted. It is in these genre paint- ings that we see the high water mark of his genius, and it was in them that he allowed the fullest ex- pression, the most supreme evidence of his high ability to shine forth. They form, however, but a small proportion of his total output, most of his pictures having a religious subject for their raison d'etre. The Murillo series in the Pinakothek is one of the most famous in the world and our gal- lery owes its popularity in no small degree to these wonderful pictures, these charming scenes of child life in Seville. In certain exclusive artistic circles everything popular is regarded suspiciously, and thus it comes about that Murillo is accused of sweet- ness bordering on the insipid, and this supposed " insipid sweetness " prevents his genius from being fully recognized. This standpoint is absolutely unjustifiable. No one who has ever been in Andalusia will ever again say a word about Murillo's " sweetness " but will rather be struck with the amazing accuracy of his work. He painted Ubc Spanisb Scbool 319 what he saw in his time, what we may see any day in ours, and when we look at his exquisite models, with all their beauty and childlike natural charm, we can only wonder that the great master's work never became either effeminate or sentimental. It is moreover a fact that no other artist ever suc- ceeded in hitting the happy medium as he did and that his imitators only succeeded in producing in- sipid prettiness. In the "Fruit Sellers" (1307), the girl in the picture has, we can imagine, sold all her fruit, and that with more than ordinary good fortune at the price which she has received for it. On her way back she has met a friend and shows to him the result of her morning's labour. He has placed his basket of fruit on the ground, keeping his hand carefully on the handle lest some intruder should make away with it. The boy bends down by the side of the girl with a smile of delight as she counts the coins in her small brown palm. The clothes of both children are good and sound, with the exception of the girl's shoes, and there are marks of care and thoughtfulness in the way she has rolled up her sleeves and turned up her skirt, and in the little bag which hangs from her waist, from which she has just taken the coins. The boy has also turned up his sleeve to protect it from the dirt and to give him more freedorn, while the heat 320 Zbc Hrt of tbe /iDunfcb (galleries of the country is well expressed in the way the girl has allowed the upper part of her dress to drop away from her shoulders. There is no vapourous effect about this picture. It is in the warm style of the artist, full of fresh, strong, powerful colour, sharp in contrast between the shadow and the full sun. In the " Dice Players " (1306) another class of children is presented. They are not the children of the thrifty, thoughtful class who gather the fruit with care, sell it and take home the money. These are the children of the street, the little beggars of every Spanish town, who haunt the street corners, lurk under the shadows of a wall or an arch, and are full of restless activity and brimming over with fun and mischief. One lad has twisted in his hair a wreath of leaves, sure token of a Southerner, and evidence of that love of decoration which is so remarkable in the people of a sunny land. The other boy has a fine crop of black hair, an eager face, and both are full of the interest of the game. They are keeping count with their fingers and by their side stands another lad lost in a day dream of his own. He has a loaf of bread under his arm and a slice of it in his hand in which his gleaming white teeth are fastened, but there is something on his mind, something which makes him oblivious even of his dog, who gazes up reproachfully into Zbc Spantsb Scbool 321 his face, so unaccustomed is he to having his claims overlooked. The scene is like a snapshot. It is absolutely true to life and is thrown upon the canvas with vigorous strokes, and swept into position with all its colour values right, its flesh clear and firm, its blaze of vivid sunlight and the black gloom of its cool shadows. Of the same type of boys is the picture of the "Melon Eaters" (1304) one of whom sits on a box with a partially cut melon between his knees. He holds a slice in one hand from which he has taken the bite with which his cheek is distended. Fragments of the melon rind lie on the ground. Beside him sits his young companion clad only in a torn shirt and a most disreputably ragged pair of trousers. He, too, holds a luscious slice of melon, but he has his head thrown back, drawing in the juice of a bunch of grapes which he has taken from a basket which lies beside him. His expression, as he turns to his friend, is one of absolute enjoyment and content. As a natural expression of the beauty of everyday life this picture has few equals in the galleries of Europe. Its companion piece, the " Pastry Eaters " (1305), discovers another pair of our little street arabs, one seated on a stone bench in the act of dropping into his mouth the piece of pastry which his companion has cut for him from a dish which 322 Zbc Hrt ot tbe /iDunicb Galleries lies on the bench between them, while his dog with an expression of the intensest expectancy watches the delicious morsel as it disappears. Nothing could possibly be more truthful than the expres- sions on these three faces, the smiling look of the boy who watches his companion eat the dainty, the satisfaction of the one who is enjoying the goody, and the dog who watches them expectant of his share to come. These boys, though clad only in the slightest of clothing, have not the ragged ap- pearance of those in the " Dice Players " and the " Melon Eaters." Murillo was evidently very fond of children. No one could have painted them so happily and so well who had not a real love for them, and there- fore a clear understanding of their special qualities. These street lads are represented by him over and over again in all sorts of familiar scenes. The flesh in them is so well painted that it attracts at- tention by its accuracy; the draperies are always cleverly disposed, carelessly disposed on the backs of the boys so as to show chubby shoulders and uncovered necks. The only religious picture of Murillo's which hangs in the Pinakothek is that of " St. Thomas of Villanova healing a Lame Man" (1303). In this the Saint with his hands extended exhorts the cripple to rise in the name of his Master. The Ube Spantsb Scbool 3*3 action takes place in front of a church, and two young monks look on with pitying eyes on the man who is just in the action of rising aided by the crutch he has used as a support. The tender ex- pression of the saint, the beseeching one of the cripple, the beautiful tender tones of the whole com- position unite in making this one of the most beautiful of the pictures in the Pinakothek. A fall from a scaffolding, which occurred when he was painting the high altar for the Capuchins at Cadiz, put a sudden close to the busy life of Murillo. Obliged to return to Seville, he gradually grew worse, and he died in 1682 and was buried in the church of Santa Cruz, underneath Campana's picture of the " Descent from the Cross," the spot he himself selected for his interment. It is strange to notice how little Murillo was in- fluenced by Velasquez, though associated so much with him at his most impressionable age. His work bears little more than a trace of the influence of the greater master, and his individuality must have been very strong and forcible to have resisted the temptation to adopt the ideals and methods of a more lofty genius. The work of Murillo distinctly proves his own strong personal feeling, his faith, his aim and his determination to carry out his purpose. The son-in-law and perhaps the best pupil 324 tlbe Hrt ot tbe /iDuntcb Galleries of Velasquez was Juan Bautista Martinez del Mazo, who studied the works of his master untiringly, copying as well the works of Titian, Tintorettb and Paolo Veronese. His most important com- positions were landscapes and hunting piecesy but he excelled as well in the branch of portrait paint- ing, his works having the same rich colour and treatment as those of his master Velasquez. His two pictures in the Pinakothek are portraits, one a three-quarter profile portrait (1295) of a man with long black hair, somewhat disordered, and a small moustache and beard, and the other of a small white clad boy (1296) wearing red laced sandals, a tambourine in his right hand, his left supporting him against a pillar. A picture the colour and treatment of which are exceedingly charming is that of a " Young Cav- alier" (1299) listening to his fortune being told by a fortune teller, who holds his attention while his purse is being stolen from him. In the back- ground, their attention also being engaged, are his three companions. This is the work of Pedro de Moya, who, though a soldier earlier in life by occupation, was so struck by some pictures by Van Dyck, that he sought out that master and became his pupil till the death of the latter, shortly after, in England. Moya, on his return to Seville, im- itated Van Dyck with such success that it is said ZURBARON. ST. FRANCIS OF ASSISI. Ubc Spanisb Scbool 325 that through him the style of Murillo was influenced by the great Flemish portrait painter. There is also another picture of Moya's in our gallery, that of a " Cavalier playing cards with a Lady " ( 1300) while his companion embraces a young girl who sits upon his knee. Francisco de Zurbaran, born at Fuente de Cantos at the end of the sixteenth century, has been called the Spanish Caravaggio, whose broad handling and strong adherence to light and shade he loved to imitate. In his faithfulness to nature and his strict nationality of style he stands side by side with Velasquez and Murillo, and though inferior to the former in truth and ease, and to the latter in the contour and lifelike appearance of his figures, he equals both in colouring, and his tints, though sober, have sometimes the depth and brilliancy of Rembrandt. Zurbaran was an admirable painter of monks, who formed his favourite subjects, and the only example which we have of his paintings is that of " St. Francis of Assisi " (1291), his right hand on his breast, his left holding a skull, and a rapt upward expression on his face. In strong contrast to Zurbaran appear the life and work of Alonzo Cano, a man of violent passions, jealous and irritable in disposition and most ec- centric in character, yet whose paintings are of pure, simple design, a calm, tender sentiment, a 326 trbe art of tbe /Dunicb ©alleries harmony of nature and art, and a tone of refined beauty which is in great contrast to the sombre realism of Spanish naturalism. He studied under the famous sculptor Montanes, but learned more from certain antique statues in the palace of the Duke of Alcala than from any instruction which he owed to his master. His genius soon placed him in the foremost ranks of Sevillian artists but his quarrelsome nature forced him to fly to Madrid, where, through the influence of Velasquez, he was appointed painter to the king. In 1644 his wife was murdered and Cano, being suspected of the crime, fled to Valencia, but returning to Madrid was seized and tortured; as he passed through the ordeal he was declared innocent. He was one of the greatest of the artists of An- dalusia, and has been called the Michelangelo of Spain, but he merits the name more from the va- riety of his powers than from his style. He ex- celled in sculpture and architecture as well as in painting, and strange to say, his exceedingly stormy character is not reflected in his works, which throughout exhibit a singular sweetness quite free from any feebleness or affectation. Although he never went to Italy, his fine feeling for form and the natural charm and simplicity of his compositions suggest the study of the antique, while in painting Ube Spantsb Scbool 327 the richness and variety of his colouring could hardly be surpassed. Only one of his works — but a very charming one — is to be found in the Pinakothek. It is the "Vision of St. Anthony" (1301) in which Mary appears in the clouds holding out the beautiful Christ Child to the kneeling Saint, who gazes up- ward in ecstatic joy as he takes the Holy Infant in his arms. Very noteworthy is the care with which Cano paints the beautiful hands and feet of his sub- jects. His colour is rich and his sentiment pure and tender; the beauty of his noble style is that in which a harmonious effect is produced by the blend- ing of fine colouring and classic severity of form. A painter of whom it was said " that no Castilian ever surpassed him in richness of colour " was Antonio Pereda, to whom the Pinakothek owes two splendidly composed and executed pictures. A " Spanish Noble," (1298) the tjrpe of an aristocrat, in a scarlet costume with a short mantle and a gaily cocked hat, a beautiful dog at his side, and a small cabinet piece of " Two Officers gambling in the Open Air " ( 1297) . CHAPTER VII THE FRENCH SCHOOL The French section of the Pinakothek is neither rich nor remarkable ; there are some very excellent examples of landscapes by Poussin and Claude Lor- rain, but the pictures in the gallery are by no means representative of French art of any period. France, following at the end of the fifteenth and the beginning of the sixteenth centuries no definite direction in painting, seemed to hesitate between the influences of Italy and Flanders. The latter country, from its close connection with Burgundy, which during the Hundred Years War formed the chosen retreat of French artists, had not only in- fluenced, but had itself in turn been influenced by French art. This may be seen in the Flemish tapes- tries, which distinctly recall French miniatures. Had this connection continued, it is probable that France, contributing as much as she received, might have formed an independent school, but the Italian war, begun in 1494 by Charles VIII, first brought the artistic ideals of Italy before the Flemish rulers, and the real history of French painting began in the school maintained by Francis I at Fontainebleau, in 328 XCbc jfrencb Scbool 329 which many Italian artists were employed. Leo- nardo da Vinci died in the service of Francis in 15 19 and many other Italian artists succeeded him. The only artists who, in opposition to this school of Fontainebleau, displayed any national feeling, were Jean Cousin and the Clouets. We have no picture by Cousin in the Pinakothek and but one by Jean Qouet, the founder of the fam- ily, born in Brussels in 1420 and who in 1460 was made painter in ordinary to Francis I. This pic- ture is the "Portrait of a Young Man" (1314) in a black coat and a cap with a white feather, holding a small leather cloth in the right hand. His shirt collar and cuffs are embroidered with black. The grandson of this artist, Francois Clouet, succeeded as painter to the king, and was the most distinguished of his family. He became natural- ized and was court painter to Henri II and Charles IX. We have a charming portrait from his brush, a "Portrait of Claudia" (1315), daughter of Henri II of France and wife of Carl II of Lor- raine, clad in a light grey damask gown with a lace collar, and rich jewels around her neck and shoul- ders. These works of the Clouets are distinguished by a naive handling, combined with clear colour and great care and delicacy in the treatment of the de- tails. Another excellent portrait showing the influence 330 trbe Hrt of tbc /iDuntcb (Balleries of the Flemish school, is that of a young brown- haired "Lady of Quality" (1316), the handiwork of Adriaen Crabeth, a follower of the Clouets. The subject is richly clad in a white gown highly orna- mented, about her neck is a magnificent double col- lar and her little black cap is bedecked with gold, pearls and ostrich feathers. As opposed to the school of the Clouets, a direc- tion, initiated and fostered by royal patronage, was given to French painting, which it was long sub- missively to follow. This was largely due to Simon Vouet, who, in contradistinction to Jean Cousin and the family of Qouet, may be termed the founder of the Italianized school of French painting. Go- ing to Rome, he studied Caravaggio and Guido Reni and soon attained a brilliant position, being made a member of the Academy of St. Luke. But the style he brought from Italy was one of deca- dence. Although at first he painted with great care and vigour, he presently attempted more than he could perform and allowed his style to degenerate into mere mannerism, so that the character of his later paintings is superficial, and devoid of feeling or depth of thought. His real merit consisted in his skill as a teacher, his studio being a veritable nursery of painting, as from it came le Brun, le Sueur and nearly all the artists of distinction of the next period. His only picture in the Pinakothek Ube Jfrcncb Scbool 331 is a " Virgin seated in a Landscape " (1320) with the Holy Child on her knee, before a curtain which hangs from a tree behind her. It is a small canvas with very little to recommend it. The Pinakothek can boast of three pictures from the gifted brush of Nicolas Poussin, the greatest of French painters, who was born in Andelys in Normandy in 1594. He first studied under Quentin Varin in his native place and later under two other masters in Paris, where, owing to the patronage of a young nobleman of Poitou, he met Courtois, mathematician to the king, at whose home he was enabled to study some prints of the works of Ra- phael and Giulio Romano. After two unsuccessful attempts, owing to his poverty, he finally succeeded in getting to Rome, where he started in on that course of severe study which eventually led him to such triumphant success. His genius, though abso- lutely original, ripened slowly and owed much to persistent study. Poussin wisely studied the meth- ods of the many schools which were at that time dividing artistic Rome, and finally became absorbed in the antique, making his studies in architecture, anatomy and perspective subservient to that end. The zeal with which he pursued this aim led Fuseli to exclaim, " Poussin painted bas reliefs, but despite this his work remains thoroughly original and French in its thought and execution." 332 Ube art of tbe /iDunfcb Galleries Belonging to this period is his picture " Midas, King of the Phrygians" (1321) kneeling before Bacchus, and praying the god to take from him that fatal gift which he had bestowed upon him, of turning everything he touched into gold. Near the god sits the sleeping Silenus and in the foreground lies the slumbering Ariadne and a young follower of Bacchus, while two other Bacchanalian children joyously play with a he-goat. From this time Poussin at Rome enjoyed the most enviable position that even a painter of his genius could desire. He had no pupils but had great influence among the French artists who came to study at Rome. Urged by the repeated solicita- tions of Cardinal Richelieu, he returned to Paris for two years, but finding the atmosphere of the court intolerable to a person of his simple tastes and inability to flatter, he again returned to Rome, where for twenty years he continued to paint with- out ceasing. Of his other two pictures in the Pinakothek one is a " Portrait of Himself " (1323) with an inscription of his name, age and the date when it was painted. The other picture represents the " Lamentation for Christ" (1322), in which Mary, seated on the ground, with the body of her dead son in her lap, sinks unconscious, Mary Magdalen kneels near by, supporting her, Nicodemus makes the grave ready. Ube jfrencb Scbool 333 and John sits wringing his hands at the edge of the sarcophagus, while at the feet of the sacred body two angels are weeping. Poussin was not only the greatest but also the most typical of French painters, and in the extraor- dinary fertility and variety of his genius recalls Rubens and Murillo. He painted sacred, historical and mythological subjects as well as landscape, and all with success, and through all the changing vari- ety of his work runs the ever present unity of his thought. This constitutes his peculiar gift, which sometimes was not without its defective side, not in so far as it affected Poussin, but through him a great part of the French school. Poussin's own definition of painting, as " an image of things in- corporeal rendered sensible through imitation of the form," will help to explain this principle. It was in direct opposition to the school of the Naturalists, which is content to take Nature as it finds her and merely reproduce her eternal variety on the canvas. The seventeenth century is represented mainly by the pictures which are collectively ascribed to Valen- tin de Boulogne, born 1591, died 1634, whose works show the realistic virtuosity so popular among the Romance nations at that time. Valentin went early to Rome and there became intimate with Poussin, who tried, in vain, to win him to a more thoughtful 334 'JCbe Hrt of tbe /iDunlcb Oalleriea style, but Valentin had found in the works of Cara- vaggio the ideal which exactly suited his liking. To paint Nature as he saw her with a certain rude ear- nestness and passion, without regard to minor shades of expression, was his sole aim. Then, too, the influence of the low company from which he drew his models is noticeable even in his sacred subjects, which are such in name rather than in feeling and expression. His martyrdoms recall the style of Ribera, but a picture of a " Fortune Teller " by him, in the Louvre is an instance of the admira- ble truth and force of his execution in a subject not requiring the finer traits of expression. His " Crowning with Thorns and Mocking at Christ", (131 7) represents a soldier pressing the crown upon the Saviour's brow, while another mockingly hands him the sceptre of reeds. In this the patient dignity of Christ is well rendered and the colours are deep and rugged, very suggestive of the style of Caravaggio, upon whom Valentin so faithfully modelled himself. A charming picture is " Herminia among the Shepherds" (13 19), showing the heroine in jew- elled armour without a helmet, approaching from the right, leading her horse by the rein. To the left sits a grey headed shepherd busy making baskets, near him is a young lad with a lamb at his feet and in a corner stands a woman with two children, one trbc jfrencb Scbool 33s of whom, frightened, dings for protection to the skirts of its mother. The third picture is one showing a " Party of Five Soldiers" (1318) in a general fight over a game of dice, the onlookers and all taking part in the general melee. In this picture, the force of the artist's execution being brought into prominence, renders it an excellent example of his striking and spirited style. Second only to the name of Poussin on the rolls of famous French painters, is Claude Gelee, better known, from the place of his birth, as Claude Lor- rain. It is due solely to an accident of birth that he belongs to the French school for almost all of his long life was spent in Rome and his style, though influenced by the example of Poussin, was not French. His earliest pictures were painted with a bluish tone, but this was gradually altered, from the time he went to Italy, to the warmth and glow of his later manner. Claude Lorrain is an artist of the sun and air. His scenery is mostly that of the Roman environs; rounded groups of evergreens often fill the foreground; ruins or imaginary palaces form the accessories. But the magic of the artist lies in transfusing these forms with the living breath of Nature, by means of aerial effects or varied play of light. The sun, as it changes at every moment of the day, was the constant theme of his brush, and 336 tibe Hrt of tbe /iDuntcb Galleries whether quivering on the foliage, gleaming on the morning dew or tinging the waves as it sets, it ever sheds an ethereal glamour over all his pic- tures. Like Poussin's works in this branch of art, though sometimes in Claude with questionable effect, he peoples his landscapes with figures, but as his ideal was freer and more joyous, his scenes breathe a more Arcadian serenity. Almost from the first the supremacy of Claude in landscape was undisputed. After his death his influence still lives and we find his manner dominant in the French school of land- scape till the beginning of the nineteenth cen- tury. The Pinakothek possesses four of his lovely land- scapes — one (1324) a morning scene, with an estuary of a river in the distance, in the middle dis- tance herds feeding and beasts of burden passing over a bridge. To the left, in the foreground, is Abraham sending Hagar and her son Ishmael away, while from the balcony of a pillared palace Sarah looks on at the departing slave and her child. An- other is a landscape at full noon (1325). In the distance is to be seen an arm of the sea, towards the left in the middle distance a group of rocks with a grotto. Hagar kneels in the foreground near her languishing child and an angel appears to save him. Not far oflf a stag and two does are pasturing and Ube ifrencb Scbool 337 further back may be seen two lions, one of which is lacerating a hare. The figures and animals are all painted by the artist himself. An idyllic landscape at sunset next claims our attention. By a river bank a shepherd and shep- herdess are entertaining themselves with music, while the sheep are sporting in the water and on the opposite bank and in the shade of thickly wooded trees the remains of a Corinthian temple may be seen (1326). The fourth picture represents a " Harbour by Sundown " with a view of the Arch of Titus at Rome (1327) with the well known inscription, and in the middle distance on both sides the towers of the harbour entrance. Boatmen and sailors are busy with the cargoes committed to their care, on their rafts, which shows the levers by which they are propelled. Claude Lorrain and Poussin take a very impor- tant position in the art of their own time, on account of their wonderful treatment of light, and the care- ful composition of their landscapes. Three of the Lorrains in the Pinakothek belong to the master's latest period, and show all the qualities of his mas- tery over light and shade, too long unjustly under- valued. With all their delicacy these pictures have a noble, dignified style, and it is on this point that Qaude Lorrain and Nicholas Poussin may be com- 338 Ube Hrt of tbe /iDuntcb ©allertes pared to each other. Their colouring is widely dif- ferent, the cold brilliant enamel of the former com- paring strangely with the soft, almost dull colour of the other, but both possessed a delicate and yet powerful gift of composition, which takes not only masses but light into consideration, producing a perfect whole. A picture of " Christ in the House of Mary and Martha" (1330) where Mary kneels at the Re- deemer's feet, while Martha scolding stands beside her, and an oval sketch of " Louis IX of France," assisting at mass in front of an altar, while through transubstantiation of the Host, the face of the Holy Child appears (1331), are the works of Eustache le Sueur, called the Raphael of French painting. He commenced his career in the studio of Vouet, but it was the sight of some of Raphael's cartoons at Lyons that inspired his enthusiasm and showed him the strength of his genius. His character may be seen in his works, which are deeply religious, being all painted for monasteries or churches. In him the pagan spirit of Poussin is replaced by a spirituality, a deep religious fervour, which gives him a unique place among French artists, and his qualities are the more remarkable as they are entirely alien to the French spirit. Though he was never in Italy he seems to have been inspired by the very spirit of antiquity. Ube ifrencb Scbool 339 A painter, who with more patience and judgment might have risen to the foremost rank, was Sebas- tien Bourdon, from whose brush the Pinakothek possesses a " Roman Limekiln " surrounded by a mob of people ; behind is to be seen a ruined tower and a view of Castel San Angelo (1332). When only seven years old, Bourdon commenced to study under a painter named Barthelemy in Paris and after various wanderings finally settled in Rome, where poverty drove him to copy the paintings of Poussin and other artists for sale to dealers. He possessed that facile and universal style which lends itself to popularity, but is fatal to really good work. With a fine but undisciplined imagination, he could turn from historical or sacred subjects to scenes of a Bohemian character, adopting in turn, according to the character of the work, the style of any mas- ter, with which his ready memory supplied him. As will be seen in our picture he was eminently fine in the handling of genre subjects and he excelled also in portrait painting. The " Departure of Soldiers to a Battle " (1333) is a masterly work painted by Jacques Courtois, better known as le Bourguigon, who was born at Franche-Comte, in 1621, but who belongs by his style to Italy, where most of his life was spent and where, after becoming a Jesuit, he died in 1676. His first paintings were landscapes and historical 34° Ube Hrt of tbe /Duntcb (Ballerfes subjects, but a study of the " Battle of Constantine " in the Vatican is said to have turned his attention to military painting, and it is on this only that his fame rests. His other picture in the Pinakothek is that of a "Battle" (1334) which, like the first, shows great force of imagination, bold execution and wonderful skill in composition. In the works of Charles le Brun, which really require to be studied in the Louvre, are to be ob- served the striking qualities of the whole period in which he lived. He early developed the vigour and industry which characterized him through life and his study under Vouet, and later under the influence of Nicholas Poussin at Rome did much to develop his natural talent. On his return to Paris and on his being introduced to the court of Louis XIV by Mazarin, he painted a famous picture, " Christ with the Angels," for the queen mother. To the year 1660 — the same one in which he was made direc- tor of the Gobelins by Colbert — belongs a series of notable works which he executed for the king. They were the celebrated series of four pictures on the " Life of Alexander " now in the Louvre, and are completely typical both of the artist and his time. They are splendid decorative works, in which the great subjects are represented with an inexhaustible fertility of imagination, nobility of conception and power of vividly expressed outward action. Their Ubc ifrencb Scbool 341 technical excellence is also great and the costumes are carefully studied. These pictures occupied le Brun for several years, but on their completion he was made first painter to the king and became supreme in the world of art. The whole appoint- ment of the royal palaces from the most ambitious to the smallest detail was submitted for his direction, and bore the impress of his mind. It is unnecessary to do more than to refer to his gigantic labours at Versailles — a standing monument to his genius — his reconstruction of the Louvre and his building of churches and mansions, to show how indefatigable he was in his labours. His sacred pictures, of which we have two exam- ples, have all the nobility and dignity of his other works; "St. Mary Magdalen" (1335) praying with folded hands over a book which lies open sup- ported by a skull, forms the subject of one, which is painted with great beauty and warmth of colour ; the other is that of " St. John the Evangelist " (1336) on the Isle of Patmos, commencing to write the Apocalypse, his emblem, the eagle, near him and to the left a view of the sea. There is also an oval profile " Portrait of an aged Woman " (1337) which shows what a happy style le Brun adopted when following nature. The ef- forts made by him to promote art must not be passed over. The foundation of the Academy of 342 zbc art of tbe /©unicb (Balleries Painting in 1648 was mainly due to him and it was at his solicitation that Louis XIV established the French Academy at Rome, of which le Brun, though absent, became the first director. Painted by Phillippe de Champaigne, who belongs to the French school, though he was born at Brus- sels, and studied under the Flemish artist Foquieres, from whom he acquired that transparency of colour and the feeling for nature, which are so apparent in his works, is a fine " Portrait of Field Marshal Henri de la Tour d'Auvergne," in breastplate and white sash (1340). Philippe de Champaigne was very noted as a portrait painter and no less for his sacred subjects, many of which were executed for Marie de Medici. A specimen of this branch of his art may also be seen in our gallery, the " Ma- donna" (1341) seated by an open window, gazing upon the slumbering Christ Child, a picture charm- ing in conception and attractive in execution. The military pictures (1342-5) of Antoine Fran- cois van der Meulen are not without value, for though a Fleming by birth, he followed the French king in his campaigns, even including that against Flanders, and his pictures, painted on the spot, are remarkable for fidelity, as regards locality, costume, and the varying aspects of camp life. A very pleasing and finely painted portrait is that of " Duke Christian III of Zweibrucken," painted in XEbe ifcencb Scbool 343 his youth, in armour, with a red sash (1354), the work of Hyacinthe Rigaud, the so-called Van Dyck of France, whose paintings are remarkably like those of that master in the emphatic air of dignity which he imparts to his sitters, and in his extraordi- nary power of divining and giving expression to the special characteristics of each. The hand espe- cially — almost as expressive a feature in portrait work as the face — was treated by him with won- derful variety and insight. His greatest merit, however, was truth to nature. His portraits of women were even more natural than those of men, and that he disdained to flatter his patrons is shown by his reply to a lady who evidently felt herself aggrieved in that respect. " Where," she asked, " do you get your colours ? " " Madam," replied Rigaud, " we both buy ours at the same shop." The influence of the style of Rigaud is evidenced in a " Portrait of a Lady " (1365), with curly pow- dered hair, very richly clad in a blue silk mantle, with a bouquet of flowers at her breast, painted by his friend and contemporary, Nicholas de Largil- liere, but with the latter dignity was exchangeable for elegance, and truth was never so rigorously pursued as to exclude beauty, a point very notable in his portraits of women, whom he succeeded in portra3ring better than men. His colouring, which 344 trbe art of tbe /iDunicb ©alleries he acquired at Antwerp from his master Antoine Goubau, is uniformly fresh and brilliant. Three small pictures a " Bishop on his epis- copal Throne" (1359) blessing a king who kneels before him, while near the first stands a deacon and behind the latter three of his train (1360); "St. Norbert " accompanied by five monks, raising a child from the dead, while to the right in the fore- ground stands a gardener, and at the left kneels a labourer; and the bust " Portrait of an old grey haired Bishop " (1361), wearing his mitre and gaz- ing upward, were painted by Pierre Subleyras, a native of Uzes in the south of France, born in 1699, an artist who in original power probably sur- passed all his contemporaries. There is something in him which recalls Bourdon, but he was even more careless and facile. His fire and invention, his subtle touch, skilful composition and golden colouring are conspicuous in his works, but he was without true feeling for nature, and for want of study and meditation he never penetrated below the surface of his art. His conception of " St. Norbert and the dead Child " goes to prove that he could have painted with much more depth of feeling, had he chosen to cultivate his powers. A " Hunting Party " of men and women refresh- ing themselves in the open air near a mill (1362), forms the subject of a work by Frangpis le Moine. ANTOINE PESNE. YOUNG GIRL IN A STRAW HAT. TLbc iTrencb Scbool 345 The drawing in this is not in any way remarkable but the colouring is transparent and harmonious. An exceedingly winning picture is one of a "Young Girl in a Straw Hat" (1366), her right hand on a basket of vegetables, executed by Antoine Pesne, who was quite famous in his day in Berlin, where he resided and died in 1757. Five large and two smaller pictures, the works of the famous marine painter Claude Joseph Vernet, born at Avignon in 171 4, a pupil of his father An- toine Vernet and later of the painter of sea scenes, Bernardino Fergioni at Rome, hang in our collec- tion. They are a " Harbour in a Fog by Sundown," with some fishermen and idlers in the foreground ( 1370) ; a "Burning Harbour Town by Moonlight," harbour and sea full of ships and small boats, while to the right is a ruined tower (1371); a." Storm at Sea " showing a rocky coast with a lighthouse tower (1372); a "Channel Scene" with a rocky grotto to the left and to the right a harbour town with fisher folk in the foreground (1373) ; a large " Lightning at Sea," a fort built upon rocks in the middle distance and to the left an open sea. In the foreground are some people being saved from a stranded vessel (1374). Another smaller seascape shows a terrace with a balcony, upon which men and women are enjoying themselves with dancing and other entertainment (1368), and lastly, a 346 ube Hct ot tbe /iDuntcb Galleries Roman landscape (1369) by twilight, discovering the ruins of an Emperor's palace. The style of Vernet may be inferred from his own assertion that " while many painters surpassed him in particular details, none equalled him in making a picture." Composition was, in fact, his great merit. His early works had something of the roughness of Salvator Rosa but his later manner was softer, though his colouring sometimes fails in richness, finish and transparency. These are never the gods of Poussin but ordinary mortals brought face to face with the powers of nature. A dainty little picture by Jean Baptiste le Prince has for its motif that old, old story of May and December, an old man sleeping on a garden bench with his young wife near him, while a youth to the left reaches through the trellis to kiss her hand (1375)- The first painter in France to turn his attention to animal painting was Alexandre Frangois Des- portes, whose two pictures of still life (1363-4) hang in the Pinakothek. These pictures are not at all indicative of the style of the artist, whose paint- ings are mostly of the woods of Fontainebleau and the fine hunting parties of Louis XIV. His colour- ing was rich and transparent and marked by a care- less grace. He was a close student of nature and carefully sought to express the peculiar physiog- GREUZE. GIRL S HEAD. Ube ffrencb Scbool 347 nomy of the animals he painted, and thus preferred to present them in repose rather than under the excitement of the chase or the combat. The gorgeous flower pieces, of which we have an example (1346) in a earthen vase with roses, lilies and other flowers, which stands upon a Corinthian cornice with a frieze in relief, is the work of Jean Baptiste Monnoyer, whose pictures have something of the pomp and struggle for effect of le Brun. All feeling for nature is completely absent from his pic- tures, in which golden vases and rich draperies, apes and paroquets, play as large a part as the flowers themselves. A work of Jean Baptiste Chardin, a little kitchen scene (1376), greets us. The colouring is delicate and shimmering, showing the influence of the Rococo style. The young woman cleaning vegeta- bles is true to life in genre pictures, yet the consider- ation for coquettish daintiness and a pretty effect is so apparent, that even this picture shows how far literary tendencies made themselves felt side by side with the aim of a purely picturesque rendering. One sees in this example, well painted as it is, that the old forms or styles could not last long and this is still more distinctly shown in the charming, famous "Girl's Head" by Greuze (1377), which represents the transition to the art of the nineteenth century. CHAPTER VIII THE NEW PINAKOTHEK The New Pinakothek was built on plans drawn by von Voit between 1846 and 1853. It stands opposite the old Pinakothek, the principal entrance facing the east. This is one of the first modern museum buildings, and as early mediaeval elements of style were applied in its construction, without satisfactory reasons, the building is architecturally unsuccessful, both externally and internally. On the external walls of the building Wilhelm Kaulbach, at the instance of King Ludwig I, attempted to im- mortalize the history of modern art, in satirical fresco paintings. These wall paintings were long since destroyed by climatic influences, and fortu- nately no attempt has been made to restore them. In the entrance hall we see M. Wagner's model for the lion quadriga of the Gate of Victory. The door to the left leads into the rooms which contain the porcelain pictures, copies of the best pictures of the old Pinakothek and the gallery of beauties in the Royal Palace. These are interesting as curios- ities but do not possess particularly high artistic value. On' the right of the quadriga we pass into 348 Ube "Wew pinaftotbcft 349 the three ground floor halls, which contain a portion, of the work of the nineteenth century painters. That no false impressions of the importance of this gallery may be given, let us state at the outset that the New Pinakothek gives no connected out- line of the development of painting fn the nineteenth century, either in its contents or its arrangement. The visitor will regret that it contains nothing from the brushes of the painters who have done the most for the development of modern European art. Delacroix, Couture, Gericault, Ingres, Manet, Monet, Pissarro and the painters of the Fontaine- bleau school are absolutely absent. Constable and Courbet are represented by unimportant works. Of the German painters who may be regarded as pio- neers, many of the most important are not repre- sented at all, and others only by unimportant works. Little attention was paid in the early days to Ger- man painters working outside of Bavaria. On the other hand works of local Munich artists are abundantly present, but even here most regret- table gaps are found. Such painters as Dillis, Hein- lein, Kaiser, Kobell, Metz, Piloty, August Seidel, and Teichlein are very inadequately represented, and the same may be said of Bocklin, Leibl, and Spitzweg. We also note that the gallery possesses no early pictures by Defregger, Griitzner, Har- burger, Lenbach, and Thoma, which are far more 35° "JCbe art of tbe /iDunicb (Balleries essential for a study of the development of painting than the late works of these masters. This enumeration is not intended to diminish one's pleasure in what the gallery does offer, but merely to characterize it. The visitor here must not expect a panoramic view of the development of modern painting; but must see in it a picture col- lection gathered together at hazard, composed of pictures which chance and fashion have brought to- gether. It is the thankless duty of a handbook to point this out. These general remarks, as well as the belter skelter arrangement of the pictures in the various rooms, must serve as an excuse for the fact that we do not follow the history of the develop- ment of painting in our description. The insufficient material leaves no other course open, still the at- tempt has been made to notice the pictures which have a bearing on the history of painting. On the other hand he who is interested in the material, the story, the anecdote, the allegory, the city view, will find in the gallery abundant and interesting material. The first cabinet of the first ground floor hall con- tains two landscapes (907, 909) by August Wil- helm Zimmermann, which are similar to pictures of the Dutch school, but have no especial characteris- tics. The two pictures were painted in 1848 and 1850 and show that Zimmermann was working in a path quite separate from the artistic ideals of the Ube mew ipinaftotbeh 351 followers of Cornelius and adhered to naturalistic principles. Bernard Fries (225) and Ernst Fries (226) belong in the ranks of the copyists of the old Dutch masters. Johann Christian Reinhardt (640) displays considerable similarity to Koch. He began with heroic landscapes in Poussin's manner and de- veloped under the influence of the Classicists. Among the landscape painters who follow Italian models, Franz Catel (131, 132, 136) is preeminent; he stands far above the ordinary level, sought always for the extraordinary in composition, and strove vigorously to heighten the colouring of his pictures. One sees for instance in his " Thunder Clouds " (131) that he colours by intuition and even at times achieves fine tone-harmonies. His palette, however, was limited. The " Holy Family " of Wilhelm Schadow (709), is too sweet and precise to interest anybody to-day. The views of Munich by Heinrich Adam (25, 26) have to-day only an archaeological interest. The picture of Francois Josephe Navez (568) gives an idea, although inadequate, of the colouring of the Belgian school of 1830, once so famous. In the second cabinet the Munich views by Joseph Klotz (415, 416), Ferdinand Jodl (359, 360), Friedrich Mayer (529-531), and Domenico Qua- glio (621-625) have only archaeological interest. The city views by Michael Neher (573-575) and 352 Ube art ot tbc /©unicb ©alleries especially those of Ludwig Mecklenburg (535-536), however, are above the ordinary level. They are soft and atmospheric, and above all true to nature. An allegory, " Italia and Germania," of one of the Nazarenes, Johann Overbeck (589), is a very char- acteristic bit of this imitator of the Italians, a man without ideas of his own. The third cabinet has only one or two pictures of merit. A landscape, " Near Brannenburg," by Carl Rottmann (672), is a worthy work, but is so hung that it cannot be enjoyed. " A Landscape with Thunder Storm" by Casper Metz (546a) shows good observation, fine atmospheric qualities, and great power in composition and colour. On the south wall hang twenty-two Oriental sketches by August Loffler (481-502), which are hardly good enough for postcards. Another very badly hung picture is " A Young Ox " by Max Josef Wagen- bauer (865), a free copy of Paul Potter, but done with power. In the first cabinet of the second hall we observe " A Wood Landscape " of Johann Wilhelm Schir- mer (722), remarkable as a study of nature, a very fine tender landscape " Taormina with yEtna " by Rottmann (668), and a "View of Tegemsee " (156) by Johann Georg von Dillis. This is a pic- turesque bit whose soft atmospheric treatment and especially the colour scheme at a distance shows XEbe IRcw ©inaftotbeh 353 resemblances to the Fontainebleau school. A closer view, however, discloses none of the strength of these masters. In the second cabinet the " Winter Landscape " of Andreas Schelfhout (713), painted in 1835, may- have served Biirkel as an example. The works of Eduard Schleich make a small oasis in the deadly level of mediocrity. Several of his pictures are here hung in one place, and allow a review of his qualities to be made. Christian Morgenstern, represented by " Moonlight in Partenkirchen " (559), was the first Munich painter who travelled into the Isar valley and the Dachauer Moos. He was followed by Eduard Schleich, Sr., who in opposition to the Romanticists took nature as his model. He studied the construction of the landscape, the changing play of sunlight, and the fleeting clouds. He endeav- oured to idealize Bavarian landscapes as the Italian masters had those of their native land. He com- posed with care, simplified his lines, rendered his well chosen accents by effects of light, and was in- spired by a deep sentiment of love of the country. A child of the north, with its wide plains, he dis- closed to the Bavarians the beauties of their plateau, the flat land shadowed by clouds, the gentle wooded slope, the homely village by moonlight with its rush- ing stream and gleaming lights. He copied from Ruisdael his deep seriousness and the sombre obser- 3S4 ^be Hrt of tbe ^unicb (Balleries vation of nature, which was so congenial to Schleich himself; in Goyen he was attracted by the pictorial harmony into which are woven the elemental forces of nature, the thunder cloud, the mist veiled sun, the shimmering moonlight, covering and illuminat- ing the grassy earth, the rude stream, the humble cottage. Munich and its neighbourhood were his field, and rarely did he paint a more distant subject. Rain, moonlight, autumn were his favourite moods, and his greys and browns are essentially reminders of the Dutch masters. His brush work and method of laying colour is like that of Solomon Ruisdael. If we seek farther what Schleich has discovered new, we must sub- tract the Dutch influence from his pictures. We find then another foreign might in them which Morgenstem did not have, and this might is named Constable. The dull brown red comes from the Englishman. That Eduard Schleich was able to make so soft true and earnest pictures of nature in beautiful colour unity is due not only to the Dutch, but also to Constable. He grew continually with years. His mood became ever softer, his impres- sions more pictorial through the diffusion of colour, the softening of the outlines, over which the torn clouds of a restless heaven eternally drive. " Near Brannenburg" (736) is an early picture of the painter. Next to this we find " Approaching Thiin- TTbe "Wcw IPfnaftotbeli 355 derstorm " (726), even more attractive and full of open air. "On the Ammersee " (725), "Village near Munich" (724), "On the Shore" (733), "Moonlight" (730), and "Dachau" (731) are among the most beautiful landscapes of the nine- teenth century. Among the Schleichs hangs a landscape by Georg Ferdinand Waldmiiller (874), likewise successfully worked up to the level of the pictorial, in which the richness of the green tones is most enjoyable. On the opposite wall we see three small pictures by Wagenbauer (871, 872, 873), as well as a soft, warm-toned picture, "Outside of Munich" (553), by Karl Millner. "The Hermit" (794) by Spitz- weg is unhappily so badly cracked that there is little left to enjoy. Adolf Lier in his " Village Scene " (472) resembles Schleich. " Departure from the Aim" (123), by Heinrich Biirkel, with its mist- wrapped snow mountains in the background is char- acteristic of this artist, whose peculiarities are easily recognizable. In the third cabinet of the second hall the only picture worthy of consideration is the landscape by Anton Fischbach, " View of the Lattengebirge from Salzburg" (194). On the south wall of this hall hang a number of war pictures which take up nearly all of the third hall ; among these, however, the pic- tures by Adam and Kobell are the only ones that 356 Ube Hrt of tbe /Duntcb Galleries have any artistic value. Kobell (308-310) not only was a skilful and conscientious draughtsman, but his painter's eye had comprehension of aerial per- spective and understanding of the indistinctness of distant objects. One is struck by the accurately drawn foreground and the impressionistic manner in which he saw and reproduced the middle and far distance. Albrecht Adam (7, 8, 9) worked in quite the same manner with similar results. He certainly had the necessary knowledge of war. In 1809 he was in the thick of battle with the Bavarians against Austria, and in 1848 he was still in the saddle on the Austrian expedition to Italy under Radetzky, at the age of sixty-two. He was an accurate observer, if no colourist, and knew intimately the life he painted. Among these war pictures one will dis- cover with a sense of intrusion a picture by Anselm Feuerbach, portraying a classic battle scene, whence its classification with the battle pictures. " The Overthrow of the Titans" (188) dates from the year 1874. It would surely be more effective in more suitable surroundings, where it would not be so cruelly smothered, for its design shows remark- able promise. The composition is grouped in great dramatic accents around the central figure of Gaea inciting the giants behind her to the storm of Olym- pus. Zeus bursts from the clouds, surrounded by divine light, and hurls his thunders at the trans- Ube IRew ©inaftotbeft 357 gressors, against whom, in the foreground, Pluto, Poseidon, and Herakles rush forward from below. There is reason for every action of the figures ; the bodies are nobly drawn and the lines are anirhated by truthful observation. No trace of the theatrical belittles the great gestures which Feuerbach has por- trayed. No painter of our time has imagined the antique with purer and more inspired thought, has so relived and revivified it in his own person. Yet here again colour offered him unsolvable difficulties. We now return through the three halls and ascend the stairs to the upper story. In the first hall is a full-length portrait (393) of the founder and builder of the gallery. King Ludwig I, in the uniform of the Order of St. Hubert, and a Hkeness of Maximilian II (384), in the same costume, both large and empty representations by Wilhelm von Kaulbach, 1805-1874. As pictures, the two por- traits of the Prince Regent Luitpold by August Holmberg (342), Director of the New Pinakothek, and Hubert von Herkomer (293) are much better. We turn now into the cabinets to the right. The pictures by Stieler, Schrotzberg, Kaulbach, etc., in the first cabinet are wholly unworthy of considera- tion. One might believe himself surrounded by chromos, so brutal is the gaudy colouring of these pictures, which show the lowest ebb of German painting at the beginning of the nineteenth century. 3s8 ^be art of tbe /iDunicb ©alleries Let the observer compare even in imagination these flat expressionless paintings with Rubens, Rem- brandt or Raphael. It is almost a desecration even to name these masters here. This unpleasing epoch of German painting is visible in disproportionate quantity in the Pinakothek; the following cabinets also contain documents of this period. In the first cabinet a picture by Angelica Kauf- mann, " King Ludwig I as Crown Prince" (367), is a little better than the others. Although even in this portrait only a mild pictorial feeling is dis- played, there is nevertheless a unity of colour de- veloped on the grey-green background. In the second cabinet are three interesting bits by Wagenbauer (867-869) and an " Italian Vintage Festival " (419) by the Tyrolese Josef Anton Koch, an imitator of Poussin and Claude. His heroic scenery is pretty, the drawing hard and dry, and the colour feeble. The promise contained in his later pictures of the future development of landscape painting, are not apparent in the Pinakothek. How Reinhardt, who in his early work followed Koch, developed, is shown by his heroic landscape (641) dated 1846, with broadly constructed cliffs and loosely painted trees. Here hangs also a historically interesting picture (129) by Franz Catel, depicting King Ludwig of Bavaria in the Spanish wine tavern at Ripagrande in Rome in company with artists. XCbe mew KMnahotbeft 359 " The Acropolis of Sikyon near Corinth " (666) and "The Island of Ischia" (667), by Karl Rott- mann, do not belong, spite of the largeness of the composition, among the best works of the artist. In the third cabinet we find another picture by Wagenbauer, "Evening Landscape" (670), hard and chromo-like in quality. The little picture, " Morning in a Village" (870), is finer. Among all these paintings, the most prominent is the simple, domestic, unconstrained, real portrait (249) of the draughtsman and copper engraver Daniel Chodo- wiecki, by the Swiss Anton Graff. The solid brown tonality from which the pink flesh with scattered yellow lights shines forth, is especially harmonious in these surroundings. How clear and plastic is the execution, how true the painting of the features. In cabinet four are two pleasing little pictures by Rottmann, " View on Monte Pellegrino near Pa- lermo " (665), and " Landscape in Korfu " (671). Here again we remark the insufKciency of his pal- ette, a certain pettiness, and painful attention to de- tail. His pictures are harsh and heavy in colour and crude in execution, but it is easy to observe how earnestly and conscientiously he strives to pull every picture together to a classical unity of composition. Reinhardt in his " Group of Trees " (642) shows that he is allied to Koch and also influenced by Car- 36o Zbc art of tbe /iDunicb (BaUerfes stens. A younger brother of Rottmann, Leopold, represented by only one picture, " The Barersee in the Bavarian Highlands " (698), seems to be influ- enced by his brother Karl. Cabinet five contains a "Marine" (5) by An- dreas Achenbach, an attractively coloured and ro- mantically composed depiction of " The Hintersee " (671) by Karl Rottmann, a picture by Eduard Ger- hardt, " The Lion Court of the Alhambra " (238), less satisfactory than his work in the Schack Gal- lery, a picture of Palermo in muddy blue by Franz Catel, a sketch by J. F. Overbeck (590) from his series of the Seven Sacraments, and most important of all, two creations by Neureuther and Schwind. Both works are quite dissimilar in style to the usual conception of an easel painting, and have more of an illustrative character. Neureuther's four part pic- ture (583) illustrates a poem by Biirger, " The Pas- tor's Daughter of Taubenhain." A little awkward in colour, the lines are so pure and noble that they make the heart beat faster, and lovely arabesques combine the separate compositions. While we must count Neureuther wholly among illustrators, Moritz von Schwind's " Lady Adventure's true Knight " stands half way between the illustrators and the painters. His "Symphony" (778) inclines rather to an illustrative character. It is easy to shrug the shoulders over his insufficiency as a painter. In his Ube nacw iPfnaftotbeft 361 lines lives the middle-class grace of the German Biedermeier period. In the lightly coloured out- lines of his figures appears a tender, lovable imagina- tion. None of the Romanticists has spoken so com- fortably and easily, so clearly and definitely to the German folk soul of his time, as this master. Richard Muther, in his " Modern Painting," char- acterizes him as follows : — " ' Master Schwind, you are a genius and a Ro- manticist.' This stereotyped compliment was paid by King Ludwig to the painter on each occasion that, without buying anything of him, he visited his studio. And with equal regularity Schwind, when he had sat down again by his easel, after the royal visit, to smoke his pipe, is said to have muttered something extremely disloyal. In this trait the whole Schwind is already revealed, — free from all ambition, every inch an artist. " W. H. Riehl has described a series of such episodes, which one must know, in order to under- stand Schwind, that child of nature and of Sunday, who separates himself from the group of philo- sophical * meditative ' artists of his age both as an individual and as an audacious, original genius of efifervescent wit. " When an aesthetic once hailed him as ' the creator of an original, German kind of ideal, roman- tic art,' Schwind repeated very slowly, weighing 362 Zbc art ot tbe /iDunicb (Sallerles each word : ' An original, German kind of ideal, romantic art. My dear sir, to me there are only two kinds of pictures, the sold and the unsold; and to me the sold are always the best. Those are my en- tire aesthetics.' Or a noble amateur comes to him with the request that he would take him just for a few days in his school, and instruct him especially in his masterly art of drawing in pencil. Where- upon Schwind : ' It does not require a day for that, my dear Baron ; I can tell you in three minutes how I do it, I can give you all the desired information at once. Here lies my paper, — kindly remark it, I buy it of Bullinger, 6, Residenz Strasse; these are my pencils, A. W. Faber's ; I get them from Andreas Kaut, 10, Kaufinger Strasse; from the same firm I have this india-rubber too, but I very seldom use it, so that I use this pen-knife all the more, to sharpen the pencils; it's from Tresch, lo, Diener- gasse, and very good value. Now I have all these things lying together on the table, and a few thoughts in my head as well ; then I sit down here and begin to draw. And now you know all that I can tell you.' Again he asks ' to be decorated with an order,' because he ' is ashamed to mix in such a naked condition with his bestarred confreres,' and after the bestowal of the desired decoration, he says, ' I wore it only once, at the last New Year's levee, but I vowed at the same time that six horses should Ube mew pinaftotbeft 363 not drag me there again. Before, there was at any rate a beautiful queen there, and then the court ladies laughed at one ; but amongst men only, the stupidity of it is not to be endured.' When he grumbles over commissions which have been given to others and adds good-humouredly, ' Indeed, I'm an envious fellow,' when he paints the most delicate pictures and then growls, ' What am I to do with the things, if nobody buys them ? ' when he indulges in out- bursts of wrath, and a minute later has forgotten again the abusive words which the others spitefully bring up against him years afterwards, — then here, too, his happy humour forces its way ever3rwhere, that divine naivete which forms the soul of his and of all true art. " Schwind remains a personality of himself — the last of the Romanticists and one of the most amiable manifestations in German art. He was free from the malady of that sham Romanticism which sought the salvation of art in the resurrection of the Middle Ages, misunderstood, and grasped sentimentally, and as it were by stencil. He was spiritually per- meated by that which had given Romanticism the capacity to exist: the sense of that forgotten and imperishable world of beauty which it has again dis- covered. The others sought for the ' blue flower,' Schwind found it ; resuscitated in all its faery beauty that ' fair night of enchantment which holds the 364 Ube Hrt ot foe /H>umcD (Sallettes mind captive.' He incorporated the romantic^idea in painting as Weber did in music, and his works, like the Freischtitz, will live for ever. Many a man listened to him holding forth upon water-nymphs, gnomes, and tricksy kobolds, as of beings of whose existence he appeared to have no doubt whatever. On one occasion, while out walking near Eisenach in the Annathal, a friend laughingly observed to him that the landscape really looked as if gnomes had made the pathway and had had their dwellings there. ' Don't you believe it was so ? I believe it ! ' answered Schwind in all seriousness. He lived in the world of legend and fairy tale. If ever a fairy stood beside the cradle of a mortal man, assuredly there was one standing by Schwind's, and all his life long he believed in her and raved about her. Born in the land where Neidhart of Neuenthal had sung and the Parson of the Kahlenberg had dwelt, to his eyes Germany was overshadowed with ancient Teutonic oaks : for him, elves hovered about water- springs and streams, their white robes trailing be- hind them through the dewy grass ; a race of gnomes held their habitation on the mountain heights, and water-nymphs bathed in every pool. In him part of the Middle Ages came back to life, not in livid, corpse-like pallor, but fanned by the revivifying breath of the present day. " For that is what is noteworthy about Schwind trbc iRew iptnaftotbeft 365 he is a Romanticist, yet at the same time a genuine, modern child of Vienna. There are three things in each of which Vienna stands supreme : hers are the fairest women, the sweetest songs, and the most beautiful waltzes. The atmosphere of Vienna sends forth a soft and sensual breath which encircles us as though with women's arms; songs and dances slumber in the air, waiting only for a call, to be awakened. Vienna is a place for enjoyment rather than for work, for pensive dreaming rather than for sober wakefulness of mind. Moritz Schwind was a child of this city of beautiful women, songs, and dances, as may be observed in the feminine nature of his art, in its melody and rhythm : in music, in- deed, it had its source. In song-singing, bell-ring- ing Vienna it was difficult for him to guess in what direction his talents lay ; but all his life long he kept an open eye for the charms of beautiful woman- hood. No artist of that time has created lovelier forms of women, beings with so great a charm of maidenly freshness and modest grace. Instead of the goddesses, heroines, and nun-like female saints, whose appearance dated from the Italy of the Cinquecento, Schwind depicted a modern feminine charm. The group of ladies in ' Ritter Kurt ' is, even to the movement of their gloved fingers, grace- ful in the modem sense. He was a painter of love — a breath of Walter von der Vogelweide's 366 Ube Hrt of tbe /Dunicb ©alleries ideal perfection of womanhood pervades his pic- tures. " ' Durchsiisset und gebliimet sind die reinen Frauen, Es ward nie nichts so Wonnigliches anzuschauen, In Luften, auf Erden, noch in all griinen Auen.' " Schwind himself is among the masters ' who have been, and are, and shall be.' He was different from all that was arising around him ; he embodied the spirit of the future, and exercised over the art of the present day so great an influence that wher- ever three painters are gathered together in the name of the beautiful, he has his place in the midst of them, and is present, invisible, at every exhibi- tion. But he exercises this influence only spiritually. Young artists study him as if he were a primitive master. Enraptured, they find in him all those qualities for which there is to-day so ardent a long- ing — innocent purity and touching simplicity, a mystic, romantic submersion in waves of old-time feeling and a charming youthful fervour. They do not study him in order to paint like him." The first attempts at the painting of moods in the Munich landscape school appear in Christian Morgenstern's "Norwegian Marine," (558) op- posite in the sixth cabinet. There also is a " Gothic Church in Moonshine" (613) by Domenico Qua- glio, wholly romantic in spirit. Cabinet seven contains four pictures by Heinrich Ubc mew pinaftotbeft 367 Btirkel, who also belonged to that chosen group of Ludwig's time, which, in opposition to the official painting of the followers of Cornelius, placed its reliance on pictorial principles. Their pictures, to be sure, are more or less filled with romantic spirit, but hand in hand with this goes a striving after natural truth and pictorial impressions. His broad land- scapes in the Campagna (120, 122) breathe an epic style, while in his mountain landscapes (119, 121) he lays more weight on a humourous anecdote in the style of Teniers ; but he also endeavours, with his best powers, to solve the atmospheric problems which nature offers him. Rejected as a pupil by the Munich Academy in 1822, he worked by himself, copying Dutch paintings at Schleissheim, and learned for himself the painter's means of expres- sion with wonderful rapidity. He soon went to nature, and painted things as he saw them, directly and without attempting to add an imaginary beauty. His position is peculiar ; inheriting the colour of the beginning of the century, he was never able wholly to grasp truth in this direction, but in truth of obser- vation and simplicity of rendition he was far ahead of his generation and not until Wilhelm Leibl did there come a painter who could resume his task. This cabinet contains also the strorigest and freest landscape (557) by Christian Morgenstern, which seems almost a German forerunner of Rousseau. 368 ube Hrt ot tbe A>nnfcb Galleries A scene in Alsace served as a model for the artist. A landscape (362) by Ernst Kaiser and " An Autumn Morning " (363) by Andreas Achenbach are worthy of notice. The same room contains a portrait (628) of the sculptor Martin Wagner, by Karl Rahl. Rahl penetrated with deep earnestness into the spirit of the great Italian Renaissance paint- ers, and from their world brought forth pictures which rank pictorially high for his time. In the portrait mentioned, a pictorial thought is logically carried out. Rahl exercised a lasting influence on Rottmann, Stange, and Schleich. Franz Winter- halter occupies a similar position, but the portrait (896) of Count Jenison- Walworth does not belong among his best work. On the south walls of cabinets two, three, four, five, six and seven, at a considerable height, are hung the sketches of Wilhelm von Kaulbach for the frescoes on the outside of the New Pinakothek, which were carried out during his life by Nilson and X. Barth. The value of these works, which at the best is not especially great, lies not in their colour, but in their composition. In their drawing Kaul- bach developed spiritual sharpness and grotesque invention. Intended to glorify the artistic life of Munich, he fulfilled his task by mocking at what he should have glorified, and wrote a scornful verse describing his own work. " The king in his youth XCbe "Wew pinafsotbeft 369 spent millions in order to elevate art," says Schwind, " and now in his old age he pays another thousand pounds in order to be laughed at for it." Happily Munich's abominable weather — in this instance kind — has swept away from the outside all but in- distinct trances of the frescoes. Cabinet eight contains two portraits by August Riedel. These portraits of the Singer Pellegrini and his wife (656, 651 ) show the good talent of the artist, though not the excellent handling of light shown in his well-known genres. There are also two landscapes (550, 551) of Karl Millner, and a light and airy " Partie aus Wasserburg" (572) by Michael Neher. A romantic picture (906) of a thunderstorm over a mountain brook is by Albert Zimmermann, who painted " The Walpurgis Night " in the Schack Gallery. More earnest and stronger is the master's younger brother, Richard, who is represented by a picture " Winter in the High Mountains" (917). All of these, however, are only of the second or third rank. Cabinet nine has more significance. Here hangs the most beautiful picture of Karl Rottmann, " The Grave of Archimedes in the Necropolis of Syra- cuse " (669). In this picture something more than the transcript of a landscape is given. The tone- harmony in bright white and shining blue is alive. The pedantic pettiness of the drawing is forgotten, 37° ^bs Hrt ot tbe jflDunfcb 6allertes lost in the magic mist of the atmosphere. In the same room we find the three beautiful pictures by Spitzweg, one of the boasts of the Pinakothek. " The Poor Poet " (791) is a youthful work of the master. From his middle period comes " In the Attic" (792), while "The Scolding Hermit" (793) is a picture of his latest time. Here at last, for once, we see in the work of a German painter, soft, volup- tuous, melting colours, which remind one of Diaz, and hold their own very well against Constable. The comfortable Biedermeier humour is the second valuable element of the art of this master. This mournful middle-class humour was introduced into Munich painting by Spitzweg. In a diluted form we find it constantly elsewhere. Many Munich painters believe, since then, that they can make pictures out of a small humourous conceit, a carnival joke, and thereby mistakenly place the emphatic point of a painting on something purely external. Here we find it explained why Munich painting is partly dominated by a playful frivolous spirit, which seeks cheap effects, instead of working with thor- ough earnestness and collected strength for the solu- tion of the problems which painting daily sets anew before the artistic eye. Many men of Munich have devoted themselves to painting with impure thoughts, and misused their talent to the damage of their art, because they sold themselves all too early Ube mew ipinaftotbeft 371 to a frivolous drawing-room art. These remarks do not apply to Spitzweg, but such thoughts come un- bidden, when we think matters over and, after en- joying his pictures, recognize that the joke, the hu- mourous point, was often the motive power with him, and that the pictorial form at times was sacri- ficed to it. Even so, what a painter he was. How fascinatingly in " The Attic " (792) the grey walls are lighted by the reddish brown face with the dark blue cap, and the dazzling white neck band, and how the whole is fused together to a colour unity. " He was," says Muther, " a genius who united in him-, self three qualities which seem to be contradictory — realism, fancy, and humour. He might be most readily compared with Schwind, except that the lat- ter was more of a romanticist than a realist, and Spitzweg is more of a realist than a romanticist. The artist's yearning carries Schwind to distant ages and regions far from the world, and a positive sense of fact holds Spitzweg firmly to the earth. " Like Jean Paul, he has the boundless fancy which revels in airy dreams, but he is also like Jean Paul in having a cheery provincial satisfaction in the sights of his own narrow world. He has all Schwind's delights in hermits and anchorites, and witches, and magic, and nixies, and he plays with dragons and goblins like Bocklin; but, for all that, he is at home and entirely at his ease in the society 372 ttbe act of tbe /iDunicb ©alleries of honest little schoolmasters and poor sempstresses, and gives shape to his own small joys and sorrows in a spirit of contemplation. His dragons are only comfortable, Philistine dragons, and his troglodytes, who chastise themselves in rocky solitudes, perform their penance with a kindly irony. In Spitzweg a fine humour is the causeway between fancy and reality. His tender little pictures represent the Germany of the forties, and lie apart from the rush- ing life of our time, like an idyllic hamlet slumber- ing in Sunday quietude." " To look at his pictures is like wandering on a bright Sunday morning through the gardens and crooked, uneven alleys of an old German town. At the same time one feels that Spitzweg belonged to the present and not to the period of the ingenuous Philistines. It was only after he had studied at the university and passed his pharmaceutical examina- tion that he turned to painting. Nevertheless he succeeded in acquiring a sensitiveness to colour to which nothing in the period can be compared. He worked through Burnet's * Treatise on Painting,' visited Italy, and in 185 1 made a tour, for the sake of study, to Paris, London, and Antwerp, in com- pany with Eduard Schleich. In the gallery of Pom- mersfelden he made masterly copies from Berghem, Gonzales, Coquez, Ostade, and Poelenburg, and lived to see the appearance of Piloty. But much as Zbc Hew iptnaftotbcft 373 he profited by the principles of colour which then became dominant, he is like none of his contempo- raries, and stands as far from Piloty's brown sauce as from the frigid hardness of the old genre painters. He was one of the first in Germany to feel that really sensuous joy of painting, and to mix soft, luxuriant, melting colours. There are landscapes of his which, in their charming freshness, border di- rectly on the school of Fontainebleau. He takes refuge in a German forest, and paints marvellously the dreamy humour of old oaks, when the stillness of night broods over the whispering boughs, when the brook murmurs sleepily, and the fresh fragrance of a hidden and solitary world mysteriously trembles in the air. Or he paints the golden corn waving on the plain, the quail uttering his note in its shelter. What a chime and hum of mysterious voices! Or he shows the heath stretching austere with its brown fibres, and the earth whispering to the wayfarer in the evening gloom strange tales of what was enacted here and still echoes out of the past. Spitzweg has painted bright green meadows in which, as in the pictures of Daubigny, the little red figures of peasant women appear as bright and luminous patches of colour. He has woodland glades penetrated by the sun of pungent piquancy of colour such as is only to be found elsewhere in Diaz. And where he diversified his desolate mountain 374 "^bc Hrt of tbe /©unicb ©alleries glens and steeply rising cliffs with the fantastic lairs of dragons, and with eccentric anchorites, he some- times produced such bold colour symphonies of sap- phire blue, emerald green, and red that his pictures seem like anticipations of Bocklin. Spitzweg was a painter for connoisseurs. His refined cabinet-pieces are amongst the few German productions of their time which it is a delight to possess and they have the savour of rare delicacies when one comes across them in the dismal wilderness of public galleries." Other important pictures in the same cabinet are "St. Vitus Church" (577) by M. Neher, "The Old Abbey at Rouen " (624) by D. Quaglio, " The Potato Harvest" (915) by Richard Zimmermann, and " A Ravine " (47) by Friedrich Bamberger. The picture by Eugene Adam, " On the Battle Field of Solferino " (20), a picture caught in the romantic spirit, but yet full of living colour, deserves notice, and finally the landscape by John Constable, whose importance for European painting naturally cannot be estimated from this small picture. But let one go once more to the landscapes of Schleich, seek out among the gaudy medley of the rooms the repre- sentatives of the Munich landscape school, and en- deavour to make clear to himself what Constable gave to all of them. He has taken out of the ele- ments of the old Dutch art, what he needed to arrive at a newer, higher means of expression. What lus- tCbe Bew pinaftotbeft sis cious resonant colour harmonies he builds, and how he understands, by the strength of his chiaroscuro to give his space actual depth. We now return through the nine cabinets, go through the first ante-room and enter the second hall, in which we are principally attracted by the two great historical pictures of Karl von Piloty. Piloty as a teacher had a most far-reaching in- fluence on Munich painting. From his school came, among others, Defregger, Liebl, Lenbach, Makart, Max, Habermann. What he meant to his age as a painter we may learn approximately from a com- parison of his picture " Seni before the Corpse of Wallenstein" (604) with " Sintflut " (760) by Karl Schorn. Schorn was in Paris from 1824 to 1827, and studied there under Gros, the teacher of Delacroix and Gericault; later he went over to Ingres. The result of these studies is " Sintflut," which shows indeed great intentions in its planning, but in its dry and thin lines, its unimaginative and empty colouring betrays the typical pupil of Cor- nelius, understanding nothing of painting. Quite different is Piloty, who received his first instruction from Schnorr, then worked under Schorn. The painter in him, however, was first set free when he met Gaillat and Delaroche in Brussels and Paris. He belongs in his whole make-up to the Romanti- cists, but was the first of them, after centuries of 376 Ube Htt ot tbe /iDuntcb Galleries neglect, to be once more inspired by the works of real painters like Murillo and Velasquez and to again bring colour into painting. Theatrical pathos, overemphasized gestures are especially emphatic and unpleasant in his picture " Thusnelda in the Trium- phal March of Germanicus " (605) ; in " Seni be- fore the Corpse of Wallenstein " the composition of the two figures, a vertical placed above a horizontal, is monumental. The warm colours are sonorous and powerful. The black of Seni stands majestically above Wallenstein's white pallid robe, shadowed with yellow, which contrasts beautifully with the red carpet, a beautiful and grand colour conception. Unfortunately the Pinakothek lacks smaller paint- ings and sketches by Piloty in which his important gifts would be still more clear. " Piloty's glory," says Muther, " is to have planted the banner of colour on the citadel of the idealistic cartoon-drawers. . . . Even to-day, beside Kaulbach's ' Jerusalem ' and Schnorr's ' Deluge ' in the New Pinakothek, his ' Seni ' is indicative of the beginning of a new period. . . . This astound- ing revelation of colour was in 1855 praised in Ger- many as something unheard of and absolutely per- fect. There was no more of the petty, motley, bodi- less painting which was dominant before. The manner in which the grey of morning fell upon the murdered man in the eerie chamber, the way the XEbe iHew Iptnaftotbeft 377 clothes and the silken curtain glimmered, were things which enchanted artists, whilst the lay public philosophized with the thoughtful Seni over the greatness of heroes and the destiny of the world. At one bound Piloty took rank as the first German 'painter;' he was the future, and he became the leader to whom young Munich looked up with wonder. Before him no one had known how to paint a head, a hand, or a boot in such a way. No one could do so much, and in virtue of this technical strength he founded such a school as Munich had never yet seen." The great religious pictures of this hall, by Hein- rich von Hess (304), Angelica Kaufmann (366), and J. von Schrandolph (771), are unimportant as empty imitations of the great Italians. Josef Anton Koch's great heroic landscape (418) shows, more clearly than his small pictures, how he used Carsten's method of outlines in landscape and emulated Pous- sin and Claude Lorrain without more than approx- imately reaching the safe domain of the first in drawing or the trembling reflections of light of the latter. How similar to him was Reinhardt, is shown by his picture (639) opposite. The "Mother with Child " (652), by August Riedel, is especially pleas- ing in its treatment of outdoor light. The group sits outside before a garden wall illuminated by the evening sun. The problem of light has remained un- 378 Ube Hrt or tDe flDunicb ©alleries solved as a misdirected experiment, but here it is plainly stated, in the year 1840. In the third hall hangs Wilhelm von Kaulbach's "The Destruction of Jerusalem by Titus" (370), long a highly praised picture in Germany, which to- day can no longer awaken a single friendly feeling. The composition falls apart of itself, the shallow faded colours are put together without thought. The portraits (371, 372) of two Munich artists in carnival costume are pictorially unimportant accom- plishments. Kaulbach is insincere in his composi- tions, and at last began to laugh at his own monu- mental pictures. They are nothing but tableaux vivants, built up on the rules of formal composition, and require a key for their explanation. On the same low artistic level stand the pictures of Peter von Hess (309, 310), portraying the en- trances of King Otto into Nauplia and Athens, al- though they have historical value. Riedel's " Nea- politan Fisher Family " (650) at most stands a little higher than its surroundings, on account of its close composition. As a record in the development of Munich landscape painting, we may mention Johann Dorner's "Walchensee" (159), which belongs to the group of Koch and Reinhardt. On the other hand Heinrich Heinlein with his " Waterfall near Salzburg " (288) appears to be a later Romanticist. The most important picture of this hall is the " Isar XTbe Dew ptnal^otbeft 379 Valley near Munich," (723) by Eduard Schleich the Elder. Here one feels earnest and honest study of nature. A broad and free composition, strong colour true to nature and filled with light, make the work valuable. Piloty's famous scholar, Hans Makart, fought his bitterest against the colourless Classicists, but he also was no colourist. He over- heated his pictures with colours, which do not har- monize, but have a brutal effect. In his decorative frieze " Abundantia " (511, 512), however, this brutality in overdoing colour appears somewhat less pronounced than usual. In these pictures lives a little of the joyousness of the Greek fables, forgotten in painting since the time of the later Venetians. They urge the beholder to the enjoyment of life by their pure sensuousness without underlying thought. The fourth hall is dominated by Feuerbach's " Medea " (187), the most beautiful picture in the whole gallery. Every unsolved problem which we may note in his pictures in the Schack Gallery, is here solved. Every objection which we can there raise against him appears to us sinful, before this perfect work. The picture is constructed with a very rare simplicity which is here as important as dignity and size. The strongest accent is on the group of Medea and her children. If we continue the strong line of the figure of Medea from above downward, the figure of the nurse carries this line on 38o Ube Htt of tbe /iDunfcD Galleries from below upward and across to the line of the ship's hull. Now see how every other line in the picture, the children, the sailors, etc., lead into this basic line, emphasize it, or ornamentally surround it. See farther how the colour is developed, rising and sinking on this basic line. Grey brown-violet is the ground colour of the picture, which in the land- scape, in the clothes of the nurse and in the trousers of one sailor rises to a warm brown, in the clothes of Medea swells to a sonant red surface, which is re- peated again, though slightly cooler, in the cap of the sailor. The blue green of the sea water pouring on the strand smiles forth from the ground tone and the horizon shines in deep blue. How agreeable here is the renunciation of every theatrical ideal. The great movement is honestly and truly conceived, and just for this reason works so powerfully. When one has torn himself away, the surroundings appear doubly small. Above on the walls hang the empty original cartoons (197, 200, 207, 211-214) for painted glass windows by Josef Anton Fischer, which impress one unfavourably in a collection of pictures. "The Entombment" (368) by Fritz August von Kaulbach, " Venus Mourning Adonis " (476) by Wilhelm Lindenschmit, appear as weak reminiscences by petty routine painters, of the mas- ters of the Renaissance. In Bruno Piglhein's " En- tombment" (602) we are pleased by the purity of TTbe naew iPinaftotbeft 381 invention, and the natural representation. Tasteful, yet without importance for the development of paint- ing, are Cameron's "The Bridge" (125) and Bruno Liljefors' " Heathfowl " (473). On the other hand, Albert von Keller must be taken more earnestly. " The Resurrection of the Daughter of Jairus " (395) is worthily and earnestly composed in draw- ing and colour. Karl Hefifner's " Isola sacra at Rome " (278) and Joseph Wenglein's Bavarian landscapes (896, 887), which are honestly seen, and freely and largely rendered, have high significance; Wenglein goes farther on Schleich's path. Very close to the "Medea" hangs a picture (564) by Victor Miiller, who went to Paris to Couture at the same time as Feuerbach. He was one of the few German followers of Delacroix of his day, and ex- ternally had this in common with him, that he was moved by Shakespeare. In his " Romeo and Juliet," we perceive a glowing temperament and powerful hand, but also a painter who was not always quite sure of his colour. Says Muther : " The dominating features of his pictures are the thirst for life and colour, full-blooded strength, haughty contempt for every species of hollow exaggeration and all out- ward pose, genuine human countenances and living human forms inspired with tameless passion, and audacious rejection of all the traditional rules of composition, and, even in colour, a veracity which 382 ube Htt of tbe /iDnntcb (Balleries in that age, given up to an ostentatious painting of material, must have had an effect that was absolutely novel." A second picture shines forth on the same wall; " Pan in the Reeds " (92) by Arnold Bocklin, a beautiful symphony in grey green with a glimpse into the distance over the surface of the water; a soft sunny bit of nature surrounds the figure of the dreaming Pan, a symbol of this world. In the fifth hall we find ourselves in the circle of the Munich men of our own day. The Isar city has brought forth a proud array of brilliant talents, but very many of them have not kept the promise of their youthful beginnings, have let themselves be lulled by the comfortable, easy, self-satisfied atmos- phere of Munich, have become careless, and have sloughed off all earnest feeling for art. An excep- tion is Fritz von Uhde, whose artistic education was received from Makart, Munkacsy, Bastien Le- page, and Israel. He long had to fight bitterly with his tools, and it is really only in the last few years that he has arrived at a colouristic conception and execution of his pictures, as the glowing light- study, "Reading Maiden" (824a), shows us. He obtained great popular success with a new rep- resentation of religious themes in the spirit of our time. He has drawn from deep experience the agitated yearning faces which gaze after " Christ Ascending to Heaven " (842), but the colour is dull. Ube IRew pinaftotbeft 3S3 Also, Franz Stuck's "War" (826) is dull and muddy in colour. Only the monumental harmony of the composition, and the unity of tone, give it power to make an impression. Unimportant to the history of art progress, but characteristic of the brown-sauce character of modern Munich painting are Ludwig Herterich's "St. George" (295), "The Knight" (297), Piglhein's "Blind" (603) and Paul Hoecker's "Ave Maria" (333). The landscapes are much better. Notice " Willows by the Brook" (885) by Lion S. Wenban, "In Au- tumn" (737) by Eduard Schleich, Junior, "Near Ftirstenfeld-Bruck " (891) by Joseph Wilroider, " Nature Study " (506) by Emil Lugo, who worked in connection with Thoma, a powerful, brilliantly shining " Dutch Cowpasture " (43) by Herman Baisch, which recalls a Troyon, " A Saw Mill in Upper Austria" (721) by Emil Jacob Schindler, which has been developed from a pictorial colour perception, and in its blonde green makes one think of Corot ; finally " A Hut with a Team in Sla- vonia" (599) by the Viennese Carl von P'etten- kofen, soft, atmospheric, and surrounded by light. Two outdoor pictures are interesting, " On the North Sea Coast of Skagen " (430) by Peter Severin Kroyers, and " Bathing Youths " (789) by Otto Sinding. Julius Exter's "Good Friday" (183) is the work of a late Romanticist, who is dif- 384 Zbc art of tbe /iDunicb (Balletics ferent from the early ones only in this, that here not only the conception and the attitudes, but also the colour, have been misused to produce idealized theatrical effects. How friendly, unpretending and modest appears against such Bengalese trickery the fascinating " Resignation " (s86a) by Adam Adolf Oberlander. A humourous, affectionate sentiment, and a rich pictorial perception are joined here. We now pass into the Rottmann room, which contains twenty-three reproductions of Greek land- scapes (675-697) which Karl Rottmann produced at the order of Ludwig I for the New Pinakothek. These twenty-three views of Greece do not belong to Rottmann' s best work. He was not strong enough to vary the monotony of the motives in these pic- tures. The schistous ground on which he painted the pictures also makes the colours hard and cold. In the details, however, we find at times, in many of these landscapes, a colour value which is interesting, and effective composition. The sun veiled in mist in his " Landscape in Aulis " (686) makes one think of the nevertheless finer Claude Lorrain, and the stronger Turner. "Aulis," " Delos " (687), and " Marathon " (684) are the most successful creations of this cycle. We now go back through the hall into the cab- inets on the left. Room fourteen contains an early but quite unimportant portrait of " Dr. Schanzen- FRANZ STUCK. SIN. Zbc IRew iptnaftotbeft 38s bach" (464a) by Lenbach, three water colours (517-519) by Ludek Marold, a draughtsman of " Fliegende Blaett'er " who died young, and a picture by Wilhelm von Diez, " The Good Old Times" (154). "Diez knows the period from Diirer and Holbein to Rubens, Rembrandt, Wou- verman, and Brouwer as thoroughly as an historian of art, and sometimes he has even drawn the eight- eenth century into the circle of his studies. His pictures had an unrivalled delicacy of tone, and could certainly hang beside their Dutch models in the Pinakothek without losing anything by such proximity " (Muther). On the south wall we notice a picture by Schwind which is similar in theme and colour to his pictures in the Schack Gallery, " In the House of the Artist" (778a), showing two ladies studying a map. We see here also the tenderly atmospheric water colour sketches for the wall paintings which Schwind produced in the Loggia of the Imperial Opera House at Vienna (778b-h). In cabinet thirteen we find the theatrical " Wom- an's Head" (705) of Samberger, and the famous " Sin " by Franz Stuck. Too deep an impression should not be expected. The theatrically composed picture gets its highest praise when we consider it as a poster. " In spite of their great variety of subject," says 386 xcbe art of tbe /iDuntcb ©allcries Muther, " one sharply defined trait runs through the pictures of Stuck — a trait as it were of the creative capacity for industrial art. Every work takes the spectator by surprise through its strange individuality of colour, which has, however, always the mark of taste, and through a skill in draughts- manship sometimes suggesting the Greeks and sometimes the Japanese. He is always captivating by his ease and dexterity in technique, and by his strong sense of decorative eflfect. But he is not to be ranked amid the artists with whom one can enter into spiritual relationship. When Rops draws a Satan, there is a lurid fire in his glimmering and uncannily watchful eyes. There is something of the serpent in them and something of Nero abstractedly gazing at the flames of burning Rome. Bume- Jones holds one in thrall by his tender melancholy ; Bocklin by the weight of spirit with which he bears one along with sovereign power as he runs through the entire gamut from wayward humour to the pitch where terror is wedded to grandeur. The har- monies of P'uvis de Chavannes whisper, melting and mysterious, like exquisite music heard in the dusk. In the picture one is always conscious of the physical state from which it was created and which quickens the same mood of spirit in the spectator. But what is expressed in the pictures of Stuck is pure and positive pleasure in moulding and develop- Ube iRew iptnaftotbeft 387 ing forms. If Bocklin's beings are full of life and the force of nature, Stuck's are decorative and antiquarian. If Gustave Mareau's mysticism is spiritualized and rich in thought, Stuck's works are mythological representations which do not go beyond ornamental effect. A Bavarian, full of strength and marrow, he will have nothing to do with the sorrows and sufferings which impel the men of aristocratic temperament amongst the mod- erns to become productive; he bounds into the weary present age like a Centaur." How fine, airy, spacious, in short pictorial, is the little water c'olour (97) of Giovanni Boldini; of weighty size and harmonious colour is the " Land- scape in Stormy Mood " (800a) by Adolf Stabl. From the opposite wall greets us one of the pearls of the Pinakothek, the bust portrait of an old bald- headed Jew by Adolf Menzel, painted in 1855, the best period of the master, the year when he journeyed to Paris. The conception recalls Rubens ; Constable appears in the colour scheme. Like all great and genuine art, this picture is simple, smooth and unpretending, and just for this reason shines forth brilliantly. " In 1867, in the year of the World Exhibition, he came to Paris and became acquainted with Meis- sonier and Stevens," says Muther. " With Meis- sonier in particular — whose portrait he painted — 388 Ube art ot tbe /iDunicb (Balleries he entered into close friendship, and it was curious afterwards to see the two together at exhibitions — the little figure of Menzel with his gigantic bald forehead and the little figure of Meissonier with his gigantic beard, a Cyclops and a Gnome, two kings in the realm of Liliput, of whom one was un- able to speak a word of German, and the other un- able to speak a word of French, although they had need merely of a look, a shrug, or a movement of the hand to understand each other entirely. He also came into the society of Courbet, who had just made the famous separate exhibition of his works, at the Cafe Lamartine, in the company of Heilbuth, Meyerhiem, Knaus and others. Here in Paris he produced his first pictures of popular contemporary life, and if as an historical painter he had already been a leader in those battles against theatrical art, he became a pioneer in these works also. Every- where he let in air and made free movement possible for his comrades in the rear. In the course of years he painted and drew everything which excited in him artistic impulse upon any ground whatever, and not one of these endeavours was work thrown away. A universal genius amongst the painters of real life, he combined all the qualities of which other men of excellent talent merely possessed fragments separ- ately apportioned amongst them: the sharpest eye for every detail of form, the most penetrative dis- Zbe mew iPinaftotbeFs 389 crimination for the life of the spirit, and at times a glistening play of colour possessed by none of his German predecessors." Near by hangs an early landscape by Wilhelm Triibner, " The Herreninsel in the Chiemsee " (837), painted in 1874, in buoyant green which reminds one of Courbet. How the space is here modelled by the colour, how like hve things the sun rays dance over the sappy green. A clever little landscape " Hay Harvest in Upper Bavaria " (739) by Robert Schleich, is characteristic of the tasteful but meagre talent of this last of the Schleichs. " St. George" (154), by Wilhelm von Diez, shows the ebb of a strong talent, which about 1850 moved in the same hopeful parts as Menzel. " Loneliness " (833), by Hans Thoma, can only be estimated as a study of the nude or a sketch for a chromo. By the group of tasteful, but soft Scottish painters, Monti- celli's weary grandchildren, the Pinakothek pos- sesses only too many examples. Two hang here, "A Scottish Fishing Village" (iSoa) by Eugene Dekkert and Henry Morley's " Cow in the Meadow" (SSpa). The south wall of the twelfth cabinet contains Johann Eduard von Steinle's " Parseval " (806) a series of four water colours surrounding a larger middle picture in which is represented the Castle of the Grail, surrounded by angels and clouds, one 390 Ube Hrt ot tbe /iDunlcb ©allerfes of the loveliest and most finely conceived creations of the artist. From the east wall sounds a stronger note, the " Portrait of Baron von Perfall " (456) by Wilhelm Leibl (dated 1877), a genially dashed off study which ranks as a peer of the greatest crea- tions of all previous epochs. The dark clothing is modelled on an almost black ground, the black is repeated in the grey of the hair and the beard, whose yellow shadows make the transition to the reddish brown colours of the face. In the arm of the chair this colour is repeated in a still deeper tone and disappears in the cushion and the chair. It is a pity that Germany failed soon enough to appreciate the merits of Leibl, one of her great masters. England and America early appreciated this great follower of Courbet and his best works are to be found far from his home. His pictures are the most adequate fulfilment of the colour ideals of the Munich school and he is the most typical painter of the seventies. Opposite hangs the " Studio Scene " (838) of Wilhelm Triibner, who has here combined Franz Hals and Velasquez to a higher unity. The coffee brown clothing develops out of a grey blue ground ; on one side is the face of a lady with grey shadows shot with red, and on the other side the brown, blue-upholstered seat with a man in black. How agreeable is this voluptuous, honourable, natural painting which develops a log- XEbe flew ipinaftotbefe 391 ical series of colour relations in the simplest way, compared with the sprawling portraits (706, 706a, 706b) of Bamberger, or with the stylistic landscapes swimming in blue or red of Benno Becker (73) Paul Hetze (325) and Adolf Hengeler (29). Fresh, natural and powerful is the expressive and harmoniously coloured " Evening Landscape " (799) with a low horizon, by Toni Stadler, who used cleverly and skilfully the manifold suggestions which the men of Fontainebleau offered to the world. An honest feeling for nature and accom- plished ability shows also in the " Amper Land- scape " (277) of the Dachau painter Hans von Hayeck, and a glowing fantasy and amusing man- ner in " St. George " (iS2a) by the inventive Julius von Diez. Count Leopold Kalckreuth's " Rainbow Landscape" (363), of 1896, falls out of the ranks of the other mediocre bits by its smooth, honest, effort. We find here some Scotch pictures, " Spring Music" (707a) by George Sauter and "Idyll" (875) by Edward Walton. On the south wall of the eleventh cabinet hangs a hunting scene (3S2a) by Angelo Jank, excellent in its motion. The red of the hunting costumes con- trasts finely with the dirty colours; near by the "Three Bedouins on Horseback" (814a) by Otto Faber du Faur is also earthy and dirty in the colours. In " The Judgment of Paris " (396a) by Albert 392 Zbc art ot tbe /B>unicb Galleries von Keller the separate groups of models show too clearly, but in colour the picture is constructed with a painter's instinct. The light, tender " Spring Symphony " (257b) by Nicolaus Gysis is a concep- tion full of feeling. Here again are two Scotch works, " The Mill " (898a) by Alfred Withers and " Girl before a Mirror " (660a) by Alexander Roches, a weary heir of Reynolds. In a similar direction, but with a fortunate German stroke, moved Wilhelm Volz (860a) in his " Entombment of Christ." Near by, by Hugo von Habermann, is a curious female portrait (261b) in grey blue gown with blond hair and a black veil around neck and bust. Opposite on the wall shines forth bril- liantly a little study " Dogs on the Moor " (919a) by Heinrich Ziigel, honestly seen, painted with wide' brush strokes, powerfully pulled together to a rich- toned close harmony of colour. Ziigel has brought up a large school of younger animal painters who for the most part, with no personal note, appear as weak imitators of their master. A remarkable phe- nomenon is Karl Haider, completely captured by the romantic spirit; in his painting, however, he often strives with childish efforts" after a perfectly smooth realism. This naturally causes an opposition in his pictures and yet one cannot fail to find the charac- teristic charm of feeling in these works, which at times touch the atmospheric magic of Chintreuil's Ube mew ipinaftotbeft 393 pictures without being congruent with him; for Haider's technique is flat, sharp and thin brushed. "Evening Landscape" (265) does not belong among his best works. Cabinet ten contains two pictorially composed and harmoniously coloured landscapes by Alois Hanisch (262a) and Otto Reiniger (644a). Over a door is a beautiful spring landscape (958a) by Karl Adam Dornberger and two Scotch landscapes by James Hamilton (267a) and John Campbell Mitchell (5S2a) ; further on we find " A Twilight Motive " (893a) by Ludwig Wilroider and finally once more a picture of the first rank, the " Portrait of the Painter Schuch " (332) by Rudolph Hirth du Frenes, a monumental and grandly composed portrait. Also the early picture " His Excellency Travelling" (153) by Wilhelm von Diez (dated 1874) stands out with emphatic qualities. Wilhelm von Diez is a phenomenon parallel to Menzel, equipped with the most brilliant talent, with a sharp eye for drawing as also for pictorial value, and in addition a strong temperament and a sure hand. Of this, this early work of the master is proof enough, with its close colour alternation and its loose broad manner of painting. In his later years, Wilhelm von Diez created less pictorially, but more in an illustrative and decorative manner. The portrait of Kaiser Wilhelm I by Franz von Lenbach may be 394 XTbe Brt or tbe /iDuntcD <3alletied placed at the end of the good period of the master. We now go back through these cabinets, cross the fifth hall and reach the south rooms. The first or rather fifth room contains on the west wall portraits by Franz von Lenbach, none of which reaches the strength of Leibl's portraits. " The Daughter of Herodias " (461) is done in that muddy colour scheme and that weary and careless routine, which in the artist's later period became ever more charac- teristic. Stronger and more earnest are the " Por- trait of Prince Bismarck" (459), (1874) and "Pope Leo XIII " (457), (1885). In these two portraits, Lenbach has not worked with cheap effect, but has earnestly and skilfully entered into the per- sonality of the sitter and translated the actual colour of the person into a pictorial whole, while he has also modelled the forms with the brush. Compared with the well-known " Portrait of a Pope " by Raphael in Rome, Lenbach's creation is naturally consider- ably weaker. Compare this with the most famous papal portraits, those of Julius II and Leo X by Raphael, and Innocent X by Velasquez. Raphael is better in design, Velasquez warmer in colour. Both have, far better than Lenbach, shown that they were painting a pope. Lenbach has painted the old man* weary, calm and perfectly sure of himself, whose piercing eyes and fine srnile give a youthful air to LENBACH PORTRAIT OF PRINCE BISMARCK XCfte Bew ipinaftotbeft 39s his emaciated countenance. Lenbach is deeper, more penetrating; his pope is not only the pope, but the man full of ambition, of dreams, of the joy of tri- umph over Bismarck in the Kulturkampf. We see here how Lenbach had already appropri- ated the compositions of the old masters of the Renaissance as decorative poses, in which he later became still more careless and superficial. Unfor- tunately the Pinakothek possesses no picture of the master from his much more important early period, but on the, contrary two still later portraits " Her- man Lingg" (463), (1896) and "Prince Regent Luj^old" (458), 1897). Says Muther of Lenbach : " The public has accus- tomed itself to think of him only as a painter of likenesses, and he is justly honoured as the greatest German portraitist of the century. But posterity may one day regard it as a special favour of the gods that Lenbach should have been born at the right time, and that his progress to maturity fell in the greates epoch of the century. His gallery of portraits has been called an epic in paint upon the heroes of our age. The greatest historical figures of the century have sat to him, the greatest con- querors and masters in the kingdom of science and art. Nevertheless this gallery would be worthless to posterity if Lenbach had not had at his disposal one quality possessed by none of his immediate pred- 396 Zbc Htt Of tbe /iDuntcD Galleries ecessors, a sacred respect for nature. At a time when rosy tints, suave smiles, and idealized drawing were the requirements necessary in every likeness, at a time when Winterhalter painted great men, not as they were, but as, in his opinion, they ought to have been — without reflecting that God Almighty knows best what heads are appropriate for great men — Lenbach appeared with his brusque veracity of portraiture. That alone was an achievement in which only a man of original temperament could have succeeded. If a portrait-painter is to prevail with society a peculiar combination of faculties is necessary, apart from his individual capacity foflart. Lenbach had not only an eye and a hand, but like- wise elbows and a tongue which placed him hors concours. He could be as rude as he was amiable, and as deferential as he was proud; half boor and half courtier, at once a great artist and an accom- plished faiseur, he succeeded in doing a thing which has brought thousands to ruin — he succeeded in forcing upon society his own taste, and setting genu- ine human beings of strong character in the place of the smiling automatons of fashionable painters. In comparison with the works of earlier portrait- painters, it might be said that a touch of pantheism and nature-worship goes through Lenbach's pic- tures. And what makes this so invaluable is that his Ube "Wew pinahotbeft 397 greatness depends really less upon artistic qualities than upon his being a highly gifted man who under- stands the spirit of others. It is not merely artistic technique that is essential in a portrait, but before everything a psychical grasp of the subject. No artist, says Lessing, is able to interpret a power more highly spiritual than that which he possesses himself. And this is precisely the weak side in so many portrait-painters, since a man's art is by no means always in any direct relationship with the development of his spiritual powers. In this respect a portrait of Bismarck by Lenbach stands to one by Anton von Werner, as an interpretation of Goethe by Heln stands to one by Diintzer. To speak of the congenial conception in Lenbach's pic- tures of Bismarck is a safe phrase. There will al- ways remain something wanting, but since Len- bach's works are in existence, one knows, at any rate, that this something can be reduced to a far lower measure than it has been by the other Bis- marck portraits. " Bien comprendre son homme," says Burger-Thore, " est la premiere qualite du portraitiste," and this faculty of the gifted psychol- ogist has made Lenbach the historian-elect of a great period, the active recorder of a mighty era. It even makes him seem greater than most foreign portrait-painters. How solid, but at the same time how matter-of-fact, does Bonnat seem by Lenbach's 398 Ube Hrt of tbe ^unicb Galleries side! One should not look at a dozen Bonnats to- gether; a single one arrests attention by the plastic treatment of the person, but if you see several at the same time all the figures have this same plastic character, all of them have the same pose, and they all seem to have employed the same tailor. Len- bach has no need of all that characteriza,tion by means of accessories in which Bonnat delights. He only paints the eyes with thoroughness, and, possi- bly, the head; but these he renders with a psycho- logical absorption which is only to be found amongst living artists, perhaps, in Watts. In a head by Len- bach there glows a pair of eyes which burn them- selves into you. The countenance, which is the first zone around them, is more or less — generally less — amplified; the second zone, the dress and hands, is either still less amplified or scarcely ampli- fied at all. The portrait is then harmonized in a neutral tone which renders the lack of finish less obvious. In this sketchy treatment and in his strik- ing subjectivity Lenbach is the very opposite of the old masters. Holbein, and even Rubens — who otherwise sets upon everything the stamp of his own personality — characterized their figures by a rever- ent imitation of every trait given in nature. They produced, as it were, real documents, and left it to the spectator to interpret them in his own way. Lenbach, less objective, and surrendering himself Ube mew pinakotbeft 399 less absolutely to his subject, emphasizes one point, disregards another, and in this way conjures up the spirit by his faces, just as he sees it. It may be open to dispute which kind of portraiture is the more desirable, but Lenbach, at any rate, has now forced the world to behold its great men through his eyes. He has given them the form in which they will sur- vive. No one has the same secret of seizing a fleet- ing moment; no one turned more decisively away from every attempt at idealizing glorification, or at watering down an individual to a type. He consults photography, but only as Moliere consulted his housekeeper. It serves him merely as a medium for arriving at the startling directness, the impres- sion of momentary life, in his pictures. Works like the portraits of King Ludwig I, Gladstone, Min- ghetti. Bishop Strossmayr, Prince Lichtenstein, Richard Wagner, Franz Liszt, Paul Heyse, Wil- helm Busch, Schwind, Semper, Liphart, Morelli, and many others have nothing like them as analyses of the character of complex personalities. Some of his Bismarck portraits, as well as his last pictures of the old Emperor Wilhelm, will always stand amongst the greatest achievements of the century in portraiture. In the one portrait is indestructible power, as it were the shrine built for itself by the mightiest spirit of the century; in the other the majesty of the old man, already half alienated from 400 Ube Hrt of tbe /rounicb ©allertes the earth, and glorified by a trace of still melancholy, as by the last radiance of the evening sun. In these works Lenbach appears as a wizard calling up spirits, an evocateur d'ames, as a French critic has named him. " Orpheus and Eurydice " by Ludwig von Loefftz has an empty effect because of its great size; his good knowledge of drawing cannot conquer the in- sufficient pictorial conception and the weak imitation of the English Pre-Raphaelites. Rudolph Schramm is one of the most gifted scholars of Ziigel. His " Turkeys " (762) shows a personal conception and a sound painter-like reproduction. Albert von Keller's " Chopin " is unenjoyable because of its varnished porcelain-like general tone, but has, how- ever, in spite of this, like all pictures of this artist, strong pictorial qualities. Joseph Eduard Dantan's "Potter's Shop" (146) is a close harmony devel- oped in muddy yellow tones. On the same wall we see a strong landscape (515) by the Dutch Jacob Maris and an " Impression of the Moor of Dachau " (398) by Paul Wilhelm Keller-Reutlingen, over the door a "March Landscape" (720) by Emil Jacob Schindler and near by a powerful sketch (800b) by Adolf Stabl. Anselm Feuerbach's " Self Portrait " (189), dated 1875, can also by its close unity be regarded as typical. From the lilac brown of the background is developed the reddish brown of the Ube IRew ipinaftotbeft 401 coat, which is repeated with airy lightness in the face and in a new variation in the hair and mous- tache. Among the Anglo-Saxon pictures of the gallery, William Stott's "Carpenter's Workshop" (822) stands out through energy and power. By the founder of the new Dachau school of painting, Lud- wig Dill, we find a picture, " Ponte S. Andrea in Chioggia" (155). The two works of Wilhelm Uhde have grown out of a world of strong sensa- tion, which is earnestly and powerfully expressed in them, but in colour they have no strength. The colour problem is best solved in the picture " Heavy Going" (840), in which a carpenter leads a young woman to a bench on a muddy road under Novem- ber skies. In "Noli me tangere " (841) the wist- ful pleading and modest expression in the woman's features is very successfully done. The modern public gallery of the first German art city has the reputation of giving in important works, as far as possible, an exhaustive impression of the artistic tendency of our age, therefore we may make the highest demands on these pictures and may measure them with the sharpest measure. But we have already shown in the introduction that the New Pinakothek in no respect fulfils this repu- tation. It has not been carried on in the spirit of its noble founder, and in its present composition is 402 Ube art ot tbe /iDunicb (Balleries like a picture shop which tells nothing of the history of art development, but can only instruct through comfortable mediocrity. Artists of merit, of power, artists with an ethical feeling, artists to whom art is holy earnest, have always had a difficult position in Munich. The landscapes which hang on the east and north walls of the second hall in no respect fulfil the high- est requirements. They have no importance in his- torical development because in them the conquests of the pioneers and leaders of modern art are again made common. If we leave this point of view out of consideration, then one may indeed enjoy many a frivolous and pretty effect. Thus with Francois Courten's " Hyacinth Field " (141) ; Macaulay Ste- venson's " Evening " (807) ; Anders Anderson- Lundby's "Clear Winter Day" (39); Robert Thegerstrom's " Summer Evening " (830) ; Hans von Bartels' " Full Speed Ahead " (49) (Gouache) ; Olaf Jernberg's "In the Fields" (355); Julius Kornbeck's " Woodbrook in Late Autumn " (424) ; Paul Jean Clay's "Open Sea" (137); John La- very's " A Tennis Court " (453) ; Henry Leyten's "Mending Nets" (507); T. Austen Brown's " Evening " (112) ; Emile Rene Menard's " Thun- derstorm " (543); Otto Modersohn's "Storm on the Devil's Moor" (553). Giovanni Segantini, however, stands higher. He was a powerful and Ube "Wew pinaftotbeh 403 original representer of the Alpine world. The pic- ture " Plowing" (781) gives an idea of his man- ner ; in the perspective of the background, however, he has failed. " Segantini's biography is like a novel," says Muther. " Born the child of poor parents, in Arco, in 1858, he was left, after the death of his parents, to the care of a relative in Milan, with whom he passed a most unhappy time. He then wanted to make his fortune in France, and set out upon foot; but he did not get very far, and, indeed, took a situ- ation as a swine-herd beneath a land-steward. After this he lived for a whole year alone in the wild mountains, worked in the field, the stable, the barn. Then came the well-known discovery, which one could not believe were it not to be read in Gubernati. One day he drew the finest of his pigs with a piece of charcoal upon a mass of rock. The peasants ran in a crowd and took the block of stone, together with the young Giotto, in triumph to the village. He was given assistance, visited the School of Art in Milan, and now paints the things he did in his youth. A thousand metres above the sea, in a secluded village of the Alps, Val d'Albolq in Switzerland, amid the grand and lofty mountains, he settled down, sur- rounded only by the peasants who extort their live- lihood from the soil. Out of touch with the world of artists the whole year round, observing great 404 Ubc Uvt ot tbe /Dunicb (3allettes nature at every season and every hour of the day, fresh and straightforward in character, he is one of those natures of the type of Millet, in whom heart and hand, man and artist, are one and the same thing. His shepherd and peasant scenes from the valleys of the high Alps, are free from all flavour of genre. The life of these poor and humble beings passes without contrasts and passions, being spent altogether in work, which fills the long course of the day in monotonous regularity. The sky sparkles with a sharp brilliancy. The spiky yellow and ten- der green of the fields forces its way modestly from the rocky ground. In front is something like a hedge where a cow is grazing, or there is a shep- herdess giving pasture to her sheep. Something majestic there is in this cold nature, where the sun- shine is so sharp, the air so thin. And the primitive, it might almost be said antique, execution of these pictures is in accord with the primitive simplicity of the subjects. In fact Segantini's pictures, with their cold silvery colours, and their contours so sharp in outlines, standing out hard against the rarefied air, make an impression like encaustic paintings in wax, or mosaics. They have nothing alluring or pleasing, and there is, perhaps, even a touch of mannerism in this mosaic painting; but they are nevertheless ex- ceedingly true, rugged, austere, and yet sunny, and as soon as one has seen them one begins to admire Ube IRew iPinaftotbeft 405 an artist who pursues untrodden paths alone. There is something Northern and virginal, some- thing earnest and grandiose, which stands in strange contrast with the joyful, conventional smile which is otherwise spread over the countenance of Italian paintings." Anton Mauve represents the later Dutch land- scape school, which worked in the footsteps of the men of Fontainebleau, as his picture " Cows in the Meadow " (526) shows. The Munich painter Lud- wig Wilroider followed the Schleichs, whose man- ner he has further advanced with taste and power of feeling. Here hangs also the most vigorous and important picture of Adolf Stabl : his " Flood- time " (800) can be set beside the best works of Dupre and Rousseau. What a mighty feeling in the whole, and how measuredly are the single col- ours brought together in changing relation. Josef Israels offers also second-hand art, a mixture of Rembrandt and Millet, which affects one, however, as here in " Granny's Comfort " (349) convinc- ingly, earnestly and strongly. Ludwig Herterich's " Summer Evening " (296) is characteristic of the superficial colour perception of a certain Munich movement, to which one need only oppose Hugo von Habermann's "Monk" (261), a work of magnifi- cent power and sound perception, in order to recog- nize its wrongly directed perversion. A strong. 4o6 Ube Hrt of tbe /iDunicb ©allertes manly faculty was also formerly Gabriel Max ; this is shown by his "Katharine Emmerich" (527) in white clothing in bed. A fine perception for colour speaks out of this picture, which is wholly founded on white ; from this is developed the pale colour of the face and hands. Even the candle flame appears pale and sick; it is set in relation to the whole, and does not stand out. Another beautiful work with fine colour values hangs here, " Portrait of the Wife of the Artist " (396) by Albert von Keller; finally a picture of the womanly-soft symbolist Fernand Khnopff, "I Lock My Door Upon Myself" (400). The third hall contains only two pictures which have any importance for art history, and that of the slightest ; Gotthardt Kuehl's " Sunny Afternoon in Holland " (431), a bit of the world surely seen and a complete colour unity, and Ernst Zimmer- mann's earnest and largely perceived " The Shep- herd's Prayer " (911), wholly constructed in Rem- brandt's spirit. If we stay longer we may perhaps consider interesting the poster-like portrait (113) by T. Austen Brown, Franz von Defregger's " The Visit" (148), interesting only for its story, "The Nut Tree " (595) by Leon Germain Pelouse, " No- vember Day on the North Sea" (546) by Henrik Willem Mesdag, the founder of the famous Mesdag Museum in the Hague; "The Corpse of Christ" GABRIEL MAX. KATHARINE EMMERICH. Ube mew iPtnaftotbeFs 407 (478) by Ludwig von Loefftz. " Sintflut " (892), an early work of Wilroider's, is unimportant. In the fourth hall we find a picture ( 170) by Max Liebermann, " An Old Woman with Goats " (1890), of grand arrangement in the space division and the changing relation of colours ; a monumental movement goes through the simple and well Organ- ized speech of this art. Max Slevogt is a pupil of Wilhelm von Diez, to whom he certainly owes thanks for the surety of his drawing. The colour perception, the study of light and air reminds one of Claude Monet ; but the laying on of the colours and the whole conception show plainly a strong, precise personality. In Slevogt's " Hour of Rest " (790a) the colours do not stand side by side without choice and thought, but are developed out of nature her- self, and so set in relation to each other that they make a close unit. There are also power and vigour in the way in which Slevogt modelled with his col- our. The picture, though hung so undeservedly high puts to shame its whole surroundings. Ziigel alone stands out in the neighbourhood. " The Shep- herd " (919) is a grandiose picture which appears to be created from a pantheistic conception of the world. The animals appear as if grown to unity with the earth, which is moulded with a powerful hand. Viktor Weishaupt's animal picture (877) is little behind it in strength and the "Cockfight" 4o8 Ube Hrt ot tbe /iDunicb ©ariertes (559b) by the Scotchman Henry Morley surprises us by unusual power. Josef Wenglein's powerful " Isarlandscape " (888) resembles the work of the Schleichs. Less important are the landscapes of Georg Flad (215), Franz Skarbina (790), Ludwig von Loefftz (479),Gustav Schonleber (757) ; rather imposing is the marine (533) of Adrien le Mayens. Hans Thoma in his ravishing " Taunus Landscape " (832) uses a motive of Schwind. Walter Firle's "Pater Noster " triptych (192) has only story- telling interest; " The Storming of the Red Tower in Munich by the Highland Peasants" (147) by Franz von Defregger, only archaeological interest. Adolf Menzel's wash drawing, " A Contribution," (544) is naturally drawn with a master's hand, but is so unlike an easel painting, that it would find a better place in a collection of line engravings. An honest and naturalistic study by Adolf Holzel, " Prayer at Home," is still impressive, because it is a serious attempt to round out the actual visual im- pression into a tonal harmony which forms a close unit of colour. Edmund Harburger's " Wineshop " (269) betrays a fine colour vision and recalls in the best sense the old Dutch painters; also Gari Mel- chers' " Reading Girl " (540) appears complete and restful in its colour scheme. In the fifth and last hall there await us several joyful surprises ; above all Wilhelm Leibl, four of Ube laew IMnaftotbeh 409 whose works are here. Of these the portrait of Jean Paul Seliger (456b) is the oldest (1878). It is very flatly constructed, and depends for its value on its drawing. The pale face with a full beard stands out so strongly from the dark background, that the picture appears almost like a bas relief. While this portrait illustrates Leibl's relations to Holbein, the other three pictures show how the painter fused Holbein and Van der Meer to a higher originality. These paintings could be hung beside the greatest masterpieces of all times, and would not appear weak. How far they surpass all that Lenbach has ever painted in his life ! The general movement in Lenbach's art, with which appears to be paired an immoral straining after rapidity and easy effect, was quite foreign to Leibl's high moral earnestness. The effect was often far too easy and at last Len- bach obtained only a decorative, but cheap theatrical effect. The highest moral earnestness was the main- spring in the movement of genial Wilhelm Leibl; he never turned aside in the midst of his path, he never rested until the problem which he had attacked was completely and thoroughly comprehended and solved. While we are considering and comparing pictures, it is exactly between the works of Lenbach and Leibl that we learn how to grasp in the works of the latter the purest and highest essence of paint- ing. How hardness and tenderness are joined in 410 Ube Htt ot tbe /Dunicb Oallerfes these three little pictures ! How powerfully he has modelled with his colour, and made space out of paint. The changing relations of the colours to each other are balanced with an eye seeing only a single sensation. Lenbach's colours are only deco- rative values, Leibl's colours are the expression of an inward feeling of the soul. In the picture " In a Small Town " (454), the sunlight models the forms. His whole repertory is disclosed in " The Peasant's Room " (455), the sharp drawing, the glowing joy of colour, and the true colour perception ; the same is true of the little study (4563) dating from the year before his death, 1899. All the rest naturally appears second-class compared with these. So with Defregger's dry " A War Council of 1809 " (149) with its earthy heavy colour; Benjamin Vautier's pleasantly constructed "A Formal Dinner in the Country" (844) which is nevertheless composed with pictorial skill; Friedrich August von Kaul- bach's stencil-like dry imit.ations of the English por- traitists (368a, b, c) ; Jean Louis Ernest Meisso- nier's " The Bravos " (538). Gabriel Max's " The Ape as a Judge of Art " (528), in spite of his good painting, is only a cheap joke, for the humour is far too strongly emphasized. We notice some good landscapes by James Hamilton (267b), Henri Thie- rot (830a) and August Seidel (782), a painter whose great importance in history of the develop- Ube IRew iPinaftotbeft 411 ment of landscape painting cannot be clearly read in this picture hung far too high. — Michael Mun- kacsy is the link between Leibl, Uhde, and Keller; also English influences coming from Stevens appear in his work. He is at his best in portraiture. His " Visit to the Nunnery " (469) shows the sure draughtsman, the painter of iridescent colour, but is in one direction too sweet and in the other gaudy and disconnected. Hugo von Habermann's beauti- ful portrait of his mother (261a) is magnificently placed in the space, and constructed with unity of colour, as well as a melting fluidity in brush work. " May in Valencia " (75) by Jose Benliure y Gil is painted with the consumption of much canvas and colour, but still does not really have colouristic value. In the battle scene "Croats" (iS4b) by Wilhelm von Diez appears once more the vehement tempera- ment of the artist and his sure drawing, but the muddy impure rendition appears far too artificial. Two little works (912a, b) by Ernst Zimmermann, who belonged to the Leibl group, do not show clearly enough the importance of this painter. The fortu- nate " Warrior " who in dying receives a kiss of a maiden (876), by George Frederick Watts, one of the English Pre-Raphaelites, only allows one to su- perficially guess at the intentions and aims of this artist. There remains only Arnold Bocklin's " The Play of the Waves " (91), a work which this great 412 Ube art of tbe /Dunicb (Balleries hero of fantasy threw on the canvas in seventeen days, a lordly masterpiece whose power of invention, whose clear and lively construction makes us dumb. Bocklin knew intimately the world of nature, and from this rich inner knowledge he created these fan- tastic fabulous beings in which the elements are so worthily personified. He sees the seagod and the nixie joyfully tumble in the play of the waves, and on the crests of the billows a centaur puffs after them. The glistening black, blue and green sea water is gorgeously painted, and the fish-tails shine and glitter in the swelling breakers. This floridly voluptuous work was created by a German fancy and genial German power. CHAPTER IX THE SCHACK GALLERY The most important picture collector of Munich during the last century was Count Adolf Friedrich von Schack, who left an imperishable record of his artistic knowledge and passion for collecting. The Schack Gallery, which was brought together during the sixties and seventies of the nineteenth century, is the most important private gallery of German paintings of that period. Count Schack bequeathed his whole collection of paintings to the German Emperor, who, when he learned this fact, deter- mined that the gallery should remain in Munich. Since Schack's death in 1894 the gallery has been hung in his palace in the Briennerstrasse, which was rearranged for the purpose. A new building for the gallery in the Prinz Regeiltenstrasse opposite the Bavarian National Museum was opened late in 1909. Count Schack was not understood by his contem- poraries, who looked with little favour on his liter- ary efforts and artistic aspirations. This is shown by his own bitter wards, written shortly before his death : " When I think of the icy coldness and deadly 413 414 Ube art of tbe ^unicb ©alleries indifference which the whole German nation has always shown toward my poetic and literary works, and even now continues to show as I approach the evening of life, deep disheartenment often comes to me, and I cannot repress the wish that I had been born in England or Italy, in France or Spain. I know these countries well enough to know that I would never have met there the lack of interest which has fallen to me in the ' land of poets and thinkers.' As far as it is possible for me to find comfort, it lies, besides the hope I have of the appre- ciation of posterity, in the knowledge that I have no part in the guilt of the German people against some others of our time, but rather that I have laboured to make up for the wrong done to them according to my weak powers. If I have succeeded in taking away from only one of these the curse of misconception, under which Germany has allowed so many of her best sons to languish, I shall be able to say to myself in my latest hours, that I have not lived in vain. " Leaving aside the fact that the praise of the day has never blinded me, it appeared to me better worth while to discover young talent or even to give occupation to that which, lacking the favour of the great public, lay fallow. I thought that in this way my gallery would acquire a personal character, while otherwise it would have shown only pictures by in)e Scbacft (Bailers 41s painters from whose brush one would everywhere see work." In visiting the gallery let us pass through the small Schwind room, climb the stairs, and stop first in the hall of the Lenbach copies. What a sur- rounding! Velasquez, Rubens, Murillo, Giorgione, Titian greet us from the walls. The copies are wonderful and give as much of the originals as a copy possibly can. To the ordinary observer, the three great works of Titian, " Heavenly and Earthly Love" (248), "The Resting Venus" (253), and the famous " Equestrian Portrait of Charles V " (260), form a welcome addition to the pictures by Titian in the Old Pinakothek. The portrait of "Philip VI" (266), by Velasquez, allows one to form a conception of his art. The copy by Lenbach is very true, but the copy by Hans von Marees of the " Equestrian Portrait of Philip IV " (267) ap- pears more full of spirit. Lenbach completely sub- merged himself in the old masters, while Marees always retained his own personality and appears more as a spirited interpreter. Marees has thought out the light and colour problem of Velasquez in a more personal fashion, and like him has apparently lightly breathed the colours on the canvas. The other copies of old masters by Ernst von Liphard, D. Penther, Carl Schwarzer, and August Wolf, which hang in the last hall, and in the ground floor 4i6 trbe Hrt of tbe /iDunicb ©allertes rooms, whose lighting is impossible for any consid- eration of pictures (formerly the library of Count Schack), by no means stand on the same level. Nevertheless for the friend of art the copies (201- 207) of the ceiling paintings by Michelangelo in the Sistine Chapel may serve as welcome preparation for the consideration of the originals in Rome, and many other copies may freshen old remembrances. The recollection of the delightful hours of deepest enjoyment before the originals helps one to forget the insufficiency of the copies, and the eye fills itself once more before the works of these unrestrained temperaments, these flourishing productivities of noble strength and liveliest power. Then one tears himself suddenly away, because the insufficiency of the copies is visible in some detail, or because time presses, and devotes himself to the consideration of the modern masters in the Schack Gallery. The soul is in vibration, the heart still glows riot- ously from the enjoyment of ancient beauty and the eye seeks to feast itself anew on evidences of power and strength. The art lover scans the walls, hastens restlessly from picture to picture ; his exalted mood sinks more and more, is wholly lost, for his eyes find nothing which can again give wings to his beauty- intoxicated soul, and when he is thus sobered he suddenly recognizes the distance between them, Genelli, Hess, Bode, whatever their names may be, XLbt Scbacfi (^aliens 417 and Titian, Velasquez and Rubens. In no gallery of the world is the possibility of recognizing and measuring this distance so easy. The man who cannot recognize this enormous disparity shows that he is not capable of a serious enjoyment of art. He who can enthusiastically hold the exhilaration which the great old masters cause us before these lesser younger ones, proves thereby his incapacity to enjoy visual art and to distinguish between its quali- ties. There are even to-day German enthusiasts who place Peter von Cornelius, Michelangelo and Raphael on the same level. Let one consider his " Flight Into Egypt" (30). Cornelius belongs in the ranks of those periodically occurring painters who look backward to the old conventions of religious art, and imitate already ex- isting forms with impersonal ability, that is, with- out any personal and creative contemplation of nature. The German Romanticists of the first half of the nineteenth century had turned their gaze backwards ; in a gilded transformation they saw the past as the golden age and wished to restore this land of dreams to the present. The painters raved with them over these vague and misty dreams ; from this fanciful conceit arose a painting which pro- ceeded from dream visions, but not from the obser- vation of the eye. The fulness of inner vision was to them the measure of the importance of a painter ; 4i8 Ube Brt of tbe ^unicb Galleries not strong observation of nature, and not spirited and worthy technique. Such an art, however, sinks with the individual into ashes; for these most per- sonal, most fantastic fantasies have no relation to the culture of the present, they melt when the breath of time is breathed upon them. What can the mythological paintings of Buona Ventura Vennelli say to us to-day ? If one could not read the explana- tions of these pictures in the catalogue, he would stand dumb before them. They would weary him. The pale, bare colours have no tones. Here and there the eye is pleased by the flow of curves, and the liquid energy of the lines, as possibly in the pic- ture "Abraham and the Angels" (51). But this is all too little to enjoy on this great canvas. The intentions are great and praiseworthy; yet he who so misconceived the significance and merit of touch technique is no painter, could create nothing to be enjoyed by the eye. How near to the heart of Vennelli lay the intellectual comprehension of his pictures is told us by the endless explanations of his pictures, written by him. Opposite on the wall hangs a historical picture by Carl von Piloty : " Co- lumbus at the Moment When he First Perceived the New World " (103). The very title of this picture tells us that this also is created from a dream vision, from a literary and historical thought. The pose and gesture of Columbus, the theatrical ideality of JLbc Scbacli Galleris 419 the whole work strengthen this assumption. There is at least colour in the picture, but even in the colour a pathetic fantasy; even it seems theatrical and brutal and wholly lacks harmony. The Classi- cists and Romanticists turned away from all con- temporary life, sought to be familiar with all ages, and took root nowhere. The great gestures of their predecessors were turned to an empty theatrical pathos by their spiritless imitations. We see this in Piloty, but he did not stand alone. Hermann Wislicenus painted an allegory, " Fancy Borne by Dreams" (i8o), Albert Zimmermann the Brocken scene from Goethe's Faust (185), Friedrich Prel- ler, "Scenes from the Odyssey" (104-105), Ernst von Liphart, "An Allegory of Night" (82), Wil- helm Lindenschmit, " Fisherman and N3Tnph " (81), from Goethe's well-known ballad, all pictures which are unbearable for our modern eye. In the ranks of these Romanticists belongs also Moritz von Schwind. His pictures also grew from literary, lyrical, historical, or musical thoughts and concep- tions, and only seldom from the observation of the eye, and yet to him even to-day we give our love. Why ? That Schwind assumed an exceptional posi- tion in the history of German art of the nineteenth century, as we so often read, is an empty phrase and also untrue. Even Schwind was a Romanticist, even Schwind was a mediocre painter. He had only 420 Ube Hrt of tbe /iDunicb Galleries a narrow understanding of colour values, and of the harmonizing of the colours of a picture to a symphony. To prove this go through his pictures once more. The faded wine red of the clothing, and the thin brick red of the floor in " Chapel in the Woods " (143) do not harmonize with the washed- out flesh tones. How inharmonious are the three reds and the sappy blue in " The Prisoner's Dream " (158), and the crude white, so to speak, tears apart the planned harmony. He appears most pictorial in his night impressions, where he softens all col- ours, and combines through the symphony of dark- ness, but even here his colours have no tone value. Think of a picture by Schwind between two pictures by Courbet and Corot. At the first impression it would appear that Schwind would be completely overpowered by such painters. Yet not so, the master would hold his ground because his instincts were pure and strong, because he was a pure and strong individuality. Such a comparison allows us to value the positive worth of Schwind's art, his sincerity, his veracity, his world of inner feeling, his Germanic strength of race, in short the directness of his art. He did not seek out too great gestures, and did not bestow too much pain on hollow pathos. He kept within the limits of his own world of sen- sation, exhausted all his possibilities, but never lost himself outside of it in hollow phrases. From a Zbt Scbacli bailees 421 sound instinct he chose a tenfold smaller canvas than the Qassicists and Romanticists before him. He did not wander like the others, in dreams of a for- eign and classic world, or any other epoch of antiq- uity, but seized on the folksong and thereby won his relation to contemporary life. Besides the folksong he painted the wood life, and with his Sunday eye saw elves in the shadows which stretch in the twi- light over the wood meadows; in the cool silvery moonlight as he travelled the Rhine he saw a nixie swimming in the water; as he lay by night and dreamed in the darkness of the woods, he saw a good fairy sweep softly by. These moods of nature he has embodied in his picture cycle of the Schack Gallery, and these pictures live ! The fine soft lines vibrate with the inner perception, and the colours which like early frost are softly breathed upon them, are full of atmosphere. Eugen Napoleon Neureuther (96-102) stands near him, but glides more into the decorative and illustrative. How dry appear, compared with Schwind's pictures, those of Leopold Bode (9-1 1) and Josef von Fuhrich (46-47), who, unlike Schwind, did not know that they were too weak to fill a great canvas with life. Only Johann Eduard Steinle can be compared with Schwind, although he often worked in a dry fashion. Almost unnoticed in the first half of the nine- 422 zbc Hct ot tbe /iDuntcb ©alleries teenth century a little troop of artists, still and modest, trod another path. The name of Count Schack is for all time linked with the names of Schwind, Feuerbach and Bocklin, but it must also be credited to him that he helped another circle of artists who started with romantic depictions of foreign lands, and who, through the study of land- scapes, were forced ever more and more to the observation and study of nature. Nature study taught them to see, the increasing education of the eye taught them to perceive the charm of colour and colour gradation in nature. This knowledge drove them irresistibly to a pictorial style of paint- ing. In addition it happens that many of them, especially Rottmann, met Corot in Rome. If their pictorial achievements appear insufificient to our more accustomed eyes one must not forget how much the importance and value of technique had fallen into forgetfulness in Germany at that time. The oldest landscape painter is Josef Anton Koch, who carried over the idealized line and the theatri- cal pathos of the Classicists into landscapes. His "Brick-kiln by Olevano " (67), in which pictorial effect appears to be intentionally avoided, says noth- ing to us. With Karl Rottmann on the other hand, what a transformation we perceive! Whoever knows the pictures of Corot's Roman period in the Thorny- tibe Scbaci! Gallerp 423 Thierry collection in the Louvre, will be able to recognize in Rottmann's three views of Rome his indebtedness to Corot. Emphatically Corot is the stronger, yet we perceive in these pictures, as also in the glorious " Hintersee near Berchtesgaden " (114), in the " Greek Seacoast with a Threatening Thunderstorm " ( 1 17), in " The Spring Kallirhoe " (116) and in "The Kochelsee " (113), the same pictorial conception of nature, the same striving to fix atmospheric effects, as in Corot; but he knew, like this Frenchman, the significance of atmosphere. He felt like him, that the atmosphere makes every colour soft, and pulls together the colours so divinely that they harmonize. Why have the Munich painters not chosen Rottmann for a guide? Why have they not emulated him? He opened the path which led to the highest goals. There are a few more painters represented in the Schack Gallery who tried to be artists. Their pic- tures are inadequate, but the attempt has ennobled them. We may name the Spanish views of Fritz Bamberger ( 1-7) ; " The Theatre of Taormina " (29) by Franz Catel, the Spanish pictures (54-58) by Eduard Gerhard, which appear the most im- portant among these works, the Italian pictures of Carl Morgenstem (89-91) and Bernhard Stange ( 1 70-1 71), finally the " Evening Landscape " (162) of Siegmund Sidorowicz, which is one of the most 424 tibe Hrt ot tbe /B>unicb Oalleries beautiful pictures of this group. The portraits (106-109) by Karl Rahl must also be noted here. Eduard Schleich (121-123) has no connection with these artists. He, the ancestor of the Munich land- scape painters, developed his art more from Ruis- dael, Van Gojen, and Constable. Among all these paintings hangs a single picture by Hans von Marees, "Horses Drinking" (84), which strikes dumb everything in its neighbour- hood. It is a picture by a painter. This alone should be enough to cause every visitor to the Schack Gallery to give due reverence to this great German artist. But most hasten by, for these swim- ming horses tell no story. The friend of art feels a sinking at his heart when he sees how every vis- itor passes by this picture. Let us stop! Let us wait a little until the colours of the picture begin to glow, until the figures have formed themselves in our eyes, and the space has deepened to infinite distance. We perceive how the rich harmony of colours groups itself around the strong note of the white mare, how the colours spring from secret sources, merely give life to the whites, and then we must think of Rembrandt, the great magician of light. Marees created this work in his twenty- seventh year, but even then it was passed by and forgotten, because it dispensed too much with the idealistic. Another served the Munich painters Ube Scbacft ©alien? 425 as a more enticing example : Carl Spitzweg. Verily he was a painter, but as such he does not rank as high as he does as story teller, as idyllist. Spitzweg introduced the spirit of carnival into Munich art, as we may see more clearly in his descendants. Even Spitzweg's pictures (163-168) often have far too much apparatus for his humour; technique and conception stand far too often in unbalanced in- consistency, as in the " Hermit Playing a Violin " and " Turks in a Cafe." On the other hand " The Serenade," "The Hypochondriac" and "The Separation of the Lovers " belong to the most fas- cinating creations of this comfortably humourous master. In the " Cow Girls on a Hill " we even find an approach to greatness, which would have been reached if the artist had not compressed this picture into far too small a canvas. Franz von Lenbach is represented by some land- scape studies (75-76) of Spanish scenes, which do not belong among his best works. There are purer, more honest landscape studies by him elsewhere. These are a little bit muddy. But one important piece of his early period is in the Schack Gallery: " The Shepherd Boy " (i860) (71); a beautiful bit of nature, seen through a powerful temperament, in the style of Bastien Lepage, not without inten- tional pathos, but still spiritedly and freshly at- tacked and achieved. Among the valuable por- 426 Zbc Hrt of tbe /©unicb (Ballerfes traits of his second creative period must be counted the two portraits (73, 78) of Count Schack and that (79) of the artist himself. We come now to Anselm Feuerbach and Arnold Bocklin. Anselm Feuerbach (32-42) grew up when the followers of Cornelius stood at the zenith of their fame, and their artistic theories, concep- tions, and works awakened a lively response in Germany. It is natural that the Classicists and Romanticists fundamentally influenced the whole artistic development of young Feuerbach, and in addition his father was an archaeologist. From these foundations of his artistic development, it is also comprehensible that he, unlike Leibl, who was ten years younger, did not work with direct relation to contemporary life, but, like the Classicists and Romanticists, drew his themes from a distant and buried epoch. It was the literary and historical element in his art which made him, as the last de- scendant of the Romanticists, appear so foreign to his time, which had gone far beyond this style. He belonged with the Romanticists, and yet we cannot name Feuerbach in the same breadth with them. Why? Because his historical pictures rep- resent life and are founded on life itself. They contain qualities which indeed in one respect point backwards, but in another decidedly forward. This is very evident from the fact that his pictures need Ube Scbacft (Ballerg 427 no literary explanations. His course of study gives us a guide to the understanding of his genius. He studied in Dusseldorf under Schadow, then worked three years under Couture, who won strong influ- ence over him, and then went to Italy. Paolo Vero- nese, Palma Vecchio and Paris Bordone rounded out his development. Note the Venetian influence in his pictures " The Garden of Ariosto " (32), the majestic "Portrait of a Roman Lady" (33), and "Laura and Petrarch in the Church" (39), and then reflect on his manifold relations to Couture. Perhaps Feuerbach would have been more for- tunate if he had come to Paris a decade later and found admittance to another artistic circle. He struggled, as rarely a painter has, for colour, he wrestled with technique, but heavy chains fettered him to the spiritual surroundings which in his youth had formed the foundation of his existence. He strove his whole life long to free himself fr6m them. From this battle grew the tragedy of his life. The muddy yellow, the hard green, and the dull gray- violet of his shadows do not show a fortunate col- ouristic feeling. A pure joy is offered in his art by the unity of speech, the noble rhythm of his lines, and the pure austere form. In this fact lies his greatness. What moral earnestness, what ethical consciousness speaks from each of his pictures. No cheerfulness smiles forth from them; rather a 428 zbc art of tbe /Dunicb Galleries heavy sadness, a holy earnestness radiates from them, but this sadness, this earnestness, have been Hved and endured, every line of his trembles with feeling. We must have patience before his pic- tures, such earnest holy works of art unveil them- selves slowly and speak only to a collected mind. Let one enjoy the wonderful construction of the Pieta (34), the rhythm of line in this picture, and the natural, unconstrained, and life-like flow of the drapery under which the bodies move, the fine tone values in the silken clothes of the kneeling Laura as she bends before the Altar of the Church of Avignon, the fervour and feeling for beauty in the picture of Francesca da Rimini and Paolo (35), the simple plastic figures in the " Idyll of Tivoli " (42). Let one compare these pictures with the "Columbus" (103) of Piloty; what a theatrical pathos there, and what smooth, honest, melancholy, German earnestness in Feuerbach. Schack dropped him when Anselm had struggled through to his highest powers. We have a right to be angry with the Count for this error, for this insufficient breadth of artistic knowledge. Pictures from Feuerbach's last ten years of work we must seek elsewhere. In Bocklin, however, Schack did not go wrong. He closes the series of Romanticists, and was, after Schwind and Feuerbach, the last poetic painter. Schwind's world of conception was the folksong, FEUERBACH. IDYLL IN TIVOLI. Zbc Scbacft Galleri? 429 Feuerbach lived in the poetry of the antique and the Renaissance, Bockhn created from inner con- sciousness the saturnine realm in which all the powers of nature were indwelt by gods and nymphs. Schwind is the idyllist, Feuerbach the elegist, and Bocklin the tragicist. It is wrong to designate him as the greatest landscape painter of the nineteenth century. We can scarcely call him a landscape painter in the sense of Courbet and the men of Fontainebleau, who as such far surpassed him. Bocklin painted landscape too stylistically, was too much a colour Romanticist, for us to class him at all with the contemporary landscape painters. Like the Romanticists he created out of dream visions ideal landscapes, which do not find their like in nature. With all the honour we may give him, we must not forget that he is a conclusion. His art, as little as the art of Schwind and Feuerbach, contains the possibility of development, but he is a mag- nificent finale. Arnold Bocklin was born in Basel in 1827, studied under Schirmer in Diisseldorf, copied the old Dutch painters in Brussels, lived a short time in Paris, and in 1850 went to Rome. In 1856 he was recommended to Count Schack by Paul Heyse. In 1858 he accepted a call to the Art Academy in Weimar, soon, however, he returned to Italy and died in Florence in 1901. In his early period he still worked wholly under the influence 430 Zbc art ot tbe /Dunicb 6alleties of Schirmer, from the contemplation of nature. His " Ideal Landscape " (13) in a wild rocky land- scape, "Pan Frightening a Shepherd" (14) and " The Complaint of the Shepherd" (17) show his gradual change of style. In " An Old Roman Wineroom " (24), " The Way to Emmaus " (22), " A Murderer and Furies " (18), the two " Villas on the Sea " (15, 16) " Autumn Landscape " (25), "Wild Rock Landscape" (1.9), and finally in "Triton and Nereid" (27), the idealistic style of Bocklin has completely triumphed. Every piece of nature which he viewed was turned to poetry in his soul. Bocklin is the only one of the modern artists who has created from inner consciousness convin- cing allegories. He has painted the frightful mood of a mountain ravine, evil spirits, the motion and the quiet of the wood, the stillness and the roar of the sea, the springing and sprouting of nature, the exuberance of summer, and the onfall of autumn in nature. Bocklin was a jubilant fiery nature, free from all the weights of earth, who in a solitary heroic fashion has ridden into the land of romance. THE END. BOCKLIN. VILLA ON THE SEA. ,■■■■«. ■ ■-aalS^.i.^ I^P^^ ^^^^-^'%^ te#^ rfi- -".... j^^^^^m---^3uB^sir '■-^:^^ p^ ■ ■■■'"*.■.'" ,^. , , ..«. ' '^am w, Jl W^ ^ '-^mt:- r ^•. / ¥^< F ' .i^^^li 'I'lt'-^* BOCKLIN. TRITON AND NEREID. Unbcx of Htttsts Achenbach, Andreas, " Ma- rine," 360; "An Autumn Morning," 368. Adam, Albrecht, 3SS-3S6- Adam, Eugene, " On the Bat- tlefield at Solferino," 374. Albani, Francesco, 297 ; " Ve- nus Landscape," 28, 284. AUegri, Antonio. See Cor- reggio. AUori, Cristoforo, "A Land- scape," 289 ; " Susannah in Her Bath," 289; "Young Faun," 289. Altdorfer, Albrecht, "Fight of St. George and the Dragon," 94 ; " Susannah and the Elders," 6, 94; " Victory of Alexander the Great over Darius," 4, 18, 94; "Virgin with the Child," 95- Anderson-Lundby, Anders, 401 ; " Clear Winter Day," 402. Anton, Joseph, 377. Andrea, Piccinelli del Bres- ciano, " Holy Family," 247. Aretino, Pietro, 254. Ariosto, 254. Baisch, Herman, 383 ; " Dutch Cow-pasture," 383. Baldung, Hans, " Count Philip the Warrior," 93; "Markgraf Bernhard III of Baden," 93. Balen, Hendrik van, 161, 176, " Flora," 16. Bamberger, Fritz, 391, 423. 431 Bamberger, Friedrich, 374; " A Ravine," 374. Barbari, Jacopo, 77. Baitoieri, Giovanni Fran- cesco, "Last Moments "of Dido," 28s; "Virgin with the little nude Christ Child," 28s ; " Christ being crowned by Thorns," 285. Bartel, Hans von, "Full Speed Ahead," 402. Barthelemy, 339. Bartolommeo, Fra, " Ma- donna of the Casa Tempi," 237- Basaiti, Marco, " Bewailing Over the Body of Christ," 229 ; " Madonna," 229. Bassano, Francesco, 273. Bassano, Jacopo, " Virgin seated on a Throne," 273; " Entombment of Christ," 274; "St. Jerome in the Desert," 274 ; " Israelites and Moses striking the Rock," 274. Bassano, Leandro, 275 ; " Christ in the House of Mary and Martha," 27s; " Leonardo Armano of Venice," 275; "Bewailing over the Body of Christ," 276. Batoni, Pompeo, 300; "Fall of Simon Magus," 300; "Portrait of the Artist," 300. Battista, Cima Giovanni, " Madonna with the Christ Child," 228. 432 fn^ex of Hrttsts Bazzi, Giovanantonio, gen- erally known as Sodoma, " Madonna," 246 ; " Arch- angel Michael," 247. Beccafumi, Domenico, " Holy Family," 247. Becker, Benno, 391. Bega, Cornelis, 127. Beham, Barthel, " Discovery of the True Cross," 4; " Miracle of a Woman being raised from the Dead," 92. Befchem, 119. Bellini, Gentile, 225. Bellini, Giovanni, 86, 224, 227, 249. Bellini, Jacopo, 225. Belotto, Bernardo, known as II Canaletto, " View of the Grand Canal," 299 ; " View of the Piazetta," 299; "View of the Riva de' Schiavoni," 299. Belucci, Antonio, 297. Berettini, Pietro, " Woman Taken in Adultery," 291. Berghem, 372. Bernazzano, 217. Bianchi, Francesco, 249. Biset, Karl Emmanuel, "In- terior View of an Artist's Atelier," 184. Bloemart, Abraham, " Plato in the midst of his Schol- ars," 99; "Raising of Lazarus," 99. Boccaccino, Boccaccio, " Sa- viour of the World," 222. Bocklin, Arnold, 349, 386, 387, 412, 426, 428-430; " The Play of the Waves," 411; "Ideal Landscape," 43c ; " Pan Frightening a Shepherd," 430 ; " The Complaint of the Shep- herd," 430; "An Old Wineroom," 430 ; " The Way to Emmaus," 430; "A Murderer and Furies," 430 ; " Villas on the Sea," 430; "Autumn Land- scape," 430 ; " Wild Rock Landscape," 430; "Triton and Nereid," 430 ; " Pan in the Reeds," 382. Bode, Leopold, 416, 421. Boel, 12. Boeyermans, 184. Bol, Ferdinand, no; "Man and Wife," 15; "Go- vert Flink," in; "His Wife," III. Boldini, Giovanni, 387. Boll, Pieter, " Landscape with Animals," 184. Bonnat, Leon Joseph Flo- rentin, 397. Bonvicino, Alessandro, known as II Moretta da Brescia, 264; "Ecclesias- tic," 265. Bordone, Paris, 13, 264, 427. Both, 19. Botticelli, 28, 43, 205 ; " Lam- entation," 206. Bouts, Dirk, 41, 45, 51, 56; "Triumph of Justice," 54; " Gathering of the Manna," S4, 69 ; " Meeting between Ab aham and Malchise- dek," 55- Boulogne, Valentin de, 333; "Fortune Teller," 334; " Crowning with Thorns and Mocking at Christ," 334 ; " Hermina Among the Shepherds," 334; "Party of Five Soldiers," ass- Bourdon, Sebastien, " Ro- man Limekiln," 339. Brabant, 142. Brekelenkain, Quiryn, 127. Bril, Paul, 12, 145, 170. ■ffn&ei of atttsts 433 Bronzino, 288. Brouwer, Adrian, I2, 13, 125- 128, 178; "Village Bar- ber." IS. Brouwer, Adrian, 178. Brown, T. Austen, 406; " Evening,'' 402. Bruderl, Hans, 75. Brueghel, Jan, 12, 13, 176; "Flora," 16; "John the Baptist," 144; "Crucifix- ion," 144 ; " Fish Market on a Harbour," 144. Brueghel, Pieter, the Elder, 143- Brueghel, Pieter, the Younger, 143 ; " Village Kermesse," 144. Bruggia, Giovanni da, 224. Bartholomew Bruyn, 46 ; " Lamentation over the Body of Christ," 45. Burgkmair, " Esther," 4 ; "Battle of Cannae," 4. Btirkel, Heinrich, 353, 366- 367; "Departure from the Aim," 3SS. Bu me- Jones, 386. Canacci, Guide, "Mater Do- lorosa," 287; "St. Mary of Egypt," 287; "Penitent Magdalen," 287. Cantarini, Simone, " Noli me tangere," 291 ; " Unbe- lief of Thomas," 291. Cameron, " The Bridge," 381. Campin, Robert, 51. Cano, Alonzo, 325-326; "Vi- sion of St. Anthony," 327. Campana, " Descent from the Cross," 323. Caracci, Annibale, 24, 279; " Bewailing over the Body of Christ," 280; "Massacre of the Innocents," 280; "Venus holding in her hand the Palm of Vic- tory," 280; "Portrait of a Middle-aged Man," 281. Caracci, Lodovico, 278 ; " En- tombment of Christ," 279; "Vision of St. Francis," 279. Caravaggio, Michelangelo Amerighi da, 100, 147; " Crowning with Thorns," 294 ; " Saint Sebastian," 29s; "Virgin with the Child," 29s. Cardi, Lodovico, 287 ; " St. Francis of Assisi," 288. Carstens, 3S9-360, 377- Catel, Franz, 358, 360; " Thunder Clouds," 351 ; "The Theatre at Taor- mina," 423. Cavedone, Giocomo, " An- gels lamenting over the dead Body of Christ," 286. Cerquozzi, Michelangelo, 302. Champaigne, Phillippe de, "Portrait of Field Mar- shal Henri de la Tour d' Auvergne," 342 ; " Ma- donna," 342. Chardin, Jean Baptiste, 347; " Cook paring Turnips," 19. Chintreuil, 392. Cignani, Carlo, 297 ; " As- sumption of Mary," 296; "Jupiter as a Child," 297; " St. Mary Magdalen," 297. Cima da Conegliano, " Santa Conversazione," 28. Cimabue^ Giovanni, 193. Clay, Paul Jean, " Open Sea,'' 402. Claude, 12, 139 ; " Sunrise," 19; "M'dday," 19. Clouet, Jean, " Portrait of a Young Man," 329. Clouet, Francois, 329 ; " Por- trait of Claudia," 329. 434 tn^cx of Httists Colbert, 340. Coleyns, David, 113. Constable, 349, 374. Coquez, 372. Cornelius, Peter von, 351, 417; "Flight into Egypt," 417- Comelisz, Cornelis, " Suffer Little Children to Come unto Me," 99. Corradi, Domenico, " Ma- donna in Glory Being Worshipped by Saints," 208 ; " St. Lawrence," 209 ; " St. Catherine of Siena," 210. Correggio, 249 ; " Virgin," 251; "Angel Head," 251; " Cupid," 251 ; " Leda," 261. Corot, 420. Cosimo, Piero di, 243. Costa, Lorenzo, 220, 232. Courbet, 349, 420. Courten, Frangois, 401 ; " Hy- acinth Field," 402. Courtois, Jacques, " Depar- ture of Soldiers to a Bat- tle," 339; "Battle of Con- stantine," 340 ; " Battle," 340. Cousin, Jean, 329. Couture, 349, 381. Crabeth, Adriaen, 330; "Lady of Quality," 330. Cranach, Lucas, 20 ; "A Love Scene," 5; "St. Mary Magdalen," 93 ; " Lazarus," 93 ; " St. Chrys- ostom," 93 ; " St. Martha," 93 ; " Self-destruction of Lucretia," 96. Crayer, Gaspar de, 24. Credi, Lorenzo di, 212-213, 229 ; " Madonna Worship- ping the Christ Child," 214; "Virgin with the Holy Child," 214. Craesbeeck, Joost van, "Vil- lage Alehouse," 178. Crevelli, 43. Cruz, Juan Pantqja de la, 305 ; " Portrait of Arch- duke Albrecht of Aus- tria," 304; "Portrait of the Infanta Isabella," 304. Cuyp, Albert, 132, 138; " Young Officer," 139. Dantan, Joseph Eduard, " Potter's Shop," 400. Daubigny, 373. David, Geraert, 64. Defregger, Franz von, 349, 408, 37S; "The Storming of the Red Tower in Mu- nich by the Highland Peasants," 408 ; " A War Council of 1809," 410; "The Visit," 406. Dekkert, Eugene, 389; "A Scottish Fishing Village," 389. Delacroix, 349, 375. Delaroche, 375. Denner, 15. Desportes, Alexandre Fran- gois, 346. Desportes, 19. De Witte, Peter, 9. Diaz, 370. Diepenbeeck, 188. Diez, Julius von, 391. Diez, Wilhelm von, "The Good Old Times," 385; "St. George," 389; "His Excellency Travelling," 393; "Croats," 411. Dill, Ludwig, " Ponte S. An- drea in Chioggia," 401. Dillis, Johann Georg von, 349 ; " View of Tegem- see," 3S2. Dolci, Carlo, 28, 292; "St. Mary. Magdalen," 293 ; " St. Agnes," 293. 1In!>ei of Hrttsts 435 Domenichino, 24. Donatello, 254. Dornberger, Karl Adam, 393. Dorner, Johann, "Walchen- see," 378. Dou, Gerard, 12, 15, 24; "Portrait," 114; "The Spinner," 115. Douffet, 24. Diintzer, 397. Dunwegge, Victor and Hein- rich, " Crucifixion," 44 ; "Body of Christ," 45. Durer, Albrecht, 36, 73, 75, 311; "Portrait of Jacob Fugger," 75; "Birth of Christ," 76 ; " Lucretia," 6, 78; "St. John," 8, 79; "St. Paul," 8, 80; "Mar- tyrdom of Ten Thousand Christians," 82 ; " Paum- gartner Altarpiece," 8, 70, 75 ; "Portrait of Oswolt Krell," 71; "Master by Himself," 27, 71 ; " Hans Durer," 72 ; " Bewailing over the Body of Christ," 74; "Heller Altarpiece," 8. ILhrenburp'. von, 184. Eliasz, Nicholas, 15; "Ad- miral van Tromp," 15. Elzheimer, Adam, 97, 178; "Flight into Egypt," 97; "'Burning of Troy," 97; " St. John the Baptist," 98; " St. Lawrence," 98 ; "Hermes," 98. Erasmus, 90. Everdingen, Allart van, 134. Exter, Julius, "Good Fri- day," 383. Eyck, Jan van, 196. Fabriano, Gentile da, 225, 226. Fabritius, Carel, " Portrait oi a Young Man,'' 113. Faur, Otto Faber du, " Three Bedouins on Horseback," 391- Fergioni, Bernardino, 345. Ferri, Giro, "Rest during the Flight into Egypt," 291. Feselen, Melchior, 4, 96; " The Siege of Alesia by Caesar," 4; "The Recep- tion of Cloelia by Por- senna," 4 ; " History of Susannah," 5 ; " Siege of Rome under Porsenna," 95. Feti, Domenico, " Ecce Homo," 296. Feuerbach, Anselm, 426, 427; "The Garden of Ariosto," 427; "Portrait. of a Ro- man Lady," 427; "Laura and Petrarch in the Church," 427 ; " Idyll of Tivoli," 428; "Medea," 379; "The Overthrow of the Titans," 356; "Self Portrait," 400. Filipepi, Sandro. See Botti- celli. Fillippo, 28. Firle, Walter, "Pater Nos- ter," 408. Fischbach, Anton, " View of the Lattengebirge from Salzburg," 355. Fischer, Josef Anton, 75, 380. Flad, Georg, 408. Flanders 142. Flinck, Govert, " Guard Room," 112. Fonseca, Don Juan de, 311. Fontana, Prospero, 278. Forli, Melozza da, 221. Francia, Francesco, 220, 241 ; "The Madonna of the Rosehedge," 28. Fra Angelico, 200, 201 ; " Miracle of the Holy 436 lln&ej of Hrtist3 Bone," 202 ; " The Inter- ment of the Saints," 202; "Death of the Saints," 202 ; " Man of Sorrows," 202. Fries, Ernst, 351. Frenes, Rudolph Hirth du, " Portrait of the Painter Schuch," 393. Froraentin, 116, 139. Fiirich, Josef von, 421. Furini, Francesco, " Rinaldo in the Enchanted Forest," 286. FuseH, 331. Fyt, 12. Gaddi, Agnolo " St. Nich- olas of Ban," 198; "St. Julian," 198. Gaddi, Taddeo, 198. Gaeta, Scipione Pulzione di, 26s. Gaillat, 375. (Jenelli, 416. Gennari, Benedetto, 286. Gennari, Bartolomeo, 286 ; "Light of the World," 28s. Gerhardt, Eduard, 360, 423; " The Lion Court of the Alhambra," 360. Gericault, 349, 375. Ghirlandajo, 28. Gil, Jose Benliure y, " May in Valencia," 411. Giordano, Luca, " Massacre of the Innocents," 298; "Cynical Philosopher," 299; "Portrait of his Fa- ther," 299; "Grey-bearded Teacher," 299; "Elderly Man," 299 ; " Portrait of an old Man," 299. Giorgione, 13, 249, 251, 415. Giotto, 194, 19s, 196, 197; " Christ on the Cross," 194; "Christ in Purga- tory," 194; "The Last Supper," 194; "Bewailing over the Body of Christ," 198. Giovane, Palma, 262. Gojen, van, 424. Gonzales, 372. Gossart, Jan, known as Ma- buse, 64 ; " Madonna," 64 ; " Danae in the Golden Shower," 64. Goubau, Antoine, 344. Goya, 304. Graff, Anton, 359. Grampedrini, Giovanni Pie- tro, 216. Granacci, Francesco, 241 ; " The Magdalen," 242 ; " St. ApoUoni," 242 ; " St Jerome," 242 ; " St. John the Baptist," 242; "Holy Family," 242. Greco, 308. Greuze, 347 ; " Girl's Head," 19, 347- Gros, 37S. Grunewald, Mathias, 92 ; " Conversion of St. Mau- rice by St. Erasmus," 92. Griitzner, 349. Guercino, " Madonna," 28. Gysis, N i c o 1 a u s, 392 ; " Spring Symphony," 392. Habermann, Hugo von, 37s, 392, 411; "Monk," 405. Haider, Karl, 392 ; " Evening Landscape," 393. Hals, Franz, loi, 118; "Por- trait of Wilhelra Croes," 118; "Family Portrait," 118; "The Jester," 120. Hamilton, James, 393, 410. Hanisch, Alois, 393. Harburger, Edmund, 349; "Wineshop," 408. Hayeck, Hans von, 391 ; "Amper Landscape," 391. irn&ex Of artists 437 Heem, Carl de, 19; "Still Life," 12, 184; "Jupiter and Antiope," 184. Heflfner, Karl, 381; "Isola Sacra at Rome," 381. Heilbuth, 388. Heinlein, Heinrich, 349, 378; " Waterfall near Salz- burg," 378. Heln, 397. Heist, Bartholomaus van der, lOI. Hengeler, Adolf, 391. Herkomer, Hubert von, 357. Herterich, Ludwig, " St. George," 383; "The Knight," 383 ; " Summer Evening," 405. Hess, Peter von, Z7T, 378, 416. Hetze, Paul, 391. Heyse, Paul, 429. Hoecker, Paul, " Ave Maria," 383. Hobbema, Meindert, 132-133; "A Landscape," 133. Holbein, Hans, the Elder, 85; "Martyrdom of St. Sebastian," 86; "St. Eliz- abeth of Thuringia," 87; " St. Barbara," 87. Holbein, Hans, the Younger, 8, 20, 46, 81, 88; "Spring of Life," 8; "Sebastian Altar," 27; "The Last Supper," 88; "Flagella- tion," 88; "Portrait of Derich Bom," 89; "Por- trait of Sir Brian Tuke," 6, 89; "Kaisheim Altar," 148. Holmberg, August, 357. Hooch, Pieter de, 117; "In- terior of a Dutch Living Room," 14, 117. Hondekoeter, 19. Honthorst, Gerald von, 100, 107; "Prodigal Son," 100; "Angel freeing St. Peter," 100; "Ceres," 100; " Pero/' 100. Imola, Innocenza da, " Ma- donna with the Christ Child," 241. Ingres, 349. Israels, Josef, " Granny's Comfort," 405. Jank, Angelo, 391. Jardins, du, " Sick Goat," 15. Jernberg, ' Olaf, " In the Fields," 402. Jodl, Ferdinand, 351. Jordaens, Jacob, 24, 174. Kaiser, Ernst, 349, 368. Kalckreuth Count Leopold, " Rainbow Landscape," 391- Kaufmann, Angelica, 377 ; " King Ludwig I as Crown Prince," 358. Kaulbach, Friedrich August von, 410. Kaulbach, Fritz August von, " The Entombment," 380. Kaulbach, Wilhelm von, 348, 3.57, 368, Z7T, "Destruc- tion of Jerusalem by Ti- tus," 377, 378. Keller, Albert von, 391-392, 406, 411; "Portrait of the Wife of the Artist," 406; " Resurrection of t)augh- ter of Jairus," 381; "Cho- pin," 400; "Judgment of Paris," 391. Keller-Reutlingen, Paul Wil- helm, "Impression of the Moor of Dachau," 400. Key, Adrian, 147. Khnopff, Fernand, 406; "I 438 "ffrtbex of Hrtists Lock My Door upon My- self," 406. Klotz, Joseph, 3SI. Kobell, 349, 355, 356. Koch, Josef Anton, 351 ; " Italian Vintage Festival," 3S8; "Brick-kiln by Ole- vano," 422. Kornbeck, Julius, " Wood- brook in Late Autumn," 402. Koninck, Solomon, " Christ in the Temple," 113. Knaus, 388. Kneller, Sir Godfrey, " Por- trait of Henrietta Maria," 177. Knupfer, Nicholas, 98. Kroyers, Peter Severin, " On the North Sea Coast of Skagen," 383. Kuehl, Gotthardt, " Sunny Afternoon in Holland," 406. Laar, Peter van, " Rest dur- ing a Hunt," 302. Lanfranco, Giovanni, " Ma- ter Dolorosa," 286. Lapi, Arnolfi, 194. Largilliere, Nicholas de, " Portrait of a Lady," 343. Lavery, John, "A Tennis Court," 402. Le Brun, Charles, 19, 330; "Christ with the Angels," 340; " Life of Alexander," 340; "St. Mary Magda- len," 341; "St. John the Evangelist," 341 ; " Por- trait of an Aged Woman," 341- Leibl, Wilhelm, 349, 367, 375, 390, 408, 411 ; " In a Small Town," 410; "The Peas- ant's Room," 410; "Por- trait of Baron von Per- fall," 390. Le Moine, ig. Le Prince, 19. Lenbach, Franz von, 349, 375, 384. 385. 393, 394. 425; " The Shepherd Boy," 425 ; " Daughter of Hero- dias," 394; "Portrait of Prince Bismarck," 394; "Pope Leo XIII," 394; " Dr. Schanzenbach," 384. Lepage, Bastien, 382, 425. Lesueur, Eustache, 330, 338; " Christ in the House of Mary and Martha," 338; " Louis IX of France," 338. Leyden, Lucas van, " The Madonna and Child," 63; "Annunciation," 63. Leyten, Henry, " Mending Nets," 402. Liebermann, Max, " An Old Woman with Goats," 407. Lier, Adolf, " Village Scene," 355- Liljefor, (Bruno, "Heath- fowl," 381. Lindenschmidt, Wilhelm, " Venus mourning Adonis," 380 ; " Fisherman and Nymph," 419. Lingelbach, Johann, " Hay- making," 137. Liphart, Ernst von, 415, 419; "An Allegory of Night," 419. Lippi, Filippind, 128, 206-207; " Saviour Showing His Wounds to his Virgin Mother," 207; "Man of Sorrows in the Grave," 207. Lippi, Fra Filippo, 203-205, 230 ; " Coronation of the Virgin," 204; "Annunci- ation," 204, 230; "Ma- donna," 205. Livens, Jan, iii. f n&ei of Httfsts 439 Lochner, Stephen, 36, 38; "St. Anthony the Her- mit," 37 ; " St. Catherine of Alexandria," 37 ; " Ma- donna in a Rosehedge," 37. Loffler, August, 352. Loeflftz, Ludwig von, 400, 406, 408; "Orpheus and Eurydice," 4.00; "The Corpse of Christ," 406. Lorrain, Claude, 335 ; " Har- bour by Sundown," 337. Lotto, Lorenzo, " Mystical Marriage of St. Cath- erine," 248. Luca Aretino, Spinello, di, 199. Luini, Bernardino, " St. Catherine," 215; "Ma- donna," 216. Lugo, Emil, " Nature Study," 383. Maes, Nicholaes, 113. Makart, Hans, 375, 379, 382; " Abundantia," 379. Manet, 349. Mantegna, 78, 86, 218, 219; "Venus," 78; "Triumph of Petrarch," 219. Maratta, Carlo, 293 ; " Por- trait of Cardinal Giulio Rospigliosi," 293 ; " St. John at Patmos," 293; " Nude Child," 293. Marconi, Rocco, " St Nich- olas," 253. Mareau, Gustave, 387. Marees, Hans von, _ 424; " Equestrian Portrait of Philip IV, 41s; "Horses Drinking," 424. Maris, Jacob, 400. Marold, Ludeck, 385. Massaccio, 196. Matsys, Quentin 60, 64, 65; " The Entombment," 61 ; "Madonna," 61; "Jehan Carondelet," 61; " Pieta," 62. Matteo da Siena, 217; " Slaughter of the Inno- cents," 218. Mander, Karel van, 120. Mauve, Anton, " Cows in the Meadow," 405. Max, Gabriel, 37s, 40S-406. 410 ; " Katharine Emme- rich" 406; "The Ape as a Judge of Art," 410. Mayens, Adrien le, 408. Mayer, Friedrich, 351. Mazo, Juan Bautista Marti- nez del, 324. Mazzolini, Ludovico, " Holy Kith and Kin," 220. Mecklenburg, Ludwig, 352. Meer, van der, "og. Meister, Wilhelm of Koln, " St. Veronica with the Handkerchief," 33 ; " Vir- gin," 34- Meissonier, Jean Louis Er- nest, 387; "The Bravos," 410. Melcher, Gari, " Reading Girl," 408. Melozzo, 220. Memling, Hans, 56, 224; "Sybil Zambeth," 57: "Last Judgment," 57; " St. John the Baptist," 57. Memmi, Lippo, " Assump- tion of the Virgin," 199. Menard, Emil Rene, "Thun- derstorm," 402. Menzel, Adolf, 387, 408; "A Contribution," 408; "Prayer at Home," 408. Mesdag, Henrik Willem, " November Day on the North Sea," 406. Messina, Antonello da, 86, 223-226 ; " Body of Christ," 224; "Madonna," 224. 440 irn&ei Of Hrtists Metsu, IIS, ii6; "Bean Feast," 24, 117; "Cook," 19. 117. Metz, Caspar, 349, 352; "A Landscape with Thunder Storm," 352. Meulen, Antoine Francois van der, 342. Meyerhiem, 388. Michelangelo, 149, 229 ; " Last Judgment," 229. Mielich, Hans, g. Mieris, Franz van, 15, 115. Millner, Karl, 369; "Out- side of Munich," 355. ' Mitchell, John Campbell, 393. Modersohn, Otto, " Storm on the Devil's Moor," 402. Moine, Frangois le, " Hunt- ing Party," 344. Mompers, 145. Monet, 349. Monnoyer, Jean Baptist, 12, 347- Montanes, 326. Morgenstern, Carl, 4^3. Morgenstem, Christian, 353, 366 ; " Moonlight in Par- tenkirchen," 353 ; " Nor- wegian Marine," 366. Morley, Henry, 389, 407; " Cow in the Meadow," 389 ; " Cockfight," 407. Moroni, Giovanni Battista, " Portrait of a Lady," 265. Mostaert, Jan, 63. Moya, Pedro de, " Young Cavalier," 324 ; " Cavalier playing cards with a Lady," 325. Miiller, Victor, "Romeo and Juliet," 381. Munkacsy, Michael, 382, 410; "Visit to the Nunnery," 411. Murillo, Bartolomeo Este- ban, 31S, 41s; "Card Play- ers," 13; "Fruit Sellers," 319; "Dice Players," 12, 320; "Melon Eaters," 321 ; " Pastry Eaters," 16, 321 ; " St. Thomas at Vil- lanova healing a Lame Man," 27, 322. Narez, Francois Josephe, 351- Neher, Michael, 351, 369, 374; "St. Vitus Church," 374 ; " Partie aus Wasser- burg," 369. Netscher, Caspar, 15, 129. Neureuther, 360, 421 ; " The Pastor's Daughter of Tau- benhain," 360. Nilson, 368. Oberlander, Adam Adolf, "Resignation," 384. Orcagna, 201. Orsi, Lelio, "Portrait of a Woman," 251. Ostade, Adrian van, 15, 125, 179, 372; "Drinking Scene," 126 ; " Fighting Scene," 126. Ostade, Isaac van, 15, 19. Ouwater, Albert van, 99. Overbeck, Johann, 360, "Ita- lia and Germania," 352. Pacheco, 311. Pacher, Michel, "St. Greg- ory," 94; "St. Augustine," 94. Padavano, II, 287. Palma, Giovine, " Bewailing over the Body of Christ," 277; "Ecce Homo," 277; "Birth of Christ," 278; " Scourging of Christ," 278. Palma Vecchio, 25, 249, 259, 263, 427 ; " M a d o n n a," 259; "Portrait of Him- self," 262; "La Schiava di Titiano," 263; "La Bella di Titiano," 263. irn5ei of Hrtists 441 Palmezzano, Marco, " Ma- donna," 221. Patiner, Joachim, 62 ; " Holy Trinity," 63 ; " Virgin," 63 ; " St. Roch," 63. Pelouse, Leon Germain, " The Nut Tree," 406. Penther, D., 415. Pereda, Antonio, " Portrait of an Officer," 1 16 ; " Span- ish Noble," 327; "Two Officers gambling in the Open Air," 327. Perugino, 28, 212, 229; " Baptism of Christ," 230 ; " Delivering of the Keys to Peter," 230; "Vision of St. Bernard," 230; "Vir- gin," 231. Pesne, Antoine, "Young Girl in a Straw Hat," 345. Pettenkofen, Carl von, " A Hut with a Team in Sla- vonia," 383. Piglhein, "Blind," 383; "Entombment," 380. Piloty, Carl, von, 349, 37S, 376, 377. 418, 428; "Co- lumbus at the Moment when he First Perceived the New World," 418, 428 ; " Seni before the Corpse of W a 1 1 e n s t e i n," 37s ; " Thusnelda in the Trium- phal March of Germani- cus, 376. Piombo, Sebastian del, 221, 252, 306 ; " Portrait," 252. Pirkheimer, Wilibald, 82. Pissarro, 349. Pleydenwurff, Hans, 69; " Crucifixion,'' 65. Poelenburg, 372. Potter, Paulus, 137-138; " Landscape with Repos- ing Cattle," 137; "Young Bull," 138. Potuyl, Hendrik, 127. Poussin, Nicolas, 162, 185, 331; "Midas, King of Phrygians," 332 ; " Por- trait of Himself," 332; " Lamentation for Christ," 332. Preller, Friedrich, " Scenes from the Odyssey," 419. Prew, J. "Battle of Zama," 4; "Lucretia," 5. Prince, Jean Baptiste le, 346. Procaccini, CamillOj " Vir- gin," 290. Procaccini, Ercole, 289. Procaccini, Giulio Cesare, " Mary with the Christ Child," 290. Pruger, Nicholas, 9. Quaglio, D., 3SI, 366, 374; "The Old Abbey at Rouen," 374; "Gothic Church in Moonshine," 366. Quellinus, Erasmus, 188 ; " Marble Relief of the Bacchus Child playing with a Goat," 189. Rahl, Karl, 368, 424. Raibolini, Francesco di Marco, " Madonna with the Holy Child," 232; " Madonna in a Rose- hedge," 233. Raphael, " Portrait of a Pope," 394 ; " Herman Lingg," 39S; "Prince Re- gent Luipold," 395. Refinger, Ludwig, " Leap of Marcus Curtius," 4. 92; " Horatius Codes,' 4 ; " Manlius Torquatus," 4. Regnier, 268. Reinhardt, 351, 358, 359; " Group of Trees," 359. Reiniger, Otto, 393. Rembrandt, 15, 24, 102, 105; 442 flnbei of Hrtists "Portrait of a Young Man," 109; "Gilder," 103; "Night Watch," 103, 108; " Good Samaritan," 104 ; "Supper at Emmaus,'' 104; "Holy Family," IS, 104; " Sacrifice of Abraham," 106 ; " Adoration of the Shepherds," 107, 108; "Descent from the Cross," 107, 108 ; " Elevation of the Cross," 107; "Ascen- sion," 108; "The Burial," 108 ; " Resurrection of Christ," 108. Reni, Guido, 24, 282 ; " As- sumption of. the Virgin," 283 ; " Repentant Peter," 283; "St. Mary Magda- len," 283; "St. John the Evangelist," 283 ; " St. Jerome," 283. Reynolds, Sir Joshua, 183. Ribalta, Francisco, 306 ; " Virgin and St. John," 307- Ribera, Giuseppe, known as Lo Spagnoletto, 13, 307; "Martyrdom of St. An- drew," 16, 308 ; " Dying Seneca taking leave of his Pupils," 16, 308; "Old Woman with the Hen," 16, 308; "Repentant St. Pe- ter," 13, 308; "St. Onoph- rius," 308; "St. Bartholo- mew," 308 ; " Franciscan Monk," 308; "Mater Do- lorosa," 27. Riedel, August, 369, 377, 378 ; " Mother with Child," 377 ; " Neapolitan Fisher Fam- ily,"378. Rigaud, Hyacinthe, Duke Christian III of Zwei- brucken," 343. Robusti, Jacopo. See Tin- toretto. Roches, Alexander, " Girl be- fore a Mirror," 392. Romano, Giulio, 331. Rops, 386. Rosa, Salvator, 300, 346; " Gideon and his Com- rades at the Ford," 301; "Rocky Coast," 301; "Landscape with a View of the Sea," 302. Roseli, Matteo, 286. Rotari, Pietro, 300. Rottmann, Karl, 384, 422-423 ; " Taormina with Aetna," 352 ; " Near Brannenburg, 352 ; " View on Monte Pellegrino near Palermo," 3S9 ; " Landscape in Korfu," 3S9; "The Bar- ersee in the Bavarian Highlands," 360; "The Acropolis of Sikyon near Corinth," 3S9; "The Is- land of Ischia," 359; "The Hintersee," 360; "The Grave of Archimedes in the Necropolis of Syra- cuse," 369; Landscape in Aulis," 384; "Aulis," 384; "Delos," 384; "Mara- thon," 384; "Hintersee near Berchtesgaden," 423; " Greek Seacoast with a Threatening Thunder- storm," 423 ; " The Spring Kallirhoe," 423; "The Kochelsee," 423. Rousseau, 405. Rubens, Peter Paul, 9, 11, 15, 16, 19, 24. 107, 145-150, 160, 415 ; " Adoration of the Three Kings," 11; " Me- leager and Atalanta," 13, 18; "Helena Fourment," 13 ; " Peter and Paul," 13 ; " Trinity," 21 ; " Woman of the Apocaljrpse," 21 ; "Shepherd Idyll," is; " Sa- 1Fn^cx of artists 443 bine Women," i?: "Dying Seneca," 146 ; " Martyrdom of St. Lawrence," 146; "Two Satyr s," 147 ; " Honeysuckle Arbour," 147 ; " Last Judgment," 149 ; " Combat between the Archangel Michael and the seven-headed Devil," 149 ; " Casting into Hell of the Damned," 150; "Last Judgment," 22, 151, 297; " Battle of the Amazons," 151 ; " Betrayal of Sam- son," 152; "Walk in the Garden," 154; "Landscape with the Rainbow," 15s; " Christ with the Repent- ant Sinner s," 165; " Drunken Sile-us," ISS ; "Wreath of Fruit," 156; "Lion Hunt," 157; "Doc- tor van Thul en," 157; " Doctor Brandt," 157 ; " Earl and Countess of Shrewsbury," 158; "Por- trait of the Artist's Brother. Philip Rubens," 158; "Rubens' Mother," 158 ; " Cavalier standing beside his Horse," 158; "Rape of the Daughters of Leucippos," 158; "Mas- sacre of the Innocents," 13. 159- Ruisdael, Jacob van, 19, I3,'! ; "Waterfall," 134; "Thun- derstorm Scene," 135 ; " Path at the Sand Hills." I3S- Ruisdael, Solomon van, 133; " Canal View," 132. Ruysch, 23. Salvi, Gianbattista, 292. Samberger, " Woman's Head," 385. Santo, Girolamo del, " Judg- ment of Solomon," 217. Sanzio, Giovanni, 234. Sanzio. See Raphael ; " Ma- donna della Sedia," 239; "Madonna della Tenda," 28, 239; "Bindo Alto- viti," 240; "St. John," 240 ; " St Cecilia," 241 ; " Madonna del Cardel- lino," 241 ; " Holy Fam- ily under the Oak," 241; . "Blessed Virgin with the Child," 241 ; " Baptism of Christ," 236 ; " Resurrec- tion," 236 ; " Madonna of the Casa Tempi," 28, 237; " Canigiani Holy Family," 25, 238. Sarecini, Carlo, " St. Je- rome," 295 ; " St. Fran- cis," 295. Sarto, Andrea del, 25, 243; " Daughter of Herodias," 24s; "St. Joseph," 245; "Holy Family," 25, 242; "Dead Christ with An- gels," 244; "Charity," 244; "The Angel an- nouncing the Birth of St. John the Baptist," 24s; " Visitation of Mary,'' 245 ; "John the Baptist," 245. Sauter, George, "Spring Music," 391. Savery, Jacob, 176. Savery, Roelant, " Hunting Scene," 176. Schadow, Wilhelra, 451 ; " Holy Family," 351. Schaffner, Martin, " Count Wolfgang von Getting," 91. Schelfhout, Andreas, "Win- ter Landscape,"* 353. Schleich, Eduard, Sr., 353, 424 ; " Near Brannenburg," 354; "Approaching Thun- derstorm," 355 ; "On the 444 fn&ei of Hrtists Ammersee," 355; "Village near Munich," 355 ; " On the Shore," 355 ; " Moon- light," 3SS; "Dachau," 3SS ; " Isar Valley near Munich," 379. Schleich, Eduard, Jr., " In Autumn," 383. Schleich, Robert, " Hay Har- vest in Upper Bavaria," 389. Schindler, Emil Jacob, " A Saw Mill in Upper Aus- tria," 383 ; " March Land- scape," 400. Schirmer, Johann Wilhelm, 430; "A Wood Land- scape," 352. Schlie, Von, 98. Schnorr, 375 ; " Deluge," 377- Schongauer, Martin, " Birth of Christ," 83. Schonleber, Gustav, 408. Schopfer, A., 4; " Mucius Scaevola," 4. Schopfer, Hans, the Elder, S; "Judgment of Paris," 5. Schom, Karl, " Sintflut," 375- Schramm, Rudolph, " Tur- keys," 400. Schrandolph, J. von, 377. Schrotzberg, 357. Schut, Cornells, 188. Schwarzer, Carl, 415. Schwind, Montz von, 419; " Lady Adventure's True Knight," 360; "Sym- phony," 360; "In the House of the Artist," 385; "Chapel in the Woods," 420; "The Prisoner's Dream," 420. Scorel,_ 20. Segantini, Giovanni, 402 ; " Plowing," 403. Segers, Daniel, 188. Seidel, August, 349, 410. Sesto, Cesare da, " Judith," 217. Sidorowicz, S i e g m u n d, " Evening Landscape," 423. Signorelli, Luca, 206, 221. Sinding, Otto, " Bathing Youths," 383. Skarbina, Franz, 408. Slevogt, Max, " Hour of Rest," 407. Snayers, 170. Snyders; Franz, 11, 24, 186; "Diana with the Beasts," 11; " Two Lionesses pur- suing a Roebuck," 187; "Lioness Killing a Wild iBoar," 12, 157, 187; "Boar Baiting," 187 ; " Kitchen Piece," 187; "Fruit and Vegetable Store," 187. Sorgh, Hendrick, 127. Spanzotti, Martino 246. Spitzweg, Carl, 349 ; " The Poor Poet," 370; "In the Attic," 370; "The Scold- ing Hermit," 35:, 370; " Hermit Playing a Vio- lin," 425; "Turks in a Cafe," 425; "The Sere- nade," 42s ; " The Hypo- chondriac," 425 ; " The Separation of the Lovers," 42s ; " Cow Girls on a Hill," 42s. Stabl, Adolf, 387, 400; "Floodtime," 405; "Land- scape in Stormy Mood," 387. Stadler, Toni, " Evening Landscape," 391. Stange, Bernhard, 368, 423. Steen, Jan, 15, 115, 125-128, 179 ; " Fight Between Two Card Players," 15, 127; " Doctor Visiting a Sick Woman," 127. irn5ej; ot artists 44S Steinle, Johann Eduard von, 421 ; " Parseval," 389. Stevens, 387, 411. Stevenson, Macaulay, 401 ; " Evening," 402. Stieler, 357. Stott, William, 401 ; " Car- penter's Workshop," 400. Strigel, Bemhard, 91. Strozzi, Bernardo, " Tribute Money," 296. Stuck, Franz, " War,'' 383 ; " Sin," 385. Subleyras, Pierre, 19 ; " Bishop on his Episcopal Throne," 344; "St. Nor- bert," ii4 ; " Portrait of an old gray haired Bishop," 344- Teniers, the Elder, " Rocky Valley," 178; "Peasant," 178. Teniers, the Younger, 179, 182 ; " Temptation of St. Anthony," 181 ; " Great Yearly Market," 183; "A Drinking Party," 183. Terburg, 15, 116, 129; "Boy with the Dog," 15, 128; " Soldier Bringing a Letter to a Lady," 128. Thegerstrom, Robert, " Sum- mer Evening," 402. Thierot, Henri, 410. Thoma, Hans, 349, 389, 408; " Taunus Landscape," 408 ; " Loneliness," 389. Thys, Pieter, 183; "Adora- tion of the Shepherds," 184. Tiepolo, Giovanni Battista, 21 ; " Worship of the Magi," 21, 303. Tilborgh, Gillis van, 178. Tintoretto, 9, 152, 266; " Cru- cifixion," 20 ; " Portrait of Vesalius," 24; "Portrait of a Sculptor," 267; "Por- trait of a Venetian Noble and his Son," 267 ; " Mary Magdalen," 268. Tisi, Benvenuto, Pieta, 247. Titian, 6, 25, 48, 161, 163, 204, 251, 256; "Vanity of Things Earthly," 13, 256; " Portrait of a distin- guished Venetian,'' 257 ; " Madonna and Child," 27, 259 ; " Crowning of Christ with Thorns," 18, 259; " Portrait," 260 ; " Venus initiating a Young Girl into the Mysteries of Bac- chus," 261; "Jupiter and Antiope," 261 ; " Heav- enly and Earthly Love," 415; "The Resting Ve- nus," 415 ; " Equestrian portrait of Charles V," 13, 415- Tito, Santa di, 289 ; " Por- trait of a Young Man," 288. Torbido, Francesco, " Por- trait of a Man," 265. Torreeiani. Bartolommeo,302. Tristan, Luis, 311. Triibner, Wilhelm, 389, 390; " Studio Scene," 390; " The Herreninsel in the Chiem- see," 389. Tura, Cosimo, 220. Turchi, Alessandro, sur- named L'Orletto, "Daugh- ter of Herodias," 288; " Scene from the Life of Hercules," 288; "Hercules killing his children," 288. Uden, Lukas van, 186; "Landscape," 185. Uhde, Fritz von, 411 ; " Read- ing Maiden," 382; "Christ Ascending to Heaven," 382. 446 'ffn&ei ot Hrtfsts Uhde, Wilhelm, " Heavy Go- ing," 401 ; " Noli me tan- gere,'' 401. Vaccaro, Andrea, " Infant Jesus," 296 ; " Scourging of Christ," 296. Vadder, Lodewyck de, " Landscape," 185. Vaelkenbergh, 145. Van der Capelle, Jan, " Dutch Canal," 140. Van der Eckhout, Gerbrandt, 112; "Christ teaching in the Temple," 113. Van der Neer, Eglon Henri, 130 ; " Lady in White Satin," 129. Van der Velde, Adrian, 135; "Herd of Cattle," 13s; "Idyllic Landscape," 136. Van der Velde, Willem, " Thunderstorm at Sea," 140; " Quiet Sea," 141. Van der Werff, Adrian, 23, 130; "Ecce Homo," 131. Van der Weyden, Rogier, 51, 54; "Epiphany Altar," 52; "Adoration of the Magi," S2 ; " Annunciation," 52 ; " Presentation at the Tem- ple," S3; "Handmaid of the Lord," S3; "St. Luke painting a Portrait of the Virgin," S3. Van Douven, 23. Van Dyck, Anthony, 11, 13, 22, 24, III, 160-166; "de Wael and his wife," 11, 173 ; " Colyns de Nole and His Wife," 11, 173; "Duke of Croy and His Consort," 11; "Crucifixion," 11, 162, 174; "Charles I on Horse- back," 12; "Portrait of the Etcher Malery," 13, 173 ; " Mary Ruthven," 13 ; " Spinola," 13 ; " Mira- bella," 13; "Battle of Martin d'Eglise," 13 170; "Rest During the Flight into Egypt," 13, 167 ; " Por- trait of Snayers," 15, 173; " St. Sebastian," 16, 164, 169 ; " Descent from the Cross," 162 ; " Lamentation over the Body of Christ," 162-165, 174; "Jupiter and Antiope," 163 ; " Hendrik Liberti," 173 ; " Christ speaking with the Para- lytic whom he has healed," 168 ; "Susannah sur- prised by the Elders," 168; " Duke Charles Alexander of Croy," 171 ; " Gene- vieve d'Urfe," 171 ; " Bur- gomaster of Antwerp and his Wife," 171; "Duke Wolfgang Wilhelm," 22, 172 ; " Queen Henrietta Maria, wife of Charles I of England," 174. Van Eyck, Hubert, i, 46, 49; "Agnus Dei," 49; "Ado- ration of the Lamb," 49, so; "Triumph of the Catholic Church," 5°; " Virgin as the Queen of Heaven," 50; "John the Baptist," 50. Van Eyck, Jan, 1-2, 47, 48, 49; "Agnus Dei," 49; " Adoration of the Lamb," 49, 50; "Triumph of the Catholic Church," 50; "Head of Christ," 51; " Portrait of a gray haired Beardless Teacher," 51. Van Goyen, Jan, 132. Van Meckenen, Israel, 20. Van Noort, Adam, 14s, I74, 176; "Peasant and the Shivering Wood Imp," 175 ; " Boy Qirist preaching in the Temple," 175. Van Orley, Barent, 213. Van Orley, Bernhard, 64; f n&ei of HrttBts 447 "Preaching of St. Nor- bert," 6s. Vanucci, Andrea. See Sarto, Andrea del. Vanucci. See Perugino. Van Veen, Otho, 145. Varin, Quentin, 331. Vasari, Giorgio, 248. Vautier, Benjamin, "A Formal Dinner in the Country," 410. Vecelli, Francesco, 262 ; "Madonna," 261. Vecellio, Tiziano. See Ti- tian. Velasquez, Rodriguez de Silva y, 310 ; " Borrachos," 312; "Forge of Vulcan," 312 ; " Garment of Joseph shown to Jacob," 313 ; " Christ on the Cross," 313 ; " The Surrender of Breda," 313; "Las Meni- nas," 314; "Portrait of Himself," 315; "Portrait of a Young Man," 315; " Infanta Margarita, daughter of Philip IV," 31s; "Philip VI," 415- Veneziano, Bonifazio, 273. Vennelli, Buona Ventura, " Abraham and the An- gels," 418. Verbeck, Peter Cornells, 136. Verendael, "Still Life," 12. Verhaegt, 145. Vemet, Claude Joseph, "Harbour in a Fog by Sundown," 345 ; " Burning Harbour Town by Moon- light," 345 ; "Storm at Sea," 34S ; " Channel Scene," 34s ; " Lightning at Sea," 345- Verona, Liberale da, 265. Veronese, Paolo, 48, 268, 427; "Jupiter and Anti- ope," 13 ; " Cupid between two large black and white spotted dogs," 270; "Holy Family," 270; "Christ with the Captain of Ca- pernaum," 270; "Christ arid the Woman taken in Adultery," 270 ; " Cleo- patra," 271 ; " Adoration of the Magi," 272; "Por- trait of a proud Venetian Lady," 270. Verrocchio, Andrea da, 212, 229. Victoors, Jan, "Aged To- bias giving thanks for the Recovery of his Eyesight," 112. Vinci, Leonardo da, 210; "Virgin," 212; "Gio- conda," 213; "Madonna," 213. Vivarini, Luigi, 229. Vogelweide, Walter von der, 365- Voit, von, 347. Volz, Wilhelm, " Entomb- ment of Christ," 392. Von Duren, Johann, 39, 40; "Joachim and Anna by the Golden Gate," 39; "Birth of Mary," 39; " Mary being brought to the Temple," 39 ; " Mar- riage of Mary and Joseph," 39 ; " Annunciation," 39 ; " Visitation," 39 ; " Ascen- sion of Mary," 39 ; " Coro- nation of the Virgin," 40; "Adoration of the Magi," 40. Von Haarlem, Geraet, 45. Vos, Cornelis de, " Hutten Family," 175. Vos, Paul de, " 'Bearbaiting," 188 ; " Animals in the Gar- den of Eden," 188. Vos, Peter de, 12. Vouet, Simon, 330; "Virgin seated in a Landscape," 331. 448 IFn&ei of Ertists Waagen, 93. Wael, de, 11. Wagenbauer, Max Josef, 352, 355. 358, 359; "A Young Ox," 352 ; " Evening Land- scape," 359. Wagner, Hans, 82. Waldmiiller, Georg Ferdi- nand, 355. Walton, Edward, " Idyll," 391. Watts, George Frederick, "Warrior," 4". Weenix, Jan Baptist, 23, 139- 140. Weishaupt, Victor, 407. Wenbau, Lion S., " Willows by the Brook," 383. Wenglein, Josef, 381, 407- 408 ; "Isarlandscap e," 408. Wer'ner, Anton von, 397. Wilroider, Joseph, 393, 405, 406 ; " Fiirstenfeld-Bruck," 393 ; " Sintflut," 406. Winterhalter, Franz, 368, 396. W i s I i c e n u s, Hermann, " Fancy Borne by Dreams," Withers, Alfred, " The Mill," 392. Wolgemut, Michael, 27, 69, 70, yT, "Mystical Mar- riage of St. Catherine," 67 ; " Hof Altarpiece," 6y ; "Crucifixion," 68; "Res- urrection," 68 ; " Descent from the Cross," 68; "Christ on the Mount of Olives," 68. Wolf, August, 415. Wouverman, Paul Joosten, 12, 19, 136. Wouverman, Philip, 136. Wynants, Jan, 19, 136; " Morning," 135 ; " Eve- ning Landscape," 135. Zampieri, Domenico, called Domenichino, " J u d i t h," 281 ; " St. Jerome," 281. Zanetti, 23. Zeitblom, Bartholomew, " St. Margaret," 84; "St. Ur- sula," 84. Zimmermann, Albert, 419 ; " The Walpurgis Night," 369. Zimmermann, August Wil- helm, 350. Zimmermann, Ernst, " The Shepherd's Prayer," 406. Zimmermann, Richard, " The Potato Harvest," 374 ; " Winter in the High Mountains," 369. Zugel, Heinrich, 392, 400, 407 ; " Dogs on the Moor," 392 ; " The Shepherd," 407. Zurbaran, Francisco de, 325; " St. Francis of Assisi," 325. Unknown painters, 42 ; " St. Jerome," 42, 62 ; " Adora- tion of the Magi," 42; "Bartholomew Altar," 42; "Master of the Death of Mary," 42; "Death of the Virgin," 44; "St. Chris- tina," 44; "Pearl of Bra- bant," 55 ; '' Adoration of Magi," 55 ; "St. John the Baptist," 55; "St. Chris- topher," 55 ; " Ecce Homo," 62; "Two Tax Collect- ors," 62 ; " Mary and Jo- seph," 214; "Portrait of a Young Man," 261 ; " Por- trait of Derich Berck," 89 ; " Saints Joachim and Jo- seph," 82 ; " Saints Sim- eon and Lazarus," 82; " Trials of Job," 82.