A, .Catalogue:., of 
 
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 dellc' Belle.' .Arti 
 
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Cornell University Library 
 arV18063 
 
 A catalogue of the Accademla delle belle 
 
 3 1924 031 269 560 
 olin,anx 
 
Cornell University 
 Library 
 
 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/cu31924031269560 
 
A CATALOGUE 
 
A CATALOGUE 
 
 OF THE ACCADE- 
 MIA DELLE BELLE 
 ARTI AT VENICE 
 COMPILED BY E. 
 M. KEARY WITH 
 BIOGRAPHICAL 
 NOTICES OF THE 
 PAINTERS AND 
 ENGRAVED RE- 
 PRODUCTIONS OF 
 SOME OF THEIR 
 WORKS &«► 5o» ^ 
 
 Sala VIII. No. 35 
 
 Pellegrino (Martina da Udine) : 
 
 "The Annunciation" 
 
 WILLIAM HEINEMANN 
 LONDON MDCCCXCIV 
 
^U rights reserved 
 
NOTICE 
 
 The t^ccademia delle 'Belle ^rti is open to the public 
 free on Sundays and holidays from lO a.m. to 2 p.m. On 
 pay-days from p a.m. to 3 p.m. ( Amission one franc") 
 Closed on New Tear's Day and Easter Sunday only. 
 Permission to copy is somewhat difficult to obtain ; English 
 students should present their cards of permission to copy 
 in the National gallery. 
 
VII 
 
 VIII 
 
 •s 
 
 I 
 
 Court 
 
 /I/' // «o 
 
 Corr/i/o/' 
 
 XIV 
 
 WT 
 
 , x// 
 
 JX 
 
 X"l I Xl^ 
 
 p 
 
 Sa/a 
 M/e Statu,e 
 
 XVI 
 
 Entiriuice 
 
 Plan of the Accademia delle Belle Arti 
 
PREFACE 
 
 I HE system of classification adopted in 
 the present catalogue is as follows. 
 The painters are arranged alpha- 
 betically. The number of the room 
 in which each pifture is to be found 
 is given in Roman numerals in the margin of the 
 page. The number of the pidture itself is placed 
 beside the title of the pifture, and is according to 
 the arrangement which obtains in the Gallery at the 
 moment of publication. 
 
 The building at present used as the Accademia 
 delle Belle Arti, was at one time the Convent School 
 and Church of Santa Maria della Carita, to which 
 additions have since been made. 
 
 The majority of the paintings contained in this 
 Gallery were once the property of religious fraterni- 
 ties which have since been suppressed, or of churches 
 which have been demolifhed ; but the Accademia is 
 also indebted to the generosity of private coUeftors 
 — principally to GiroUmo Contarini, Ascanio Molin, 
 ^nd Bernardino Renier, 
 
X PREFACE 
 
 The interest which belongs to the splendid col- 
 leftion of piftures contained in the Accademia, is 
 heightened' by the fadt that it is thoroughly repre- 
 sentative of the birth, maturity and decline of 
 Venetian painting, and contains examples of masters 
 whose works are scarcely to be met with outside the 
 Venetian territories. Here, on its native soil, the 
 Venetian School may be studied. As in an open 
 book the visitor may read the signs of the slow decay 
 of Byzantine traditions and the gradual "development 
 of realism, with such an extensive field of observation 
 before him as is presented by works ranging from 
 Semitecolo to the Vivarini, and onwards to Bellini 
 and Carpaccio, Titian, Tintoret and Paul Veronese. 
 
 It is to be noted that the Venetian School is quite 
 a century behind the Florentine. This was chiefly 
 owing to the geographical and political causes which 
 tended at the same time to separate Venice from the 
 mainland and to associate her in taste and feeling 
 with her Oriental neighbours. About 1303, not thirty 
 miles away from Venice, Giotto began his famous 
 frescoes at Padua, and yet in the sea-girt Republic 
 the spell of Byzantine tradition remained unbroken 
 for another hundred years and more. The fourteenth 
 century yields no name of importance in the annals 
 of Venetian painting. 
 
 The first among Venetians to inaugurate a change 
 were the little family of painters known as the Vjvarini, 
 
PREFACE 
 
 which arose in the island of Murano, and Jacopo 
 Bellini, the pupil of Gentile da Fabriano. From 
 this time forward the development of painting was 
 continuous and rapid. Jacopo Bellini was followed 
 by his two sons, Gentile and Giovanni. From beneath 
 the (hadow of Giovanni Bellini's great name arose 
 Giorgione and Titian. Titian was overtaken by 
 Tintoretto, who outlived Paul Veronese by a few years 
 and died when the tide had turned and change and 
 decay had already set in. From first to last what is 
 most charafteristic of the Venetian School is its love 
 of colour, a freedom from mysticism, its stately enjoy- 
 ment of life and sober realism. 
 
 The compiler of this catalogue desires to offer her 
 thanks to Madame Wiel and to Commendatore 
 Barozzi for the assistance they have given and the 
 kindness they have invariably Jhown. Her thanks 
 are also due to those authors and publishers who have 
 permitted extrafts to be made from the following 
 works : 
 
 " History of Painting in North Italy," and " Titian, 
 his Life and Times," Crowe and Cavalcaselle ; 
 Burckhardt's "Cicerone," edited by Crowe; "Hand- 
 book of Painting, Italian Schools," Kugler, and 
 "Dutch, Flemifti and German Schools," Kugler, 
 edited by Crowe ; " Italian Painters ; Critical Studies 
 of their Works," Morelli ; " Landscape in Art," 
 Josiah Gilbert (John Murray) : "Legends of the 
 
PREFACE 
 
 Madonna," " Sacred and Legendary Art," and 
 " Legends of the Monastic Orders," Mrs. Jameson ; 
 " Cadore," Josiah Gilbert ; " A Long Vacation in 
 Continental Picture Galleries," Rev. T. W. Jex- 
 * Blake (Longmans & Co.): "History of Painting," 
 Woltmann and Woermann ; " The Masters of Genre 
 Painting," F. Wedmore (Kegan Paul, Trench & Co.) : 
 "Handbook to the National Gallery," E. T. Cook 
 (Macmillan & Co.) : " Italian Masters in German 
 Galleries," Morelli, translated by L. M. Richter 
 (George Bell & Sons) : " Historical Handbook of 
 Italian Sculpture," Perkins (Scribner & Remington) : 
 "The Great Painters of Christendom," Forbes 
 Robertson ; " Flemifti School of Painting," Wauters 
 (Cassell & Co.) : " Piftures by Venetian Painters," 
 W. B. Scott (Routledge & Sons) : " Epochs of 
 Painting," R. N. Wornum (Chapman & Hall) : 
 " The Old Masters of Belgium and Holland," Eugtee 
 Fromentin, translated by Mrs. Robbins (Houghton, 
 Mifflin & Co.) : "German, Flemilh and Dutch Paint- 
 ing," Poynton & Buxton ; "Italian Painting," Poynter 
 & Head ; "Wonders of Italian Art," Viardot ; "Life 
 of Tintoretto," Osier (R. Clay & Sons). 
 
 E. M. Keary. 
 
PAINTINGS 
 
Note. — Engraved Reproductions of the Pictures marked thus ' 
 ivili be found at the end of the Catalogue. 
 
PAINTINGS 
 
 ALBARENGO. &^ VENETIAN SCHOOL. No. 12. 
 
 ALBERTI (Francesco). Venetian : living in 1 5 50. 
 
 Francesco Alberti was the pupil of Battista del Moro. 
 The following picture is ascribed to Alberti by Bos- 
 chini, but Zanetti and others ascribe it to Battista 
 del Moro. Cav. Botti, inspector of these galleries 
 and compiler of the Italian catalogue, assigns it to 
 the former, and is of opinion that the colouring is not 
 equal to that of Del Moro. 
 
 41. Virgin and Child. At the sides St. Mark and St. John the sala vii 
 Evangelist ; below are the portraits of Giov. and Marco 
 Marcello, the donors of the picture. Formerly in Sta. Maria 
 Maggiore. Canvas : 10 ft. loj in. by 6 ft. 7 in. 
 
 ALBONI (Paolo). Bolognese : 1671 (?)-i734. 
 
 Alboni painted at Rome, Naples, and Vienna ; at the 
 latter place he remained nearly thirteen years. An 
 attack of paralysis deprived him of the use of his 
 right hand, and he subsequently painted with his 
 left. He was an imitator of Ruisdael. 
 
 62. The Pastor. Presented by Molin. Panel : j ft. ^ in. by 1 ft. 6^ in, loggia 
 
 PALLA- 
 
 ALLEMAGNA (Giovanni d'). See VIVARINI. diana. 
 
 ALSLOOT (Denis Van) (Ascribed to). Flemish : painted 
 1599-1625. 
 
 Alsloot was born at Brussels ; he was court painter to 
 Archduke Albert, Governor of the Netherlands, about 
 
AMERIGHI— ANDREA 
 
 IS99- 
 rare. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 He painted landscapes ; his pictures are very 
 Presented by Molin, Canvas ; 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 SALA 
 
 DELLE 
 
 STATUE. 
 
 II. Skaters; a Wintry Landscape 
 
 1 ft. II J in. iy aft. 3 in, 
 
 15. Landscape with Lake, Boats, Figures, and Houses in 
 the background. Presented ty Molin. Canvas : ift.i ij in. by 
 
 2 ft. 3 in. 
 
 AMERIGHI (Michael-Angelo) called Caravaggio. 
 Roman : 1 569-1609. 
 
 Michael-Angelo Amerighi was the son of a mason ; 
 he painted at Venice, Milan and Rome, and at the 
 latter place, owing to his poverty, was obliged to 
 enter into the service of Caesare d'Orpino. After a 
 time Amerighi made his mark, however, and received 
 several commissions, but, owing- to the violence of his 
 temper, he was involved in continual quarrels and 
 difficulties. At last he died, at the age of forty, at 
 Porto Ercole, of a fever caused partly by the extreme 
 heat, and partly by 'his misfortunes. 
 Caravaggio stands at the head of the so-called Natu- 
 ralists ; his style is forcible but steeped in vulgarity, 
 his figures generally clumsy in drawing, and his 
 shadows wanting in transparency. 
 
 77. Homer Playing on a Violin. Acquired from Parisi. Canvas: 
 3 ft. 4J in. bf 2 ft. 6J in. 
 
 ANDREA DA MURANO. See MURANO. 
 
 ANDREA (Jacopo d'). Cavaliere. 
 
 Professor in the R. Instituto delle Belle Arti. 
 
 11. The Prophet Daniel interpreting the Dream of Nebu- 
 chadnezzar. Canvas : T ft. 9I in. by 10 ft. 6\ in. 
 
 12. Penelope Weaving. Canvas: l,ft. lOin. by 3 ft. J^in. 
 
BADILE— BALDACCI 5 
 
 ANDREA VICENTINO. See MICHIELI. 
 ANTONELLO DA MESSINA. See MESSINA. 
 ANTONIO DA FIRENZE. See FIRENZE. 
 ANTONIO DA MURANO. S^^ VIVARINI. 
 AVANZI. See VENETIAN SCHOOL. No. 34. 
 
 BADILE (Antonio). Veronese : 15 16-1560. 
 
 Antonio Badile came of a family of painters of no 
 great importance. He was born at Verona in 1 5 1 6. 
 He is chiefly interesting from the fact that he was 
 the uncle, and for some time the master, of the great 
 Paolo Veronese. 
 
 4. Christ and the Woman of Samaria at the Well. In the sala in. 
 background SS. Jerome and Francis, and figures on 
 horseback. Panel : 10 in. by ift. ij in. 
 
 BAGATI or BAGATTI-VALSECCHI. 
 
 3. Portrait of Francesco Hayez. Porcelain : si '«■ h 6 '«• ^^la 
 
 DELLE 
 
 BALESTRA (Antonio). Venetian : 1 666- 1740. statue. 
 
 Antonio was born at Verona, and, at the age of twenty- 
 one, went to Venice, where he became the pupil of 
 Antonio Bellucci. 
 
 He afterwards visited Bologna and Rome : at the 
 latter place he attended the school of Carlo ^ 
 Maratta, to whose style Balestra's painting bears 
 some resemblance. 
 a. The Annunciation. Formerly in tie old Academy of Painting, sala xi. 
 Canvas : ^i/'- h ^/'- 9 '"■ 
 
 BALDACCI (Antonio). 
 
 SALA 
 
 10. Time. A copy of Domenichino. The original is at delle 
 Rome. Camas: I ft. di in. by 2 ft. STATUE. 
 
BARBARELLI— BARBATELLI 
 
 BARBARELLI (Giorgio), called Giorgione (Ascribed to). 
 Venetian: before 1477-1 51 i. 
 
 BarbarelH, called from his handsome stature, Geor- 
 gione, was born at Castelfranco. He is one of the 
 greatest of the old Italian masters, but although the 
 influence he exercised over the artists of his time was 
 immense, hardly anything is known of his life. 
 He was a pupil of Giovanni Bellini contem- 
 poraneously with Titian. He revisited, and painted 
 in his native place, and afterwards, in company with 
 Titian, executed some frescoes on the fa9ade of the 
 Fondaco dei Tedeschi, but these have perished. His 
 pictures are rare, and the authorship of those ascribed 
 to him has, perhaps, been more disputed than that of 
 the works of any other painter. He early distinguished 
 himself by his beautiful colouring. As Mr. W. H. 
 Pater says, he " expresses quintessentially, in elemen- 
 tary suggestion and effect, that spirit, itself the final 
 acquisition of all the long endeavours of Venetian art, 
 which Titian spreads over his whole life's activity." 
 Georgione died in 151 1, at the early age of thirty- 
 four. 
 
 13. Portrait of a Venetian Noble. Half-length, holding a 
 glove. In the opinion of most writers this painting is 
 a work of Palma Vecchio. Presented by Molix. Canvas: 
 Zft. 4j/». hy 2 ft. 2^ in. 
 
 BARBATELLI (Bernardino) called il Poccetti. Floren- 
 tine : 1544.-1612. 
 
 Bernardino Barbatelli imitated Andrea del Sarto : he 
 is an unimportant artist, even for the period of the 
 decline of Italian painting. 
 
 29. The Meeting of the Virgin and St. Elizabeth. Presented 
 
BAROCCI— BASAITI 
 
 by Sigmr Marco G, Ancotia Hi Rovign, Coffer : SJ in. ly 
 6i in. 
 
 BAROCCI (FEDEitico). Roman: 1528-1612. 
 
 Barocci was born at UrBino and became the pupil of 
 his father, Ambrogio Barocci, who was a sculptor. 
 He afterwards studied under Battista Franco, and when 
 that painter left Urbinoj Barocci went to Pesaro, 
 where he copied some of Titian's paintings. He 
 visited Rome in 1548 and again in 1560, when he 
 was employed by Pius IV. in the Vatican. This time 
 he was nearly poisoned, and though he lived to 
 extreme old age, so dire were the effects, that his 
 health was utterly destroyed. Barocci was a follower 
 of Correggio ; his colouring was peculiar. " Some- 
 times in endeavouring at clearness or brilliancy of tint, 
 he overshot the mark, and falls under the criticism 
 which was made on an ancient painter, that his figures 
 look as if they fed on roses." — (Sir Joshua Reynolds.) 
 62. Ecce Homo. Pami 1 I ft. si if. ly 9J in. 
 
 BASAITI (Marco). Venetian : painted 1490-1521. 
 
 Marco Basaiti was born in Friuli, and, according to 
 Vasari, of Greek parents. In 1 503 he finished Luigi 
 Vivarini's altar-piece for the church of the Frari, a 
 work which was interrupted by the death of that 
 master. From this fact it would be almost safe to 
 assume that he was Luigi's pupil and assistant. " As 
 an independent painter he has no strongly marked 
 individuality ; his treatment, both of form and charac- 
 ter, was meagre and dry ; still he brougHt the 
 technique of oil-painting to great perfection ; his 
 colour is amazingly pure, the details admirably finished, 
 and the landscape delightful." (Woltmann and 
 
BASAITI 
 
 WoERMANNi II.) Basaiti's works are frequently as- 
 cribed to Giovanni Bellini. 
 
 8. St. James. Background landscape. Signed "MARCUS." 
 
 II. St. Anthony. At the Saint's feet is his traditional bell. 
 This panel was once a fellow to No. 8. Signed 
 " BASAITI P." Each panel : bfi. 7 in. by 2fi: 
 
 13. The Dead Christ with Two Angels. In this picture 
 Basaiti closely approaches Bellini in style and feeling. 
 Thise three panels ivcre formerly in theCotrvent cf Sta. Maria dei Mira- 
 coli. Panel : 1 ft. ^ in. hy ^ft. 2 J in. 
 
 24. The Agony in the Garden. In the foreground, under a 
 vaulted arch, stands St. Francis reading ; behind him 
 St. Louis, King of France. In the opposite corner, 
 SS. Andrew and Mark. Christ is seen kneeling in the 
 middle distance, while the disciples are represented 
 sleeping at the foot of a rock. The face of St. Andrew 
 is probably repainted. " There is sweet and tender 
 feeling in the landscape ; particularly striking is the 
 leafless tree — symbol of the Saviour's desolation, as 
 well as true to the season — lifting forlorn boughs 
 against the evening light. The divine figure at its foot 
 , is more than usually worthy of the subject."— (Josiah 
 Gilbert, Landscape in Art.) Signed " 1510, MARCUS 
 BASITUS." Formerly in S.Giohhe. Panel: 11^, IlJ in. by 
 1ft- 3 '"■ 
 
 18. St. Jerome kneeling at the Foot of a Rocky Bank. Pre- 
 sented by Molin. Panel: I ft. 9J in. by I ft. 4J in. 
 
 II. The Calling of the Sons of Zebedee. "The sons of 
 Zebedee are certainly coming. The colouring is very 
 clear, the shadows rather sharp; the whole stiff, but 
 admirably told. The legs are perhaps rather too pro- 
 ' minent." — (Rev. T. W. Jex-Blake, A Vacation in Continental 
 Picture Galleries.) 
 
 " The great landscape is washy, and the trees brown 
 and dull. Basaiti here is not only inferior to Cima, but 
 inferior to himself." — (Josiah Gilbert, Landscape in Art.) 
 
BATTAGLIOLI— BECCARUZZI 
 
 Signed " MDX. M. BAXAITI." Formerly in Satit Andrea 
 della Ccrtom, Panel, arched : l^fi. by %ft. '] in. 
 
 BASTIANI. See SEBASTIANI. 
 BASSANO. See PONTE. 
 
 BATTAGLIOLT (Francesco). 
 
 The details of this painter's history are unknown. 
 He was both a sculptor and painter, and lived in the 
 last century. 
 
 20. Architecture. Formerly in tie Academy of Painting. Canvas : sala XI, 
 lO Ji. loj in. by T ft. 5 in. 
 
 BATONI (PoMPEo). Tuscan: 1708-1787. 
 
 Batoai was born at Lucca, and was the pupil of 
 Domenico Lombardi. 
 
 " Pompeo Battoni, finished his historical pictures part 
 after part, and in his portraits completely finished one 
 feature before he proceeded to another. The conse- 
 quence was, as might be expected, the countenance 
 was never well expressed, and, as the painters say, the 
 whole was not well put together." — (Sir Joshua 
 Reynolds, Fourteenth Discourse.) 
 
 18. The Virgin enthroned, with SS. Clara, Dominic, sala xii. 
 Augustin, and an Angel. Acquired from Paris!, Canvas: 
 2 ft. 6 in. by I ft. 7i in. 
 
 BECCARUZZI (Francesco). Venetian: 1500-15 50. 
 
 Beccaruzzi was born at-Conegliano, and became the 
 pupil and imitator of Bernardino Licinio ; according 
 to some writers he also imitated Titian. In his 
 sketchy treatment Beccaruzzi shows very plainly the 
 decline of the Venetian school. 
 78. The Dead Christ ; at the sides, St. Job and Lazarus loggia 
 
lo BEGA— BELLINI 
 
 PALLA- kneeling. Formerly in the Church of S, Francesco m Coneglimo, 
 
 DIANA. ^„„^_ 
 
 SALA XVI. • 9. St. Francis receiving the Stigmata, with St. Louis 
 
 of France (left), SS. Bonaventura, Catherine, Jerome, 
 Anthony, and St. Paul. Inscribed " F. B. ; D. C." 
 Formerly inS. Francesco of Conegliano. Canvas : 14 ft. 6 in. by 8ft. 3 in. 
 
 BEGA (Cornelius). Dutch : 1 620-1 664. 
 
 Bega was born, and died at Haarlem ; he was the 
 
 pupil of Adrian van Ostade. He differed from his 
 
 master in " manner of conception, as in most other 
 
 respects. He was a better draughtsman and had more 
 
 sense of beauty ; but, on the other hand, he was far 
 
 inferior in feeling for colour and chiaroscuro." — 
 
 (KuGLER, Handbook of Painting.) 
 
 LOGGIA 42. Man Reading. Presented by Molin. Panel : 8 in. by 6 in. 
 
 PALLA- 
 
 BELLINI (Bellino). Venetian : sixteenth century. 
 
 Vittor Bellin Belliniano, or as he is sometimes called, 
 Bellino Bellini, was one of the least important of 
 Giovanni Bellini's numerous pupils. 
 
 SALE 20. The Flight into Egypt. Formerly in the Scmla del Varotari. 
 
 DIANE. ' " •'•'■' '^ 
 
 BELLINI (Gentile). Venetian : about 1427-1507. 
 
 Gentile was the son of Jacopo Bellini, elder brother 
 to Giovanni, and godson to Gentile da Fabriano. 
 " He was largely engaged by the Venetian govern- 
 ment to decorate, with legendary and historic subjects, 
 the Hall oi Council, and was so highly esteemed by 
 the Venetian authorities that, when Mahomet II., 
 who startled all Christendom by his conquest of 
 Constantinople in 1453, wrote to the Signoria for a 
 capable painter, Gentile was chosen by the Doge. He 
 
BELLINI (GENTILE) ii 
 
 remained at Constantinople about a year, and so pleased 
 was the Sultan with the many works he executed for 
 him, that he dismissed him with a knighthood, and a 
 golden chain worth 250 scudi. 
 
 We accept, as being probable enough, the story told 
 by Ridolii, that the Sultan, on being presented by 
 Gentile with a picture of the head of John the Baptist 
 on a charger, remarked that he had made the adhering 
 portion of the neck project from the head, which was 
 incorrect, as it always retired close to the head when 
 this was separated from the body. To prove he was 
 correct, the Sultan had the head of a slave cut oiF, 
 and demonstrated the truth of what he said there and 
 then. Such was the man who was the indirect cause 
 of the revival of classic literature in Western Europe." 
 — (Forbes-Robertson, The Great Painters of Christen- 
 dom.') 
 
 Bellini visited Rome ; he was married, but had no 
 children. It is interesting to know that he received 
 Titian as a pupil when the latter was only nine years 
 of age. Gentile died on the 23rd of Feb. 1507. 
 
 13. St. Lorenzo Giustiniani, first patriarch of Venice. This 
 greatly damaged picture is nevertheless most inter- 
 esting as showing Gentile's power of delineating 
 character. The composition is extremely naive. On 
 either side is a kneeling monk, and in the background 
 two angels. Signed and dated : " MCCCCLXV. OPUS 
 GENTILIS BELLINI VENETI." Formerly in Sta. Maria 
 delV Orto. Canvas: j/t. Si >"• h ifi- 'i '»■ 
 
 *S. Miracle of the Cross. During the Procession of the 
 Brotherhood of St. John Evangelist "the cross was 
 thrown, I know not by what chance, from the Ponte 
 della Paglia into the canal, when many persons, from 
 theTeverence which they bore to the piece of the true 
 cross of Jesus Christ contained within it, threw them- 
 
12 BELLINI (GENTILE) 
 
 selves into the water to get it out. But it was the will 
 of God that none should be found worthy to take it 
 thence, save only the Principal or Guardian of the said 
 
 Brotherhood Gentile, therefore, representing 
 
 this story, delineated in perspective several houses 
 situated along the Grand Canal, showing the Ponte 
 della Paglia, and the Piazza di San Marco, with a long 
 procession of men and women who are walking behind 
 the clergy. Many persons have cast themselves in, 
 some are half-immersed, and others are in other 
 positions, but all in very fine attitudes; finally, the 
 artist depicted the Guardian above named, who re- 
 covers the cross. The labour and pains bestowed on 
 this work were very great, as is manifest when we 
 consider the vast number of figures, the many portraits 
 taken from the life, the diminution of the figures 
 receding into the distance, and the likenesses more 
 particularly of almost all the men who then belonged 
 to that ' Scuola ' or company." — (Vasari II.) Catherine 
 Cornaro, ex-Queen of Cyprus, is represented among 
 the spectators on the left, crowned, and wearing a green 
 dress. Signed: "GENTILI BELLINI VENETI. 
 F.MCCCCC." Formerly in the Scuola di San Gicni. Evangelista. 
 Canvas : 10 ft. 64 in. by 12 ft. 10 in. 
 SALA VIII. 29. Procession of the Relic in the Piazza St. Marco. 
 
 Jacopo de Salis, a merchant of Brescia, received, it is 
 said, the news that his son had hurt his head seriously 
 in a fall. It happened to be the festival of St. Giov. 
 Evangelista, and Jacopo, meeting the procession in the 
 Piazza S. Marco, instantly made a vow to the Holy 
 Cross. The next day he heard that his son had com- 
 pletely recovered. This picture, though greatly in- 
 jured, is still remarkably interesting. The front view 
 of St. Mark's is rendered with absolute fidelity, and 
 shows the effect of the old Mosaics. Signed: 
 " MCCCCLXXXXVI. GENTILIS BELLINI VE- 
 NETI EQUITIS CRUCIS AMORE INCENSUS 
 OPUS." S. G. E-vangelista. Canvas : 12 ft. by 24/^. 8 in. 
 
 SALA XV. 7. Pietro di Lodovico cured of a fever by virtue of a relic 
 
BELLINI (GIOVANNI) 13 
 
 of the Holy Cross. This picture has suffered greatly 
 from restoration. Inscribed "OP .... GENTILIS 
 BELLINI F." Formerly in the Scuola di San Gitm. Evangelista. 
 Canvas: 12 ft. 2 J in. iy Sft. $ in. 
 
 BELLINI (Giovanni). Venetian: about 1428-1516. 
 
 Giovanni Bellini was the son of Jacopo, and younger 
 brother of Gentile. The two brothers were the 
 assistants of their father, and accompanied him on 
 his travels. It was during their residence in Padua 
 that they became connected with Mantegna, who 
 attended their father's workshop and afterwards 
 married their sister. Thus the two greatest artists 
 of Northern Italy were brought into close relation- 
 ship, and the influence which they exercised over 
 each other was considerable. 
 
 Giovanni Bellini, the greatest Venetian artist of the 
 fifteenth century, throughout the whole of his long 
 life gives evidence of continual development and 
 increasing knowledge and power. Although he lived 
 to be ninety, there is no sign of failure, or of the 
 weakness of age to be detected in his work. Albert 
 Diirer, when visiting .Venice in 1506, wrote of 
 Bellini, who was then eighty years of age, " Though 
 very old, he is still the best in painting." Giovanni's 
 largest works, which decorated the great Council 
 Chamber in the Doge's Palace, were destroyed by 
 fire in 1577. It is interesting to note under what 
 conditions the great master worked at these paintings: 
 " Constantly and daily, so that said pictures may be 
 completed as expeditiously ' as possible, with three 
 assistants, also paid by the State, to render speedy 
 and diligent assistance." He himself was engaged at 
 a fixed salary. 
 
H 
 
 BELLINI (GIOVANNI) 
 
 Bellini's early works are in tempera, his later ones in 
 oil, which method of painting he is said to have 
 learned from Antonello da Messina. 
 In later years Bellini numbered among bis pupils men 
 before whom his own name somewhat pales. Titian 
 and Giorgione received their earliest instruction in 
 the Bellini atelier ; and Titian finished Bellini's last 
 picture after that master's deach in 1 516. Giovanni 
 died at the age of eighty-six, revered by all, courted no 
 less by the men of letters of his time, than by the 
 greatest in the State ; Ariosto and Pietro Bembo have 
 celebrated him in their verses. 
 
 *i7. Madonna and Child. Though restored and repainted, 
 this picture is still one of the most characteristic and 
 most beautiful of Bellini's works. The Child stands 
 upright, on a low wall, while the Virgin holds him with 
 both her hands. Inscribed "JOANNES BELLINUS, 
 P. 1487." Panel : 2 ft. 6 in. by I ft. IlJ ;». 
 
 ■"24. Madonna and Child. Greatly repainted, and probably 
 an early example. Signed "JOANNES BELLINUS." . 
 Panel: 2_//. 8 in. by 2/^ , 
 
 Five allegorical subjects. 
 
 *47. The Goddess Venus (?) seated in a shell; she supports 
 a globe representing the world upon her knees. Sky 
 repainted. Panel; \ ft. l\ in. by 8^ in. 
 
 *48. The Car of Bacchus (?) Sky repainted. Panel: i ft. 1 in, 
 by 8J in. 
 
 *49. Truth (?) Panel: i ft. 2 in. by SJ in. 
 
 *5o. Slander (.') Sky repainted. Panel : 1 ft. i J in. by 9 in. 
 
 *Si. Fortune, with her eyes bhndfolded (?) Sky re- 
 painted. These five beautiful little panels probably 
 once formed part of a cabinet, or some other piece of 
 furniture. " Full of versatile fancy are the five small 
 allegorical subjects in the Academy at Venice. Mr, 
 Ruskin in his Notes expresses a special interest in 
 
DIANE. 
 
 BELLINI (GIOVANNI) 15 
 
 them, and they are indeed wonderful in colour, delicacy 
 and richness — genuine gems of art, although the mean- 
 ing is too complex and obscure to be interpreted alike 
 by any of the interpreters. In one there is Venus in a 
 boat — or at least a lovely lady without attire — as she 
 glides along at sunset, companioned with lovely boys, 
 amid deep-toned, rolling hills. In another, called by 
 some ' Labour,' it is broad daylight, and there is a 
 delicious confusion of verdant hills around. ' Malice ' 
 (or is it as. Mr. Ruskin says, ' Lust ' ?) has in the back- 
 ground a town sinking into twilight. ' Fortune ' or 
 ' Opportunity,' is surrounded by an ornamental land- 
 scape too artificial for true art. The date of these 
 curious pictures is unknown, but they are pretty 
 certainly late."— (Josiah Gilbert, Landscape in Art.) 
 
 *2. Virgin with the sleeping Child on her knees. Her sale 
 hands are raised in the attitude of prayer. " The palla- 
 beautiful Virgin adoring the child asleep on her knee 
 at the Venice Academy, in which Bellini, whilst appro- 
 priating an incident frequently used by the Muranese 
 artists, shines forth as their superior in simple un- 
 affectedness and delicacy. Distance of sky renewed, 
 blue mantle repainted. .... The forms are slender 
 and regular, the hands delicate, the drapery still broken 
 in the Mantegnesque style. The tempera is abraded 
 but was from the first day, the lights being hatched up 
 warmly." — (Crowe and Cavalcaselle, Painting in N.Italy, I.) 
 Signed "JOANNES BELLINUS PX." Formerly in the 
 Magistrate delta milizia da Mare, Panel : ■^ft. lof in. by 2 ft, i J in. 
 
 3. Virgin and Child, formerly in the Magistrate del Monte Novis- 
 simo. Panel: 2 ft. 6i in. by 2 ft. ^ in. 
 
 33. Virgin and Child with the Magdalene and St. Catherine. 
 " The Madonna of his usual style, but not in his best 
 work. The Magdalene has a face of great beauty, 
 thoughtful, penitent, and full of feeling. She is admir- 
 able both in drawing and colour. Her hands are crossed 
 humbly, her lips are ready to part, and very sensitive. 
 
1 6 BELLINI (JACOPO) 
 
 The dress is in exquisite colouring — deep dark green 
 and sombre crimson." — (Rev. T. W. Jex-Blake, A Long 
 Vacation in Continental "Picture Galleries.) Panel : I jt, loj in, 
 
 h if'- si '■»• 
 
 44. The Virgin holding the Child upright; on the right, 
 St. Paul; left, St. George. Signed "JOANNES 
 BELLINUS." Panel : 2 ft. i^ in, by 2 ft. i if in. 
 
 SALA XV. ig. Virgin and Child. Formerly in the Officio dei Governatori delF 
 
 Entrate. Panel: 2 ft. 6| in. by 2 ft. 
 
 SALA XIV. 10. Virgin, Child and Saints. " The drawing is very good, 
 
 and the colouring beautiful. The subject is Our Lady 
 seated in a somewhat elevated position with the child 
 in her arms. Undraped figurfes of San Jobbe (Job), 
 San Bastiano (Sebastian), are beside her, with San 
 Domenico, San Francesco, San Giovanni, and Saiv 
 Agostino, near them ; beneath are three boys playing 
 musical instruments with much grace of attitude. 
 This picture was highly praised, not only when it was 
 first seen, but has in like manner been extolled ever 
 since as an extremely beautiful work."^(Vasari.) " It 
 is remarkable," M. Charles Blanc says, "that in 
 spite of the rich, intense, and varied colouring of this 
 picture, it yet appeals to our heart rather than to our 
 eye. Its soft murmur soothes us in the midst of the 
 uproar of the Venetian school." According to Sanso- 
 vino this was the first " oil "-painting that Giovanni 
 did for a public building. Signed "JOANNE BEL- 
 LINUS." Formerly in S. Giobbe. Canvas: l^ft. ^in.by^ft, i^in, 
 
 JBELLINI, Giovanni (School of.) 
 SALA III. 33. Head of Christ. Canvas ; i /;. i in. by 8f in, 
 
 BELLINI (Jacopo). Venetian : Lived in the beginning of 
 the fifteenth century. 
 
 Jacopo Bellini was a pupil in the atelier of Gentile da 
 Fabriano while that master was in Venice, and in 
 1425 he followed him to Florence. It is not known 
 
BELLO— BELOTTO 17 
 
 when Jacopo married, nor is there any record of the 
 birth of his two sons, Gentile and Giovanni. He 
 resided at one time in Padua, where Andrea Mantegna 
 married his daughter, and where his teaching must 
 have been of paramount influence upon his famous 
 son-in-law. Jacopo's most precious legacy in art is 
 his sketch-book, now in the British Museum. 
 
 18. The Virgin and Child. The latter blesses with His corridor. 
 right hand, and holds an apple in His left. " Jacopo's 
 surviving works are of no great importance. . . . , In 
 the Accademia at Venice, a Madonna, with a delicate 
 narrow face and small eyes, warm in tone." — (Woltmann 
 and Woermann, ii.) This picture is greatly repainted. 
 Inscribed on the frame, which is a very old one, 
 " OPUS JACOBI BELLINI VENETI." Ftn-merly in the 
 Scuciadi S. Giov. Evangcli'sta, Panel : 2, ft. 7i in. ^ I^f. low. 
 
 BELLO (Marco) or Belli. Venetian : Fifteenth to six- 
 teenth century. 
 
 Marco Bello was a pupil of Giovanni Bellini, and is 
 one of the few who inscribe themselves as such in 
 their signatures. Considerable uncertainty exists with 
 regard to his identity, and he is believed by some to 
 be the same as Marco Marziale. He was in Udine 
 in 151 1. 
 45. The Virgin, Child and St. John the Baptist. Panel. sale 
 
 PALLA- 
 
 BELOTTO (Bernardo). Venetian : 1720- 1780. '''*'^=- 
 
 Belotto was the nephew and pupil of Canaletto. 
 He worked at Rome, Munich, and Dresden, where 
 he became court painter to Augustus III. ; after- 
 wards he went to Vienna and St, Petersburg. He 
 finally settled at Warsaw as court painter to King 
 Stanilaus II. in 1770. 
 
 B 
 
1 8 BERCK-HEYDE— BERRETTINI 
 
 SALA XI. 4. The Scuola di St. Marco, now the Hospital. Formerly in 
 
 the Manfi-iiti Gallery. Cannas : I ft. 4f in. by 2 ft. 3^ '»• 
 
 BERCK-HEYDE (Gerrit). Dutch : 1645-1698. 
 
 Gerrit Berkheyden was born at Haarlem. He executed 
 chiefly exteriors of buildings, though he was also skil- 
 ' ful in the delineation of figures and animals. He was 
 careful in execution, but his colouring is generally 
 cold. He died at Haarlem, 1698. 
 
 LOGGIA 23- Horse Fair. Signed " GERRIT BERCK-HEYDE." 
 
 PALLA- Presented by Molin. Panel : I ft, 3f in. by I ft, 7f in. 
 
 DIANA. 
 
 BERCHEM or BERGHEM (Nicholas). Dutch : 1620- 
 1683. 
 
 Though Berchem was born at Haarlem and spent 
 most of his life in Holland, he nevertheless painted 
 chiefly Italian scenes. He worked by agreement with 
 a picture dealer for ten florins a day from early in the 
 morning till four in the afternoon. 
 LOGGIA zo. Landscape with Three Figures, one Milking a Cow. 
 
 PALLA- Signed " BERCHEM." Presented by Molin. Canvas : ^ ft- 
 
 ^i/^^f^- 8 in. by 2 ft. 9-1 in. 
 
 BERRETTINI (PiETRO DA Cortona). Florentine: 1596- 
 1669. 
 
 "In the course of the seventeenth century, a new 
 mannerism hastened the decay of the now nearly 
 extinct influence of the Eclectic school. The prin- 
 cipal founder, of this pernicious style, which chiefly 
 aimed at filling space with the least cost of labour, 
 was Pietro Berrettini do Cortona. The intrinsic mean- 
 ing of his subjects he altogether disregarded ; even 
 his thorough knowledge of nature he turned to no 
 purpose, but contented himself with dazzling and 
 superficial effects, with contrasts of masses, florid 
 
BEIJEREN— BISSOLO 19 , 
 
 colouring and violent light. In spite of this he, 
 scarcely succeeds, in concealing his own great natural 
 talents, and even in his most mannered works, we 
 recognise a great inventive power." — (Kugler, Hand- 
 book of Painting, ii.) * 
 6. Daniel in the Lion's Den. Formerly in San D,anUle. Canvas : SALA vil. 
 14//. Sin. by ■jft.'iin. 
 
 BEIJEREN (Abraham Van). Dutch : 1 620-1. Living in 
 1674. 
 
 Beyeren was a painter of still life. His name appears 
 as a member of the Guild of St. Luke in 1640, and he 
 is mentioned as one of the artists who established the 
 new academy of painting at the Hague in 1656. 
 
 8. Still Life. Panel: 2 ft. ij in. by ^ft. | in. sala hi. 
 
 BINI (PIETRO). 
 
 17. The Vision of Don Giovanni Tenorio. Canvas 1 ifi.^in. sala 
 by ift.ll in. DELLE 
 
 STATUE. 
 
 BISSOLO (Pier Francesco). Treviso : Flourished 1492- 
 1530- 
 
 Pier Francesco Bissolo is believed to have been born 
 at Treviso, like Vincenzo Catena, with whom he 
 shows some affinity of style. He was a second-rate 
 pupil and ' imitator of Giovanni Bellini, and an 
 assistant of Bellini, with Catena and Marco Marziale, 
 in the decoration of the Great Hall of Council. 
 Bissolo's work is distinguished for delicacy of execu- 
 tion and a fine feeling for colour. 
 40. Two Angels supporting the Dead Christ. Somewhat sala i\ 
 injured by restoration. Panel : i ft. 4 in. by 2. ft. 4J in. 
 
 109. Virgin and Child. Panel : 2 ft. 9 in. by 2 ft. \\ in, 
 32. The Presentation at the Temple. St. Simeon praying, palla- 
 SS. Joseph and Anthony of Padua, a woman carrying diane. 
 
20 BLES 
 
 the doves, and the portrait of a man, probably the 
 donor. Signed " FRANCISCUS BISSOLUS." 
 Panel: zft.'J in. by T,ft. loj in. 
 
 SALA viii. 15. Christ presenting the Crown of Thorns to Catherine 
 
 , of Sienna. There are also SS. Peter, Paul and James 
 
 the Less, the Magdalene and the angel Raphael, who 
 holds Tobias by the hand. Signed "FRANCICUS 
 BISSOLO." A fine and attractive picture. Formerly 
 in S. Pietro Matire, Murano. Canvas : 12 ft. 2 in. by % ft. 4 in. 
 
 SALA XIV. 28. Virgin and Child, with St. James the Apostle. . St. Job, 
 
 with hands joined, St. Rosa and St. John the Baptist. 
 Presented by Molin. Panel : 2 ft, 3 J in. by ■^ft. 4 in, 
 
 BLES (Erico Met) called Civetta. Flemish : About 1480- 
 1550. 
 
 " Henry Bles — called the painter with the owl, 
 Civetta, on account of the owl which he adopted 
 as a monogram — probably belonged to the school of 
 Liege. Fruitless attempts have been made to erect 
 this artist into a genius, endowed with a talent 
 approaching the perfection of the early masters, and 
 several masterpieces were ascribed to him which 
 
 rightfully be.long to another period In his 
 
 landscapes, \yhich are peopled with small, though 
 somewhat heavy, personages, the foliage is dark and 
 the soil bituminous. According to Guicciardini this 
 artist was born at Dinant, in the principality of Liege ; 
 it is believed that he died in the city of Liege towards 
 1550." — (Wauters, TAe Flemish School of Painting.) 
 
 LOGGIA 12. Panel representing two episodes from Dante's Inferno. 
 
 PALLA- Formerly in the Ducal Palace. Panel : 2 ft. II J in, by 1 ft. 8 in. 
 
 DIANA. ^^ The Tower of Babel. Presented by Molin. Panel: ift.lilin. 
 
 by 2 ft, 6 in, 
 17. Two episodes from Dante's Paradiso. Fonueily in the 
 
 Ducal Palace, Panel : 2 ft, II J in, by ly?, 8 in. 
 
BOCCACCINO^BOLOGNA ai 
 
 BOCCACCINO (Boccaccio). Cremonese : Lived about 
 1460-1525. 
 
 Boccaccino was born at Cremona, and painted in the 
 Augustin convent there, and in the cathedral. At 
 some period of his life he went to Rome, where he 
 criticised Michael Angelo so severely that he fell 
 into disgrace, and was glad to escape from the enmity 
 which he had incurred. Between 1506 and 15 18 he 
 was employed in decorating with frescoes the walls 
 of the cathedral of Cremona. 
 
 Boccaccio "probably served his apprenticeship both 
 in Ferrara and Venice. All that is best in his art he 
 derived from the school of the Bellini, from Alvise 
 Vivarini, and latterly from Giorgione. One of his 
 finest works is in the Academy at Venice — the 
 Madonna seated with the infant Saviour in a beautiful 
 landscape." — (Morelli, Italian Painters.) 
 
 55. The Virgin and Child, surrounded by SS. Peter and sala ii. 
 John the Baptist, both kneeling; on the left kneels 
 St. Catherine ; in the centre is St. Rosa, standing. In 
 the background, the Flight into Egypt and the Wise 
 Men. Panel: 2 ft, Io| in. by /^ft. 8 in. 
 
 36. Christ Disputing with the Doctors. Paml ; i ft. loj by sale 
 3/r. 6 in. PALLA- 
 
 DIANE. 
 
 62. Virgin and Child. At the sides SS. Simeon and 
 Jerome. Con-vent ofS. Giohhe. Panel : 2ft.^ in. by ^ft.Z in. 
 
 43. Christ Washing the Feet of the Apostles. This pic- sala xi\ 
 ture, which is dated " MCCCCC," was at one time 
 ascribed to Melone, and afterwards to Perugino. By 
 Kugler it is assigned to Boccaccino. Formerly in the 
 Manfrini Gallery. Panel: ^ft. 54 in. by ■^ft. 8^ in. 
 
 BOLOGNA (Giovanni da). Bolognese : Lived in the 
 fourteenth century. 
 
BOLOGNESE SCHOOL 
 
 SALA II. 
 SALA III. 
 
 SALE 
 
 PALLA- 
 
 DIANE. 
 
 Giovanni was born at Bologna, and appears to have 
 worked in Venice in the church of St. Maria del Orto 
 and in the Scuola dei Mercanti. He was a contem- 
 porary of Lippo Dalmasio. 
 
 10. The Annunciation above and the Virgin and Child 
 below. At the sides St. John the Baptist and St. John 
 Evangelist, SS. Peter and Paul, and some members of 
 the Brotherhood of St. Giovanni Evangelista, kneeling. 
 Inscribed "ZUANE DA BOLOGNA PENSE." 
 Formerly in the Scuola of St. Gionj. Evangelista, Canvas : 3^. 8J/«. 
 
 BOLOGNESE SCHOOL. Fifteenth century. 
 
 26. Adoration of the Magi. Presented by Malin. Panel tempera : 
 I ft. Ill ;«. by -i ft. I in. 
 
 Seventeenth century. 
 88. Ahaz, King of Judah. Canvas: 2ft. 2| in. by ^jt. 3J in. 
 
 1. Ecce Homo. Panel: 6i in. by 4f in. 
 32. The Magdalene. Canvas: iftt.l in. by llj in. 
 46. St. John the Baptist. Background landscape. Panel: 
 
 9i in. by 7J in. 
 
 57. The Virgin in Prayer. Cofpsr : i ft. 8f in. /Sy i _/?. 4 in. 
 
 73. Portrait of a Man with long hair. Presented by Signor Marco 
 G, Ancona di Rovigo. Canvas : 2 ft, 2f in., by I ft. 9^ in. 
 
 74. The Virgin in Prayer. Half-length, with her hands 
 crossed on her breast. Presented by Malin. Canvas: 2 ft, 
 
 I J '«■ h I ft- 9i '»• 
 
 9. The Dead Christ. Presented by Canova, Panel: '^ft. 4^ in, by 
 6 ft. 7 in. 
 
 26. The Infant Christ Sleeping upon a Cross. Background 
 landscape. Inscribed upon the cross " EGO DORMIO 
 ET COR MEUM VIGILAT." Acquired from Parisi. 
 Copper ; I ft, i in. by I ft. J J in. 
 
BONIFACIO 23 
 
 BONIFACIO. Venetian : Fifteenth (?) to sixteenth cen- 
 tury. 
 
 " There were, it would seem, three Bonifazi, two of 
 whom were probably brothers, and born in Verona. 
 Both are known as Bonifazio Veronese, whence it is 
 necessary to speak of the elder, who died in 1540, 
 and the younger, who died in 1553. The third, 
 much younger, was perhaps the son of one of these ; 
 he was born in Venice, was still living in 1579, and 
 is called Bonifazio, Veneziano. 
 
 The elder of the two' brothers was, as Ridolfi has 
 pointed out, certainly a disciple of Palma Vecchio. 
 .... He was the best painter of the three ; his 
 technique is sound, his drawing pure and graceful, 
 his colour clear and bright." — (Woltmann and 
 
 WOERMANN, ii.) 
 
 59. Adoration of the Magi: St. Mark and St. Ludovic. sale 
 Formerly in the MtjgUtrato del Savi. Canvas : 2 ft. 6 in, by 2 ft- S '"• ^^^^^' 
 
 BONIFACIO. (Veneziano). 
 
 i8. The Virgin in Glory. Below SS. Francis of Assisi, sala vii. 
 Andrew, Clara, Peter, Paul, and King James of Aragon. 
 This picture is in Bonifacio's Titianesque style. For- 
 merly in Santa Maria Maggiore, Canvas : l^ft. hy ^ ft, \\ in, 
 
 34. St. James and St. Vincent. Dated " MDLXI." For- 
 merly in the Magistrate dei Governatari alF Entrade, Rialto, Can- 
 vas i T ft. by S ft, 
 
 BONIFACIO (Veronese). 
 
 *35. The Rich Man and Lazarus. " A very fine imaginative sala vii. 
 picture, full of character and pathos. The woman on 
 Dives' right hand is thoroughly in her place. The 
 other, whose hand he presses, shows bitter remorse in 
 her beautiful and pensive face. The sentiment is much 
 that of Rossetti's picture on Taylor's lines : 
 
24 BONIFACIO 
 
 ' Said tongue of neither maid nor wife, 
 To heart of neither wife nor maid,' 
 
 and recalls Hunt's 'Awakened Conscience,' which 
 has more abruptness, not more truth, and far less 
 beauty. The woman playing is also very beautiful, 
 and perfectly Venetian. The whole conception is very 
 good as w^l as original, and the colouring excellent." 
 — (Rev. T. W. Jex-Blake, A Long Vacation in Continental 
 Picture Galleries,^ Formerly in the possession of the Grimani family. 
 Canvas : 6 ft. 8 in. by l^ft. 2 J in. 
 
 39. St. Mathew, and on the right, St. Oswald. Magistrate 
 dei Governatori dell' Entrate. Canvas: "J ft. 3J in. by ^ft. 10 in, 
 
 BONIFACIO (Veronese), the younger. 
 
 40. The Saviour enthroned with Saints. The Saviour is 
 seated on a throne, on the steps of which there is an 
 angel playing on a mandolin. King David, St. Do- 
 minic and St. Louis, King of Prance, kneel before 
 Christ. Behind stand St. Mark on the right, and 
 St. Anna on the left. Background landscape. In- 
 scribed on the base of the throne " MDXXX." Magis- 
 trato dei Governatore dell' Entrate. Canvas : 6ft. 5 '"• ty ^^fi. 6 in, 
 
 50. St. John the Baptist, St. James the Less, and St. Peter. 
 
 Magistrato del Monte Novissimo. Canvas : 6 ft, lo in, by ^ft. 4J in, 
 
 51. Christ with His Disciples. " Philip saith unto Him, 
 Lord, show us the Father and it sufliceth us. Jesus 
 saith unto him, Have I been so long time with you, and 
 yet hast thou not known me, Philip ? he that hath 
 seen Me hath seen the Father.". — St. John xiv. 8, 9. 
 "St. Philip stands before the Saviour: the attitude of 
 the latter is extremely dignified, that of Philip suppli- 
 cating; the other apostles are seen in the background; 
 the colouring and expression of the whole like. Titian." 
 — (Jameson, Sacred and Legendary Art.) Formerly in the Church of 
 the Servi, Panel ; 6ft,/^ in. by ^ft, 2 in, 
 
 BONIFACIO (Veronese). 
 
BONIFACIO 25 
 
 59. The Massacre of the Innocents. " The long bands of sala vn. 
 evening cloud ; the dark blue hill with a sunset gleam 
 upon it ; the old brown-walled town, and the tree of 
 airy freedom in its branches, here relieved by white 
 cloud, there lost in the purple dark of the sky — such 
 features Bonifacio gives us again and again. He is 
 very picturesque, which suited his rather sketchy style, 
 but hardly more than this, and when it is said that this 
 last agreeable scene belongs to a ' Massacre of the 
 Innocents,' it will be apparent that he has no notion of 
 adapting his landscape, either by sympathy or pathetic 
 contrast, to his subject." — (Josiah Gilbert, Landscape in 
 Art.) Canvas : 6_/f. 7 in. by 6 ft. I J in. 
 
 4. St. Bernard in pontificals and St. Sebastian bound to a sala ix. 
 tree. Magistrato del M. di Sussidio. Canvas: T ft.'i\in.hy i^ft. 6^in. 
 
 5. The Woman taken in Adultery. Formerly in tie Magistrate 
 dei Sale, Rialto. Canvas: t,ft. lof in. by 10 ft. I J in. 
 
 6. The Judgment of Solomon. " Fine in feeling and rich 
 
 in colour The painter has shown his power of 
 
 expression by contrasting the feelings of the two 
 mothers who claim the living child in their respective 
 countenances and action — the one with grief too deep 
 for words, mutely appealing in her anguish with 
 clasped hands to the judge; the other urging her 
 demand with that passionate gesticulation which 
 Italian women can always command." — (Kugler, Hand- 
 hook of Painting, ii.) Formerly in the Magistrato del Sale, Rialto. 
 Canvas: ^ft. 11 in. by lift. 
 
 •J. St. Bruno and St. Catherine. St. Bruno was the 
 founder of the Carthusian Order, 1084. Formerly in the 
 Certoza in Isola. Canvas: Oft. 9 J in. by "^ft. 6f in, 
 
 g. St. Jerome and St. Margaret. Formerly in the Certosa in Isola. 
 Canvas : 6 ft. 9 J in. by ■^ft. 6 in. 
 
 BONIFACIO (Veneziano ?). 
 
 14. The Adoration of the Magi. To the right are two sala ix. 
 Kings, on the extreme left St. Joseph. Formerly in the 
 Magistrato del Monte del Sussidio. Canvas : 6 ft. J in, by 10 ft. 4 in. 
 
26 BONIFACIO— BONVICINO 
 
 SALA IX. i8. St. Francis and St. Paul. Formerly in the Magistral del Sale. 
 
 Canvas: ^ft. II in. by ^ft. 6 J in. 
 
 24. St. Anthony, St. John the Evangelist, and St. Andrew. 
 
 Magistrate del Monte novissimo. Canvas : SJi. ID in. by i,ft. 7 in. 
 
 29. SS. Anthony and Mark; life-size. Formerly in the Magis- 
 trato dei Gmernatori delle Entrate. Canvas : "J ft. 4 in. by \ft. 7 J in. 
 
 35. Adoration of the Magi. "A very rich and perfect 
 example, altogether Venetian in colour." — (W. B. Scott, 
 
 Pictures of Venetian Painters.) Formerly in tlie Cassa del Consiglio dei 
 X. , Rialto. Canvas : 3 ft. 4 in. by II ft. I^ in. 
 
 40. St. Philip and St. Silvestftr. The latter was that 
 Bishop of Rome who cured the Emperor Constantine 
 of a horrible leprosy, and caused him immediately to 
 become a Christian. Inscribed " MDLXII." Formerly in 
 the Ufficio dei Gov, dell' Entrate. Canvas : "jft. 2j in. by /[ft. 3 J in. 
 
 41. St. Mark the Evangelist. Formerly in the Magistrals del Sale. 
 Canvas : "] ft. i, in. By e^ft. f in. 
 
 SALA XIV. 39. The Holy Family. St. Joseph, St. Jerome, and to the 
 
 left, two saints : background, landscape. From the Brother- 
 hood of S. Pasquale Baylon. Panel : 2 ft. 7^ in. by /[ft. 5^ in. 
 
 SALA XVL 22. St. James and St. Vincent. Below are the arms of the 
 
 Venetian families Moro and Priuli. Formerly in the Magis- 
 ti-ato del Sale. Canvas : 6 ft. ^ in. by '^fl. II in. 
 
 BONIFACIO (Copy of). 
 
 SALA VII. 55. Nativity of the Virgin Mary. Formerly in the Ufficio del 
 
 Monte Novissimo. Canvas: 6 ft, 6 in. by ^ft. 1^ in. 
 
 BONIFACIO (Veronese, the elder ?) (Copy of). 
 
 SALA XVI. 28. Virgin, Child, and SS. John the Baptist, Catherine, 
 
 Jerome, and James. The original of this picture is at 
 Casa Andreozzi, Via Clerici, Milan. Presented by Molin. 
 Canvas: 2 ft.'] in. by ■^ft. 8 in. 
 
 BONVICINO (Alessandro), called Moretto da Brescia. 
 Brescian : 1 498-1 5 5 5. 
 
BORDIGNON— BORDONE 27 
 
 Moretto was born and lived at Brescia, and with very 
 few exceptions painted entirely for his native city. 
 He was one of the greatest painters of the sixteenth 
 century. His master, Vincenzo Zoppa, was the 
 founder of the Brescian school. Moretto, in his turn, 
 became the master of the famous portrait painter 
 Moroni. 
 
 It is only of late years that Moretto has been properly 
 appreciated ; he is remarkable for his harmonious 
 colouring. , 
 
 33. St. Peter the Apostle : full length. Formerly in the Manfrini SALA xiv. 
 Gallery. Panel: ■j ft. 11 in. by \ ft. 8 J in. 
 
 37. St. John the Baptist. Formerly in the Manfrini Gallery. 
 Panel: ■^ft. II in. by j ft. 8 J in. 
 
 BORDIGNON (Noe). 
 
 9. Blindman's Buff. Canvas: 2 ft. 4I in. by 2 ft. 6 in. sala xii. 
 
 BORDONE (Paris), Caz/tfAVrf. Trevisan : 1 500-1 570. 
 
 Bordone was a native of Treviso. He studied for a 
 short time under Titian, and became celebrated for 
 his female portraits ; he was invited by Francis I. to 
 paint the ladies of the French Court in 1558— 1559. 
 " He is," says Morelli, " a noble, attractive, and 
 refined artist, and a splendid colourist, though of 
 unequal merit and at times superficial " — (Morelli, 
 Italian 'Painters, i.) Bordone died at Venice and was 
 buried in the church of St. Mafziale. 
 
 '27. The Fisherman Presenting the Ring to the Doge, sala vii. 
 This picture is generally considered Bordone's master- 
 piece. The legend which it represents, is given by 
 W. B. Scott, in his " Pictures by Venetian Painters," 
 as follows : In 1341 an inundation continued day after 
 day, with a strong wind from the Adriatic, till the 
 
28 BORDONE 
 
 water in the lagune was three cubits higher than any- 
 one had seen it before, and the greatest consternation 
 prevailed. On the night of the 25th February, a night 
 of tremendous storm, with the flood still rising upon 
 the houses, a poor old fisherman was struggling to 
 save his boat by mooring it close to the Riva St. Marco, 
 when an august figure approached him out of the 
 darkness, and desired to be ferried over to St. Giorgio 
 in Maggiore. The fisherman at first refused to risk 
 the adventure, but was at last prevailed upon by offers 
 of great reward ; .... he succeeded in getting across, 
 and brought the stranger to the quay of St. Giorgio. 
 The passenger landed, desiring the fisherman to wait, 
 and soon returned .... with a companion, when both 
 stepped into the boat and ordered the poor man to row 
 
 them to St. Niccol5 di Lido At St. Niccol5 a 
 
 third mysterious person joined them; and now the 
 heavy-laden boat was ordered to pull into the open 
 
 sea The waves now ran fearfully high, but 
 
 nothing impeded the boat, and just as they gained the 
 strait they saw a galley, rather flying than sailing, from 
 the Adriatic, filled with a company dreadful to look 
 upon, for they were devils, all in a high state of excite- 
 ment, on their way, in fact, to the city to sink it in the 
 deep. Now all was apparent ; the first passenger was 
 St. Mark, the -second St. George, the third St. Nicholas, 
 all of whom stood up making the sign of the cross and 
 conjuring the demons to depart. At once the mon- 
 strous galley disappeared and the tempest fell. They 
 were now rowed to the several places at which they 
 
 had entered On parting from St. Mark the 
 
 fisherman ventured to remind him of the promised 
 reward. " You are in the right," replied the stranger, 
 stepping out on the Riva St. Marco. " Go to the Doge 
 to-morrow, and to the Procuratore, and assure them 
 that, but for us, Venice would have been destroyed. I 
 am St. Mark. Desire them to pay you for me. Tell 
 them all this trouble has arisen from a schoolmaster at 
 St. Felice, who has bargained with the devil, but who 
 has already hanged himself." With that he drew from 
 
BORSATO— BREENBERGH 29 
 
 his finger a ring, and gave it to the fisherman as a sign 
 
 of his veracity " Show them this ring," said he, 
 
 " and bid them look for it in my treasury whence it 
 will be found missing." The picture shows the fisher- 
 man presenting the ring to the Doge in Council. 
 Signed " O. PARIDIS BORDONO." Formerly in the 
 Scuola di San Marco. Canvas : 12^?. f in. by ^ fi. gf in. 
 
 61. Paradise. An inferior work of this master. Formerly in sala vii. 
 the CImrch of Tutti i Santi, Treviso. Canvas ; 8 Ji. 8 J in. by 5 f- 
 9f >«■ 
 
 BORSATO (Giuseppe). 
 
 14. Interior of the Sala delle Quattro Porte, Ducal Palace, sala 
 
 Canvas : 1 ft. 7J in. by 2 ft. 2| in. DELLE 
 
 STATUE. 
 
 BRAMER (Leonhard). Dutch: 1596; still living in 
 
 1667. 
 
 Bramer was born at Delft. He visited France and 
 
 Italy, and on his return to his native city founded a 
 
 guild of St. Luke. He was employed at Delft by 
 
 Prince Maurice (who died 1625), for whom he 
 
 painted several pictures. In the latter part of his life 
 
 Bramer became an imitator of Rembrandt. 
 
 34. A Pagan Marriage. Presented by Molin. Panel: 2ft. 3 J in. loggia 
 by I //. 7 J in. PALLA- 
 
 DIANA. 
 38. A Hebrew Marriage. Presented by Molin. Panel : 2 ft. 3i in. 
 
 BREENBERGH (Bartolomeus). Dutch: 1599; died 
 about 1659. 
 
 Breenbergh, or Breenborch, was born at Deventer, 
 but resided for some time in Italy. He was much 
 influenced by Poelemburgh, and subsequently by the 
 Italian painters. " Breenbergh shows himself in his 
 landscapes to be a refined draughtsman ; his aerial 
 
3° 
 
 BREUGHEL— BRUN 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 LOGGIA 
 PALLA- 
 
 DIANA. 
 
 perspective is well understood, and his execution solid 
 and tender ; yet owing to their cold and heavy tone, 
 his works often fail to produce, a favourable effect. 
 .... This master is one of those who distinguish 
 themselves far more by their etchings than by their 
 paintings." — (Kugler, German, Flemish and Dutch 
 Schools, ii.) 
 59. A Mountainous Landscape. Presented by Mol'm. Panel: 
 9i '"• h i3i '»■ 
 
 BREUGHEL (Jan). Flemish: 1568-1625. 
 
 Jan Breughel, called Velvet Breughel, was born at 
 Antwerp. He was the pupil of his father and of 
 Peter Goekint. He died at Antwerp in 1625. 
 
 64. Landscape with Figures and Windmill. Signed "J. 
 BREUGHEL F." Presented by Molin. Coppa- : g^ in. by 
 I ft. 2| in. 
 
 BRIL (Paul). Flemish: 1554-1625. 
 
 Paul Bril was one of those Flemish artists who, like 
 Breenbergh, fell under the influence of the Italian 
 painters. He worked in Italy, and his landscapes and 
 style of painting both belong to the country where he 
 studied. His colouring is somewhat cold, with a 
 tendency to blueness, and the details of his pictures 
 are sometimes too much sought out. He was born at 
 Antwerp, and died at Rome. 
 
 52. View of Tivoli. Canvas : i fi. 4I in. by 2 ft. lof in. 
 
 BRIL (Matthew), the younger. Flemish: 1550-1584. 
 
 29.' A Holy Hermit in Prayer. Presented by Molin. Copper: 
 6J in, by 8J in. 
 
 BRUN (Charles le). French: 1619-1690. 
 
 Le Brun was born in Paris, and studied under Francis 
 
BUONCONSIGLI— BUSATI 3 1 
 
 Perrier and Simon Vouet. He afterwards went to 
 Rome, and there he was greatly influenced by Annibal 
 Caracci. 
 
 13. The Magdalene at the feet of the Saviour in the House sala xvi. 
 of Levi. This painting was sent from Paris to console 
 the Venetians for the loss of Paul Veronese's master- 
 piece " The Marriage of Cana," which was taken by 
 Napoleon, and is now in the Louvre. Canvas ; 12 Ji. 
 8i in. by lo ft, 3 in. 
 
 BRUSASORCI. See RICCIO. 
 
 BUONCONSIGLI (Giovanni), called II Marescalco. 
 Venetian: About 1497 (?) living 1530. 
 Buonconsigli was born at Vicenza ; he was a painter 
 of the period of transition from tempera to oil, and 
 was influenced, during the middle of his life, by 
 Antonello da Messina. At the same time his works 
 are sometimes confused with those of Montegna, 
 whom he is said to have imitated ; but Buonconsigli 
 always remained feebler than that master. In 1530 
 he was adinitted to the guild of St. Luke at Venice. 
 
 12. SS. Cosmo, Benedict, and Tecla; half lengths. A sala xiv. 
 portion of a large altarpiece, 'once in the Church of 
 SS. Cosmo e Damiano. Inscribed " 1477. A DI 22 
 DECEBRIO JOANES BONO CHOSILI MARES- 
 CHALCHUS DA VICENZA P." Formerly in the Man. 
 frini Gallery. Panel i 2, ft. 8f in. by 2 ft. 3 J in. 
 
 BUSATI (Andrea). Venetian: Painted about 15 10. 
 
 Andrea Busaii may be considered one of the less 
 important among the many followers and imitators of 
 the Bellini. 
 
 SALE 
 
 21. St. Mark enthroned, attended by two Saints. On the palla- 
 left St. Andrew, and on the right St. Bernardino, diane. 
 
32 CAFFI— CALIARI 
 
 St. Mark bears in one hand an open book inscribed 
 with the Venetian motto : " Pax Tibi, Marce, Evan- 
 gelista meus;" the other hand is raised in blessing. 
 Behind the figures are a fig tree and an olive tree, and 
 in the background a landscape, with a town in the 
 distance. Signed on the lowest step of the throne 
 "ANDREA BUSATI." Beneath are the armorial 
 bearings of Giacomo Don^, Andrea Contarini, and 
 Tommaso Marin. Formerly in the Maghtrato dclle Ragmi 
 Vecchie, Canvas: ^Ji. 7 J '«■ ^y ^fi* ^ '""• 
 
 CAFFI (Ippolito). Venetian: i 809-1 866. 
 
 Caffi was a painter of architectural subjects. He 
 worked at Rome and visited Greece and the East. 
 He took part in the revolutionary movement in 
 Venice in 1848, and finally perished, in 1866, with 
 many brave Italians in the battle of Lissa. 
 
 SALA 2. The Piazza di St. Marco. Presented by the artist. Canvas : 
 
 DELLE iji. 2 in. iy 11 in. 
 
 STATUE. 
 
 CALIARI (Paolo) Veronese. Veronese : 1 528-1 588. 
 
 Paolo ' Caliari, called Veronese from his birth-place, 
 Verona, received his instruction during his early youth 
 from his father, Gabriele Caliari, who was a sculptor. 
 But as Paolo showed a greater inclination for painting 
 than for modelling, he was sent in his fourteenth year 
 to his uncle, the painter, Antonio Badile. In 1 551 
 Paolo executed some frescoes for the Soranzi family 
 in their new villa near Castelfranco. In 1552 he 
 went to Mantua, where he worked in the cathedral 
 in conjunction with Battista del Moro and Farinato. 
 In 1555 he settled at Venice, after having worked at 
 Verona and Vicenza, and with the exception of a 
 visit to Rome in the suite of the Venetian Ambassador 
 
CALIARI 33 
 
 Cardinal Grimani, in 1560-61, he resided principally 
 at Venice for the rest of his life. 
 Titian recommended him to assist in the work of re- 
 storing the decorations of the Great Council Hall, and 
 the Senate rewarded him with a gold chain to show 
 their satisfaction with his labours. He died of pleurisy 
 on April 19, 1588, and was buried in the church of 
 St. Sebastiano. 
 
 " That which distinguishes Paul Veronese from Tin- 
 toretto, and which, in his later period, after the death 
 of Titian and Michael Angelo, earned for him the 
 rank of the first living master, although Vasari writes 
 somewhat disparagingly of him, was the vitality and 
 poetic feeling which, as far as it was possible, he in- 
 fused into a declining period of art. At the same 
 time he adopted, in many respects, the naturalistic 
 tendencies with which he was surrounded, so that his 
 compositions may be occasionally said to run wild. 
 The beauty of his figures is more addressed to the 
 senses than to the soul, though even the most super- 
 ficial of his innumerable works have a feeling for grace 
 and a plenitude of life."— (Kugler, Handbook of 
 Painting, ii.) 
 
 41, Head of St. Jerome. Canvas : l Jt. "J in. by 1 ft. 2 in. SALA 
 
 63. The Battle of the Curzolari or Lepanto ; where the sale 
 Turks were signally defeated by Don John of Austria palla- 
 in 1571. The lower portion of this picture represents a 
 naval battle. In the upper part the Virgin is seen in 
 glory with SS. Mark, Peter, Roch, and Giustina who 
 present Venice, Queen of the Adriatic, to the Virgin. 
 Caliari has also painted a memorial picture of the 
 Battle of Lepanto in the Sala del CoUegio, Ducal 
 Palace. Formerly in San Pieti-o Martire, Muram, Can-uas : ^ fi, 
 7 J in. by i^ft. 7 J in. 
 
 C 
 
 DIANE. 
 
34 
 
 CALIARI 
 
 SALA VII. 23. The Annunciation. Formerly in the Scuola del Mercanti of the 
 
 Madonna del? Orto. Canvas: ^ ft. 11 in. by IT ft. yi in. 
 
 26. The Crucifixion. Canvas: ^ft. 4! in. by \i,fi. 8 in. 
 
 31. The Evangelists, SS. Luke and John. Canvas: 6 ft. 
 7 in. by loft. 4J in, 
 
 37. The Evangelists SS. Mark and Matthew. These tk-ee 
 paintings loere formerly in San Niccofb della Latuga ai Frari, Canvas ; 
 67?. 7 in. by lo^. 4^ in. 
 
 45. Confession and Martyrdom of St. Christina. St. Chris- 
 tina had been early converted to the Christian faith, 
 but her father was an idolator. One day, having 
 nothing to give to the poor and sick who begged alms 
 of her, she broke up her father's idols of gold and 
 silver, and distributed them among the poor. In his 
 rage her father ordered her to be thrown into the lake 
 of Bolsena, with a mill-stone round her neck; but 
 angels sustained the stone so that she did not sink and 
 came safe to land. Canvas : 4ji.5^ in. by gji. 4I in. 
 
 47. Confession and Martyrdom of St. Christina. Then 
 Christina was shut up in prison, but angels visited and 
 comforted her. 5 ft. i^ in by gft.^ in. 
 
 56. Confession and Martyrdom of St. Christina. St. Chris- 
 tina refuses to adore the statue of Apollo. In chrono- 
 logical order, this scene should precede Nos. 45 and 47. 
 
 These three paintings 'Were formerly in Sant Antonio^ Tor cello. Canvas; 
 6 ft. "J in. by 6 ft. 6 in. 
 
 SALA VIII. *2i. The Feast in the House of Levi. The table is spread 
 in a portico pierced by three arcades. Christ is seated 
 in the middle, facing the spectator, and talks with SS. 
 Peter and John. Levi, the master of the house, sits 
 nearly opposite amongst the guests. It is character- 
 istic of this period of Venetian art that the chief inci- 
 dent is here subordinate; but the picture is instinct 
 with the fulness of hfe. This painting, perhaps one 
 of the finest in the world, was carried to Paris in 1797 
 and returned in 1815. Dated "A.D. MDLXXII. die 
 
CALIARI 35 
 
 XX Aprilis,*' Formerly in the refectory of the Coiwent of SS, 
 Giovanni e Paolo, Catenas i height \<)fi. 8 in, by 46^, 
 
 I. The Assumption of the Virgin. The Apostles are sala ix. 
 gathered round the Sepulchre. Forinerly in Sta Maria Mag- 
 giore. Canvas: 13 ft. ^ in. by ^fi. 1 in, 
 
 43. Paradise : the Coronation of the Virgin. Formerly in the 
 Church ofOgni Santi. Canvas: 12 ft. 10^ in, by 6 ft, Ilf in, 
 
 30. Martyrdom of St. Giustina. " This saint, famous in sala xiv. 
 the Paduan and Venetian territories, was, according to 
 the legend, a virgin of royal birth, who dwelt in the 
 city of Padua. King Vitalicino, her father, having been 
 baptised by St. Prodocimo, a disciple of the Apostle 
 Peter, brought up his daughter in the true faith. After 
 the death of her father, Justina, being accused before 
 the Kmperor Maximian as a Christian, he commanded 
 that she should be slain by the sword ; and she, open- 
 ing her arms to receive the stroke of the executioner, 
 was pierced through the bosom and fell dead." — 
 (Jameson, Sacred and Legendary Art, ii.) Formeily in San Michele, 
 Murano, Canvas : 8J in. by I ft. ^ in. 
 
 "g. The Virgin, Child and Saints. The Virgin is seated in sala xv. 
 a niche with the Child in her arms. St. Joseph stands 
 to the right of them, while the little St. John stands on 
 a pedestal with his back to the spectator. Below are 
 SS. Francis and Jerome; behind St. Francis is St. 
 Giustina, or according to some, St. Catherine. This 
 picture is a. fine and characteristic example of the 
 master. Formerly in the Sacristy of San Zaccaria, Canvas : lo ft, 
 9I in. by 6 ft, 3i in. 
 
 Canvas from a ceiling, representing Venice en- above 
 throned, with Hercules and Ceres. Formerly in the Magis- the 
 trato delle Biade, Ducal Palace. °°°''' 
 
 15. Charity. Formerly in the Guild of the Merchants, Canvas : gfi SALA XVI 
 5 in. by 3 ft. lof in. 
 
 17. The Prophet Ezekiel. Inscribed " P. P. EZEL." For- 
 merly in San Niccoli della Latuga, Canvas : 13 ft. 8 in, by 2 ft. 
 
36 CALIARI 
 
 SALA XVI. 20. The Prophet Isaiah. Inscribed " P. P. ESAIA." For- 
 
 merly in San Niccolo della Latuga. Canvas: 13^?. 8 in. by 2 fi. 
 
 21. Faith. Formerly in the Guild of the Merchants. Canvass (^ ft. 
 
 5 '■"• hzf'- 1°8"- 
 30. The Virgin in Glory. St. Dominic ■ distributing chap- 
 lets of roses to a pope, an emperor, a king and a doge. 
 Inscribed "DECEMBRE MDLXXIII. IN TEMPO 
 DE M. ZUANE DOLFIN GASTALDO E M. 
 DOMINICO FAVRO VICARIO. M. JACOMO 
 CIGNO SCRIVAN ET COMPAGNI." Formerly in San 
 Pietro Martire, Murano. Canvas : ^fi. 10. in. by 10 ft. 4J in. 
 
 33. The Flagellation of St. Christina. (See p. 34.) Formerly 
 in Sant Antonio^ Torcello, Canvas : ^ ft. 9 in. by ^f, 10 itt. 
 
 CALIARI (Benedetto). Venetian: 15 38-1 598. 
 
 Benedetto Caliari was the brother of Paolo Veronese. 
 He assisted Paolo in his work, especially in the archi- 
 tectural details of his pictures. 
 
 SALA VII. 20. Christ before Pilate. Inscribed " SICUT OVIS AD 
 
 OCCISIONEM DUCTUS EST." Formerly in tJie church 
 of San Niccolo della Latuga ai Frari, Canvas: gfi. lO^ in. by l^Ji, 
 71 !«■ 
 
 SALA vin. 28. The Last Supper. Christ washing the feet of His 
 
 Apostles. Formerly in San Niccolo della Latuga. Canvas: gf. 
 1 in. by 12 ft. i in. 
 
 CALIARI (Carlo or Carletto). Venetian: 1572-1596. 
 Carlo Caliari was the son of Paolo Veronese. He died 
 at the early age of twenty-six, having, it is. said, im- 
 paired his constitution, by excessive application to his 
 work. He was the most gifted of Paolo's sons. 
 
 sai.A:VJi.. 4, 8, 12, 16. Angels bearing Emblems of the Passion of 
 
 Jesus Christ. Formerly in San Niccolo della Latuga ai Frari, 
 , Each cairvas : b ft. 4 J in. by 2 ft. 2 J in. 
 
 .29. The Raising of Lazarus. Signed "Carlo C. V. F." 
 
CALIARI— CALLOT 37 
 
 Formerly in the Conjraternita dei Varatarl, mw mppresssd. Canvas : 
 Ji. lli in. by l6Ji. gj in. 
 
 3a. Foundation of the " Istituzione del Soccorso." An in- sala ix. 
 ■ stitution for the rescue of fallen women. The Virgin 
 and Child appear in glory and surrounded by angels, 
 while Venice presents to her women who have dedi- 
 cated themselves to live apart from the world. Formerly 
 in the Chiesa del Soccorso. Canvas : ^ fi. 11 in, by %ft. *] in, 
 
 24. Three heads, two men and a woman. Once fart of the sala xvi. 
 ceiling of the refectory in the Convent of San Giacomo alia Giudecca. 
 Woman's head; I ft. IlJ in, by 1 ft. 8f in. ; the men's heads: I ft. 
 11 in. by 1 ft, 4 in. 
 
 31. Christ bearing the Cross, and St. Veronica. Formerly in 
 Santa Croce, Bellum. Canvas : T ft. g in. by 10^. l| in. 
 
 CARLETTO and BENEDETTO CALIARI. 
 
 48. Supper in the House of the Pharisee. Formerly in the sala vii. 
 Convent of San Giacomo alia Giudecca. Canvas: \(> ft. ll\ in. by 
 Tflft.W in. 
 
 CALIARI (Paolo) (Copy of). Called II. Veronese. 
 
 46. Supper in the House of the Pharisee. The original of sala 11. 
 this picture is at Turin. Canvas : ^ft. 3 J in. by ^ft, if in. 
 
 CALLOT (Jacques). French: 1592-1635. 
 
 Jacques Callot was born at Nanci in 1592. He is 
 better known as an engraver than as a painter, for 
 while his paintings are rare, his engravings number 
 over a thousand. He was a powerful and clever 
 etcher, and rendered scenes from the life of his times 
 with great vivacity and truth. He died in 1635. 
 
 74. The Fair at Impruneta, near Florence. According to sala ii. 
 the " Cicerone " paintings by Callot are not to be found 
 in Italy; those in this Academy are by an inferior 
 painter. Canvas: ^ ft. 1^ in. iyj ft. 8^ in, 
 
 87. The Pont Neuf, Paris. Canvas: 3ft. 6| in, by •} ft, T,\ in. 
 
38 CAMPAGNOLA— CANAL 
 
 SALA III. 20. The Tour de Nesle, Paris. Canvas : i Ji. Jl in. by zfi. 
 
 Si '«■ 
 CAMPAGNOLA (Domenico). Venetian : painting 1 508. 
 Domenico Campagnola was one of the most successful 
 imitators of Titian, particularly in his pen and ink 
 drawings, many of which still pass under that master's 
 name. He is known to have worked with Titian in 
 the Scuola del Santo at Padua, and was in that city 
 until 1508, but the dates of his birth and death are 
 unknown. 
 
 SALA The square panels round the walls of this room, 
 
 DELLE painted in monochrome (tempera), formed part of a 
 
 ceiling in the Scuola della Madonna del Parto in 
 
 Padua. 
 
 STATUE. 
 
 SALE 10. St. Prosdocimo, Bishop. Formerly in the Cliiesa del Torresim, 
 
 PALLA- Padua. Panel ; 6 fi. 68 in. by 2 ft. loi in. 
 
 DIANE. J i J J 2 
 
 SALA XVI. The ceiling : .The four Evangelists. 
 
 CANAL (Antonio), called Canaletto (Ascribed to). Vene- 
 tian : 1697-1768. 
 
 Canaletto began life as a scene-painter, but gave it up 
 when he was still yoiing, and devoted his time to the 
 study of architectural views and ancient ruins. 
 As records of old Venice, Canaletto's pictures are 
 generally interesting, but every one acquainted with 
 the writings of Mr. Ruskin knows how far they fall 
 short of what they profess to be. Canaletto came to 
 England for about two years in 1746, where he was 
 greatly patronised and received many commissions. 
 Bernardo Belotto was the nephew and pupil of Cana- 
 letto, and so much alike were they in style that their 
 works are frequently confounded. In the present 
 instance No. 30 is doubtfully ascribed to Canaletto. 
 
CARACGI— CARIANI 39 
 
 30. The Courtyard of a Palace. Signed "ANTONIO CA sala xi. 
 
 1765 ; " but this signature is believed to be 
 
 false. Formerly in the Academy of Painting, Canvas: 4^. 3 in. 
 h 3/'- li '"»• 
 
 CARACCI (Annibal) (Ascribed to). Eclectic-Bolognese : 
 1 560-1609. 
 
 Annibale, the younger brother of Agostino, was born 
 at Bologna. He studied tinder his cousin Lodovico, 
 who was five years his senior. He visited Parma in 
 1 580, where he studied the works of Correggio for two 
 or three years. Before 1589 he returned to Bologna, 
 and in the same year the three Caracci opened their 
 Eclectic School. About 1600 Annibale visited Rome 
 at the invitation of the Cardinal Odoardo Farnese, 
 and decorated the Farnese Palace with frescoes. 
 These frescoes are among the most important works 
 of the three Caracci. During the last five years of 
 his life Annibale produced little or nothing. He died 
 at Rome, and was buried near Raphael in the Pan- 
 theon. 
 Unnumbered. A Man Sleeping (?) sala xii. 
 
 38. The Holy Family in Egypt. Presented by Molin. Canvas: sala xiv. 
 \ft. 4|!». by ifi. li in. 
 
 CARAVAGGIO. See AMERIGHI. 
 CARDIN. See CHARDIN. 
 
 CARIANI (Giovanni Bust). Bergamese : 1480-90, living 
 in 1541. 
 
 Cariani was born at Fuipiano, in the valley of the 
 Brembo. He is believed to have been a pupil of 
 Palma Vecchio ; he seems, however, to have imitated 
 
40 
 
 CARLINI— CARPACCIO 
 
 SALE 
 
 35. 
 
 PALLA- 
 
 
 DIANE. 
 
 30^ 
 
 SALA XIV. 
 
 
 SALA 
 
 DELLE 
 
 STATUE. 
 
 many masters, and, as a consequence of this, his pic- 
 tures are often attributed to other artist painters. " He 
 has," says Kugler, "generally breadth of treatment 
 and warmth of tone, with common forms and unmean- 
 ing puffy modelling ; but the picturesque costume of 
 the times and the general air render his pictures attrac- 
 tive He was like Lotto, whose colouring he 
 
 sometimes imitates — a good portrait painter." 
 
 Portrait of a Man. Camias : 2. ft. 3J hi. by i ft. 9I in. 
 
 Virgin, Child, and St. John the Baptist. At the sides 
 St. Zaccharia and St. Catherine. From the Fondaco dei 
 Tedeschi. Panel : 2 ft. 9 J in. hy ■^fi, IlJ in. 
 
 After CARIANI. 
 
 94. Portrait of a Man. Canvas ; 2 ft. gj in. by zfi. 6J in. 
 
 CARIANI (Copy of). 
 
 31. Three Portraits. The original of this picture is at 
 Oldenburg. Canvas: 2 ft. J in. by 2 ft. 3f in. 
 
 CARLINI (GiuLio), Cavaliere. Venetian : 1 827-1 887 
 
 This artist was born at Venice, and became a pupil of 
 the Accademia delle Belle Arti, 
 
 5. Aristides writing his Name upon a Shell. Presented by 
 the Cat), yacopo barone Treves de Bonfli. Canvas; 2 ft. 11^ in. by 
 2 ft. Si in. 
 
 CARPACCIO, or SCARPACCIA (Vi-rrbRE). Venetian : 
 1450 (?) still living 1522. 
 
 Carpaccio was probably born in Istria, but there are 
 no authentic records of his life. He was a younger 
 contemporary of the Bellini, and may be considered 
 the greatest historical painter of the Venetian school. 
 It is not known under whom he may have studied, 
 
CARPACCIO 41 
 
 but he was associated with Gentile Bellini in executing 
 the historical paintings for the Great Hall of Council 
 in the Ducal Palace. , Like Gentile Bellini, he is a 
 careful and scientific painter ; he mastered the princi- 
 ples of perspective, and, at an early stage in his career, 
 adopted oil in place of tempera. From the knowledge 
 of Oriental costumes and customs which he displays in 
 some of his works, it has been thought possible that 
 he accompanied Gentile to Constantinople. Some of 
 Carpaccio's finest works are the eight pictures of the 
 history of St. Ursula in this Gallery. Between 1502 
 and 151 1 he executed the paintings in San Georgio 
 degli Schiavone, and in 1510 the grand altar-piece of 
 the Presentation in the Temple, formerly in Sant Giobbe, 
 and now in this Gallery. In 1 5 14 he executed the 
 altar-piece in St. Vitale, Venice. He was painting in 
 1522, but the date of his death is unknown. 
 
 5. The Institution of Pilgrimages to Jerusalem. Formerly loggia 
 
 in Sant Antonio di Castello, since demolished. Canvas : xft. Il| in. by PALLA- 
 , „ 1 . - DIANA. 
 
 54. The 10,000 Mar,tyrs said to have been Crucified on sala vii. 
 Mount Ararat in Armenia. " In this work there are 
 more than three hundred figures, large and small, with 
 many horses and numerous trees; the opening heavens, 
 the various attitudes of the figures, clothed and nude, 
 the many foreshortenings, and the multitude of other 
 objects represented in this painting, prove that the 
 master could not have executed this work but with ex- 
 traordinary labour and care." — (Vasari.) Signed "V. 
 CARPATHIUS, M.D.XV." Formerly in Sant Antonio di 
 Castello. Panel: ^ ft. loj in. by 6 ft. 10^ in. 
 
 2. Miracle of the Cross. The Patriarch of Grrado curing sala viii. 
 a demoniac by the virtue of a relic of the true cross. 
 Painted in 1494. This painting is in very bad condi- 
 
42 CARPACGIO 
 
 tion. Formerly in the School of San Giov. EvangelUta. Canvas : 
 12 Ji. 6J in. by 12 ft. loj in. 
 
 10. Legend of St. Ursula. The envoys of the King of 
 England, who seek the hand of Ursula in marriage for 
 their king's son, received by King Maurus (or Theo- 
 natus), the father of St. Ursula. To the right a room, 
 where the father converses with his daughter Ursula. 
 She requests that her suitor shall first be baptised, and 
 that she shall be allowed to make a pilgrimage with 
 eleven thousand virgins. Signed " OP. VICTORIS 
 CARPATIO VENETI." Canvas : g f. 1 in. by ig ft. 
 ik '"•■ 
 
 11. Legend of St. Ursula. Parting audience of the envoys 
 of the pagan Agrippa, King of England, with King 
 Maurus. Signed " VICTORIS CARPATIO VENETI 
 OPUS." Canvas: gfl. 1 in. by Z ft. 2j in. 
 
 '14. Legend of St. Ursula. Conone, son of the King of 
 England, bids farewell to his father. In another part 
 of the composition is represented the meeting between 
 Conone and Ursula, the leave-taking between them 
 and King Maurus, the father of Ursula, and finally the 
 departure of Conone and Ursula upon their pilgrimage. 
 In chronological order No. 23 should precede this 
 picture. Signed "VICTORIS CARPATIO VENETI 
 OPUS. MCCCCLXXXXV." Canijas; g ft. 1 in. by 20 ft. 
 I in. 
 
 *i6. The Dream of St. Ursula. It is revealed to St. Ursula 
 in a vision that she should depart on a pilgrimage with 
 her companions, to visit the shrines in the holy city of 
 Rome. " I myself," says 2anetti, " could hardly turn 
 away my eyes from that charming figure of the saint 
 where, asleep on her maiden couch, all grace, purity 
 and innocence, she seems, by the expression on her 
 beautiful features, to be visited by dreams from Para- 
 dise." Signed "VICT. CARP. F. 1495." Canvas: 
 ?ift. II in. by%ft.g in. 
 
 18. The Arrival of St. Ursula and her Virgins at Cologne. 
 
CARPACCIO 43 
 
 They are assailed by a violent storm ; soldiers advance 
 from the city with the purpose of leading St. Ursula 
 and her virgins to martyrdom. This picture is much 
 injured, and the charm of the colouring is almost 
 entirely lost. Signed "VICTORIS CARPATIO 
 VENETI MCCCCLXXXX. M. SEPTEMBRIS." 
 Canvas: 9_^. I^ in, by %Ji, ^ in, 
 
 20. St. Ursula and Prince Conoas meeting Pope Cyriacus sala vm. 
 and his cardinals near the Castle of St. Angelo, Rome. 
 In chronological order this scene should come before 
 No. i8. Signed " VICTORIS CARPATIO VENETI 
 OPUS." Canvas : gji. 9I in. by 10 Ji. J in. 
 
 23. The Ambassadors of the King of England return with 
 the answer of Princess Ursula. Conone, the king's 
 son, declares his intention of going to seek her. In 
 chronological order this scene should come between 
 Nos. II and 14. Signed "VICTORIS CARPATIO 
 VENETI OPUS." Canva!.- gji. 10 in. by 17 Ji, J in. 
 
 27. Martyrdom of St. Ursula and the Eleven Thousand 
 Virgins. In the background is seen a city meant to be 
 that of Cologne. This picture is perhaps inferior in 
 charm to the rest of the series. Signed "VICTORIS 
 CARPATIO VENETI OPUS. MCCCCLXXXXIII." 
 Canvas: ^ft. 2 J in. by li Ji. /^ in. 
 
 32. St. Ursula in Glory receiving the Reward of her sala viii. 
 Martyrdom. This painting is the last of the series. 
 " In all the action is carried out with great composure 
 and dignity, and accessory incidents abound. Though 
 individual figures here and there are a little stiff and 
 awkward, their purpose and action are always direct, 
 and thoroughly expressive and dignified. The most 
 crowded groups are made distinct by the masterly 
 distribution of light and shade. The details are kept 
 duly subordinate, atmospheric effects are carefully 
 observed, and the perspective is accurate. In tone, 
 Carpaccio is deep and rich, but falls short of the tender 
 transparency which distinguishes Giovanni Bellini." — 
 (Woltmann and Woermann, ii.) Signed " OP. VIC- 
 
44 CAROTO 
 
 TORIS GARPATII MCCCCLXXXXI." These eight 
 pictures ivere formerly in the Scuola di Sunt Or sola. Canvas : l^Jt,6 in, 
 hylZfi. 6f in. 
 
 SALA vni. 34. The Meeting of St. Anna and Joachim. St. Ursula 
 
 and St. Louis, King of France, are on either side. 
 Signed "VICTOR CARPATHIUS VENETUS OP. 
 MDXV." Formerly in San Francesco of Tre-uiso. Panel : SJi.^in. 
 by S ft. 6 in. 
 
 SALA XV. 8. The Presentation in the Temple. " The Virgin is de- 
 
 picted as standing upright, and Simeon, in a cope or 
 pluvial, is placed between two ministering priests, who 
 are clothed as cardinals; behind the Virgin are two 
 women, one of whom holds a pair of doves, and be- 
 neath are three boys sounding musical instruments, 
 the first a lute, the second a wind instrument of a 
 spiral form, and the third a lyre or kind of viol; the 
 colouring of all this picture is exceedingly pleasing and 
 graceful."— (Vasari.) " This is a work full at once of 
 grace and vigour, and, but for some stiffness of outline, 
 would deserve to be compared with the most beautiful 
 works of the school." — (Viardot, Wonders of Italian Art.) 
 Signed " VICTOR CARPATHIUS MDX." From the 
 Church of San Giobhe. Panel : 13 ft. 4 in. by <J ft. ^ in. 
 
 CARPACCIO (Vittore). (After.) 
 
 CORRIDOR. 14. The Resurrection. Christ appearing to Mary Magda- 
 
 lene ; the supper at Emmaus. Presented by Molin. Panel: 
 2 /(. 4 in. by I ft. gf in. 
 
 CAROTO (Giov, Francesco). Veronese: 1476- 1546. 
 
 Gianfrancesco Caroto vi^as a pupil of Liberale. He 
 was influenced by Mantegna, and may have studied 
 under him after he left Liberale; but, in spite of. 
 this, Caroto was essentially Veronese, especially in 
 colour. 
 
 SALA XIV. 8. Virgin and Child. The Virgin is sewing, while the 
 
 Child holds the scissors in his hand. Signed " O. I. F. 
 
CARRIERA— CATENA 45 
 
 CHAROTUS." Formerly in the Galleria Maldura, Fadua. 
 Canvas : I ft. I if in. iy I Ji. 61 in. 
 
 CARRIERA (Rosalba). Venetian : 1675-1757. 
 
 I. Portrait of the Artist by Herself. The collection of sala xi. 
 portraits, of which the above is one, consists of twelve 
 pastels, the greater number of which were bequeathed 
 by Signor Omobon Astori. i ^. 1 1 in. by i ft. 6| in. 
 
 CASSANA (Giovanni Agostino). Genoese: 1658-1720. 
 Cassana was born at Mirandola, and died at Genoa, 
 He was the pupil of his father. 
 
 13. Still Life : Fruit, &c. Formerly in the Convent of San Giorgio sALA XI. 
 liore. Can-uat: ■^fi. 9 J in. ty S ft. Sh '"■ 
 
 18. Animals and Fruit. Formerly in the Convent of San Giorgio 
 Maggiore. Caieuas : 3 ft. gj in, by 5 ft. 5 J in. 
 
 CATENA (ViNCENzo m Biagio). Trevisan: painted 
 1493 ; about 1531. 
 
 Vincenzo Catena, whose patronymic was di Biagio, 
 generally signs himself " Vincentius de Tarviso." It 
 is conjectured that his first master may have been the 
 elder Girolamo da Treviso. He entered the work- , 
 shop of the Bellini, and became one of Giovanni's 
 assistants in the works at the Doge's Palace. He was 
 " an industrious man, without originality," but appa- 
 rently had a large clientlle, and acquired some 
 wealth, for in 153 1 he adds a codicil to his will leav- 
 ing legacies to a number of poor painters. His 
 pictures may often be recognised by the white poodle 
 and the partridge which he was fond of introducing 
 into them. 
 
 17. St. Augustine. Greatly repainted. Panel: 2 ft. S\in.by sala i. 
 I ft. 3 '"■ 
 
46 
 
 CATTERINO— CHARDIN 
 
 SALA 
 
 DELLE 
 
 STATUE. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 19. St. Jerome. From the Convent of St. G'lusUna. Panel; 2 ft. <,\ in. 
 
 hyifi.T, in. 
 4. The Doge Ziani and Pope Alexander III. In fleeing 
 from the Emperor Frederic Barbarossa, Pope Alex- 
 ander III. sought refuge at the convent of the Cariti, 
 Venice. Formerly in the Chiesa dellaCarita. Canvas : J ft. g in. 
 by 6 ft. I J in. 
 
 13. The Scourging of Christ. Formerly in San Severo, since de- 
 molished. Canvas : J ft. 6 J in. ty 6 f. J in. 
 
 CATTERINO (Veneziano). Venetian : lived in the four- 
 teenth century. 
 - This painter is mentioned by Cicogna, but nothing is 
 known of his history. 
 
 II. Coronation of the Virgin. Behind the throne are eight 
 angels. Inscription below the throne " MCCCLXXV. 
 D. MEXE l5. MARZO. CHARTARINUS PINXIT." 
 
 Panel, tempera : 3 ft. by 2 ft. 
 
 CAVAGNIN (Leonardo). Venetian: 1809-1887. 
 
 Cavagnin was a pupil of the Accademia delle Belle 
 Arti. 
 16. Portrait of Count Girolamo Contarini, donor of the 
 Contarini collection in this gallery. Canvas -. i ft. 10 in. 
 by 1 ft. 6 in. 
 
 CERQUOZZI (Michelangelo), called Michelangelo delle 
 Battaglie. Roman: 1602—1660. 
 
 Michelangelo delle Battaglie was so-called because of 
 his numerous battle-pieces ; he also painted scenes 
 from low life. His execution and colour are at times 
 excellent. 
 
 S3. A Boar Hunt. Presented by Molin. Canvas ; i ft. gj in. by 
 3 ft. i in. 
 
 CHARDIN (Jean-Baptiste Sim^Son). French: 1699-1779. 
 Chardin was the son of a Paris carpenter, and his first 
 
CHILONE— CIMA 47 
 
 great success in life was the painting of a sign-board. 
 From this humble beginning he gradually made his 
 mark as an artist, and rose to positions of trust and 
 responsibility, such as that of treasurer to the Academy. 
 He occupies a unique position in the French School 
 of the eighteenth century. Uninfluenced by the 
 example of his predecessors or contemporaries, he 
 struck out for himself an independent path of realistic 
 treatment, both in execution and in the subjects that 
 he selected. In his earlier years he generally painted 
 still life, but, as he advanced, genre pictures became 
 his principal line of art, and he produced scenes from 
 the domestic life of his times with great sympathy 
 and fidelity to nature. He died on the eve of the 
 French Revolution, at the age of eighty, having been 
 twice married. 
 
 3. Allegory of the Transiency of Life. Presented by Molm. loggia 
 Canvas : i ft. 1 1 J in. by i Ji. 3I h. palla- 
 
 DIANE. 
 
 CHILONE (ViNCENzo). 
 
 7. A Court. Canvas: 2 ft. 4 in. by 2 ft. 8 in. SALA 
 
 DELLE 
 
 CHIMENTI. See EMPOLI. statue. 
 
 CIGNAROLI (GiAMBETTiNo). Venetian: 1706-1772. 
 
 This artist was the pupil of Calza and Brunato. 
 There is a large work of his in the cathedral at Pisa, 
 and in Venice he painted in the Palazzo of the Labia 
 family. 
 
 40. Death of a Woman in Child-birth. Formeriy in the Cmfia- sala xi. 
 ternita della Carita. Canrvas : 6 ft. 'J in, by S Ji, 5 in. 
 
 CIMA (Giovanni Battista) da Coneguano. Friuwn ; 
 painted about 1489 to 1508, 
 
48 
 
 CIMA 
 
 SALE 
 
 PALLA- 
 
 DIANE. 
 
 39' 
 
 47' 
 
 6S. 
 
 Giambattista da Conegliano was so-called from his 
 native town in Friuli. He 'ranks among the best 
 Venetian painters before the beginning of the six- 
 teenth century. He was greatly influenced by 
 Giovanni Bellini, whose pupil he may possibly have 
 been. 
 
 "He rarely attains the poetic sense of colour, the 
 breadth and delicacy, or the atmospheric subtlety of 
 Bellini, but that master's influence is very perceptible 
 in the composition both of the figures and the draw- 
 ing. His modelling is masterly, with strong light and 
 shade, and the story well set forth against backgrounds 
 full of charm, and often recognisable as character- 
 istic of the district near Friuli, the painter's native 
 place. His works are never dramatic ; he is seen at 
 his best in decorative altar-pieces, in which the free- 
 dom and symmetry of the arrangement, and the liappy 
 adaptation of the figures to the Renaissance architec- 
 ture, are not far behind those of Giambellini himself" 
 — (Woltmann and Woermann, ii.) 
 
 The Madonna and Saints. St. John the Baptist on the 
 right, and St. Paul on the left. Panel: zJi.S in. by ift. 
 loj in. 
 
 St. Christopher carrying the Infant Christ. Formerly in 
 the Scuola dei Mercanti. Panel : ^ ft. 10 in, hy 2 ft. 2 in. 
 Pieta. Nicodemus supports the body of Christ, be- 
 tween the Virgin and St. John, who hold the arms, 
 while the Marys look on. Signed "JOANNIS BAP- 
 TISTA CONEGLIANENSIS OPVS.". Panel: 2 ft. 
 Ai '■«• by 3 ft- 8| in. 
 
 Virgin arid Child. Background a landscape. Panel: 
 2 ft. A in. by I ft. 10 j in. 
 
 The Incredulity of St. Thomas. The Redeemer stands 
 between St. Thomas, and another saint who is on the 
 
CIMA— CONCONI 49 
 
 right. According to the Italian catalogue this is St. 
 Magnus, a Bavarian bishop; but why he should be 
 represented here it is difficult to say. According to 
 Eastlake, the saint on the right is St. Nicholas. In 
 this picture Cima may be seen at his best. The colour- 
 ing is brilliant, the drawing very masterly, and the 
 composition, though somewhat stiff, is simple and 
 effective. Formerly in the Scucia dei Muratoru Panel : 7 ft* 
 8i h. iy 4 ft. Ji m. 
 
 35. Tobias and the Angel. At the sides SS. James and sala xiv. 
 Nicholas de Bari. " Cima is undoubtedly an excellent 
 though by no means an original artist, most of his 
 types being borrowed from his master, Giovanni 
 Bellini. He had no dramatic talent, but he is the best 
 and most careful draughtsman of the whole contem- 
 porary school of Bellini. Unlike his master, who was 
 ever making progress, even at the age of eighty, Cima 
 never abandoned the style of the ' quattro-cento.' 
 We may see this even in his latest works ; for instance, 
 in the beautiful picture in the Venice Academy, 
 ' Tobias and the Angel.' " — (Morelli, Italian Painters, Criti- 
 cal Studies of their Works, i.) In 1889 this picture was 
 transferred from wood to canvas, after having suffered 
 greatly from restorations. Signed "JOANIS BAP- 
 TISTE CONEGLIANI OPUS." Formerly in tlie Church 
 of the Misericordia. Canvas: 5 ft. 3 J in. by ^ ft. II J in. 
 
 21. Virgin and Child Enthroned with Saints. SS. Anthony, sala %v. 
 Sebastian and Lucy on the right, SS. George, Catherine 
 and Nicholas on the left. This is one of Cima's most 
 important pictures. It is " extremely grandiose, with 
 its six saints and two angelic musicians, but it has not 
 the fervent sentiment of Bellini, and the Virgin herself 
 is rather commonplace." — (Woltmann and Woermann, 
 ii.) Chiesa dclla Carita. Panel: I'ift. 6 in. by 6 ft. II in. 
 
 CIVETTA. See BLES. 
 
 CONCONI (Marco). 
 
 I. Achilles receiving Arms from his Mother, Thetis, sala xii. 
 Canvas : S ft. S in. by 7 ft. 6 J in. 
 
LOGGIA 
 
 6. Still-life, fruit. 
 
 Presented by MoUn. 
 
 PALLA- 
 DIANA. 
 
 Sfi.ein. 
 
 
 50 CONINCK— COYPEL 
 
 CONINCK (David). Flemish : 1636-1687. 
 
 Conine k was the pupil of Jan Fyt ; he was greatly 
 influenced by that master, whose power of colouring 
 he closely rivals. He died in Rome. 
 
 Canvas: 3 fi. 2 J in. by 
 
 CONTARINI (Giovanni). Venetian: i 549-1606. 
 
 Giovanni Contarini studied and copied Titian. All 
 his compositions seem to be imitations of that master. 
 He was the pupil of Alessandro Vittoria, and before 
 adopting painting, exercised the profession of the law. 
 
 SALA VII. 15. Portrait of a Venetian Noble. Fm-merly in the Procuratic 
 
 Nuove. Canvas: 2, ft. 3 J in. by 2fi. I in. 
 
 SALA XIV. 10. Venus. Copy of Titian. Presented by Molin. Canvas: 2 ft. 
 
 5 in. by 2 ft. 6f in. 
 
 CORONA (Leonardo). Venetian: i 561-1605. 
 
 Corona was born at Murano, and was the pupil of 
 his father Michele. He imitated Titian and Tinto- 
 retto. 
 
 SALA VIL 49. Christ on the Cross, and the Marys. Formerly in Sta. Maria 
 
 Formosa. Canvas: %fi. 8^ in. by 
 
 COYPEL (Anthony). French: 1661-1722. 
 
 Coypel was born in Paris ; he became court painter 
 to Louis XV. in 17 16. "Even in the lower class of 
 the French painters, great beauties are often to be 
 found, united with great defects. Though Coypel 
 wanted a simplicity of taste, and mistook a presump- 
 tuous and assuming air for what is grand and majestick, 
 yet he frequently has good sense and judgment in his 
 
CRANACH— CREDI 51 
 
 manner of telling his stories, great skill in his com- 
 positions, and is not without a considerable power of 
 expressing the passions." — (Sir Joshua Reynolds.) 
 
 35. Susannah and the Elders. Acquired from Paris!. Copper: loggia 
 I _/?. J in. by I fi. J J in. PALLA- 
 
 DIANA. 
 
 CRANACH (Lucas), also Muller or Sunder. German- 
 Saxon : 147Z-15.53. 
 
 Lucas Cranach, so-called after his birthplace Cronach, 
 near Bamberg in Bavaria, became court painter to 
 Frederic the Wise, Elector of Saxony, in 1495. He 
 afterwards served under two other Saxon Electors in 
 this capacity, and from the affection he bore for John 
 Frederic the Magnanimous, he followed him into 
 captivity at Innsbruck, where he remained five years. 
 After Durer, Cranach was the most famous artist of 
 his day, and the close friend of Martin Luther. He 
 was twice burgomaster of Wittenberg, and died at 
 that place soon after his return from Innsbruck, on 
 October 16, 1553. The arms granted to him by 
 Frederic the Wise — a crowned winged serpent — was 
 the device which Cranach generally used on his 
 pictures and prints. 
 
 4. Lot and his Daughters. Inscribed " 1S29," with a loggia 
 monogram of a serpent. Panel: 1 ft. 11 J in. hy i ft. palla- 
 
 3| in. DIANA. 
 
 44. The Holy Family. Panel : -^ft. by 2 ft. 2j in. 
 CREDI (Lorenzo di Credi). Florentine: 1459—1537. 
 
 Lorenzo di Credi was a pupil of Andrea Verrocchio, 
 together with Perugino -and Leonardo da Vinci, by 
 the latter of whom he was greatly influenced. He 
 was a careful conscientious worker, so careful, indeed, 
 that Vasari says that while painting he would suffer 
 
52 CRESPI— CRIVELLI 
 
 no movement to be made in the room for fear of the 
 dust. His compositions are sometimes uninteresting, 
 but he had a fine perception of character ; his works 
 are finished with great delicacy, and he was extremely 
 sensitive to the influences of those great painters with 
 whom he was brought into contact. He cannot, 
 however, be properly studied ip this academy, where 
 there is but one picture ascribed to him, and that 
 attribution open to doubt. Lorenzo died of old age 
 in 1537. 
 
 7. Virgin and Child, St. Joseph and St. John the Baptist. 
 
 Formerly in the Alhani G'allery. Panel : Round, diameter, 2ft. I J )n. 
 
 CRESPI (LuiGi). BoLOGNE«E : — (?) — 1779. 
 
 Luigi was the pupil of his father, Cavaliere Guiseppe 
 Crespi. He only exercised his art as an amateur and 
 continued Malvasia's work, " Felsina pittrice." 
 
 36. Portrait of the Artist by Himself. Canvas : 3 ft. 7J in. by 
 
 3 //. 2j in. 
 
 CRIVELLI (Carlo). Venetian : painted 1468-1493. 
 
 " Carlo Crivelli, a native of Venice, passed most of 
 his life at Ascoli, near Naples. He thus lived some- 
 what outside the artistic world of his time, a fact 
 which serves to explain the rather conservative 
 character of his art. Thus he adhered to tempera 
 painting, and did not attempt the new medium. 
 Moreover, there is a vein of affectation in his pictures, 
 which contrasts strongly with the naturalistic tendency 
 in contemporary Venetian art."- — (E. T. Cook, Hand- 
 book to the National Gallery.') 
 Crivelli was knighted in 1490 by Prince Ferdinand 
 
CUSIGHE— DAMINI 53 
 
 of Capua, and from that time forward added to his 
 signature the title of Miles, or Eqiies Lavreatus. He 
 can be studied nowhere better than in the English 
 National Gallery. 
 
 24. SS. Roch, Sebastian, Augustine, and St. Bernard of corridor. 
 Sienna. Signed " OPUS CAROLUS. [sic] CRI- 
 VELLI VENETI," but this signature is open to doubt. 
 
 Panel : I fl. 2 in. by \ft. 8J in. 
 
 II. SS. Jerome and Augustin. St. Jerome holds in his sale 
 hands a book and a little church. Formerly in the Brera palla- 
 Gallery at Milan. Panel: 1 ft, 2, in. by ^ft. 8 J in. 
 
 CUSIGHE (SiMONE da). Venetian : lived about 1350- 
 1416. 
 
 Little is known of this early painter. The Cusighe, 
 from which he evidently takes his name, is near , 
 Belluno. 
 
 32. The Entombment, Resurrection, Ascension and Des- 
 cent of the Holy Spirit. Panel: 2 ft. if in. by 1 ft. 7J in. 
 
 33. Altar-piece. Centre, the Virgin and the members of a corridor. 
 Brotherhood; in the other compartments the history 
 
 of St. Bartholomew. Inscribed " MCCCLXXXXIIII. 
 INDITIONE II DIE XX AUGUSTI ACTUM FUIT 
 H. OP. ONESTO. VIRO D. XFORO CAPELL. S. 
 BARTHL SIMON FECIT." Panel: ^ ft. n^ i„. by 6ft. 
 9i '"■ 
 DAMINI (PiETRo), Venetian: i 592-1631. 
 
 Damini was born at Castelfranco and died at Venice. 
 He studied the works of Lomazzo and Albert Dijrer. 
 He died of the plague while still young. 
 
 60. The Guardian Angel: A Votive Picture. Signed sala vii. 
 "P. DE C. FRANCO F. ANNO D. NI MDCXXII." 
 
 Formerly in San ProsdocimOj Padua. Canvas: lo^. 5f in. by 5 ft. 
 9 in. 
 
54 
 
 DEMIN— DIANA 
 
 SALA 
 
 DELLE 
 
 STATUE. 
 
 SALA II. 
 
 SALE 
 
 PALLA- 
 
 DIANE. 
 
 .SALA VIII. 
 
 DEL FIORE. See FIORE. 
 DEL MORO. See MORO. 
 DE MARTINL 5^<? MARTINL 
 DEMIN (Giovanni). 
 
 6. Ajax. Cam-as: ^fi. 5J in. by ■^ft. 3J in. 
 
 16. Portrait. Canvas: i Ji. iij in. by \ fi. 6J in. 
 
 DIANA (Benedetto). Venetian : lived about 1 500. 
 
 Very little is known of this inferior painter, who was 
 a contemporary of Carpaccio and Mansueti. He 
 painted both in oil and tempera. 
 
 In his youth Diana was probably influenced by the 
 Squarcionesques, but later in life Venetian influence 
 caused him to correct, to some extent, the heaviness 
 and squareness of his forms. 
 
 47. The Virgin, St. John the Baptist, and St. Jerome. 
 Background a landscape. This picture was formerly 
 ascribed to Vincenzo Catena. Panel: 2 ft. 6 in. by 3/. 
 I J in. 
 
 12. Virgin and Child, enthroned with Saints. The young 
 St. John, and SS. Augustine and Monica. (SS. Louis 
 and Anna ?) At the foot of the throne an angel hold- 
 ing a flower. Formerly in the Church of the Ser-vi. Panel ; 6 ft. 
 
 7. The Brethren of S. Giov. Evangelista dispensing 
 alms. Greatly repainted. Formerly in the School of S, Giov. 
 Evangelista. Canvas : 11 ft. 11^ in. by ^ ft. 8f in. 
 
 31. Virgin and Child enthroned with Saints. SS. Jerome 
 and Benedict on the left, St. Justina and the Magda- 
 lene on the right. " It is easy to perceive that the first 
 impressions of the painter's youth were derived from 
 the Squarcionesques. His forms are weighty, and 
 more coarsely naturalistic than Carpaccio's or Man- 
 
DIETRICH— DIZIANI 55 
 
 sueti's ; his draperies are muffled, and of the texture of 
 blankets; his touch heavy and fluid like that of 
 
 Savoldo Strange contrast between the heavy 
 
 saints in this piece and the puny child. Note the 
 coarseness of the hands, the dull brownish tone, and 
 fatty treatment of colour." — (Crowe and Cavalcaselle, 
 Pamting in N. Italy, i.) Signed " BENEDICTUS DIANE 
 PIX." Inscribed " D. FIORDELIXE. MUGER CHE. 
 FO. DI MAISTRO. BERTOLI BOCHALER. FATO 
 FAR QUESTA OP." Formerly in Sta. Luca, Padua. Panel: 
 6ft. sJm. hyTft. Sin. 
 I. Virgin and Child, with SS. Jerome and Francis of sala xiv. 
 Assisi. Formerly in the Magistrato del Sale. Panel : 2 ft. 8f in. 
 by ^ft. ij in. 
 
 DIETRICH (Christian Wilhelm Ernst). German : 
 171Z-1774. 
 
 Dietrich was born at Weimar, and was the pupil of 
 his father. He afterwards went to Dresden to study ' 
 under the landscape painter Alexander Thiele, and, 
 when only in his eighteenth year, became court painter 
 to Augustus II. of Poland. In 1743 he visited Italy ; 
 in 1746 he was appointed keeper of the Dresden 
 Gallery and professor of the Academy of Arts at 
 Dresden. Dietrich's talent was purely imitative, his 
 touch is often " tame and over-smooth." 
 
 54. A Peasant Resting. Presented by Molin. Copper; 10 in. by loggia 
 
 PALLA- 
 DIANA, 
 
 ^l in. 
 
 DIZIANI (Gaspare). Venetian : 1 690-1767. 
 
 Diziani was the pupil of Ricci, and the contemporary 
 of Tiepolo. He began life as a scene painter. 
 
 17. Moses receiving the Tables of the Law. Canvas ; i jt. sala xii. 
 10 in. by 3 ft. 2j ;>, 
 
 20. Moses and the Burning Bush. Formerly in the Convent 0/ , 
 San Gioi'gio Maggiorct Canvas : I ft. lo in. by 3 ft, 2i in. 
 
56 
 
 DONATO— DUTCH SCHOOL 
 
 SALE 
 
 PALLA- 
 
 DIANE. 
 
 SALA VIII. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 DONATO (Venezianp). Venetian : lived in the close of 
 the fifteenth century. 
 
 Nothing is known of Dqnato's history, but he was 
 probably a pupil of Giovanni Bellini, There seem to 
 have been two painters of this name, one Donato who 
 lived at the beginning of the fifteenth century, and 
 another who lived at the close. 
 
 42. Pieta. The Virgin and St. John supporting the body 
 of Christ. This painting is a copy of the Pieta of 
 Giov. Bellini, in the Museum at Berlin. Canvas; \ fi. 
 
 loj in. by 2 ft. 6J in. 
 
 4. Christ on the Cross. The Magdalene embracing the 
 Cross; the Virgin and St. John at the. sides; SS. 
 Francis and Bernard kneeling. Jerusalem is seen in 
 the distance. Formerly in San Niccolo della Ldtuga ai Frari. 
 Faml: T ft. 1^ in. by 5 ft. 64 in. 
 
 DUGONI (Antonio). 
 
 13. David with the Sling. Canvas :2ft.8 in. by 2 ft. if in. 
 
 DURER (Copies of). 
 
 25. Adam and Eve. Canvas: i ft. 5J in. by.i ft. ij in. 
 
 33. Betrayal of Christ in the Garden of Gethsemane. 
 Presented by MoUn. Panel : 2 fi. 10 in: by 2 fi. 
 
 DUSART (Cornelius). Dutch : 1 660-1 704. 
 
 Dusart was born at Haarlem and died there ; he 
 studied under Adriaan Van Ostade and imitated him 
 
 successfully. 
 
 47. Three men drinking at a tavern, one of them is playing 
 a violin. Presented by Molin. Panel : 7I in. by 6J in. 
 
 DUTCH SCHOOL. Seventeenth.century. 
 
 40. Landscape with a lake, on the bank are some people 
 on horseback. Panel: 1 fi. 8 J ;p. by 2 fi. 8J in. 
 
DYCK 57* 
 
 DYCK (Antony van). Flemish : 1 599-1641. 
 
 This great painter was the son of a merchant, or as 
 some say, a worker in stained glass, Frans van Dyck. 
 Antony's mother died when he was only eight years 
 of age, and in 1609 he became the pupil of Hendrik 
 van Balen. He afterwards studied under Rubens, 
 with whom he lived for four years. In 1623 he 
 visited Italy and spent five years in that country. He 
 fell to a certain extent under the spell of Titian's 
 genius and became warmer and richer in his colour- 
 ing. After his return in i6z8, he painted in Antwerp 
 and Ghent. In 1632 Van Dyck was invited to Eng- 
 land by Charles I., and from that time forward he 
 lived in that country as painter to his Majesty with a 
 pension of £200 per annum. He married Mary 
 Ruthven, grand-daughter of Lord Ruthven, Earl of 
 Gowrie. He lived in great style- and always went 
 magnificently dressed, keeping up both a town and 
 country house. On December 9, 1641, this " Painter 
 of Princes " died, in the forty-third year of his age, 
 and was buried in old St. Paul's. In his early work 
 Van Dyck is hardly to be distinguished from his great 
 master Rubens ; his latest productions show a decline 
 in his powers. 
 
 25. Head of a Youth in Profile. Presented by Molin. Panel: loggia 
 
 oi )■«. by 7 in. PALLA- 
 
 * ■' DIANA. 
 
 27. Christ on the Cross. Acquired from Parisi. Canvas : 3 ft. 
 2| in. by 2 ft. 
 
 31. Head of a Sleeping Child; half life-size. Presented by 
 Molin, Panel : 9 in. by 7 is. 
 
 56. Study of a Child, wearing a white cap and apron, and 
 holding an apple in her hand. Formerly in the Manfrini 
 Gallery. Panel: I ft. 8f in. by 1 ft. 4 in. 
 
•S8 ELSHEIMER— ENGLISH SCHOOL 
 
 ELSHEIMER (Adam) called AdaMo Tedesco. 1578- 
 i6zo-2i. 
 
 " Elsheimer was a native of Frankfort, and went 
 thence to Rome, where he lived in great repute for 
 the ingenious fancy and precious finish of his 
 paintings. But he worked so slowly that he could 
 not earn a livelihood ; and though he had an enthusi- 
 astic friend in a rich amateur from Holland, Count 
 Henry of Goudt, who bought his pictures in advance, 
 and engraved from them with much skill and patience, 
 yet he could not keep his affairs in order and finally 
 died in a debtor's prison." — (Sidney Colvin, " Old 
 Masters at the Winter Exhibition," The Nineteenth 
 Century, 1879.) He painted almost exclusively on 
 copper. 
 58. St. Peter denying Christ. Panel: 9J in. hy 7J in. 
 
 EMPOLI (Jacopo da) called Chimenti. Florentine : 
 1554-1640. 
 
 Empoli has sometimes been called Chimenti after his 
 father's Christian name (Clementi), but he always 
 signs himself Jacobus Empoli, and is so called by his 
 contemporaries. He studied under Tommaso da S. 
 Frediano, and became famous as a copyist ; he also 
 executed many altar-pieces for churches and monas- 
 teries in Tuscany. Empoli was one of the best 
 painters of the later Florentine School. 
 
 20. Virgin, Child, and St. John the Baptist. Acquired fim 
 JParisi. Canvas : ^ ft. ^ in. l>y 3 ft. 1^ in. 
 
 ENGLISH SCHOOL (?) Eighteenth century, 
 
 9. Portrait of the engraver Francesco Bartolozzi. Born 
 at Florence in 1730, and died at Lisbon in 1813. Formerly 
 in the Academy of Painting, Canvas: 3 ft. 4J in. by 2 ft. II J in. 
 
FABRIANO ' 59 
 
 FABRIANO (Gentile da) (Ascribed to). Umbrian : four- 
 teenth to fifteenth century. 
 
 Gentile .di Niccol6 di Giovanni Massi, commonly 
 called Gentile da Fabriano, was probably born at that 
 Umbrian town, and is supposed to have been the 
 pupil of Allegretto Nuzi. Gentile was first employed 
 by Pandolfo Malatesta, Lord of Brescia and Bergamo, 
 to decorate a chapel. He afterwards went to Venice, 
 where he resided some years and painted in the Great 
 Hall of the Ducal Palace, besides executing altar- 
 pieces for St. Giuliano and St. Felice. During Gentile's 
 residence at Venice, Jacopo Bellini became his pupil ; 
 he afterwards accompanied Gentile to Florence. 
 Bellini named his first child, Gentile, after his master. 
 Gentile da Fabriano visited Rome, where he was 
 employed by Pope Martin V. to execute frescoes in 
 the interior of St. John Lateran. 
 
 According to Vasari, Michelangelo, in speaking of 
 Gentile, said : " Aveva la mano simile al nome." His 
 style has been likened to that of Fra Angelico. " We 
 compare the pictures of Gentile to the poems of the 
 Minne-singers : they seem to breathe the joys of 
 spring ; they have an air of inexpressible serenity 
 clouded by no doubt, no anxiety. A childlike delight 
 in splendour and gold ornaments, which in his pictures 
 are both embossed and incised, pervades all his 
 works." — (KuGLER, Handbook of Painting, i.) Gen- 
 tile's pictures are very rare. He is believed to have 
 died at Rome at an advanced age. 
 
 4. Virgin and Child. The Virgin is seated, and wears a sala i. 
 mantle brocaded in black and gold. The background 
 is gold. The attribution of this picture is doubtful, 
 and it is greatly repainted. Inscribed " GENTILE 
 
6o 
 
 FABRIS 
 
 SALA 
 
 DELLE. 
 
 STATUE. 
 
 FABRIACESIS 
 
 7J in. by 1 ft. 2 in. 
 
 Presented by Molin. Panel: I ft. 
 
 FABRIS (Placido). Venetian: 1802-1859, 
 
 Fabris was born at Pieve d'Alpago, and died in Venice. 
 He was a pupil of this Academy. 
 The collection of pictures in this room was presented 
 by him to the Academy, and consists entirely of his 
 own paintings. 
 
 1. Physician and Patient. Canvas: 2 ft. loj in. by ^ ft. 
 3i '»■ 
 
 2. Portrait of Antonio Canova, the Sculptor. Canvas: i ft. 
 6 in. by I ft. gj in. 
 
 3. Portraits of the Artist's Parents. Cani/as : 2 ft. loj in. by 
 3/'-3i"- 
 
 4. Portrait of the Captain Gaspare Craglietta. Canvas: i ft. 
 4f in. by I _/?. f in. 
 
 5. Virgin and Child, St. John the Baptist and St. 
 Zacharia. Copy from Catena. Canvas: 1 ft. 10 in. by 2 ft. 
 
 6i in, 
 
 6. The Virgin and Saints. Copy from Paul Veronese. 
 The original is in the Church of St. Sebastiano. Canvas: 
 I ft. I if in. by 2 ft. 4. in. 
 
 7. Cupid and Psyche. Canvas : 2 ft. 8 J in. by 3 ft. 3 J in. 
 
 8. Portrait of Giovanni Bernardi, Priest. Canvas: 4 ft. 
 3iin.by 3 ft. J^ in. 
 
 g. Virgin and Child, in imitation of Giov. Bellini. fFsnd : 
 I ft. 4f in. by I ft. 2j in. 
 
 10. The Dead Christ. A copy from P. Veronese, the original 
 of which is in the Chiesa dei SS. Gervasio e Protasio. 
 
 Panel: 1 ft. % in. by loj in.. 
 
 11. The Rape of Europa. A copy from P. Veronese, the 
 originaf of which is in the Ducal Palace. Canvas: "3, ft. 
 \\\in.by ^ft. 
 
FASOLO— FETI 6i 
 
 FASOLO (Giovanni Antonio). Venetian: 1528 (?)-l 572. 
 
 This painter was born at Vicenza : he studied first 
 under Zelotti, and afterwards under Paul Veronese. 
 
 ig. The Pool of Bethesda. Formerly in San Roeco of Vicenza. SALA VIII. 
 Canvas : 1 1 _/». loj in. hy6ft.ll in. 
 
 FERRARESE (Giovanni Battista). 
 
 38. St. Sebastian. Formerly in San Nicola dei Tolentini. Canvas: SALA xvi. 
 6 ft. 8J in. by i, ft. loj in. 
 
 FERRI(CiRo). Roman : 1634-1689. 
 
 Ferri was the pupil of Pietro Berretini, he worked 
 principally at Rome and Florence. 
 
 21. Holy Family and St. Catherine. Presented by Molin. Cairvas : SALA XU. 
 
 I ft. 1 1 J in. by 2 ft. 6^ in. 
 
 FETI (DoMENico). Roman: 1589-1624. 
 
 Feti was born at Rome, but went to Mantua and 
 became Cardinal Gonzaga's principal painter.. He 
 died early from the effects of intemperance. He 
 inclines to the manner of the naturalists. 
 
 18. Meditation. Canvas: ^ ft. 8^ in. by j^ ft. 6^ in. sala ii. 
 
 38. The Good Samaritan. Panel; l ft. 11 J in. by i ft. ^ in. 
 
 39. The Parable of the Sower. Panel : zft.^ in. by 1 ft. 6 in. 
 49. A Woman Reading. Canvas : 2 ft. 4j in. by 2 ft. j in. 
 
 76. Isaac blessing Jacob. Canvas: 3 ft. 4 in. by 2, ft. 5j in. 
 86. The Parable of the Hidden Treasure. Canvas: 2 ft. 10 in. 
 
 99. Portrait of an old Woman. Canvas : 1 ft. 9J in. by i ft. 
 
 II in. 
 
 100. Portrait of an Old Man. Cawas : i y5. 10 in. by 2 ft. 1 ir,. ^ 
 
FIORE— FIRENZE 
 
 FIORE (Jacobello del). Venetian : fourteenth to fifteenth 
 century. 
 
 Jacobello was the son of Francesco del Fiore. " He 
 strove to perpetuate what Vasari has called the ' Greek 
 manner.' .... His pictures were characterised by 
 incorrectness of drawing and harshness of colour ; by 
 coarse or tasteless combinations of sharp tints and gilt 
 embossments. He was a painfully earnest but con- 
 ventional follower of Guariento, unacquainted with 
 the tender softness of Gentile da Fabriano." — (Crowe 
 and Cavalcaselle, Painting in N. Italy, i.) Jacobello 
 made his will in 14.39, .but the date of his death is 
 unknown. 
 
 corridor. 
 
 (unnum- 
 bered. ) 
 
 28. The Virgin of Mercy between St. John the Baptist and 
 St. John Evangelist. Above, the Annunciation. Wmd: 
 2fi. \c^\n.by lfi.C)\m.. 
 
 By the windows. Centre, a figure representing Justice 
 with the inscription "Jacobellus de Flore PINXIT 
 1421." On one side St. Michael, and on the other 
 St. Gabriel. Formerly in the Maghtrato del Propino in the Ducal 
 Palace. Panel, tempera : l6 Ji, 2f in. by 6 Ji. 9 J in. 
 
 37. The Coronation of the Virgin. In the centre, the 
 Coronation of the Virgin. Cherubim and Seraphim, 
 Virgins, Martyrs, Prophets, and Bishops are ranged 
 round the throne. In the foreground kneels the donor 
 of the picture, Antonio Correr, Bishop of Ceneda. We 
 are told that the old frame, which was thrown away, 
 was dated 1430. Formerly in the Cathedral of Ceneda. Panel: 
 12 ft. 2j in. by loft, ij in. 
 
 FIRENZE (Antonio da). Florentine: about 1 309-1 383. 
 According to Vasari, Antonio da Firenze was born 
 about 1309 and died in 1383. The details of his life 
 are unknown. 
 
FLEMISH SCHOOL— FLORENTINE SCHOOL 63 
 
 7. St. Augustine and the "Beato" Filippo da Firenze. sale 
 Signed "ANTONIUS D. FLORENTIA. PINSIT." palla- 
 and " B. PHILIPPUS D. FLORENTIA." Formerly in ^'^NE. 
 the Capella del Lucchesi, Church of the Ser-vi. Panel : 6ft. ty ift. 1^ in. 
 
 g. St. Gregory and the "Beato" Pellegrino da Forli. 
 Inscribed "ANTONIUS DE FLORENTIA," and 
 "B. PEREGRINUS DE FORLIVIO." Formerly in the 
 Church of the Servi. Panel: 6 ft. by I ft. 7i in. 
 
 '24. St. Ambrose. 
 
 25. St. Jerome. Both panels were formerly in the Church of the Frari. 
 Each panel: 3 Ji. 5 J in. by I ft. 5 J in. 
 
 FLEMISH SCHOOL. Sixteenth century. 
 
 18. Portrait of a Man. Panel: SJ in. by 7J in. SALA III. 
 
 ig. Portrait of a Man holding Gloves in his Hands. Panel: 
 8i in. by 7J in. 
 
 Seventeenth century. 
 
 32. The Deluge. Panel : i ft. gj in. by iij in. sala ii. 
 
 58, 5g. Fruit. Panel: I ft. 2 in. by 2 ft. g^in. 
 
 85. Fruit and Still Life. Canvas: 2ji.S in. by 2 ft. 2j in. 
 
 35. Fruit. Panel: Io| in. by I ft. 2\ in. SALA III. 
 
 36. Portrait of a Man. Panel : 6 j in. by 5 J in. 
 3g. Fruit. Tanel: 9 in. by I ft. 2\ in. 
 
 45. Portrait of a Lady. Canvas : iiJ/». by 6}. 
 
 I. Card- Players and a Young Woman Playing on a loggia 
 
 Mandolin. Presented bv Molin. Panel: I fl. by qj in. palla- 
 
 ■^ J J ^4: DIANA. 
 
 Eighteenth century. 
 
 70, 71. Landscape. Formerly in the Cotevento della Salute. Each 
 canvas : I ft. 6\ in. by 1 ft. /^ in. 
 
 FLORENTINE SCHOOL. Sixteenth century. 
 
 97. Head of a Child. Canras : 8J in, by 7J in, SALA II, 
 
64 
 
 FLORIGERIO— FOGOLINO 
 
 SALA in. 
 SALA IX. 
 
 SALA VIII. 
 
 ^. Portrait of a Cardinal. Panel: gj ;«. hy 6| in. 
 
 27. Portrait of an Old Man with a White Beard. Presented 
 to the Academy by Signer Weber. Panel ; I ft. & in. by \ ft. 2 in. 
 
 Seventeenth century. 
 
 3. Coronation of the Virgin. Copper : 1 ft. 5J in. by 11 in. 
 
 84. St. Jerome. Canvas :2 ft. 3J in. by 2 ft. 1^ in. 
 
 41. The Circumcision. Bequeathed by Massari di Verona. Copper: 
 10^ in. by 8^ in. 
 
 FLORIGERIO (Sebastiano). Friulan : 1529 to 1543. 
 
 "A born Friulese in mind and life is Pellegrino's 
 son-in-law, Sebastiano Florigerio of Conegliano, -who 
 died young. He was the son of a certain Giacomo 
 of Bologna, who had settled at Conegliano. Unfor- 
 tunately, besides the ingenious altar-piece in the 
 church of St. Giorgio at Udine, we know of only two 
 pictures by Sebastiano Florigerio, and those not im- 
 portant ones, in the Venetian Academy." — (Morelli, 
 Italian Masters in German Galleries.) 
 
 8. SS. Francis, Anthony of Padua, and St. John Evange- 
 list. Formerly in St. Bovo, Padua. Panel : 'i ft. ^ in. by 5 f. 
 10 in. 
 
 30. The Virgin Child and Saints. St. Anne places her 
 hands on the Virgin's shoulders. On the left is St. 
 Roch, and on the right St. Sebastian. Formerly in St. 
 Bovo, Padua. Canvas : 7 yj. 1 1 in. by 3 ft. lof in. 
 
 FOGOLINO (Marcello). Vicenza : About 1470-1553 (i') 
 Marcello Fogolino was a painter of Vicenza and a 
 contemporary of Bartolomeo Montagna. 
 
 3. Virgin, Child and Saints. SS. Louis, Bernard of 
 Sienna, Anthony of Padua (right), Bonaventura, Clara, 
 
FRANCESCA 65 
 
 and Francis of Assisi (left). Formerly in St. Francesco, Assisi. 
 Canvas : "] ft. 10 in. by t,ft. iij in. 
 
 FRANCESCA (Piero della). Borgo St. Sepolcro : About 
 1415-1492. 
 
 Piero della Francesca, or Dei Franceschi, one of the 
 most remarkable of the early Florentine painters, was 
 so-called after the family name of his mother. " For," 
 says Vasari, " he had been brought up solely by her- 
 self, who furthermore assisted him in the attainment 
 of that learning to which his good fortune had 
 destined him." He probably acquired the new 
 method of oil-painting from Domenico Veneziano, 
 and in 1439, he assisted that painter in the execution 
 of some wall-paintings in Sta Maria Nuova in 
 Florence. In 1450 he was painting at Loreto, and 
 in 145 1 at Rimini. He appears to have painted in 
 his native city, Borgo San Sepolcro, from about 1460 
 to 1468. He afterwards went to Rome, where -he 
 painted, for Pope Nicholas V., two frescoes in the 
 Vatican, which were subsequently destroyed to make 
 room for those of Raphael. 
 
 Piero was a great student of perspective and of 
 mathematics, and the early as well as the latter part 
 of his life was devoted to scientific investigations. 
 Among his pupils may be mentioned Pietro Perugino 
 and Luca Signorelli. He became blind in his old age 
 and died in 1492. 
 
 49. St. Jerome, before whom a donor kneels in a red dress, sale 
 
 In the distance is seen a town very like that of Borgo 
 San Sepolcro. According to tlie Italian Catalogue the 
 donor is Girolamo, son of Agostino Amadi. Signed 
 "PETRI DE BUGO SCI SEPULCRI OPUS." 
 Underneath the kneeling figure is the inscription 
 
 PALLA- 
 DIANE. 
 
66 
 
 FRANCESCHI— FYT 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 " HIER. AMADI. AUG. F." Paml : l Ji. 7i in. by \fi. 
 Si in. 
 
 FRANCESCHI, or FRANCHOYS (Paul). Flemish: 
 1540-1596. 
 
 Franchoys was born at Antwerp ; he was a pupil and 
 collaborator of Tintoret. He died at Venice in 
 1596. 
 
 58. St. John the Baptist in the Desert. Background 
 landscape. Presented by Molin. Canvas : I ft. 8 in. by 2 fi. 
 if in. 
 
 63. The Prodigal Son. Presented by Molin. Canvas : 1 ft. 11^ in. 
 by 2 ft. 8| in. 
 
 FRANCIA. See RAIBOLINI. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 FRENCH SCHOOL. Seventeenth century. 
 
 21. View of a Sea-port. Formerly in the Monastery of San Giorgio 
 'iore. Canvas : ^ft. I J in. by 1 ft. 10 in. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 FYT (Jan). Flemish: 1611-1661. 
 
 Fyt was born at Antwerp ; he became the pupil of 
 Van der Berch, and aftervvards studied under Frans 
 Synders. He was one of the best of the Flemish 
 animal painters. In 1629 Fyt was admitted master 
 in the Guild of St. Luke at Antwerp. In 1633 he 
 began his travels in Italy, which extender! over a period ■ 
 of about seven years, and in 1654 he married Joanna 
 van den Zande. He died in 1661. 
 
 10. Animals. Signed "JOANNES FYT, 1642." Formerly 
 in tie Manfrini Gallery. Canvas : 2ft.^ in, by '}ft. ^ '"• 
 
GASPARI— GHIRLANDAJO 6-] 
 
 GASPARI (PiETRo). Venetian: 1735- (?) 
 
 Painted the decorations for the Court Theatre at 
 Munich. 
 
 I4> Architecture. Formerly In the Academy of Painting. Canvas : SALA XI. 
 4ft.2iin.iy 2 ft. yi in. 
 
 GAVAGNIN. See CAVAGNIN. 
 
 GERMAN SCHOOL. Sixteenth century. 
 
 44. The Holy Family. St. Joseph holds a basket of fruit loggia 
 in one hand, and in the other a vase of flowers. Pre- palla- 
 
 DIANA 
 sented by Molin. Panel : ^ ft. by 2 ft. 2 J in. 
 
 Seventeenth century. 
 
 2. St. Catherine. Signed with a false signature " TOM. 
 PICTOR D. MUTINA ..... NO MCCCLI." Pre- 
 
 sented by Molin. Panel : 2 ft, 6^ in. by 1 ft. % in. 
 
 GIJJRLANDAJO (Ridolfo). Florentine: 1483-1561, 
 
 Ridolfo Bigordi, or Ghirlandajo, was the son ofDomeni- 
 co and his first wife Costanza Nucci. When Ridolfo 
 was but eleven years old, Domenico died, and the boy 
 was placed under the guardianship of his uncle David, 
 who brought him up as a painter. Ridolfo also 
 studied under Bartolommeo and Granacci, and he 
 shows traces of the influence of Piero di Cosimo, 
 Leonardo da Vinci, and perhaps of Michael Angelo. 
 Raphael, with whom Ridolfo became intimate, invited 
 him to Rome, but the latter declined, alleging that he 
 could not exist out of sight of Brunelleschi's majestic 
 dome. Ridolfo was patronised by the Medici, from 
 whom he received many commissions. He died at a 
 great age, having steadily advanced in the practice of 
 his art. He was twice married. 
 
 30. Virgin and Child Enthroned. Angels with lilies on sala ix. 
 either side, and on the right St, Peter, on the left 
 
68 GIACOMELLI— GIORDANO 
 
 SALA 
 
 St. Lucy. This picture is much repainted, and its 
 attribution somewhat doubtful. Formerly in the Academy 
 of Florence. Panel : S ft. 2 '«• h 5 /'■ ^ '"■ 
 
 GIACOMELLI (Vincenzo).' Venetian: 181Z-1890. 
 
 Giacomelli was a pupil of the Accidemia of Venice, 
 and afterwards went to Paris, where he lived for some 
 time. He was a warm patriot, and among the 
 defenders of Venice in 1848. 
 
 6. Diomedes endeavouring to hide the stolen Palladium. 
 
 _„ _ Presented by the Can;, Jacopo barone Treves de Bonjili, Canvas; 
 
 3 /'■ 9h '■»■ h Zft. 10 in. 
 
 GIAMBONO (Michele). Venetian : painted about 1441- 
 1470. 
 
 It is thought that there were two painters called 
 Giambono, or Zambono, father and son. The elder, 
 who was probably the author of this picture, seems to 
 have been influenced by Gentile da Fabriano. Giam- 
 bono was also a worker in mosaic, and executed the 
 mosaics in the " Cappella dei Mascoli,"in St. Mark's. 
 
 SALA I, 5. Altar-piece. Divided into five parts : centre, the Re- 
 
 deemer; on one side St. Bernard of Sienna and St. 
 John the Evangelist, on the other, the Archangel 
 Michael, and St, Louis. Repainted in parts. Inscribed 
 "MICHAEL GAMBONO PINXIT." Formerly In the 
 Scuola del Cristo alia Giudecca. Panel : ^ ft. 11 in. by '^ ft, 
 
 \ GIORDANO (Luca) called Luca Fa Presto. Neapolitan : 
 1632-1705. 
 
 This painter was the pupil of Guiseppe Ribera and 
 also of Pietro da Cortona. He derives the name of 
 Fa Presto from- the rapidity of his execution and facility 
 of invention. His works are, as might be expected, 
 very numerous ; but, says Sir Joshua Reynolds, "we 
 
HAYEZ 69 
 
 may look in vain for anything that can be said to be 
 original." He died in 1705. 
 
 II. The Deposition. Formerly in Sta Maria del Pianto. Canvas: SALA XVI. 
 14 _^. 10 in. by 8 ft. zj in. 
 
 GIORGIONE. See BARBARELLI. 
 
 GIOVANNI D'ALEMAGNA. See VIVARINI. 
 
 GIOVANNI DA BOLOGNA. See BOLOGNA. 
 
 GIOVANNI DA UDINE. See UDINE. 
 
 GIROLAMO DA SANTA CROCE. See SANTA 
 CROCE. 
 
 GIROLAMO DA UDINE. See UDINE. 
 
 GRIGOLETTI (Michelangelo). 
 
 4. Portrait of the Architect Palladio. Panel : diameter 6 in, SALA 
 
 DELLE 
 
 HAYEZ (Francesco). Venetian : 1791-1882. statue. 
 
 This artist studied under Maggiotto, and then at the 
 Accademia delle Belle Arti. He went to Rome, and 
 won the first prize of the Academy of St. Luke ; 
 eventually he became professor of the Academy at 
 Milan where he died. 
 
 1. Portrait of the Artist, by himself. Presented by the artist, sala 
 Canvas : 2 ft. loj in. by 2 ft. DELLE 
 
 STATUE. 
 
 2. The Destruction of Jerusalem by Titus. Canvas : S ft. 
 11 i in. by J ft. I in. 
 
 8. A Philosopher. 
 
 9. Aristides. Canvas: iff. 4J in. by nft. ij /». 
 
 15. Michelangelo Buonarroti. Canvas: i ft. iij in. by ift. 
 6J in. 
 
 22. Armida and Rinaldo. Canvas : 6 ft.. ^^ in. by gft, 7 in. 
 
HEEM— HEUSCH 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 LOGGIA 
 
 PALLA 
 
 DIANA. 
 
 LOGGIA 
 PALLA- ■ 
 DIANA. 
 
 HEEM(?) (John David de). Dutch: i6oo-i683(?) 
 
 " One of the earliest, and certainly the best of the 
 painters of fruit. His arrangement, his power as a 
 
 draughtsman and his colours are all excellent 
 
 Jan David de Heem was born at Utrecht in 1600, 
 and studied under his father David. He removed to 
 Antwerp and entered the Guild in 1636, and painted 
 there, and at Utrecht, until his death at Antwerp in 
 1674." — (PoYNTER AND BuxTON, (jerman, Flemish and 
 Dutch Painting,) 
 
 Basket of Flowers. Presented by Molin. Panel ; i ft. 8 ;'«. 
 by I ft. 8 in. 
 
 Vase of Flowers. Presented by Molin. Panel: I ft. 6J in. 
 by 2 ft. if in. 
 
 41. 
 
 46. 
 
 HEEM (Cornelius de). Dutch : 1631 — after 1671. 
 
 Cornelius de Heem, the son of Jan, was born at 
 Utrecht ; he followed in his father's^ footsteps and 
 painted similar subjects. He died at the Hague after 
 1671. 
 
 68. Garden with Fountain and Animals. Presented by Molin. 
 Canvas : ift.^ in. by 2 ft. ^ in. 
 
 HEINZ (Joseph). German: 1565-1609 (.?) 
 
 Heinz was born probably at Berne, he was the pupil 
 of Van Achem, and was appointed Court painter to 
 the Emperor Rudolf II. He died at Prague. 
 
 61. The Bath of Diana. Presented by Molin. Coffer; l//. 3j'«. 
 by I ft. 9 in. 
 
 HEUSCH (Jacob de). Dutch : 1657-1701. 
 
 Jacob de Heusch was born at Utrecht, and was the 
 nephew of William (de Heusch), by whom he was 
 
HONDECOETER— INGOLI 
 
 instructed in his art, and whose style he for some 
 time followed. He afterwards visited Italy, and 
 imitated Salvator Rosa with great success. 
 
 i6. Landscape with Figures and Horses. Presented by Mdtn. loggia 
 
 Canvas : 2 ft. 2 in. by 2 ft. 68 in. PALLA- 
 
 •' -' y * DIANA. 
 
 HOLBEIN (Hans). (Copy of.) 
 
 37. Portrait of a Man, dressed in a coat trimmed with fur. sala hi. 
 Canvas : 8J in, by £§ in. 
 
 HONDECOETER (Melchior de). Dutch : 1636-1695. 
 Hondecoeter was instructed first by his father, Gysbert 
 de Hondecoeter, and afterwards by his uncle J. B. 
 Weenix. Melchior is one of the best of the Dutch 
 painters of birds. He was especially fond of painting 
 cocks, and is said to have trained a cock to stand to 
 him for hours in a particular attitude. 
 7. A Hen and her Chickens. Signed "M. D. HONDE- loggia 
 
 PALLA- 
 DIANA. 
 
 COETER." 
 
 8. A Cock which has vanquished his Rival. Presented by 
 Molin, Each canvas ,* 2ft^- 7 J in. by 2 ft. 3 in. 
 
 INGOLI (Matted). Bologmese : 1587-1631. 
 
 Ingoli was born at Ravenna, but went at an early age 
 to Venice, where he studied under Friso. He imitated 
 Paul Veronese and Palma the younger. Ingoli died 
 of the plague in 163 1. 
 
 2. Virgin and Child in Glory surrounded by Angels. St. sala ix. 
 Anne holds a crystal globe ; above, the Holy Spirit ; 
 below, SS. Dominic, Clara (kneeling), and Margaret ; 
 Prudence and Fortitude. Inscribed [sic] " MDCXXX. 
 ANTONH RIGHETTI CIVIS VENETI. QUEM E 
 REGIONE VIDES. GRATI ANIMI MONUMEN- 
 TUM. OPUS MATHAEI INGOLI RAVENATIS." 
 
72 
 
 JOLI— LAMBERTINI 
 
 Formerly in SS. Marco ed Antonio, Murano. Canvas ; 1 1 ft. 2j in. 
 h 5/'- 9i '■«• 
 17. Christ and Saints. St. Apollinaris and St. Lorenzo 
 Giustiniani. St. Apollinaris, the first bishop of 
 Ravenna, was martyred in the last year of the reign 
 of the Emperor Vespasian, Formerly in Sunt Appollinare. 
 Canvas, 
 
 JOLI (Antonio). Born at Modena about 1700-1777. 
 
 Joli studied at Rome and worked as a scene painter in 
 Germany, England, and Spain. He finally settled at 
 Naples, where he was appointed painter to Charles III. 
 
 32. Thermal Baths. Formerly in the Academy of Painting. Canvas : 
 /^ft. 24 in. by I ft. I in. 
 
 JORDAENS (Jan). Flemish: 1593-1678 ? 
 
 There appears to have been a large family of painters 
 whose surname was Jordaens. Giovanni was probably 
 'born at Antwerp. He went to Italy and worked in 
 Rome and Venice. 
 
 26. Women Bathing. Panel: lft._2§ in. by ift. ^ in. 
 
 KRANAK. See CRANACH. 
 
 LAMBERTINI (Michele di Matteo). Bolognese : 
 painted 1440-1469. 
 
 Lambertini was an early painter of whom very little 
 is known. His work shows some slight improvement 
 on the Byzantine art of his time. He may have been 
 a pupil of Lippo Dalmasio. 
 
 3. Altar-piece. The Madonna with SS. Helena and Lucy 
 on the right, SS. Mary Magdalen and Catherine on the 
 left, and the Crucifixion and the Evangelists above. 
 Below, on the predella, the history of St. Helena. 
 
LANZANI— LAZZARINI 73 
 
 Inscribed, " MICHAEL. MATHEI. DE BONONIA. 
 
 F." Formerly in tie cimrch of St. Elena in Isola. Panel: 10 ft. 
 loj in. by •] ft. il in. 
 
 LANZANI (PoLiDORo). Venetian; 1515-1565. 
 
 Lanzani, one of the numerous pupils and imitators of 
 Titian, was born and died at Venice. He painted an 
 altar-piece for the Church of Sta. Maria dei Servi, and • 
 many oth^r pictures. Morelli regards him as a pupil 
 of the Bonifazios. 
 
 25. Madonna and Child, St. John the Baptist and St. sala ii. 
 Lucy. Panel : I ft. 10^ in. by I ft. 5^ in. 
 
 56. Virgin and Child, St. John the Baptist and an Angel, 
 Panel : 2 ft. 8 in, by 2. ft. 2f in. 
 
 34. The Descent of the Holy Spirit. Inscribed "ANNO sala ix. 
 D. NI MDLV." Formerly in tlie Scuola dello Sfirito Santo. 
 Canvas : gft.l in. by 6 ft. 4 J in, 
 
 16. Virgin and Child. St. Catherine, St. John Evangelist sala xiv. 
 and a Servite monk, perhaps the donor of the picture, 
 who holds a "cartello" inscribed "PECCAVI." For. 
 merly in the Church of the Servi, Canvas : 2 ft. 8j in. by ■^ft. 4 in. 
 
 LAZZARINI (Gregorio). Venetian: 1655-1740. 
 
 Lazzarini was born in Venice, but went to Rome and 
 studied there for some time. He died in 1740. 
 
 19. Children and a Faun. Formerly in the Ducal Palace. Canvas : SALA X. 
 
 2 ft. ^ in. by 3 ft. 
 
 15. The Fall of Manna. Canvas: $ ft. if in. by T ft. ■^ in, SALA xi. 
 
 21. Moses Striking the Rock. Canvas : 5 Ji, if in, by 7 ft, 
 
 3 '"■ 
 
 38. Abraham Sacrificing Isaac. These three canvases were fir- 
 * merly in the Convent of SS, Giovanni e Paolo, Canvas : 5 ft. 6 J in, 
 by ^ ft, 6 in, 
 
 42. Charity. Formerly in the Convent of San Giorgio Maggiore, Canvas! 
 Sft,6ii!i.by4ft.6!n. 
 
74 LEYDEN— LIBERI 
 
 SALA XII. 23. Children with a Faun. Formerly in the Ducal Palace. Canvas : 
 
 2 ft. /^ in. by T, ft. 
 
 LE BRUN. See BRUN. 
 
 LEYDEN (Lucas van). Dutch: 1494-1533. 
 
 Lucas van Leyden was the pupil of Engelbrechten, 
 
 and the contemporary and friend of Albert Durer. 
 
 He wras " an artist of multifarious powders and very 
 
 early development. He painted admirably, drew and 
 
 engraved. He followed that realistic tendency in- 
 
 the treatment of sacred subjects which Hubert van 
 
 Eyclc had so grandly tracked, and lowered it greatly 
 
 from its previous elevation. His heads, for instance, 
 
 are generally of very ugly character. At the same 
 
 time, his form of art found sympathy in the feeling 
 
 of the period, and by the skill with which it was 
 
 expressed, especially in his engravings, attracted a 
 
 number of followers. In scenes from common life 
 
 he is frequently full of truth and delicate observation 
 
 of Nature, showing occasionally a coarse humour. 
 
 Pictures by him are very rare." — (Kugler, Butchy 
 
 Flemish and German Schools.) 
 
 LOGGIA 50. Marriage of St. Catherine. Presented by Molin. Panel: 
 
 PALLA- 2 ft. 2| in. by 2. ft. 4f in. 
 
 DIANA. 
 
 LIBERI (PiETRo), Cavaliere. Venetian : 1 605-1 687. 
 
 Liberi was born at Padua, and studied under Alessan- 
 dro Varotari. He travelled a great deal in Italy, and 
 went to Germany, where he remained a few years. 
 He returned to live in Venice, where he died in 
 1687. 
 17. An Allegory (.') Two women and a man falling. Pre- 
 sented by Molin. Canvas : J ft. i in. by I ft. 5 J in. 
 
LICINIO— LONGHI 75 
 
 LICINIO (Giov. Ant.). See PORDENONE. 
 
 LICINIO (Bernardino). Friulan : painted 1524-1541. 
 Bernardino Licinio is best known by his portraits ; he 
 is sometimes confused with Giov. Ant. da Pordenone, 
 who is also, though erroneously, called Licinio ; pos- 
 sibly Pordenone was his uncle, or some relation. 
 Bernardino was, however, an inferior painter, who 
 imitated Pordenone and occasionally Palma. Among 
 religious subjects, which he sometimes attempted, his 
 best is an altar-piece, in the Frari, Venice. His com- 
 position frequently leaves much to be desired, but hi« 
 colouring is warm. 
 
 40. Portrait of a Lady. Inscription " ET. A. XLVIII," sale 
 and " A. A. XV." Camas : 2 ft. ej in. by 2 fi. 11^ in. 
 
 PALLA- 
 DIANE. 
 
 LIPPARINI (LoDovico). 
 
 4. Portrait of Marshal Marmont. Canvas : ■^ ft. % in. by 2 Ji, sala 
 
 _, . DELLE 
 
 STATUE. 
 
 LONGHI (PiETRo), called II Falca. Venetian: 1702- 
 1762. 
 
 " Pietro Longhi, who studied in Bologna, bu't after- 
 wards settled in his native Venice, has been called 
 ' the Italian Hogarth,' but he is greatly inferior in 
 every respect to that painter. Moreover, he was not 
 a satirist like Hogarth." — (E. T. Cook, Handbook to 
 the National Gallery.) Longhi studied first under 
 Antonio Bales tra, and afterwards under Maria Crespi 
 at Bologna. 
 
 42. The Soothsayer. 
 
 43. The Dancing- Master. 
 
1^ LONGHI (ALESSANDRO)^MAGGIOTTO 
 
 44. The Apothecary. 
 
 54. The Tailor. 
 
 55. The Music-Master. 
 
 56. The Toilet. Canvas : each \ ft. II J in. By I ft. 6f in. 
 
 10. Portrait of the Architect, Tommaso Temanza. Presented 
 by the Cav. Francesco Lazzari. Canvas : 2 ft. ^ in, by 1 ft. g^ in, 
 
 41. A Philosopher. Formerly in t/te j^cademy of Painting. Canvas: 
 i^ft. 34(». by iff. ll in. 
 
 LONGHI (Alessandro). Venetian: 1733-1813. 
 This painter was the son of Pietro Longhi. 
 
 25. Portrait of the Doge Alvise IV. Mocenigo, who died in 
 1778. 
 
 33. Portrait of the Doge Paolo Renier, who died in 1789. 
 
 34. Portrait of Fancesco Loredan, who died in 1762. Canvas: 
 each 2 ft. % in. by 2 ft: 2 in. These Portraits were formerly in the 
 Academy of Painting. 
 
 35. Allegory: Painting and Merit, Canvas: ^ ft. ij in. by 
 
 3/'- 7i '■»■ 
 LORENZO (Veneziano). See VENEZIANO. 
 
 MAGGIOTTO (Domenico). Venetian: 1720-1794. 
 
 Maggiotto was the pupil of Piazetta ; he worked in 
 Venice and in Germany. 
 
 26. Venice rewarding the Fine Arts. Formerly in the Academy 
 of Painting. Canvas: ^ft. 4J in. by dft. \ in, 
 
 37. Allegory : Sculpture inspired by Nature. Formerly in the 
 Academy of Painting. Canvas: ^ft. 3J in. by ■^ft. I in. 
 
 MAGGIOTTO (Francesco). 
 
 44. Allegory : Painting and Nature. Formerly in the Academy of 
 Painting. Canvas ; 4 ft. 4 in. by ^ft. SJ in. 
 
MANFREDI— MANSUETI 77 
 
 MANFREDI (Bartolomeo). Roman : 1580 (?)-i6i7. 
 
 Manfredi was born at Ustiano, near Mantua, and was 
 an imitator of Caravaggio. He shortened his days by 
 the dissoluteness of his life. His paintings, which 
 are somewhat scarce, are frequently ascribed to his 
 master Carravaggio, or to Valentin,, who was an imi- 
 tator of Manfredi. 
 
 26. A Young Spaniard. Canvas : ^ft. 8J in. by ^fi. 6J in. SALA Ii. 
 
 34. Card-Players. Canvas } 3 ft. loj in. by ift. ij in. 
 
 jt. Musicians. Canvas : -^ft. 11 in. by i,ft. 55 in. 
 
 75. Chess-Players. Canvas : ^fi. 2 in. by /^ft. 4J in. LOGGIA 
 
 PALLA- 
 
 Un-numbered. The Dice Throwers. diana. 
 
 MANSUETI (Giovanni). Venetian : painting 1494. 
 
 Mansueti was a pupil of Giov. Bellini. He " painted 
 legendary subjects in the calm style of Gentile and 
 Carpaccio, but they are vapid in sentiment and dull 
 in colour." His " devotional pictures in the Acca- 
 demia at Venice are monotonous in expression, while 
 the figures are wooden and lean." — (Woltmann and 
 WoERMANN, ii.) The details of his personal history 
 are unknown. 
 
 38. Madonna, Child, and Saints. St. Peter presents the sale 
 donor of the picture, and there are two female saints, palla- 
 Background, landscape. Panel : 2 ft. z in. by -^ ft. g^ in. iane, 
 
 17. Miracle of the Holy Cross. The son of Benvenudo sala vii. 
 da San Polo cured by virtue of the relic of the Holy 
 Cross. Inscribed " SPECTABILI DOMINI." Formerly 
 in St. Giov. Evangelista. Canvas : lift. loj in. by gft. 8J in. 
 
 12. St. Mark healing Anianus, the cobbler, who had sala viii, 
 wounded himself with the awl. Amongst the figures 
 in the crowd are many wearing Oriental turbans. 
 Signed "JOANNES DE MANSUETIS FECIT." 
 
78 MANTEGNA 
 
 Inscribed " B. MARCUS ANIANUM SANCIATUM 
 SANAT." The picture has suffered from restoration. 
 Formerly in the Scuola di San Marco. Canvas : 12 ft. i in. iy I'ifi. 
 2 in. 
 
 13. Episodes in the Life of St. Mark. Signed "JOANNES 
 DE MANSUETIS FACIEBAT." Formerly in the Scmla ■ 
 di S. Marco. Canvas: 12 ft, \ in. by 2Qft, I in. 
 
 22. A Miracle of the True Cross^ According to the legend, 
 the cross was being carried in procession by the 
 brethren of St. Giov. Evangelista— some say to the 
 burial of one of the bret'hren who had expressed dis- 
 belief in its miraculous powers. However that may 
 be, the procession was arrested by a mysterious force 
 at the Ponte di St. Leone, and the bearers of the cross 
 were unable to proceed. Perceiving this, another 
 cross was brought from a neighbouring church — the 
 funeral was then able to go on its way. Inscribed 
 " CASADAFITARE DOM .... 5." Many parts are 
 restored. Formerly in the Scuola di San Giov. Evangelista, 
 Canvas : lO ft. 5 J in. iy 1 5 ft. f in. 
 
 39. A Group of Saints. St. Sebastian in the centre. To 
 the right are St. Francis and St. Roch. On the left, 
 St. Gregory and St. Liberale. This picture is damaged. 
 Inscribed " HOC ENIM JOHANNIS DE MANSU- 
 ETIS OPUS EST 1500." Formerly in San Francesco, Treviso. 
 Panel: 6 ft. 5 J in. iy J ft, 5 in. 
 
 MANTEGNA (Andrea), Paduan : 1431-1506. 
 
 Mantegna, one of the greatest of Italian painters, was 
 born of poor and obscure parents. He entered 
 Squarcione's famous school at Padua, and became that 
 master's assistant, some say his adopted son. At the 
 age of seventeen he painted an altar-piece for Sta. 
 Sophia in that city. On the arrival of Jacopo Bellini 
 and his family at Padua, Mantegna forsook Squarcione 
 for the rival atelier, and afterwrards married Jacopo 
 
MANTEGNA— MARCONI 79 
 
 Bellini's daughter Nicolosa. Mantegna completed 
 the frescoes in the church of the Eremitani at Padua 
 about 1454 to 1459. He worked in Verona and 
 Mantua, and finally entered the service of Lodovico 
 Gonzaga, Marquis of Mantua in 1466, Here he 
 remained under three successive princes, and died at 
 Mantua, in the beautiful house which he had built for 
 himself, and painted inside and out with his own 
 hand. Mantegna once visited Rome at the invitation 
 of Innocent VIII., and spent 1488 to 1490 in deco- 
 rating the chapel of the Belvidere, now demolished. 
 Of his work in his native place little now remains. 
 " He is one of the earliest painters whose works are 
 distinguished for a full and vigorous development of 
 form." Through his whole life he retained the 
 strongest inclination for the forms and effects of 
 ancient sculpture, to which he gave an almost too 
 exclusive study. Some of his compositions have, says 
 Wornum, " much the character of coloured pieces of 
 sculpture in low relief." But in earnestness, dignity, 
 and the expression of tragic emotion, Mantegna is 
 almost without an equal. 
 
 *6. St. George. This beautiful little picture is remarkable, 
 no less for the finish and minute care of detail than for 
 the perfect proportions of the figure of the saint who 
 stands with one hand resting on his hip, holding in the 
 cither his broken lance. At his feet lies the dragon, 
 and behind is a landscape with a winding road. For- 
 merly in the Manjrini Gallery, Panel : 2 ft. J in, by I ft, f ;«, 
 
 . MARCONI (Rocco). Venetian : lived about 1 500. 
 
 Rocco Marconi was born at Treviso, and Morelli 
 thinks that he was a pupil of Palma Vecchio. His 
 
8o MARATTA— MARIESCHI 
 
 excellence lies chiefly in his colouring, which is glow- 
 ing and transparent. Nothing is known of his history. 
 SALA II. g. The Redeemer. Canvas y^ ft. 2^ in. by 2, ft. 6 in. 
 
 (a copy?) 68. The Woman taken in Adultery. "Overfilled with 
 
 figures and weak in expression." — (Kugler.) Canvas: 
 ift. II in. by I ft. 9J «». 
 
 SALA VII. 30. Deposition from the Cross. The Virgin is at the foot 
 
 of the Cross, the Magdalene on the right, and Joseph 
 of Arimathea on the left : St. Benedict and St. Monica. 
 This is a great work, in which the master has de- 
 veloped his full power. Formerly in the Church of the Servi, 
 Canvas ; I4.fi. 6f in. by 10 ft. 2j in. 
 
 SALA IX. 37. The Saviour with St. Peter and St. John. Formerly in the 
 
 Santa Maria Nuova. Canvas : 6 ft. I in. by 4 ft. I J in. 
 
 MARATTA (Carlo). (School of.) Roman : 1625-1713. 
 
 SALA II. 23. The Repose in Egypt. " Carlo Maratti was of opinion 
 
 that the distribution of drapery was a more difficult art 
 
 than even that of drawing the human figure 
 
 This, perhaps, is a proof how willingly we favour our 
 own peculiar excellence. Carlo Maratti is said to have 
 valued himself particularly upon his skill in this part 
 of his art; yet, in him, the disposition appears so 
 ostentatiously artificial, that he is inferior to RafTaelle, 
 even in that which gave him his best claim to reputa- 
 tion." — (Sir Joshua Reynolds.) Canvas .• ifi. 8 in, by 1 ft. 
 6 in. 
 
 MARESCALCO. See BUONCONSIGLI. 
 
 MARIESCHI (Jacoed). Venetian: 1711-1794. 
 
 Marieschi was a pupil of Diziani, and one of the first 
 members of the Accademia delle Belle Arti. 
 
 SALA XI. 6. An Interior. Presented by Molin. Canvas : I ft. g in. by I ft, 
 
 loj in, 
 
 MARTINO DA UDINE. See PELLEGRINO. 
 
MARZIALE— MERA 8i 
 
 MARZIALE (Marco). Venetian: painting 1492-1507. 
 Marco Marziale was one of the assistants of Giovanni 
 Bellini in the work of painting the Great Hall of 
 Council in 1492. It is probable that Marziale came 
 underthe influence ofDiirer. His works are rare. 
 
 19. The Supper at Emmaus. " In Marco Marziale what sala n. 
 is most noteworthy is a mixture of the Venetian School, 
 and the influence of Carpaccio with that of the Germans. 
 In a picture of Christ at Emmaus, of 1506, in the 
 Venice Academy, he appears as a bold but pleasing 
 realist. The head of Christ is hard featured and 
 expressionless, but his two companions — one old, and 
 the other a man of middle age — are full of character 
 and impulsive action." — (Woltmann and Woermann, 
 ii.) Inscribed " MARCUS MARCIALIS VENETUS 
 1506." Panel : ■^ft. lof in. hy ^Ji. 8J in. 
 
 MASUTI (Antonio). 
 
 5. St. Mark. Canvas: ^ft. 4I in. by 6 ft. I J in. sala 
 
 DELLE 
 
 MELDOLLA. See SCHIAVONE. statue. 
 
 MELONE (Altobello). See under BOCCACCINO. No. 
 
 43- 
 
 MEMLING (Hans). (Copy of.) • 
 
 45. The Crucifixion. Mary Magdalene kneels at the foot loggia 
 of the Cross. On one side St. John Evangelist sustains palla- 
 the fainting Virgin, on the other stands a saint clad in '''ana. 
 scarlet. In front is an ecclesiastic kneeling, while 
 another stands behind hiin. On the extreme right and 
 left are two figures likewise kneeling, probably the 
 donors. The original of this picture is in the M^iseo 
 Civico at Vicenza. Presented by Molin. Canvas : 2 ft. 10 in. 
 by 3 ft. S^ in. 
 
 MERA (Pietro). B (?) still living, 1603. 
 
 Pjetro Mera was a Fleming by birth^ t)u,t he lived and 
 
 r 
 
82 
 
 MESSINA 
 
 SALE 
 PALLA- 
 
 DIANE. 
 
 SALE 
 PALLA- 
 
 DIANE. 
 
 worked principally in Venice. The dates of his 
 birth and death are unknown ; he was a contemporary 
 of Aliense, and was still living in 1603. 
 
 I. The Supper at EmmaUS. Formerly in the Monastery oj 
 St. Giustina in Padua. Panel : I ft. <) in. by 2 ft. t, in. 
 
 MESSINA (Antonello da ?). About 1444-1493. 
 
 Antonello da Messina, according to the testimony of 
 contemporary Italian writers, was the artist who in- 
 troduced the Flemish method of oil painting into 
 Italy. Vasari relates that Antonello, struck by a 
 picture of Van Eyck's, which he saw at Naples, 
 journeyed to Flanders and became a pupil of John 
 van Eyck. But as Antonello was born about 144.4, 
 and John van Eyck died in 1440, this story must be 
 apocryphal. It is more than likely, however, that 
 Antonello did visit Flanders, a supposition which the 
 northern character of his technique corroborates. For 
 some years Antonello worked at Venice, and though 
 not possessed of any great originality, his influence and 
 knowledge of the new method introduced an era in 
 Venetian painting. 
 
 16. The Virgin Weeping. Presented by MoUn. Panel: 1 fl.G^in. 
 by I ft. 6^ in. 
 
 17. The Virgin. Signed " ANTONELLUS MESANIUS 
 PINSIT." Formerly in the Sala dell' Anticollegio, Ducal Palace., 
 Panel : 1 ft. 6 in. by I ft. l| in. 
 
 3. Christ at the Column. " An almost repulsive picture, 
 in which the agony of the suffering Saviour is depicted 
 with painful minuteness As a colourist, Anto- 
 nello has had few equals." — (Kugler, Italian Schools of Paint- 
 ing, i.) Signed "ANTONELLUS MESANEUS ME 
 PINXIT." Formerly in the Manfrini Gallery. Panel : 1 ft. i[ in. 
 
MEYER— MIEREVELT' 83 
 
 4. Portrait of a Young Man. Formerly in the Manfi'mi Gallay. 
 Panel: lof in. by loj in, 
 
 MEYER (Felice). German: 1653-1713. 
 
 Meyer was born at Winterthur in Switzerland, and " 
 studied under Franz Ermels. He visited Italy and 
 Austria, and died in 171 3. 
 
 A. Landscape : Moses Striking the Rock. Formerly in the loggia 
 Ducal Palace. Canvas: \fi. 7 J in. by t,Ji. I J in. PALLA- 
 
 DIANA. 
 
 B. Landscape: Joshua staying the Sun. Formerly in the 
 Ducal Palace. Canvas : ^ft, 10^ in. by ^/i, g^ in. 
 
 METSU. 
 
 24. A Woman Sleeping. Presented by Molin. Panel: loj in. loggia 
 by I fti 6J in. PALLA- 
 
 DIANA 
 
 33, The Betrayal of Christ. Presented by Molin. Panel : 2 ft. 
 10 in. by 2 ft. 
 
 MICHIELE Di MATXEO. See LAMBERTINI. 
 
 MICHIELl (Andrea), called Vicentino. " Venetian : 1539— 
 1614. 
 
 Nothing is known of this painter's life, except that he 
 was a pupil of the younger Palma. He was employed 
 by the State to decorate the Ducal Palace. 
 
 2. Deposition from the Cross. Joseph of Arimathea sup- sala vn. 
 ports Christ ; on one side the Virgin fainting, on the 
 other the Magdalene. Formerly in St. Croce, Bellmo. Canvas : 
 •] ft. I in. by 15/f. 10 in. 
 
 12. St. Francis, with St. Augustine and Matteo da Bassi, sala xvl 
 founder of the Order of the Capuchins. From, the Convent 
 of the Capuchins at Montagnana. Canvas : l^ft. 8 in, by 'J ft. 7 in. 
 
 MIEREVELT (Michael Jansze). Dutch : 1567-1641. 
 
 Mierevelt was born at Delft, and became the pupil of 
 
84 
 
 MOJA— MOLA 
 
 LOGGIA 
 PALLA- 
 . DIANA. 
 
 Willemsz. "A good characteristic painter, learned, 
 correct and concise, a little cold, but savouring of his 
 time, though not much of his country ; the only one, 
 however, who was not an Italian, and who was, take 
 notice, a portrait painter. It was the destiny of 
 Holland to love what is like, to return to it from time 
 to time, to survive and save itself by the portrait." — 
 (Fromentin, Old Masters of Belgium and Holland.) 
 
 6g. Portrait of Prince Frederic Henry of Orange-Nassau, 
 son of William the Silent, by his fourth wife, Louisa 
 de Coligny. Born in 1384, this prince was Stadtholder 
 of the Republic in her best days ; he died in 1647. 
 Acquired fram Farisi, Canvas: ^ft, f /n. by "^ft. 7f 'w. 
 
 SALA 
 
 DELLE 
 
 STATUE. 
 
 MOJA (Federico). Milanese: 1802-1885. 
 
 Moja was born at Milan. At first a pupil of the 
 Academy of the Brera in that city, he afterwards 
 became professor of the Accademia delle Belle Arti. 
 He died at Dolo. 
 
 3. Interior of the Sacristy of the Certosa at Pavia. ?re- 
 sented by the artist. Canvas : 2 ft. 4 J in. by \ ft. 1 1 J in, 
 
 14. Landscape. Canvas: if. 2 in. by llj in. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 MOLA (PjETRO Francesco). 
 1668. 
 
 Eclectic-Bologna : 161 2- 
 
 60. 
 
 Mola was born near Milan, and was the son of an 
 architect. He studied at Rome, Venice, Bologna, 
 and finally held the office of president of the Academy 
 of St. Luke at Rome. Mola is one of the best of the 
 pupils of Albani, whom he imitated. He etched some 
 plates. 
 
 A Sacriiice to Diana. Presented by Molin, Panel : l f. l^in. 
 by I ft. 
 
MOLYN— MONTAGNA 85 
 
 MOLYN (Peter), the elder. Dutch : about 1600- 1 661. 
 This painter was born at Haarlem. His work is very 
 much like that of Van Goyen, both in execution and 
 in the subjects he affects. Many of his pictures have 
 suffered in colour, from the use of Haarlem blue. 
 
 36. Skaters. Signed " PIETER MOLYN, 1656." Pre- loggia 
 
 sented by Molin. Panel : loi in, by I ft. 64 in. PALLA- 
 
 DIANA. 
 
 MOLYN (Peter), the younger, called II Tempesta. 
 Dutch : 1632-1701. 
 
 The son of Peter, the elder. This painter was born 
 at Haarlem, and received his first instruction in art 
 from his father. He imitated Synders, and afterwards 
 Salvator Rosa. " His landscapes are not Dutch, they 
 are rather the Italian heroic." From his love of 
 stormy seascape he earned the name of Tempesta. 
 
 66. Christ with His Disciples on the Mount of Olives, loggia 
 Formerly in the Convent of San Giorgio Maggiore, Canvas ; 4 ft, PALLA- 
 6^ in. by 2 ft. Ii in. "'^'''^• 
 
 MOMPER (JoDOCus or Jogs de). Flemish: i 564-1634 (?) 
 Momper was born at Antjverp. He was one of 
 Rubens' assistants, and is believed to have accom- 
 panied. that master to Spain. He was a painter of 
 some genius ; his work is bold, almost to coarseness. 
 
 18. Landscape with Hills, a Castle and a Wood.' Acquired loggia 
 
 from Parisi, Canvas : 2 ft. f in. by 2 ft. 5f in. palla- 
 
 DIANA. 
 
 22. Landscape with Hills and Castles. Acquired from Parisi. 
 Canvas : 2 ft. % in. by 2 ft. 5f in. 
 
 MONTAGNA (Bartolomeo). Brescian : born about 1450- 
 I5Z3. 
 Montagna was born near Brescia ; he worked at 
 
86 
 
 MONTAGNA— MONTEMEZZANO 
 
 SALE 
 
 PALLA- 
 
 DIANE. 
 
 SALA XVI. 
 
 •Vincenza, at Bassano, at Padua, Praglia and Verona. 
 The influence of Mantegna, Bellini and Carpaccio is 
 apparent in his work, and some of his paintings are 
 worthy of comparison with these great masters. His 
 greatest work is the altar-piece now in the Brera at 
 Milan. Bartolomeo died in 1523, leaving a son, 
 Benedetto, also a painter and engraver. 
 
 13. Madonna and Child Enthroned. On the right, St. 
 Jerome, and on the left, St. Sebastian. Signed 
 " OPUS BARTHOLOM. MONTAGNA." The 
 Virgin's dress is injured, and the signature retouched. 
 Formerly in the church of San Rocco, Vicenza. Panel : 3 _/?. 9J in, 
 
 38. Christ between St. Roch and St. Sebastian. A votive 
 picture doubtless, invoking the aid of these Saints 
 against the plague. Formerly in San Rocco, Vicenza. Panel : 
 
 MONTAGNA (Benedetto). Venetian: painting 1528- 
 1541. 
 
 Benedetto was born at Vicenza ; he was the pupil 
 of his father, Bartolomeo. He is better known by 
 his engravings than by his paintings. 
 
 10. The Virgin and Child Enthroned. At the sides SS. 
 Sebastian and Roch, and an angel at the foot of the 
 throne. Signed " BENEDICTUS MONTAGNA 
 PINXIT. MDXXXIII." Formerly in San Rocco, ricenxa. 
 Canvas : II _/}. loj ;«. by 6 fi. 7 in. 
 
 MONTEMEZZANO (Francesco). Veronese-Venetian : 
 about 1 560-1600. 
 
 Montemezzano was born at Verona ; he was a pupil 
 of Paul Veronese, and worked in the Dqcal Palace. 
 He died young ; it is said from poison. 
 
MORANZONE— MOR 87 
 
 • 13. Venus crowned by Cupids. Presented by Malin. Canvas : sala xiv. 
 3j?. 6J/«. ky-iJi. li in. 
 
 MORANZONE (Jacopo). Venetian : lived a-bout 1441. 
 Jacopo was born at Morazone in Lombardy. He was 
 a contemporary of JacoTsello del Fiore, but is an 
 unworthy rival even of that archaic painter. He 
 lived and worked chiefly at Venice. 
 
 8. Altar-piece in five compartments. Centre, Assumption corridor. 
 of the Virgin ; on the left St. John the Baptist and St. 
 Helen ; on the right, St. Benedict and St. Elizabeth. 
 " Giromin Morzone painted numerous pictures in 
 Venice, and many other cities of Lombardy, but as he 
 pursued the old manner, and made all his figures 
 standing on the points of their feet, I will say nothing 
 more of him, except that there is a picture with numer- 
 ous saints in it, by his hand, on the altar of the 
 Assumption in the church of Santa Lena." — (Vasari, ii.) 
 According to Zanetti, this picture bore the inscription 
 '■ Giacomo morazon a Laura questo lauorier an. D.ni. 
 MCCCCXXXXL" formerly in Sam Elena in Isola. Panel : 
 4 Ji. Si in. iy6ft.3iin. 
 
 MOR or MOOR (Antonij). Flemish : about 15 12-1576- 
 1578. 
 
 Antonij Mor or Moro, commonly known in England 
 as Sir Antonio Mqre (though it is not known when or 
 by whom he was knighted), was born at Utrecht 
 ■about ijiz, and studied under Jan Scorel. He 
 worked in Italy, and, after a time, executed commis- 
 sions for the Emperor Charles V. In 1552 he visited 
 Madrid and Lisbon, and in 1553 he went to England, 
 where he was appointed painter to Queen Mary, 
 and he remained in her service until her death 
 in 1558. He visited Spain a second time, but finally 
 
MORETTI-^MURANO 
 
 settled at Antwerp, where he died between 1576 and 
 1578. 
 
 Though Mor generally painted portraits, he was also 
 an historical painter. At first greatly influenced by 
 the dry style of hi# master Scorel, Mor gradually 
 developed a freer and more vigorous manner of his 
 own. His portraits are dignified and his execution 
 careful and finished. 
 
 SALA II. - 61. Portrait of a Lkdy. Half-length, dressed in black with 
 
 a white cap. Canmas : ^Ji. 2J in. by i ft. Ilj in. 
 
 MORETTI (Giuseppe). Bolognese : 1659-1738. 
 
 SALA XI. 16. Architecture. Formerly in the Academy of Fainting. Canvas: 
 
 4 fi- 34 '»• h I ft. 10 in. 
 
 MORETTO DA BRESCIA. See BUONVICINO. 
 
 MORO (Battista d'Angelo del). Venetian : lived in the 
 middle of the sixteenth century. 
 Del Moro, called also II Moro, was a pupil of Fran- 
 cesco Torbido, and is sometimes confounded with him. 
 His pictures are generally exaggerated in expression 
 and in action, though he has also a certain dramatic 
 power. 
 
 SALA 3. Officers enlisting Marines for the service of the State, 
 
 DELLE under the patronage of St. Mark. Formerly in the Magis- 
 
 trate dell' Armar, Ducal Palace. Canvas : 16 ft. 2^ in. iy^ ft. i in. 
 
 MURANO (Andrea da). Venetian : born in the fifteenth 
 century ; living still in 1507. 
 
 Andrea was probably a pupil of Bart. Vivarini. His 
 tendency to exaggerate the faults of his master may 
 be observed in his clumsy drawing and the coarse- 
 ness of his style. He was subject to Mantegnesque 
 
MURANO— MUTTONI 89 
 
 influences, and may have come into contact with the 
 school of Squarcione. 
 
 38. Altar-piece. Centre, St. Vincent and St. Roch. At corridor. 
 the sides St. Sebastian and St. Peter, with two kneel- 
 ing figures. In the lunette above is the Virgin shelter- 
 ing with her mantle some kneeling votaries. Signed 
 "OPUS ANDREAE DE MURANO." Formerly in San 
 Pietro Martire in Mur'ano. Panel and tamias, tempera ; 4 Ji, gj in. 
 iyejt.J in. 
 
 MURANO (Antonio da). See VIVARINI. 
 
 MURANO (QuiRizio da). Venetian : fifteenth century. 
 Beyond the certainty that a painter of this name 
 existed, little else is known of Quiricio or Quirizio. 
 He may have been a pupil or assistant of the Vivarini. 
 According to De Boni he was a contemporary of 
 Andrea da Murano. 
 
 20. Virgin and Child. " The blue mantle and part of the corridor. 
 child new. On the face of the parapet on which the 
 
 child lies are the words, .' Uiritus, Murano,' either 
 entirely modern or repainted on old lines. In spite 
 of the inscription one is led to ask is the author 
 Quiricio or Bartolommeo [Vivarini], especially as the 
 forms are in the heavier mould peculiar to the latter." 
 — (Crowe and Cavalcaselle, Painting in North Italy, i.) Pre- 
 iented by Molin. Panel, tempera : I ft. 9J in. by 1 Ji, 5^ in. 
 
 21. Ecce Homo. This panel is less injured than the fore- 
 going picture. Presented by Molin, Panel, tempera ; 1 ft. '^ in. 
 by I /(. s in. 
 
 MUTTONI (PiETRo) called Dalla Vecchia. Venetian : 
 1605-1678. 
 
 Dalla Vecchia spent the greater part of his life in 
 Venice, and was one of the pupils of Varotari. The 
 Doge and Senate employed him to paint in oil the 
 
90 NEAPOLITAN SCHOOL— NIC. Dl M. PIETRO. 
 
 designs for the historical pictures which were worked 
 in mosaic in St. Mark's. 
 
 I. The Tribute Money. Canvas i 3 ft. 9J in. by s,fi. 6i m. 
 
 NEAPOLITAN SCHOOL. Seventeenth century. 
 
 77. Portrait of a Man. Half-length, holding a mask in his 
 hand. Canvas ; "^ft,^ in, by 2 ft, 6 in, 
 
 NICCOLO DI M. PIETRO. Venetian : flourished in 
 the fourteenth century. 
 
 There are many points with regard to the identity of 
 artists of the fourteenth century named Niccol6 
 which require elucidation ; but it is not improbable 
 that NiccolJi di M. Pietro and Niccol6 Semi- 
 tecolo are the same person. This opinion is shared 
 by Zanotto and Cicogna, and Messrs. Crowe and 
 Cavalcaselle seem to be inclined to adopt it. (See 
 also Kugler's Handbook, edited by Layard.) For this, 
 reason the altar-piece, No. 20, Sala I., formerly 
 ascribed to Niccolo Semitecolo, and now classed as 
 " Unknown " by the Italian Catalogue, has been 
 placed under this head. 
 
 NiccoI6 Semitecolo is mentioned by Zanetti and 
 Lanzi. The latter describes a painting executed by 
 Semitecolo, representing the Virgin and incidents 
 from the life of St. Sebastian, preserved in the Chapter 
 Library of Padua and bearing the inscription : — 
 
 " NiCHOLETO- SeMITECHOLO DA VeNIEXIA ImPENSE, 
 
 1367." 
 
 19. Virgin and Child Enthroned and surrounded with a 
 Choir of Angels. At the foot of the throne kneels the 
 donor of the picture, Vulciano Belgarzone. Below are 
 two inscriptions, the first is " HOC OPUS FECIT 
 
NIEULANDT 91 
 
 • FIEI DNS VULCIA BELGARCONE CIVIS 
 YADRIENSIS." The other 'inscription is 
 " MCCCLXXXXniI NICHOLAS FILIUS NIGRI 
 PETRI PICTORIS DE VENECUS PINXIT HOC 
 OPUS QUI MORATUR IN CHAPITE PONTIS 
 PARADIXI." Formaly in the Manfiini Gallery. Fanel:_-^ft. 
 44 in. by 2 ft. 2. in. 
 
 NICCOLO SEMITECOLO. Venetian: fourteenth 
 century. 
 
 20. Altar-piece. The central part represents the " Corona- sala i. 
 tion of the Virgin," and is not by the same hand as the 
 rest of the altar-piece (the centre of which is in the 
 Brera, Milan). It is inscribed " MCCCLXXXI STE- 
 FANS PLEBANUS-SCE AGNET PINXIT." The 
 history of Jesus Christ is set forth in the first two 
 series — i.e., on the left the Nativity, Baptism, Last 
 Supper, and the Betrayal. On the right, the Procession 
 to Calvary, the Crucifixion, Resurrection, and Ascen- 
 sion.' In the upper row of panels are set forth the lives 
 of St. Francis and St. Chiara, the descent of the Holy 
 Spirit, and the Last Judgment. Interposed are the four 
 Evangelists, King David and Isaiah. Four angels 
 appear in the interstices. From the Convent of Sta, Chiara. 
 Panel: "J ft. i\ in. by g ft. 6 in. 
 
 31. Coronation of the Virgin. Inscribed " NICOLO corridor. 
 SEMITECOLO MCCCLI"; but this signature is 
 believed to be false. Presented by Molin. Panel ; 1 ft. 10 in. 
 by I ft. 4 in. 
 
 NIEULANDT (Adrian). Flemish: 1590- ; still living 
 1657. 
 
 Nieulandt was the pupil of Pieter Isaaz and Franz 
 Badens. He passed the greater part of his life at 
 Amsterdam, but' seems to have visited Antwerp, 
 which was his native city. 
 40. John the Baptist preaching in the Desert, or rather to loggia 
 the Flemings. Signed "NIEULANDT, 1653." For- palla- 
 merly in the Manf-ini Gallery. Panel : l ft. % in. by 3 ft. 9J in. DIANA. 
 
NOGARI— ORLEY 
 
 SALA XI. 
 
 NOGARI (Giuseppe). Venetian: 1699-1763. 
 
 II. Portrait of the Doge Pietro Grimani, elected Doge in 
 1741, Formerly in the M Academic of Painting. Canvas : 2 Jt, 8 in. 
 by 2 ft. 2 in. 
 
 24. Portrait of the Doge Marco Foscarini, died 1778. For- 
 merly in the Academy of Fainting. Canvas: 2 ft. 8 in. by 2 f, 2 in. 
 
 NOVELLI (PiERANTONio). Venetian: 1728— (?) 
 
 39. Allegory. Painting, Design, Fancy and Nature. For- 
 merly in the Academy of Fainting. Canvas : 4 ft. 3 J in. by 4 ft. 
 Si in. 
 
 OLIS (Jan van der) called Lys. Dutch : 1 600- 1670. 
 
 92. A Woman on Horseback. Canvas .• zft.i in. by 1 f. 74; 
 
 93. A Festival. Canvas : 2 ft. 2\ in. by i ft. io| in. 
 
 ORBETTO. See TURCHI. 
 
 ORLEY (Barent van), called also Barent or Bernard van 
 Brussel. Flemish: about 1491-1 542. ■ 
 " One of the first of the Flemings who attempted to 
 adopt an Italian style of design. . ■. . . His pictures 
 are careful and brilliant in colour. . This brilliancy 
 is said to have been partially obtained by painting on 
 a gold ground : some of the pictures attributed to 
 him certainly have the appearance of having been so 
 prepared. Van Orley went to Italy, and worked 
 
 under Raphael at Rome He was in the 
 
 service of Margaret, Regent of the Netherlands, and 
 he had also the title of court painter to the Emperor 
 Charles V. He died at Brussels." — (Wornum, Epochs 
 . of Painting.) 
 
ORSI— OSTADE 93 
 
 DIANA. 
 
 43. Portrait of a Woman Reading, This picture was loggia 
 formerly ascribed. to Holbein. F'ormerly in th Manfrini 
 Gallery. Panel : 1 ft. 6f in. by I ft. 2 J in. 
 
 ORSI (Tranquillo). 
 
 10, 13. A Court. Canvas: 2 ft. 2 in. by 2 fi. II in. sala xii. 
 
 OSTADE (Adriaan Jansz van?) Dutch: 1610-1685. 
 
 ' Ostade's father was a citizen and tradesman of 
 Haarlem, and there Adrian was born and died. 
 "He wanted nothing but, a soul to make him one of 
 the immortal masters. He was an absolutely perfect 
 craftsman who excelled in the technical practice of 
 every branch of art that he practised. .... Show- 
 ing, no doubt, his faculties early, he was made a pupil 
 of Franz Hals, but never in the subjects of his choice, 
 and only rarely in his treatment, does he recall the 
 summary work of that profound and audacious 
 master Students came to learn from a prac- 
 titioner so skilled as Ostade, and Ostade, having been 
 the companion of Brauwer, formed Dusart and Bega, 
 and so is shown to have been connected as by every 
 link with all the coarsest brutalities to which Dutch 
 
 art has stooped Adrian was an accomplished 
 
 artist in oil-painting and etching : it was only in old 
 age that he became a master of water-colour." — 
 (Wedmore, TTie Masters of Genre Painting.) 
 
 5a. Head of a Man. Presented by Molin. Panel : 6 ^ in. by ^\ in, LOGGIA 
 
 palla- 
 55. Three Men Drinking, one playing a Violin. Presented by diana. 
 
 Molin. Panel : II J in. by 8f in. 
 
 OSTADE (Isaak van). Dutch: 1621-1649. 
 
 Isaak was the younger brother and pupil of ^Aiirian 
 van Ostade, He was born at Haarlem and there 
 
94 PACE— PALMA 
 
 lived and died. He painted out-of-door scenes, and 
 was fond of introducing a white horse into his pictures. 
 Though eleven years younger than Adrian, Isaak died 
 in 1657, having been very productive in his short 
 career. 
 
 LOGGIA 51. Half length of an Old Man who holds a Glass of Beer. 
 
 PALLA- Presented Ay Molin. Panel : 4 in. if 2? in. 
 
 DIANA. T J * . 
 
 67. Winter Landscape : Lake and Country People with 
 
 Sledges. Signed " ISACCO OSTADE." Formerly in tie 
 
 Manjrini Gallery, Panel t 1 Ji. 6 in. by I Ji. 2f in. 
 
 PACE or PAXE. Venetian : about 161 6. 
 
 This painter is mentioned in the register of the 
 Accademia delle Belle Arti for 16 16. 
 
 SALA vii. 43. St. Sebastian. Signed : " PASE PACE." Formerly in 
 
 ■ the Chiesa della Croce. Canvas : 9 Jt. 2^ in, iy 4ji. g^ in, 
 
 SALA xvi. 29. Christ Washing the Feet of His Apostles. Formerly in 
 
 the Chiesa della Croce. Canvas : ^ ji, ^ in. hy 10 ft. ^ in, 
 
 PADOVANINO. See VAROTARI. 
 
 PALMA (Jacopo) the elder. Venetian : about 1480-1528. 
 Beyond the fact that Palma Vecchio was a native of 
 Serinalta, near Bergamo, and went at an early age to 
 Venice, and that it may be inferred from his will 
 that he died unmarried in 1528, little is known of 
 this great painter. He is believed to have studied 
 under Bellini. The influence which he exercised in 
 the development of Venetian art was probably im- 
 mense. Three periods are distinguishable in his 
 work : " The first when his forms and colours are still 
 solid and even hard, recallinjg Bellini and often 
 Giorgione ; next when he acquired his full indi- 
 viduality of breadth and power (some of the finest 
 
PALM A 95 
 
 DIANE. 
 
 pictures the world can show are his works at this 
 time) ; thirdly his blonde manner, when his figures 
 become somewhat boneless and his colouring assumes 
 a golden haze that reminds us, though remotely, of 
 Corregio." — (Woltmann and Woermann, ii.). 
 
 7. Christ with His Apostles and the Canaanitish Woman, sala ir. 
 Panel ; 3ji, I in. by I Jt. gj in. 
 
 48. Portrait of a Lady in front of a Green Curtain which sale 
 partially conceals the Sky. "Though altered in flesh ^^^^^*" 
 by stippling, this is but a Palmesque production, in 
 the raw and ruddy tones and incised drawing of which 
 we may recognise the hand of Palma's imitator 
 Cariani, even though some parts — i.e., the red sleeves, 
 point to the hand of a Friulan of the class of Bernadino 
 Licinio." — (Crowe and Cavalcaselle, Painting in N. Italy, 
 ii.) Panel: I ft. loj in. by I Ji. S| in. 
 
 8. St. Peter enthroned, attended by other Saints. To sala ix. 
 the left is St. John the Baptist, behind him are 
 
 St. Mark and St. Augusta. To the right is St. Paul, 
 behind him, St. Titian of Oderzo and St. Giustina. 
 This is one of Palma's finest pictures ; it is somewhat 
 injured by repainting. Formerly atFmtanelleitOdenai. Panel: 
 9 ft- I in. by t, ft. lo^ in.. 
 
 33. Assumption of the Virgin, the Apostles below. The 
 Virgin looks down and is in the act of taking off her 
 girdle to bestow on St. Thomas. Probably an early 
 example of this master. Formerly in tie Scuola di Santa Maria 
 re. Panel: dft.X in, iy4ft.6^ in. 
 
 The Storm calmed by St. Mark, St. Nicholas, and 
 St. George. (For legend, see under Bordone, pp. 27-28.) 
 The authorship of this picture has been the subject of 
 much dispute. It is assigned by Vasari, Lomazzo, 
 Sandrart, Scanelli, Sansovino, and Zenotto, to Palma 
 Vecchio. Other writers attribute it to Giorgione. 
 Crowe and Cavalcaselle are of opinion that it was 
 never touched by Giorgione, or, supposing it had been, 
 
96 
 
 PALMA (THE YOUNGER) 
 
 SALE 
 PALLA- 
 DIANE. 
 SALA XVI. 
 
 that it has undergone complete transformation. Kugler 
 thinks it may have been by Giorgiohe, but that it has 
 been entirely repainted, probably by Paris Bordone. 
 Formerly in the Scmla di San Marco. Canvas : II Ji. 6 J in. by I'ift. 
 4 in. 
 
 PALMA (Jacopo) the younger. Venetian: i 544-1628. 
 
 Palma Giovine was born in Venice ; he was great- 
 nephew to Palma the elder, and son of Antonio, a 
 mediocre painter. 
 
 In his earlier years Palma Giovine promised better 
 things than he ever afterwards attained. He was an 
 unconscientious painter, who may be said to have 
 initiated the era of bad taste in Venetian art. He 
 stands in very much the same relation to the Venetian 
 school that Vasari does to the Florentine. His work 
 is full of mannerisms and almost entirely imitative. 
 He must have been a somewhat prolific painter if we 
 may judge by the number of his paintings to be seen 
 in Venice. 
 
 5. EccaHomo. Canvas: 2 Ji. 6| in. by I ft. Il| in. 
 
 g. The Dead Christ with three Angels. Canvas: 2 ft. % in. 
 
 h 3 /'• 8f in. 
 28. Susannah and the Elders. Canvas : 3 ft. zj im by 2 ft. 
 
 6| in. 
 
 35. The Prodigal Son. Canvas: 3 ft. f in. by ^fi. Ilj in. 
 
 60. The Return of the Prodigal Son. Canvas : sfi. by ^ ft. 
 9I in. 
 
 8g. St. Peter in Prison. Canvas: 2 ft. 2f in. by -^fi. 3J in. 
 
 51. The Dead Christ sustained by three Angels. Canvas : 
 
 Aji-Ak'"-h Zf'-lii"- 
 16. St. Francis of Assisi receiving the Stigmata. Formerly 
 
 in San Nicoii della Latuga. Canvas : 6 ft. 'J in. by 3 ft. loj in. 
 
PAOLO (MAESTRO)— PELLEGRINO 97 
 
 18. Vision of the Apocalypse : Those that were sealed of 
 the tribes of the Children of Israel. 
 
 19. The Four Horses of the Apocalypse. Formerly in the 
 Scmla di S. Giov. Evangelista, Canvas. • 1 ft.<) In, by l^Ji. 4 in. 
 
 PAOLO (Maestro). (Ascribed to.) Venetian : living in 
 1346. 
 
 Maestro Paolo was one of the earliest Venetian 
 painters, and, according to Lanzi, the first to differ in 
 style from the Greek artists of his time. He is said 
 to have had two sons who were his assistants. 
 
 5. St. James. Panel, tempera; ^fi.by \ fi. /^ in. CORRIDOR. 
 
 6. The Dead Christ, the Virgin, and St. John. Below, 
 the Virgin and sleeping Child. Panel, tempera : 3 ft. 8f in, 
 
 7. St. Francis of Assisi. Panel, tempera : \ ft. by I ft. ^ in. 
 These three panels toere formerly in the Church of San Gregork. 
 
 PARRASIO (Michele). Venetian : lived at the close of 
 the sixteenth .century. 
 
 Parrasio was a pupil of Titian and of Paolo Veronese. 
 He was a man of wealth and a friend of Titian. 
 According to Zani he was born in Murano. 
 
 53. Deposition from the Cross. Caiwas : 3 ft. 8J in. by 3 ft. sale 
 
 . - palla- 
 
 2 '»• DIANE. 
 
 7. A Portrait (Girolamo Zane ?). Former^ in the Procuratia de sala vii. 
 Citra. Canvas: 2 ft. 3i in. by 2 ft. z\ in. 
 
 PASE. See PACE. 
 
 PELLEGRINO (or Martino da Udine, or da San DaNiele). 
 Friulan : painted in 1491 ; died 1547.' 
 Martino's father was a Dalmatian painter who, in 
 1470, was living at San Daniele, near Udine. The 
 
 G 
 
98 
 
 PELLEGRINO— PENNACCHI 
 
 SALE 
 
 PALLA- 
 
 DIANE. 
 
 earliest record extant of his son Martino is, when, in 
 1487, he acted as a witness at Udine. In 1491 
 Martino contracted to execute frescoes at Villanova, 
 near San Daniele ; in 1494 he painted an altar-piece 
 in the church of Osopo. In 1497-1498 he executed 
 frescoes in the church of St. Antonio at San Daniele, 
 and married in that place. During the war between 
 the Emperor Maximilian and the Venetian Republic 
 Martino left Friuli and visited Venice. In 1504 he 
 was at Ferrara working for Duke Alfonso d'Este ; 
 after that year he worked at Udine, Ferrara and San 
 Daniele, and, in 1526, visited Venice. He died in 
 1 547. Pellegrino was, after Pordenone, perhaps the 
 best painter of the Friulans. He imitated at different 
 times Georgione, Titian and Pordenone. 
 The name of Pellegrino has sometimes been taken to 
 mean, according to the poetical usage, " rare," but, in 
 all probability, it merely means " stranger " or 
 "foreigner," as applied to Martino. 
 
 41. Virgin, Child, and Saints. The Prophet Daniel and 
 SS. Jerome, Anthony, and Catherine of Alexandria : 
 Portraits of the donor and his wife. Panel: 2 ft. 4J in. by 
 3/'-4i"'- 
 
 1. The Annunciation. Signed " PELLEGRINUS FA- 
 CIEBAT P.P." Inscription "1519 M. DOMINI 
 ZUCHONICI CAMERARII AUSPICHS M. FRAN- 
 CISCO TASCHA PRIORE." Greatly repainted. 
 Formerly in thTaihrs' Guild, Udine. Canvas: 6 ft. ^^ in. iy jj ft. 
 44 '»• 
 
 33. The Annunciation. The Angel Gabriel. 
 
 35. The Annunciation. The Virgin. Formerly in St. Francesco, 
 Tre-uiso, Panel: 6_^. ij in. by 2 ft, 7 J in. 
 
 PENNACCHI (GiROLAMo). Trevisan : 1497- 1544. 
 
 Girolamo was the son of Pier Maria Pennacchi, and 
 
PENNACCHI— PIAZETTA 99 
 
 probably received his early artistic education from his 
 father. He visited Venice, Trent, and Faenza. Be- 
 tween 1535 and 1538 he was living in Venice, where 
 he painted several palaces. In 1 542 he was architect 
 to Henry VIII. of England and employed by him to 
 design a residence. In 1544 he was killed by a 
 cannon ball at the siege of Bologne, whilst superin- 
 tending the works of the siege in the capacity of 
 engineer. 
 14. Christ disputing with the Doctors. Presented by Molin. SALE 
 
 PALLA- 
 DIANE, 
 
 Paml: Sjt.S in. ty ^fl. IlJ in. 
 
 PENNACCHI (Pier Maria?) Trevisan : 1464-1528 (?) 
 Pennacchi was born at Treviso. He was a pupil 'of 
 Giov. Bellini, but it is possible that he first studied 
 under Squarcione at Padua. Pictures by him are to 
 be found in several churches of Venice, in Murano 
 and Treviso. 
 
 36. Virgin and Child enthroned, attended by Saints and corridor. 
 Angels. On the left SS. Lawrence and Jerome. On 
 the right SS. Stephen and Liberale. Two little angels 
 performing, one on a viol and the other on a mandolin, 
 sit at the Virgin's feet. Around her head hover 
 cherubim. Formerly at Padua. Tramfirred from wood to canvas : 
 4//. giitt.'6y6ft.9iti. 
 
 8. The Transfiguration. The Saviour between Moses sale 
 
 and Elias. Formerly in Sta. Marglicrita, Treviso. Panel: palla- 
 
 DIANE. 
 
 PIAZETTA (Giov. Battista). Venetian: 1682-1754. 
 
 This painter at first followed his father's profession of 
 wood-carving, but afterwards adopted the art of 
 painting. 
 23. A Soothsayer (?) Canvasj $fr. ij in. by ■^ft. lof in. sala xi. 
 
lOO 
 
 PLAYNEL— PONTE 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 SALE 
 PALL A 
 DIANE. 
 
 PIETRO DA CORTONA. See BERRETTINI. 
 
 PLAYNEL. Painting 1633. 
 
 Nothing is known of this painter, and the date 1633 
 on his picture (No. 26), is the only evidence we have 
 as to the period of his existence, 
 ig. An Encampment. 
 
 26. An Encampment. Signed "PLAYNEL FAC. [sic] 
 1633." Presented by MoHn. Copper; Each j ft. 6 in. by 2 ft. I in. 
 
 POELENBURGH (CoRNELis VAN). Dutch: 1586-1667. 
 Poelenburgh was born at Utrecht ; he was a pupil of 
 Bloemaert and was much under the influence of 
 Elzheimer. He visited Italy, and painted for the 
 Court at Florence. In 1649 he was made principal 
 of the Painters' Guild at Utrecht. He was invited 
 to England by Charles I., and in 1650 he visited 
 London. He died at Utrecht, August 12, 1667. 
 
 29. Landscape with Waterfall and figures. 
 
 30. Landscape : Nymphs and Satyrs Bathing. Canvas : Each 
 \ ft, \\ in. by 7 in. 
 
 POLIDORO VENEZIANO. See LANZANI. 
 
 PONTE (Francesco da) called Bassano. Venetian: 1549- 
 1592. 
 
 Francesco was the eldest son of Jacopo da Ponte. He 
 received his artistic education from his father, and 
 was the most distinguished of Jacopo's four sons. 
 He was employed in decorating the Ducal Palace 
 with a series of pictures, illustrating the history of the 
 Republic. 
 
 37. Christ bound to the Column. Canvas : i ft. g in. by 3 f. 
 
 7i '»■ 
 
PONTE 
 
 107. Landscape, with Shepherds. 
 
 108. Christ in the House of the Pharisee. Canvas: Eaci2ji. 
 diin.hy 3 ft. f <». 
 
 31. Weavers. Caievan 2 Ji. 2^ in. iy z Ji. 2^ in. sala hi. 
 
 37. Christ carried to the Sepulchre. Canvas : 2 ft. ej in. by sale 
 
 4 /». 4J in. ■ PALLA- 
 
 ^•' ^* DIANE. 
 
 PONTE (Jacopo da) called II Bassano. Bergamese- 
 Venetian : 1510-1592. 
 
 Jacopo da Ponte was born in Bassano, and is generally 
 known as II Bassano ; he excelled in painting land- 
 scape and animals, and was very fond of introducing 
 the latter into his pictures. He was the first of 
 Italian genre painters. During the middle period of 
 his life he was influenced by Parmegiano. Jacopo 
 had four sons, all of whom were painters ; he died at 
 Bassano in 1592, at the age of eighty-two. 
 
 13. An Angel bringing the Good Tidings to the Shepherds, sala ii. 
 Canvas : I ft. 5 J in. by 3 ft. 8 J in. 
 
 15. Landscape with two Peasants. Cam-as: i ft.% in. by i ft. 
 loj in. 
 
 16. The Flight into Egypt. Canvas : I ft. II J in. by I ft. 5I in. 
 
 21. Landscape with Fowls in the Foreground. Canvas: ift. 
 Si 'i>-h 3 fi' 6i •«■ 
 
 22. Country People. Canvas ; 1 ft. 8 ir. by 2 ft. ^ in. 
 
 27. The Animals entering the Ark. Camas : 4 ft. 4 in. by 3 ft. 
 9i '»• 
 
 29. The Holy Family, St. John the Baptist and an Angel. 
 Canvas : I ft. 8 J in. by ■^ft. -^ in. 
 
 36. Christ in the Garden of Gethesemane. Canvas: 3 ft. 
 lOi in. by i ft. l in. 
 
 82. Shepherds.- Canvas: -^ ft. 2 in. by -^ ft, 6^ in. 
 
PONTE (LEANDRODA) 
 
 SALE 
 PALLA- 
 DIANE. 
 SALA VII. 
 
 loi. Christ in the Garden of Gethesemane. Canvas: 3 ft. 
 
 9 •"■ h 3 /'• 3i '■"• 
 54. The Coronation of Thorns. Canvas : 3 _/?. 2 m. by 3 ft. 
 
 Si'"- • 
 
 g. Portrait of a Venetian Nobleman. Dressed in a black 
 gown trimmed with fur. Formerly in th Procuratie Nutme. 
 Canvas : ^ Ji. 6 in, hy 2 ft. if in, 
 
 19. St. Eleuterio, Bishop, blessing Worshippers. The 
 Redeemer is seen above with angels. Formerly in the 
 Brotherhood of the Bombardieri, Vicen%a. Canvas : m. 9 ft, 4^ in, 
 by 6 ft. Ij in. 
 
 31. The Almighty surrounded with Angels. Presented by 
 Signor Marco G, Ancona di Rovigo. Canvas : 7i '«. ^y Sk '"• 
 
 26. Holy Family. Presented by Molin. Canvas : 2 ft. 8| in. by 
 2ft.l^ in. 
 
 SALA II. 
 
 SALA 
 
 PALLA- 
 
 DIANE. 
 
 PONTE (Leandro da). Venefian : 1558-1623. 
 
 Leandro was the third son of Jacopo da Ponte, and 
 became his father's pupil and assistant. He spent the 
 greater part of his life in Venice, and was created 
 Cavaliere di San Marco by the Doge Grimani. 
 Leandro was a good portrait painter as well as a 
 painter of animals. He died in Venice in 1623. 
 
 20. Lucretia. Canvas: ■^ft, 10 in, by 2 ft. IlJ in, 
 
 51. Portrait of a- Man. Canvas : 2 ft, ^ in. by i ft, 10 in. 
 
 53. Peasants and Animals. Canvas: ■^fi. 5J in. by 2 ft. \ in. 
 
 63. The Adoration of the Shepherds. Canvas : 3 ft. 2 in, by 
 i,fi. 7i '■». 
 
 75. Portrait of a Priest. Canvas : 2 ft, ilj in, by 2 ft, 6f in, 
 
 71. Adoration of the Shepherds. Formerly in' the Church of Sta. 
 Sofia. Canvas : 3 ft, 9 J in, by ^ ft, 5 in. 
 
PORDENONE 103 
 
 76. Portrait of a Man, unknown. Inscribed "AETATIS loggia 
 
 SUAE LV." Presented hy Molin. Canvas : 3 ft. 6 in. by 2 ft. PALLA 
 
 DIANA. 
 lOj in. 
 
 79. St. Thomas Aquinas. 
 
 80. Portrait of the Doge Marcantonio Memmo. Formerly in 
 the Convent of San Giacomo dell Giudecca. Canvas s 2 ft- 9 '"• h 
 2 ft. I of in. 
 
 28. The Raising of Lazarus. Signed " LEANDER BAS- sala vii 
 SANEIS F." Formerly in the Scuola della Cariti. Canvas: 
 >3/'-4l'«- b7ft-9'»- 
 
 32. The Risen Christ. St. Thomas and the other Apostles sala xv 
 are gathered round. In the foreground are SS. Vincent 
 and Peter Martyr. Formerly in tie Scuola di St. Vincenzo ai SS. 
 Giov. e Paolo. Canvas: m. Sft.q in. by l^ft. I^'in. 
 
 LEANDRO DA PONTE. (School of.) 
 
 67. Portrait of a Man. Canvas: m. zft. 11 J in. by Z ft. 2\ in. SALA II. 
 
 PORDENONE (Giovanni Antonio da) called Licinio. 
 Venetian: 1484-1539. 
 
 Pordenone, so-called from his native town, also signs 
 himself " De Corticellis " ; while it is. evident from 
 early documents that his family name was Sacchi. It 
 is believed that he assumed the signature " Regillo," 
 on being knighted by the King of Hungary. His 
 name Licinio has sometimes caused a confusion 
 between him and Bernardino Licinio, an inferior 
 painter, who may have been a relation. Pordenone 
 was educated at Udine. He was twice married, first 
 when very young, and again in 1513. In 1 5 19 he 
 was employed with Titian at Treviso, on frescoes for 
 St. Niccol6. In 1528 he was employed at Venice to 
 paint a large picture for the Great Council Hall of 
 the Ducal Palace. He was thus brought into direct 
 rivalry with Titian, and is said always to have painted 
 
I04 
 
 PORDENONE 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 SALA VII. 
 
 with his sword by his side for fear of being insulted 
 by that great master. In 1535 he was invited to 
 Ferrara by the duke, but was taken ill suddenly at an 
 inn and died, in 1 539. Pordenone was of a passionate, 
 excitable, and imperious nature. " He was," says 
 Morelli, "original, highly gifted, and at times even 
 strikingly grand." 
 
 95. Portrait of a Woman. Canvas: 2 ft. 8f in. by 2 ft. 6f in. 
 
 96. St. John the Baptist. Canvas : if. iij in. by i ft. <j in. 
 
 8i> Cherubs on Clouds. Perhaps once part of a ceiling. 
 Presented by Molin. Panel : 2 ft. l\. in. by J ft. 3| in. 
 
 22. The Madonna of the Carmelites. Two angels hold up 
 the Virgin's mantle, and two saints are at her sides, 
 the " Beato " Simon Stock and the " Beato " Angelo. 
 A monk is half seen, looking up, and several members 
 of the Ottobon family.- This picture, though much 
 injured, is very graceful, and the figures are free from 
 the disproportion which frequently characterises Por- 
 denone's work. Inscribed " DIVAE MARIAE CAR- 
 MELI SOCIETAS." Presented by Canma. Canvas: <) ft. 
 4^ in. by g ft. loi in. 
 
 25. St. Lorenzo Giustiniani surrounded by Saints. St. 
 Francis is kneeling, SS. John the Baptist, Bernard and 
 Augustin, This picture "produces a somewhat dra- 
 matic effect ; the Santa Conversazione, in spite of all 
 the various looks and gestures, looks as if they did not 
 quite know what to say to each other." — (Burckhardt, 
 Tie Cicerone.) Signed "JOANNIS ANTONII POR- 
 TUNAENSIS." Formerly in the Church of the Madonna deW 
 Orto. Canvas : ^'i ft. 6i in. by "J ft. ■^ in. 
 
 PORDENONE. (After.) 
 SALA II. y2. Portrait of a Lady. A beautiful woman with fair hair 
 
 and wearing a black dress with a square-cut bodice. 
 Canvas : I ft. 6^ '». by I ft- 5f '»• 
 73. A Man Praying. Canvas : i ft. 3J in. by i ft. 4 in. 
 
PORTA— PREVITALI 
 
 105 
 
 PORTA (Giuseppe) called Salviati. About 15*0 — living 
 1572. 
 
 Giuseppe Porta was born in Tuscany, at Castel Novo 
 di Garfagnana. He entered the studio of Francesco 
 Salviati, whose name he subsequently adopted. He 
 worked in the Ducal Palace, and died at Venice about 
 1572. 
 
 26. The Baptism of Jesus Christ.. Formerly in Sta. Caterim in sala viii. 
 Mazzorho. Canvas : 9 Ji. 2 J in. by 6 ft. 4J in. 
 
 POURBUS (Francis) the younger. Flemish : 1569— 1622. 
 Francis Pourbus was the pupil of his father, Fran- 
 cis the elder. He was born at Antwerp but lived 
 and died in Paris. 
 
 39. Portrait of a Flemish Cavalier. Presented by Molin. Panel: loggia 
 I ft. ^i in. by 1 ft. Ill in. ^tl'^f 
 
 DIANA. 
 
 POUSSIN (N1CCOL6). (Copy of.) 
 
 9. Repose in Egypt. Acquired from Parisi. Canvas: ^ft.ii^iit. LOGGIA 
 
 hSft.iin. ^^^^''• 
 
 -^ ^ ■' - * DIANA. 
 
 PREVITALI (Andrea) called Cordegliaghi. (Ascribed to.) _ 
 Bergamese : painting 1 502-1 528. 
 Previtali may have been a pupil of Giovanni Bellini. 
 He sometimes signs himself "Andreas Bergomensis ; " 
 his best work is the altar-piece in Santo Spirito at 
 Bergamo. Andrea imitated Bellini : his work is 
 generally bright and pleasing. He died of the 
 plague. 
 
 33. The Virgin and Child, St. John the Baptist and St. sala ii. ' 
 Catharine. " This piece combines all the elements of 
 progress in the Venetian School of the opening of the 
 career of Giorgione and Titian. There is something 
 still of Bellini's serious comprehension of form, but the 
 
io6 PULACHI— RAIBOLINI 
 
 colour and landscape are Titianesque. The picture has 
 not the powerful handling of Giorgione, yet seems by 
 some one under his influence. We do not think Previ- 
 tali could diverge from his habitual manner . to paint a 
 thing of this kind." — (Crowe and Cavalcaselle, Painting in 
 N. Italy, ii.) Panel ; i ft, 8J in. by 2 ft. 8 J in. 
 
 PRETE GENOVESE. See STROZZI. 
 
 PULACHI (R. DoRo). Greek : flourished in the seven- 
 teenth century. 
 
 SALA XIV. 24. The Last Judgment. Presented by Molin, Stone : I ft. 2J in. 
 
 by io| in. 
 
 QUARENGHI (Jacopo). Beroamese : 1744-1817. 
 
 Quarenghi at first devoted himself to painting, and 
 was a pupil of R. Mengs. He afterwards gave him- 
 self up to architecture, and studied the works of 
 Palladio. He migrated to St. Petersburg, where he 
 worked for Catherine II. and exercised a great influ- 
 ence over the development of art in the Russian 
 capital. 
 
 CORRIDOR. Drawings on the Walls. 
 
 QUIRIZIO DA MURANO. See MURANO. 
 
 RAIBOLINI (Jacopo). Bolognese : end of the fifteenth 
 century-1557. 
 
 Jacopo was the son of Francesco Raibolini, the well- 
 known painter, commonly called Francia. Jacopo 
 studied under his father, and with his brother Giulio, 
 assisted him in his work. There is a Madonna and 
 Child, with Saints, by him in the Brera at Milan. 
 
 SALA XIV. 40. The Holy Family and St. Catherine. The Virgin 
 
 supports the Infant Christ upon a pedestal ; he extends 
 
RENIERI 107 
 
 his right hand with a wreath in it towards St. Cathe- 
 rine. St. Joseph appears behind on the left ; in the 
 distance on the right is a landscape. Formerly in the 
 Albany Gallery. Panel : 2 fi, 3 J in. by iji. II in. 
 
 RAPHAEL. (Copy of.) 
 
 11. The Holy Family. The original known as "The sala ii. 
 Madonna of the Pearl," is in Madrid. Canvas : 4 ft. 
 
 9k >"• h 3 fi- 8i '■". 
 
 106. The Transfiguration. Copper,; -^Ji. ij in. by 2 ft. i in. 
 
 REMBRANT. (Copy of.) 
 
 66. Portrait of a Man, in Flemish costume, wearing a cSip. sala ii. 
 Canvas : 3 Ji. 2f in. by 2 ft. 8f in. 
 
 RENIERI (Nicol6). Venetian : Flourished in the seven- 
 teenth century. 
 
 Reni.eri studied at Rome under the Manfredi ; but 
 worked principally in Venice, where he painted in the 
 Giustiniani Palace. 
 
 12. Judith. Canvas: 7, ft. gl in. by 3 ft. 7f in. SALA II. 
 66. The Annunciation : the Angel Gabriel. sale 
 
 PALLA- 
 
 68. The Annunciation : the Virgin. The Virgin is repre- m^^j^ 
 sented kneeling. Formerly in the Monastery of Santa Teresa, 
 Canvas 1 9 ft, 8J in. by 4 Ji. 3^ in, 
 
 72. A Sibyl. From tie Convent of San Giobbe. Canvas: ^ft.Sin.by 
 2 ft. 8 in. 
 
 46. Portraits of three Inquisitors seated at a table. Their sala vii. 
 coats of arms and the names, Marino Barbaro, Gio- 
 vanni Garzoni and Bernardo Michiel, appear below. 
 Formerly in tie Sala degli Injuisitori, Ducal Palace, Canvas : 5 ft, 
 3k in. by T ft. S in. 
 
 7. Portraits of three Advocates. From t/ie Stanze dell' sala xvi. 
 Avogaria, Ducal Palace. Canvas : ^fi, i\k in, by ^ ft. 3^ in. 
 
io8 RISER A 
 
 34. Portraits of three Advocates. From tlie Stanxe deW Avogar'ia 
 di Comufi. Canvas : 5 _/?. 3J in. by 5 Ji. 3J ('«. 
 
 RIBERA (Giuseppe), called Lo Spagnoletto. Spanish : 
 1 588-1656 (?) 
 
 Ribera was born near Valencia, in Spain. He went 
 to Rome, where- he studied the works of Caravaggio. 
 After visiting Parma, Ribera settled in Naples, where 
 a picture dealer gave him his daughter in marriage, and 
 helped to promote that success by which this painter 
 was so largely rewarded. The Spanish Viceroys of 
 Naples and the Pope conferred honours upon him, 
 and he received- commissions from Philip IV. of 
 Spain. In 1630 he was elected a member of the 
 Academy of St. Luke at Rome, and in the same year 
 entertained Velasquez at Naples. 
 After Caravaggio, Ribera may be said to have been 
 the most able of the Naturalists ; he exercised a con- 
 siderable influence over the art of his time, not only 
 in Naples, but also throughout Italy and Spain. 
 According to one account Ribera died at Naples 
 honoured and rich ; according to another he dis- 
 appeared from the city in 1648 and was never heard 
 of again. 
 
 SALE 34. St. Romuald. This Saint was the founder of the 
 
 PALLA- Order of the Camaldoli (reformed Benedictines). "The 
 
 DIANE. congregations of the Camaldolesi remind us in some 
 
 respects of those of the ancient Egyptian hermits; 
 
 they are devoted to the perpetual service of God, in 
 
 silence, contemplation and solitude Romualdo 
 
 died 'in 1027, according to the legend Dante has 
 
 placed him in his Paradise among the spirits of men 
 contemplative.'' — (Jameson, Legends of the Monastic Orders.) 
 . Canvas ■•■'^fi, 4^ m, by 2 ft. gf in. 
 
RICCI— RICCIO 109 
 
 72. Martyrdom of St. Bartholomew. '■ After the ascension loggia 
 of Christ St. Bartholomew travelled into India, even to palla- 
 the confines of the habitable world, carrying with him "IANa. 
 
 the Gospel of St. Matthew ; returnifig thence 
 
 and coming to the city of Albinopolis, he was con- 
 demned to death as a Christian. He was first flayed 
 and then crucified." — (Jameson, Sacred and Legendary Art.) 
 Acquired frmi Parisi. Canvas: T^ ft. 8f in. by ^ ft. 9 J iri. 
 
 RICCI (Marco). Venetian: 1676-1729. 
 
 Ricci was born at Belluno and died at Venice. He 
 was the pupil of his uncle, Sebastian Ricci, and 
 became a landscape painter. • 
 
 3. Landscape : Horses drinking at a Fountain. Canvas : sala xi. 
 
 27, Landscape, with Women washing Clothes. Canvas: 
 i,ft. ()\in. by (s ft. "J in. 
 
 43, Landscape with Waterfall. Formerly in tie Convent of San 
 Giorgio Maggiore, Canvas : ^ft, 6 in. by ^ ft. "J^ in. 
 
 RICCIO (Felice), called Brusasorci. Veronese : 1 540- 
 1605. 
 
 Riccio, a portrait and historical painter, was the 
 pupil of his father Domenico ; he is also said to have- 
 learned from Caroto. His colouring is bright and 
 delicate. 
 41. A Goddess carried to Heaven by Cupids. Stone: i ft. sala in. 
 8| in. by I ft. 3^ in. 
 
 61. Christ at the Column. Panel: loj in. by 8 in. 
 
 g. The Trinity. Presented by Molin. Panel :' 1 ft. .6^ in. by j ft. sala xiv. 
 2 in. ^ 
 
 34. St. Sebastian. St. Sebastian was condemned to death 
 for being a Christian by the Emperor Diocletian. " But 
 previously the Emperor, who loved him, sent for him 
 and remonstrated with him, saying, ' Have I not always 
 
RIEGHER— RILEY 
 
 honoured thee above the rest of my officers? Why 
 hast thou disobeyed my commands, and insulted my 
 gods ? ' To which Sebastian replied, with equal meek- 
 ness and courage, ' O Csesar, I have ever prayed, in the 
 name of Jesus Christ, for thy prosperity, and have been 
 true to thy service; but as for the gods whom thou 
 wouldst have me worship, they are devils, or, at best, 
 idols of wood and stone.' Then Diocletian ordered that 
 he should be bound to a stake and shot to d.eath with 
 arrows, and that it should be inscribed on the stake and 
 published to the troops that he suffered for being a 
 Christian and not for any other fault." — (Jameson, 
 Sacred md Legendary Art, ii.) Formerly in the Monastery of San 
 Lorenzo. Panel: I ft. ij in. by I ft. l\ in. 
 
 RIEGHER (Emilia Baronessa). 
 SALA 8. Portrait of the Artist by Herself. Canvas : 2 f. 2f in. by 
 
 DELLE % ft. 5^ iff. 
 
 STATUE. 
 
 RILEY (John). English : 1646-1 691. 
 
 This painter was born in London and was the pupil 
 of Lely. He enjoyed the patronage of Charles II., 
 and was principal painter to William and Mary. 
 " He was a gentleman extremely courteous in his 
 behaviour, engaging in his conversation, and prudent 
 
 in all his actions He never was guilty of a 
 
 piece of vanity (too common amongst artists) of 
 saying mighty things on his own behalf." He 
 died in 1 69 1. 
 
 LOGGIA 49. A Portrait. Acquired from Parisi. Canvas: 2 ft. ^^ in. by 2 ft. 
 
 PALL A- I J in: 
 
 DIANA. 
 
 RIZZO (Francesco). See SANTA CROCE. 
 RIZZO (GiROLAMo). See SANTA CROCE. 
 
ROBUSTI (DOMENICO) iii 
 
 ROBUSTI (DoMENico). Venetian: 1562-1637. 
 
 Domenico was the only son of the great Tintoretto ; 
 he was the pupil, imitator and assistant of his father. 
 As a portrait painter he achieved some success and 
 painted the principal personages of his time. 
 
 50. The Resurrection. Canvas : 4 ft. 3J in. by 3 ft. 4J in. sale 
 
 PALLA- 
 
 70. Virgin, Child, and two kneeling Figures, portraits, diane. 
 Formerly in the Magistrato del Camerleagii, Rialto. Canvas : 4 Ji. 
 
 Ai'o-h 5/'- loi'""- 
 
 73. Portrait of Pietro Marcello, Procurator of San Marco di loggia 
 
 Citra (d. 1596). Inscribed " PETRUS MARC. 1595." palla- 
 
 Formerly in tile Procuratii da Citra. Canvas ; 3 fi. 8J in. by 3 ftx DIANA. 
 
 3i '■»■ 
 5. Portrait of Bernardo Sagredo ProCuratore di Citra sala vii. 
 (d. 1603). Formerly in tJie Procuratia di Citra. Canvas: 2 ft. 
 ij in. by 4 in. 
 
 10. Christ Crowned with Thorns. Formerly in Sia. Croce, Bellum. 
 Canvas: "J ft. 7 J in. by \2ft. 5 in. 
 
 11. Portrait of a Venetian Noble. Half length. Formerly in 
 the Procuratie Nuove. Canvas : 2 ft. 2f in, by 2 ft 1^ in. 
 
 17. Portrait of the Procurator, Alvise Renier (d. 1560). 
 
 Formerly in the Procuratia di Citra. Canvas : 2 fi. 7i '"■ by I ft. 
 I if in. 
 
 44. Portrait of Giov. Tiejpolo, Patriarch of Venice. Tiepolo sala xiv. 
 was elected Patriarch in i6ig, slhd died 1631. Inscribed 
 "JOANNES THEOPOLUS VENET. PATRIAR. 
 DALMATIAEQUE PRIMOS. JAM PRIDEM 
 ECCLESIAE S. MARCI PRIMICERIUS. IN REIP. 
 MAGISTRATIBUS GERENDIS MUNERE DE 
 CHATAVERE CUM EXIMIA PRUDENTIA 
 AEQUITATISQUE LAUDE FUNCTUS. Canvas: 
 3 ft. 3i in. by 4 ft. i in. 
 
 14. Virgin and Child, with SS. Joseph, Mark, and Jerome, sala xvi. 
 The Doge Marino Grimani kneels before the Virgin. 
 
112 ROBUSTI 
 
 Inscribed " MARINUS GRIMANUS VENET DUX. 
 MDXCV." Formerly in the Ducal Palace. Cannias: %ft.\\m. 
 hy 10 Ji. J ill. 
 
 ROBUSTI (Jacopo), called Tintoretto. Venetiai* : 1518- 
 1594. 
 
 Jacopo Robusti, called from the trade of his father 
 Tintoretto, or the -little dyer, was born in Venice, 
 and in Venice all his best works remain. This great 
 and imaginative painter was entirely self-taught^he 
 attended Titian's studio only for a few days, having 
 been dismissed therefrom without any assigned reason. 
 Nothing daunted, however, the young painter set to 
 work. Writing on the wall of his studio : " II disegno 
 di Michaelangelo ed il colorito di Tiziano," he set 
 himself to attain the greatest excellence — " the draw- 
 ing of Michaelangelo and Titian's colouring." His 
 energy was rewarded ; before forty years of age he had 
 rivalled Titian and earned for himself the name of 
 " II Furioso," from the rapidity of his execution. 
 There is, however, no painter who is more unequal 
 than Tintoretto ; the Venetians said he had three 
 pencils — >.one of gold, one of silver, and one of iron, 
 and it was well said of him that " he was sometimes 
 equal to Titian, and sometimes inferior even to him- 
 self." He frequently painted for nothing, or for the 
 price of his materials only, and there are many stories 
 told of the way his wife tried to guard against his 
 unworldliness. He died at Venice, at the age of 
 eighty-two, leaving one son, Domenico. Marietta, 
 his daughter, who was an excellent portrait painter, 
 died before her father at thirty years of age. Tin- 
 toretto's house on the Fundamente de Mori is still 
 standing. 
 
ROBUSTI 113 
 
 43. Portrait of a Young Man. Canvas: 2 fi. ij :». hy I ft. sALA II. 
 
 lOj in. 
 91. Portrait of a Man. Half length, wearing a black tunic 
 
 trimmed with ermine. On the left an open window. 
 
 Canvas: 37?. if in. by 2 ft. I in. 
 
 102. The Virgin with Worshippers. Inscribed " SUB 
 TUUM PRAESIDIUM CONFUGIMUS." Canvas: 
 6 ft. I in. by -i ft. 2% in. 
 
 43. The Woman taken in Adultery. This is a crowded sale 
 composition, and apparently hastily painted. Canvas : p^lla- 
 3 J^- 9S >"■ h ^ft- 10 '"• 
 
 58. Portrait of Antonio Capello, Procurator of St. Mark. 
 Half length. At one time this fine portrait was 
 ascribed to Titian. Inscribed "ANTONIUS CA- 
 PELLO MDXXIII." Formerly in the Frocuratie He Supra. 
 Canvas: 3 ft. S in, by 2 ft. 7 J i"- 
 
 54. Portrait of Melchiore Michiel, Procurator of San Marco 
 
 de Supra. Inscribed " MELCHIOR MICHAEL Eq. 
 
 MDLVIII," Formerly in tie Frocuratie di Citra. Canvas: ^ ft. 
 
 9h>«-h2f'- si'"- 
 75. Portrait of Marco Grimani, Procurator of San Marco di 
 
 Citra. Inscribed " MARCUS GRIMANO MDLXXVI." 
 
 Formerly in the Frocuratie di Citra. Canvas : 3 7?. 8 in. by 2 ft. 
 
 9 in, 
 33. The Assumption of the Virgin. The Apostles stand sala vii. 
 
 round the sepulchre gazing upwards. Formerly in St. 
 
 Stefano. Canvas: "J ft. 8 J in. by ^ ft. 4I in. 
 
 38. Virgin, Child, and iFour Senators. Formerly in the Magis- 
 trato del Sale. Canvas : 6 ft. 3 J in. by ^ ft. 10 in. 
 
 42. The Virgin and Child in Glory with SS. Cosmo and 
 Damian. The Virgin and Child are represented at- 
 tended by angels and SS. Cecilia and Theodore (?). In 
 the foreground kneel SS. Cosmo and Damian clad in 
 crimson robes. Formerly in SS. Cosimo e Damiano alia Giudecca, 
 Canvas : 117?. 3I in. by 8 ft. S in. 
 
 49. The Crucifixion. About gft. by e,ft. 
 
 H 
 
114 
 
 ROBUSTI 
 
 SALA VII. 
 
 52 
 
 53 
 
 St. Giustina and three Treasurers, Marco Giustinian, 
 Alvise Soranzo, Alvise Badoer, and their secretaries. 
 
 Formerly in the Ufficio dei Camerlenghi di comun a Rialto, Canvas : 
 7 ft. I in. by 3 ft. Io| in. 
 
 Portrait of the Doge Niccol6 da Ponte. Half length. 
 Inscribed " ADI 30 LUGLIO N. DAPONTE 1570." 
 
 Formerly in the Procuratie de Ultra. Canvas : 3 ft- ty Z fi- i '"■ 
 
 6. Madonna and Child, with SS. Sebastian, Mark and 
 Theodore. There are also three treasurers (whose 
 coats of arms appear), and behind these, servants 
 with money bags. " Inscribed " UNANIMIS CON- 
 CORDIAB SIMBOLUS." Formerly in the Magistrato dei 
 Camarlenghi, Canvas: 1 ft. 4J in. hy 1"] ft. \\ in. 
 
 3. Portrait of Carlo Morosini, Procurator of St. Marco 
 (died 1562). Formerly in the Procuratie de Ultra. Canvas: i^ft. 
 6 in. iy3ft. 8| in. 
 
 ig. Portrait of a Senator. Canvas: 2 ft. J in. by 2 ft. 2 in. 
 
 22, Portrait of a Man. Formerly in the Magistrato del Monte di 
 Sussidio. Canvas: 2 ft. 6f in. by 2 ft. \\ in. 
 
 28. Portrait of Matteo Dandolo, Procuratore de Ultra 
 (died 1570). Formerly in the Procuratia de Ultra. Canvas: T,ft. 
 
 Deposition from the Cross. The Virgin, Joseph of 
 Arithmathea and the Magdalene. Formerly in Santa Maria 
 dell' Umilta. Canvas : 7 ft. 5f in. by g ft, g in. 
 
 Portrait of a Senator kneeling. Formerly in the Procuratie. 
 Canvas : $ ft. i in. by 3 ft. S^ in. 
 
 2. Portrait of Jacopo Soranzo, Procuratore de Supra. 
 Half length ; seated. This painting was formerly 
 ascribed to Titian, but Signor Antonio della Rovere 
 discovered certain documents which prove Tinto- 
 retto to have been the author. Jacopo Soranzo is 
 dressed in a Senator's robes, he has white hair and a 
 white beard. Inscribed "JACOBUS SUPERANTIO 
 MDXXIII. From the Procuratie de Supra. Canvas: 3 ft. 5 in. 
 by 2 ft. I if in. 
 
 36. 
 
 42 
 
ROBUSTI 115 
 
 II. Portrait of Andrea Cappello, Procuratore di S. Marco 
 de Ultra. Elected in 1537. Formerly in the Procuratie Nuove. 
 Canvas : 3 yr. 8 J in. iy 2ji. 8 in. 
 
 23. Portrait of Priamo da Lezze, Procuratore de Citra. 
 This portrait was formerly ascribed to Titian. It is 
 greatly injured by restoring. Formerly ;« tie Ufficio della 
 Procuratie de Citra. Canvas : I ft. 8f in. by I fi. S in. 
 
 46. The Parable of the Prodigal Son, and the four Virtues, 
 Faith, Justice, Fortitude, and Good Works. Formerly in 
 the Sala degli Inquisitor i di Stato. Canvas, round: Diameter 6 Ji. 
 II in. by •2 ft, 2 in. 
 
 "2. The Death of Abel. " The concentration of effect in sala xv. 
 these pictures is marvellous without being violent. 
 The influence of the antique sculpture is apparent in 
 the figures, accompanied with a great knowledge of 
 nature, and of the build of the human form. The land- 
 scapes also are most striking, not being allied to a 
 great extent with the Titianesque landscape, but 
 rather heralding a new poetic departure in art, such as 
 probably had a deep effect upon Rubens, Rembrant, 
 and Turner. Traces may still be perceived in them of 
 Schiavone's influence. Mr. Ruskin points out in 
 ' Modern Painters,' that the group of trees in the 
 ' Death of Abel' is singularly allied in conception and 
 feeling with Turner's avenue in his drawing of Marly." 
 — {OslcT, Tintoretto.) Formerly in the Scuola della Trinita, Canvas: 
 4/f- llin. by T ft. 2i in. 
 3. Portraits of two Senators. Life size. Formerly in the sala xn. 
 Magistrato dei Camerlenghi. Canvas: ^ ft. 11^ in. by ^ ft. 2 in. 
 
 *4. The Miracle of St. Mark. St. Mark appears floating sala xv. 
 downwards, and by his miraculous intervention, de- 
 livers a Christian slave from the heathen executioners. 
 " A Christian slave is lying on the ground unharmed 
 under the clubs and iron bars and hammers of Oriental 
 executioners. A row of wonderful heads bend over 
 him, a Moslem, a civilian, a knight in black armour — 
 all is perplexity, confusion, and dismay." — (W. B. Scott, 
 
ii6 ROBUSTI 
 
 Pictures by Venetian Painters.) Charles Blanc considers this 
 picture equal in colouring to any other in Venice. " A 
 work of skilful foreshortening and splendid colour," 
 says Kugler. Tain« thinks it unsurpassed. " A 
 dazzling and wonderful work, which might be called 
 the ' Miracle of Tintoretto,' instead of the ' Miracle of 
 St. Mark,'" exclaims Viardot; while the "Cicerone" 
 remarks, " Tintoretto, for the first time, goes beyond 
 all the traditional Venetian aims in painting; the 
 scene is far more living, and rather confused; the 
 artist tries for foreshortenings of the most difficult 
 kind, and betrays, for instance, in the ugly saint float- 
 ing head downwards, that all higher considerations 
 are nothing to him, as long as he has the opportunity 
 to display his mastery of external means. — (Burckhardt, 
 The Cicerone.) Signed "JACOMO TENTOR F." For- 
 merly in the Scuola di San Marco. Canvas: I'i ft. 8 in. by V] ft. 
 II in. 
 
 5. Adam and Eve. Formerly in the Scuola della Trinita. Canvas: 
 4 fi- 9^ "»• h^ fi- " ""• 
 
 6. Portraits of two Senators. Formerly in the Magistrate dei 
 Camerlenghi. Canvas: ^ft. 1\\ in, by ^ft. I J in. 
 
 1. The Resurrection. The risen Christ blessing three 
 senators, Paolo Contarini, Giovanni Gritti, and Angelo 
 Michiel, who were " Provveditori sopra le Camere " in 
 1539-1550. From the ahorve-mentioned office. Canvas: "^ ft. by 
 lift. 4 in. 
 
 3. The Madonna and Child, with the Portraits of three 
 Senators. Niccold Bon, Bartolomeo Paruta and 
 Sebastiano Cappello, who in 1586 were Provveditori 
 sopra le Camere, Rialto. From the above-mentioned office. 
 Canvas: I ft. by 12 ft. 9^ in. 
 
 11(b). The Crucifixion. Christ is on the Cross between the 
 two thieves ; at the foot of the Cross the Virgin and the 
 Marys, centurions, soldiers, and a tumult of people. 
 This is one of Tintoretto's masterpieces. In the 
 opinion of Mr. Ruskin neither the " Miracle of St. 
 
ROMAN SCHOOL— ROSSO 117 
 
 Mark" or the great "Crucifixion" in the Scuola di 
 San Rocco is more worthy of praise than this picture. 
 From the Confraternita del Rosario ai Santi Giovanni e Paolo, Can-vas : 
 <)ft. 3 in. by \d,ft. 7i in. 
 
 23. The Resurrection. The Saviour bears in His hand 
 the banner of victory, while two guards sleep in the 
 foreground, and in the distance other figures are seen. 
 Formerly in the Sala dello Scuda, Ducal Palace. Canvas: ift. 2 in. 
 
 h If'- 7i «• 
 27. Portrait of the Doge Alvise Mocenigo. Born in 1507, sala xvi. 
 elected 1570, and died 1577. Formerly in the Ufficio dei Pro- 
 curator! de Ultra, Canvas: ■^ft. 9 J in. by 3 ft, 2 in, 
 
 37. St. Mark. Half length. Formerly in t/ie Magistrate del Monte 
 di Sussidio. Canvas: 2 ft, 6 in, by 2 ft. if in. 
 
 ROBUSTI (Jacopo). (School of.) 
 
 45. St. Peter. Canvas: ^ft. 7 in. by 1 ft. ^ in. SALA II. 
 
 54. St. Paul. Canvas: J,ft. 5J in. by 1 ft. I J in. 
 
 3. Portrait of a Dominican Friar. Canvas : 2 ft. 7J in, by 2ft, sala hi. 
 2j in. 
 
 ROMAN SCHOOL. Sixteenth century. 
 
 59. Portrait of a Man with a Black Beard. Panel: 8^ in. by sala hi. 
 6i in, 
 
 ROSSO (Giovanni Battista). Florentine: 1494-1541. 
 II Rosso, called by the French Maitre Roux, was so 
 named after, his birth-place according to some writers ; 
 according to others on account of his red hair. He 
 began by imitating Andrea del Sarto ; was invited to 
 France by King Francis I. and intrusted by him with 
 the superintendence of the decorations at Fontaine- 
 bleau. It is said that he poisoned himself through 
 remorse for having falsely accused his friend and 
 assistant, Francesco Pellegrini, of robbery. 
 
ii8 
 
 RUBENS— SAL VI 
 
 SALE 
 
 PALLA- 
 
 DIANE. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 56. Portrait of a Man in Red Cloak and Cap. The painting 
 is damaged. Panel: i ft. gj in. by i Ji. 3^ in. 
 
 RUBENS (Peter Paul). (Copy of.) 
 
 12. Venus and Adonis. Canvas: i Ji. loj in. by zfi. 2\ in, 
 21. Apollo flaying Marsyas. Canvas: j ft. iij in. by ifi.S in. 
 
 RUISDAEL (Jacob van). Dutch : i6z8 (?)-i682. 
 
 "Jacob van Ruisdael stands at the head of Dutch 
 landscape painters. Born at Haarlem about 1625, and 
 at first educated for the practice of medicine, Ruisdael 
 studied art under his uncle Salomon, and perhaps also 
 under Berchem. He died in poverty in the almshouse 
 at Haarlem in i68z. The wrorks of Ruisdael are the 
 embodiment of the poetry of melancholy." — (Poynter 
 and Buxton, German, Flemish and Dutch Painting.) 
 
 13. Landscape with Hills and a Castle. " The landscapes 
 of Ruisdael have not only great force but have a fresh- 
 ness which is seen in scarce any other painter." — (Sir 
 Joshua Reynolds.) Canvas : zfi. 3 in. by i,fi. 3J in. 
 
 RUSCHI (Francesco). Roman : lived about 1650. 
 
 8. Christ and the Woman of Samaria at the Well. Tor- 
 I merly in the Palazzo Cornaro, now the R, Prefettura, Canvas ; 3 ft, 
 
 liin.bynft. 11 in. 
 
 SAL VI (Giovanni Battista) called Sassoferrato. Eclectic : 
 1605-1685. 
 
 Salvi, called Sassoferrato from his birth-place, was in- 
 directly a pupil of the Caracci. He seems to have 
 copied Raphael, Titian, and Perugino. He died at 
 Rome in 1685. 
 
 30. St. Cecilia. Canvas : 1 ft. 1 in, by 1 ft. 2 in, 
 
 SALVIATI. {See Porta.) 
 
SANTA CROCte 119 
 
 SANTA CROCE (Francesco Rizzo) called da Santa 
 Croce). Venetian: painting 1 504-1 549. 
 Francesco Rizzo was born at Santa Croce near Ber- 
 gamo, whence he takes his name. He is also some- 
 times called Francesco di Simone. He was a pupil 
 of Giovanni Bellini, and seems to have felt Carpaccio's 
 influence. 
 
 31. The Risen Christ. Christ appearing to the Magdalen, sala viii. 
 who kneels before Him. On either side are kneeling 
 worshippers. Signed " FRANCISCUS RIZUS 
 PINXIT MDXIII." Formerly in the Dominican Convent alle 
 
 Zattere. Panel: gji. 8| in. hy d Ji. ii in. 
 
 SANTA CROCE (Girolamo). Bergamese : painted 1 520- 
 
 1549- 
 
 Girolamo Santo Croce may be supposed to have been 
 younger than Francesco, evidently another member oS 
 the same family, Girolamo painted very much in the 
 style of Francesco, with the difference that the pro- 
 ductions of the former are the feeblest of the two. 
 Girolamo's earliest work is dated 1520 ; he was still 
 painting in 1 549. 
 
 28. Head of the Saviour. Panel: i ft. ^\in.by i\%in. sale 
 
 palla- 
 67. SS. Gregory and Augustine. Formerly in the Church of the diane. 
 
 Servi, Canvas : ^ ft. J in. by 'ift. H in. 
 
 32. The Evangelist St. John. Life-size, standing, in the sala vii. 
 act of writing in a book. Panel; 6 ft. 7f in. by 2 ft. lO in. 
 
 36. The Evangelist St. Mark. Life-size. Formerly in the 
 Church of the Servi. Canvas : 6 ft. J in. by 2 ft. 10 in. 
 
 25. St. Mark. sala ix. 
 
 26. St. Jerome. Formerly in the Magistrate della Messetteria. Canvas : 
 each 2 ft. 7 J in. by 2 ft. 2 in. 
 
 5. The Nativity. The Infant Christ adored by the Virgin sala xiv. 
 
SANTA CROCE— SAVOLDO 
 
 and St. Joseph. Formerly in the Manfiini Gallery . Canvas : ifi. 
 Si »■»• h I ft. 3i in. 
 
 SANTA CROCE (Girolamo Rizzo). (Ascribed to.) 
 
 15. Marriage of St. Catherine. Virgin and Child with SS. 
 Catherine, Joseph, John the Baptist, and St. Dominic. 
 The Infant Christ places the ring on the finger of St. 
 Catherine. Acquired by tlie State. Canvas : i Ji. 4f in. by 1 ft. 
 
 SANTA CROCE (Pietro Paolo). Venetian : Flourished 
 in the latter part of the sixteenth century. 
 Pietro Paolo may have been • the son of Girolamo 
 Santa Croce ; he was certainly the latter's pupil and 
 imitator. He worked at the end of the sixteenth 
 century. 
 
 SALE I 4. Christ in the House of Mary and Martha. Christ is 
 
 PALLA- seated, while Mary kneels before Him ; on the left is 
 
 '-"•*''^' Martha and another woman preparing the meal. 
 
 Sign'ed " LAURENTII CANOTII DE LENDINARA 
 OPUS " ; but this signature is believed to be apoc- 
 ryphal. Presented by Molin. Canvas: 2 ft. i in. by 2 ft. 6| in. 
 
 SASSOFERATO. See SAL VI. 
 
 SAVOLDO (Giovanni Girolamo). Brescian : still living 
 in 1548. 
 
 Savoldo was born at Brescia but worked in Venice. 
 He generally painted night or suifset scenes, and was 
 a clever imitator of Titian. He lived to a great age, 
 as we learn from a letter of Aretino, written in 
 December, 1548. It is curious that No. 60 is signed 
 " Jacopus," which may indicate that Girolamo had a 
 son who followed closely in the footsteps of his father, 
 but we have no other evidence of the existence of such 
 
SCHALKEN— SCHIAVONE 121 
 
 a painter. There is an " Adoration of the Shepherds " 
 in the church of St. Giobbe, Venice, by Savoldo, 
 which is very beautiful. His colouring is apt to be 
 somewhat cold and sombre, but his figures are dignified 
 and the types he selects are generally pleasing. 
 
 60. The Hermit Saints, Paul of Thebes, and Anthony, sale 
 founder of the Cenobites. Bearing the inscrip- palla- 
 tion "JACOPUS SAVALDO (1370) PINX. BRIXIA I"Ane. 
 DONAVIT." Formerly in the Manfrini Gallery. Panel: 5 ft. 
 4| in. by a, ft. 4J in. 
 
 SCHALKEN (Godfried). Dutch : 1643-1706. 
 
 Godfried Schalken was born at Dordrecht, where his 
 father was head-master of a Latin school. Godfried 
 was a pupil of Gerard Dow, and made his fame by 
 candle-light effects. He died at the Hague in 1706. 
 
 17. The Scourging of Christ. Copper : i ft. \\ in. by loj in. Sk-Lh in. 
 
 SCHEDONE (Bartolomeo). Lombard : about 1 570-161 5 (?). 
 Neither the year of Schedone's birth nor of his death 
 has been ascertained. His life appears to have been 
 very gay, and therefore it is not surprising to find that 
 his productions are scarce. In his latter days he lived 
 at Parma, under the patronage of the Duke of 
 Ranuccio. Schedone was addicted to gambling, and 
 it was after losing a large sum of money that he was 
 taken ill from the grief and disappointment which his 
 loss occasioned and died, probably about 1615. 
 
 14. Christ borne to the Sepulchre. Joseph of Arimathea, sala xiv. 
 the Magdalen weeping, and other figures. Formerly 
 belonging to Count Cicognara, Canvas : I ft. 8f in. by i ft. 2^ in, 
 
 SCHIAVONE (Andrea Meldola), Venetian : 1 524-1 582. 
 Meldola was born in Dalmatia, of humble parents. 
 
IZ2 
 
 SEBASTIANI 
 
 SALA II. 
 
 SALE 
 
 PALLA- 
 
 DIANE. 
 
 He attracted the attention of Titian and eventually 
 became one of his assistants. He was a skilful en- 
 graver. The "Cicerone" says : "Schiavone vulgarised 
 Venetian art, but his vulgarity was not without power. 
 He was one of the first independent landscape painters 
 of North Italy." He died at Venice in 1582. The 
 Belvidere Gallery at Vienna contains several examples 
 of this painter, as well as the Hermitage at St. Peters- 
 burg, and the Esterhazy Collection at Buda Pesth. 
 
 4. St. John the Baptist, seated; near him appears a Lamb. 
 Background, landscape. Canvas 1 2 ft.Z in. iy 4ji. ^ in. 
 
 78. The Circumcision. Canvas: -^ft. 9I in. hy (> fi. iij in. 
 
 90. The Vision of Job. Canvas: I ft. I J in. by t,fi. 
 
 105. Landscape with Figures. Canvas: ift. i in. by 1 Ji.% in. 
 
 g. Allegory. Canvas: I ft. I J in. by I ft. S^ in. 
 
 53. Landscape. Canvas: i ft. 2^ in. by 2 ft. \0^ in. 
 
 63. Allegory. Panel: i ft. 2 in. by 1 ft. 7 J in. 
 
 5. The Infant Christ. Presented by Molin. Panel: I fi. 8J in. 
 by X ft. II in. 
 
 6. Christ weeping over Jerusalem. Presented by Molin. Panel: 
 2 ft. hy 2 ft. S in. 
 
 31. Christ before Pilate. Canvas : 2 ft- 9ir '»• h Sfi- 4i '"• 
 
 SEBASTIANI, or BASTIANI (Lazzaro). Paduan : about 
 1450 ; still living 1 508. 
 
 Bastiani was probably educated in the Paduan school, 
 but later in life he appears to have imitated Luigi 
 Vivarini. He was the companion of Carpaccio, but 
 failed to rise to the level of that painter and never 
 attained superior distinction. He was a member of 
 the College of San Girolamo at Venice. The date 
 
SIENESE SCHOOL 
 
 123 
 
 of his death is unknown, but he was still living 
 in 1508. 
 
 6g. Three Saints of the Franciscan Order. In the centre sale 
 of the composition is a tree, and seated in the midst of palla- 
 the branches is St. Francis. (?), raising his hand in °'*''^- 
 benediction. He holds a branch of lilies; a closed 
 book rests upon his knee. Below, on either side of the 
 tree, are St. Bonaventura, on the left, attired as a car- 
 dinal ; on the right, another Saint. According to the 
 Italian Catalogue, the figure seated in the tree is 
 Anthony of Padua, but according to Messrs. Crowe 
 and Cavalcaselle it is St. Onofrio, while those below 
 are SS. Mark and Jerome. On a cartello fastened to 
 the tree is the inscription " LAZARUS BASTIANUS 
 P." Formerly in San Giuliano. Panel : ^ft, 6J in. by \fi. 3 J in. 
 
 82. The Nativity. St. Joseph is seen leaning upon his 
 staff. At the sides are SS. Eustace and James, SS. 
 Nicholas and Mark. Formerly in Sant' Elena. Panel: 6 ft. 
 2 in. by d.ft. 4J in. 
 
 24. The Gift of the Relic. Filippo Mazeri returning from sala viii. 
 Jerusalem, where he had been combatting the Infidels, 
 
 with a relic of the true Cross, which he presents to the 
 Brotherhood of St. Giovanni Evangelista, 1370. For- 
 merly in the Scmla di San Giov. Evangelista, Canvas: loji. 5 J '»• 
 by nji.^in. 
 
 25. Deposition from the Cross. The Virgin supports the 
 body of Christ, while the Magdalene kneels at His feet. 
 St. John, St. Joseph of Arimathea, Nicodemus and 
 Mary Cleophas complete the scene. In the background 
 is the distant view of a town. The picture has been 
 made square at the top. Formerly in San Severo, Canvas : 
 9^. 3 ;■«. Ay S/f. si m. 
 
 SEMITECOLO. See under NICCOLO. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 SIENESE SCHOOL. Fifteenth century. 
 
 22. Five Holy Dominicans. Inscribed " BEATA CATE- corridor. 
 
124 SPANISH SCHOOL— SPEZZINI 
 
 RINA DASSIEN A " (in the centre), " BEATA GIO- 
 VANNA DA FIRENZE, BEATA VANNA DA 
 ORVIETO, BEATA MARGHERITA DA CITTA 
 DI CASTELLO, BEATA DANIELLA DA ORVI- 
 ETO." Below the figures is represented the most 
 remarkable miracle which each holy woman performed. 
 Formerly in a Dominican Convent in Murano, Panel, tempera : 2 ft. 
 f in. by 2 in. 
 
 Fourteenth or fifteenth century. 
 
 30. Coronation of the Virgin. The Virgin is enthroned, 
 holding the Child upright. The latter is in the act of 
 blessing, while two angels place the crown on the 
 Virgin's head. St. Peter and St. Paul at the sides. 
 The inscription " OPUS BERNARDINI DE SENIS," 
 is apocryphal. Presented by Molin. Panel, tempera: ^ ft. 2,^ in. 
 h 3 /'• 8i in. 
 
 SIMONE DA CUSIGHE. See CUSIGHE. 
 SPAGNOLETTO. See RIBERA. 
 
 SPANISH SCHOOL. Seventeenth century. 
 
 SALA II. 65. St. Mary Magdalene. Seated at a table with an open 
 
 book. Half-length. Canvas : ■i fi. 2I in. by z ft. ^^ in. 
 
 SPEZZINI (Francesco). Genoese: about 1550, still living 
 1578. 
 
 Spezzini was born at Genoa and was still working 
 there in 1578, which is the last date known of his 
 life. He was the pupil of Luca Cambiasi and after- 
 wards of Giov. Battista Castelli. 
 
 SALA II. ^03' Death of the Madonna. A copy. The original of this 
 
 picture is at Genoa. Copper: 3 ft. 5 in. by 2 ft. l in. 
 
 SALA in. 65. Death of the Madonna. A copy. Copper: i ft. 5J /». by 
 
 lof/n. 
 
SQUARCIONE— STEEN 125 
 
 SQUARCIONE (Francesco). (Ascribed to.) Paduan : 
 1 394-1474. 
 
 It is rather as the master of the great Mantegna that 
 Squarcione continues to live in our estimation, than 
 as one who attained any artistic greatness himself. 
 Still he must have been a cultivated and enterprising 
 man. He travelled thoughout Italy and Greece in 
 order to form a museum in his native place, collect- 
 ing antique statues, torsos, bas-rfeliefs and .designs, so 
 that Padua soon became the richest city of the period 
 in these things. His famous school was frequented 
 by upwards of a hundred and thirty students. 
 
 25. The Crucifixion. Christ in the centre ; on either side corridor. 
 the two thieves. At the foot of the cross the Marys 
 and St. John ; soldiers on foot and on horseback. 
 Presented by Molin. Panel: ^ft. S it!, by I ft. 2^ in. 
 
 STARCK (Giuseppe). 
 
 i6. Christ in the House of Mary and Martha. Canvas: 2 ft. sala 
 10 in. by 2 ft. jf in. 
 
 DELLE 
 STATUE. 
 
 STEEN (Jan). Dutch: about 1626-1679. 
 
 Jan Steen was the son of a brewer, and he himself 
 combined the trades of brewing and painting. He 
 studied painting, first under Nicolas Knupfer at 
 Utrecht, and afterwards under Van Goyen, whose 
 daughter he married. He is one of the greatest of 
 Dutch genre painters, and in some qualities is quite 
 unrivalled. 
 
 " The disgust excited by Jan Steen's usual subjects, 
 and his gross treatment of them, is considerably 
 qualified, when one knows and can appreciate his 
 inimitable power of expression and masterly execution. 
 
126 
 
 STROZZI— TERBURG 
 
 LOGGIA 
 PALLA^ 
 
 DIANA. 
 
 SALE 
 PALLA- 
 
 DIANE. 
 
 His touch combines a certainty and finish which in 
 his best works are quite exquisite." — (Poynter, 
 Ten Lectures on Art.) 
 
 24. A Woman Sleeping. Presented hy Molin. ■Panel: io\ in. hy 
 lft.6iin. 
 
 32. The Astrologer. Signed "J. Steen, 1668." Formerly in 
 the Manfrini Gallery, Panel : 2 ft. 4J in. hy 1 ft. lof in. 
 
 57. Family seated at Table. "Jan Steen has a strong 
 manly style of painting, which might become even the 
 design of Raffaelle, and he has shown the greatest 
 skill in composition and management of light and 
 shade, as well as great truth in the expression and 
 char£)cter of his figures." — (Sir Joshua Reynolds, A 
 yourney to Flanders.) Presented hy Molin. Panel : I ft. hy i ft. 
 if in. 
 
 STROZZI (Bernardo) tailed It Prete Genovese. Genoese : 
 1 581-1644. 
 
 Bernardo Strozzi, called Cappucino from his ecclesias- 
 tical character, was born at Genoa. He may be 
 classed among the less important Naturalists of that 
 time. He studied under Pietr,o Lorri, and was an 
 excellent portrait painter. 
 
 98. St. Jerome. Canvas: i ft. jo^ in. hy i ft. 6 in. 
 
 TEOFILO (Monaco), or the Monk. Greek : seventeenth 
 century. 
 
 27. The Beheading of St. John the Baptist. Dated 1642, 
 and signed in Greek. Presented hy Molin. Panel: ift.g-^in. 
 hy ift. Sin. 
 
 TEMPESTA. See MOLYN (Peter the younger). 
 
 TERBURG (Gerard). Dutch: i6i7(?)-i68i. 
 
 Terborch, or Terburg, " had the privilege of such a 
 
TIEPOLO 127 
 
 birth and breeding as gave him entrance into what 
 was pleasant and most refined in the Dutch life of 
 
 his day Born at Zwolle, a small place out of 
 
 the clatter of commercial life and movement, and 
 dying, some seventy years, afterwards, in another small 
 place — Deventer — his fortunes took liim during that 
 long interval into many lands, and there were few 
 painters of his day who had so wide an experience of 
 • the world of cities and of men." — (Wedmore, 755^ 
 Masters of Genre Tainting^ Terburgh studied at 
 Amsterdam, and afterwards at Haarlem under Peter 
 Molyn, the elder. In 1635 he visited England, 
 whence he travelled into Germany and Italy. Some 
 thirteen years later. he visited Spain, and, in 1654, 
 married and settled at Deventer. 
 
 28. A Woman Fainting. Presented by Mol'm. Canvas : 2 ft. ^ in, loggia 
 
 h 2/«. 9J in. PALLA- 
 
 DIANA. 
 
 TIEPOLO (Giovanni Battista). Venetian: 1692-1769. 
 Tiepolo was the pupil of Gregorio Lazzarini. He 
 worked in many places in Italy, but chiefly in the 
 Venetian provinces, and finally visited Spain at the 
 request of King Charles III. He died at Madrid in 
 1770. Tiepolo was an imitator of Paul Veronese ; 
 he was an able craftsman in fresco, the capabilities of 
 which he thoroughly understood, and in gaiety and 
 fuUnes of life and incident he is scarcely inferior to 
 his great model. 
 
 I. The Invention of the True Cross. St. Helena, Pope sala 
 Silvester and others in adoration. From the ceiling of the delle 
 Church of the Cafuchins at Castello. Canvas : diameter, 16 ft. 2 in. ATUE. 
 
 7. St. Joseph, who holds the Infant Christ upon a pedes- sala xi. 
 tal, surrounded by SS. Anthony, Anne, Anthony of 
 
128 TIEPOLO— TISI 
 
 Padua, and St. Peter of Alcantara, who holds a cross. 
 Formerly in the Convent of the Capuchins of Castello. Canvas : 6 ft. 
 lOj in. by i ft. lo in. 
 
 TIEPOLO (Giovanni Domenico). Venetian: 1726- (.?) 
 Domenico was the son and pupil of Giovanni Battista 
 Tiepolo, whom he assisted in some of his works, and 
 accompanied to Spain. Domenico was also a clever 
 etcher. 
 
 SALA XI. 28. The Last Supper. Formerly in the Old Acadeipy of Painting. 
 
 Canvas : /[ft. 54 in. by T,ft. l\ in. 
 
 29. The Virgin, Child and St. Joseph in Glory. St. Joseph 
 holds the Child in his arms and presents to Him St. 
 Gaetano, who is kneeling. Canvas : /^ft. 5 in. by 2 ft. 5 in. 
 
 TINELLI (Tiberius). Venetian: 1586-1638. 
 
 Tinelli was the pupil of Leandro Bassano. He 
 was decorated with the order of Saint Michel by 
 Louis XIII. of France, who invited him to the 
 French court. Tinelli, however, yielded to the prayers 
 of his mother, who could not bear to lose him, and 
 remq^ned at home. 
 
 loggia 74- Portrait of a Man. Canvas: 4 ft. 4^ in, by ^ ft, g^ in, 
 
 PALLA" 
 
 DIANA. TINTORETTO. See ROBUSTI. 
 
 TISI (Benvenuto) called Garofolo. Ferrarese : 1481- 
 
 IS59- 
 
 Garofolo, so-called from the village of that name on 
 the Po, studied first under Domenico Panetti and 
 afterwards under Boccaccino at Cremona. In 1499 
 he left Cremona secretly and went to Rome ; he soon 
 after went to Bologna where he studied under Lorenzo 
 Costa. He visited Rome again in 1509, when he 
 
TOMASELLI— TORBIDO 129 
 
 made the acquaintance of Raphael. In 15 12 he 
 returned to Ferrara, and here he remained until his 
 death in 1559. When about thirty years of age 
 Garofolo lost the use of one eye, and, for the last eight 
 years of his life, he was totally blind. According to 
 Vasari he was " cheerful of disposition, mild in his 
 converse, warmly attached to his friends, beyond 
 measure affectionate and devoted, always supporting 
 the trials of his life with patient resignation." 
 Garofolo has been called " the miniature Raphael. 
 His work is generally delicate and truthful, but varies 
 considerably under the influences of the different 
 painters he admired. He worked both in fresco and 
 in oil ; his paintings are very numerous. 
 
 61. The Virgin and Child in Glory. On the left of the sale 
 foreground is St. Augustine ; behind him St. John. On palla. 
 the right St. Peter, behind him St. Paul. The Virgin '''ANE. 
 is seated above amidst clouds. " Beautifully painted, 
 but, excepting the principal figure, unmeaning in ex- 
 pression."— (Kugler, ii.) Signed "BENVENUTO 
 GAROFALO. M.D.XVIII." Formerly in tie Parochial 
 Church of Ariam. Panel, arched at t/ie top : SJi. 6 in. by ^ft. yj in, 
 
 TIZIANO, or TITIAN. See VECELLIO. 
 
 TOMASELLI (Albano). Venetian : nineteenth century. 
 
 7. St. Sebastian. Cairvas: 2 fi- Si >"• h ^ /'• ^i '"■ SALA 
 
 DELLE 
 
 15. The wife of the Doge Foscari refusmg'to deliver the statue. 
 body of her husband to the Venetian Republic. Canvas : 
 ift. 6 in. by 1 ft. I of in. 
 
 TORBIDO (Francesco) called II Moro di Verona. Vene- 
 tian : i486, still living 1546." 
 
 Francesco Torbido was a pupil of Liberale, and 
 
 I 
 
130 TURCHI— UDINE 
 
 excelled as a portrait-painter. In the latter part of 
 his life he unfortunately fell under the influence of 
 Giulio Romano and the Roman School. 
 
 SALA XIV. 21. Portrait of an old Woman, holding in her hands a 
 
 cartello, bearing the inscription "COL. TEMPO." 
 
 Formerly in the Manfrini Gallery. Canvas i 2, ft. 3f in. by 2 ft. 
 
 TURCHI (Alessandro) called l'Orbetto. Veronese: 1580- 
 1651. 
 
 Turchi was a pupil of Brusasorci and, after that 
 painter's death, is said to have studied in Venice ; 
 finally he settled in Rome, where he died in 1651. 
 He imitated Annibale Caracci and Guido Reni, and 
 may be said to belong to the Eclectics. 
 
 SALA n. 104. Imprisonment of Jesus Christ. Stone: ift. 6| in. by i ft) 
 
 48 '■»• 
 SALA XIV. 42. The Dead Christ. Presented by Molin. Stone: 6 in. by S^ in. 
 
 UDINE (Giovanni da). (Ascribed to.) 1494-1564. 
 
 Giovanni received his first impressions in art from 
 Venice, and may even have been in the school of 
 Bellini. He afterwards went to Rome, where he was 
 employed by Raphael in executing the decorative 
 details of his frescoes. After Raphael's death Gio- 
 vanni was employed by Pope Clement VII. He 
 subsequently worked at Florence and Udine, but 
 returned to Rome, where he died in 1564. 
 
 SALA II. no. Virgin and Child, with St. Joseph. Behind the Virgin 
 
 are two female Saints ; possibly the one holding a small 
 jar is Mary Magdalene. This picture has suffered from 
 age and restoration. Panel : ift. 6J in. by T,ft. 1 in. 
 
 UDINE (GiROLAMO da). Venetian : flourished 1540. 
 
 Girolamo was born in Udine, whence he takes his 
 
UMBRIAN SCHOOL— VALESA 131 
 
 name. He was the pupil of Pellegrino da San 
 
 Daniele. 
 20. Temperance. sala ix. 
 
 23. Justice. Formerly in the Magistrato della Teritaria dell' Olio. 
 
 Canvas; Each (>ft. 2^ in. by 2, ft. 6f in. 
 
 UDINE (Martino da). See PELLEGRINO. 
 
 UMBRIAN SCHOOL. Fifteenth Century. 
 
 6. Marriage of St. Monica. Inscribed " S. MONICA E sala i. 
 MARITATA DAL PADRE E DALLA MADRE." 
 
 Presented by Molin. Panel : i ft. 6 in. by I ft. i in. 
 
 UNKNOWN. 
 
 13. Twenty-six miniatures, &c., in two frames. Copper: ift. sala hi. 
 2f in. by I ft. 7 J in. 
 
 22. Frame with ten divisions. In the centre is a copy of 
 Michael Angelo's " Last Judgment." Copper : i ft. 7J in. 
 
 Seventeenth Century. 
 
 60. St. Helena. The Saint stands upright, crowned, with 
 the cross in her right hand. Panel: 10 in. by 7 J in. 
 
 55. Copy of the Portrait of Andrea Verocchio. Dressed in sale 
 black with a cap on his head, his hands resting upon palla- 
 each other, and holding a roll of paper in his left. °iane. 
 Panel: I ft. 8f in. by I ft. 3 J in. 
 
 VALESA (Jacopo da). Fifteenth century. 
 
 Jacopo da Valesa, or Valencia, was a pupil of the 
 Vivarini, and the influence of these painters on 
 his work is very marked. His earliest work is dated 
 1485, and he was working in Serravalle at the begin- 
 ning of the sixteenth century. Jacopo was a poor 
 colourist. 
 z8. Virgin and Child enthroned between St. Augustin and salb 
 
132 
 
 VAROTARI 
 
 PALLA- 
 
 DIANE. 
 
 SALA VII, 
 
 St. Giustina. "A hard, raw picture, reminiscent of 
 Bart. Vivarini'. The sky new." — (Crowe and Caval- 
 caselle. Painting in N. Italy, i.) Inscribed " JACOMO DE 
 VALEZA PINXE, 1509." Formerly in the Convent of St. 
 Giustina, Serravelle, Panel: ^ft. loj in. by ^ft. 7J in. 
 
 VAN DYCK. See DYCK. 
 
 VAROTARI (Alessandro), called II Padovanino. Paduan: 
 1590-1650. 
 
 Alessandro was the son of Dario Varotari, a Veronese 
 painter. Losing his father when very young, Ales- 
 sandro went to Venice, where he studied, and after- 
 wards imitated, the works of Paul Veronese and 
 Titian. He resided chiefly at Padua and Venice, and 
 died at the latter place in 1650. He was very suc- 
 cessful as a painter of children,, and also as a landscape 
 painter. 
 
 2. The Wife of Darius. Canvas : T,ft. loj in. by T,ft. 4J in. 
 
 8. Vanity. Canvas: T,ft. 8| in. by 2,ft. 3J in. 
 10. Orpheus and Eurydice. Canvas : ^ft. 4J in. by -^ft. gj in. 
 42. An Allegory (?) Canvas : ift. 7 in. by ift. 2 in. 
 44. An Allegory. Canvas: 2 ft. 4I in. by 2. ft. 3f in. 
 52. Child and Dog. Canvas: ift. 7 in. by i ft. 9J in. 
 
 57. The Rape of Proserpine. Canvas .- 5 ft. i| in. by 6 ft. 
 
 2j in. 
 
 62. Herodias with the Head of John the Baptist. Canvas : 
 Zft. %l in. hy Ift. 3 in. 
 
 81. Scene at the Siege of Jerusalem. A Hebrew mother 
 killing her child to save it from falling into the hands 
 of the Romans. Canvas : T,ft. loj in. by -3, ft. 3J in. 
 
 14. Descent of the Holy Spirit. Signed " ALEXANDRI 
 VAROTARI OPUS." Formerly in the Scuola dello Sfirito 
 Santo, Padua. Canvas: l^ft. 4 in. by y ft. I in. 
 
VAROTARI (DARIO)— VECELLIO 133 
 
 6. Virgin and Child. St. John the Baptist, St. Francis of sala xv. 
 Assisi, and St. Anthony. The Virgin is seated upon 
 a pedestal; behind is a marble pillar. Inscribed 
 " PICTOR PATAVINUS F." Formerly in the Church of 
 the Ser-vi.- Canvas : gft. 2 J '«■ by t^ft. 4 J in. 
 
 8. The Virgin in Glory with Angels. Formerly in Santa Maria 
 Maggisre. Canvas: Sft. 7 in. by ^ft. 4 J in. 
 
 25. The Marriage at Cana. This picture is generally con- 
 sidered to be Varotari's masterpiece. " He did not get 
 beyond the imitation of Titian and Paolo, and mixed 
 with these studies a somewhat lifeless idealism. Still 
 his marriage of Cana is a very considerable and beauti- 
 ful work^— (Burckhardt, The Cicerone.) Signed ■• ALEX- 
 ANDER VAROTARI PICTOR PATAVINUS F. 
 MDCXXII." Formerly in the Convent of San Giovanni di yerdaraj 
 Padua. Canvas: II ft. ^ in. by Tpft. II J in. 
 
 35. A Saint, in Deacon's Orders, restored to sight by the 
 intercession of the Virgin. Formerly in Santa Maria Mag- 
 giore. Canvas: % ft. 7 in. by ^ft. 3 J in. 
 
 VAROTARI (Dario), the elder. Venetian: 1539-1596. 
 Dario Varotari was the father of Alessandro, and is 
 said to have been a pupil of Paul Veronese. 
 
 44. The Visitation of St. Elizabeth by the Virgin. Formerly SALA VII. 
 in Sta. Maria Nuova. Canvas : 12 ft. 6^ in. by ^ft. 3|f in. 
 
 VECELLIO (Titian), da Cadore. Venetian : 1477- 
 1576. 
 
 Titian, the greatest of all Venetian painters, was born 
 in 1477, of an ancient family called Vecellio. Pieve 
 di Cadore, the place of his birth, was a little mountain 
 town among the Dolomite Alps, so that his earliest 
 influences were those of the grandest and most 
 beautiful scenery. 
 At the early age of nine, having shown, it, is said, _ 
 
13+ VECELLIO 
 
 signs of precocious talent, Titian was taken by his 
 father to Venice and apprenticed, first to Zuccato, 
 and afterwards to the Bellini. At thirty years of age 
 he painted, in conjunction with Giorgione, the fres- 
 coes of the Fondaco dei Tedeschi. The two painters 
 were probably nearly of the same age, but it is the 
 universal opinion that Titian was much influenced by 
 his great contemporary, and works of their early period 
 are difficult to distinguish. Venice was Titian's per- 
 manent place of abode, but he also worked in Padua, 
 Ferrara and Mantua. 
 
 In 1 51 1 Titian painted some frescoes in the Scuola 
 del Santo at Padua ; at a later period he executed' 
 several works for Alfonso I. of Ferrara. After Giov. 
 Bellini's death he finished the works which that 
 master had left incomplete in the Great Hall of 
 Council in the Ducal Palace, and succeeded him in 
 the office of Sensaria. In 1530 Titian was invited to 
 Bologna, where the Emperor Charles V. sat to him 
 for his portrait. After that he went to Mantua with 
 the Duke Federigo Gonzaga, but returned to Bologna, 
 and painted a second portrait of the Emperor in 1532. 
 Titian paid one visit to Rome, where he painted 
 Paul III., and met Michael Angelo. Perhaps few 
 painters have been more famous and highly esteemed 
 during their life than Titian. Honoured by princes 
 and nobles, he counted among his friends the poets 
 and philosophers of his time. He was frequently 
 employed by Charles V. and Philip II. of Spain. 
 Titian lived to be ninety-nine years of age, and up to 
 the last he coritinued painting. He died of the 
 plague on August 27, 1576. 
 SALA VII. *2i. The Presentation of the Virgin at the Temple. "It 
 
VECELLIO 13s 
 
 was in the nature of Titian to represent a subject like 
 this as a domestic pageant of his own time, arid seen 
 in this light, it is exceedingly touching and surpris- 
 ingly beautiful. Mary, in a dress of celestial blue, 
 ascends the steps of the Temple in a halo of radiance. 
 She pauses on the first landing place, and gathers her 
 skirts, to ascend the second. The flight is in profile 
 before us. At the top of it the high priest in Jewish 
 garments, yellow tunic, blue undercoat and sleeves 
 and white robe, looks down at the girl with serene and 
 kindly gravity." — (Crowe and Cavalcaselle, Life of Titian, 
 ii.) Painted for the Scuola della Carita. Canvas : II ft, ^ in, by 
 Zift, 6i in. 
 
 16. St. John the Baptist. " Titian never forgot the grace sala ix. 
 of the open woodland, and in the ' St. John in the 
 Wilderness,' now in the Venice Academy, painted 
 when he was nearly eighty years of age, the scattered 
 trees upon a bank, tall and slim, wave in a gentle air 
 that answers to a bright rush of water beneath, and 
 make a charming scene of picturesque solitude. It is, 
 however, in his drawings that we are most struck with 
 Titian's abounding love for trees." — (Josiah Gilbert, 
 Landscape in Art^ Formerly in Sta. Maria Maggiore, Canvas : 6 ft, 
 S '"■ h 4/'- S '»• 
 
 The frieze of small panels running round this room sala xiii. 
 containing cherubs' heads, symbols of the Evangelists 
 and masks, is by Titian, with the exception of one or 
 two panels by Giuseppe Lorenzi. They originally 
 formed part of the ceiling of the Scuola di St. Giovanni 
 Kvangelista. " They are finely coloured, of golden 
 tone, and executed with great mastery, but some of 
 them — the cherubs especially — are injured by stippling." 
 — (Crowe and Cavalcaselle, Life of Titian, ii.) 
 
 *i. Assumption of the Virgin. This picture was painted sala xv. 
 in 1516-18 for the Church of the Frari, where it was 
 first publicly exposed on March 20, 1518. It must be 
 remembered that neither the light nor the present 
 situation of the picture is that for which Titian intended 
 
136 VECELLIO 
 
 it. The Apostles are grouped below, a " somewhat 
 confused and altogether stormy group," says Luebke. 
 " The truest burst of glowing inspiration ; how greatly 
 the Apostles long to float up to the Virgin ! " says The 
 Cicerone. " She stands light and firm on the clouds 
 which yet are ideally conceived, not mathematically 
 real ; her feet are quite visible ; her red robe contrasts 
 with the strongly waving dark blue mantle fastened in 
 front ; her head is surrounded with rich hair. But the 
 expression is one of the highest inspirations which art 
 can boast ; the last earthly ' bonds are burst ; she 
 breathes celestial happiness."— (Burckhardt, The Cicerone.) 
 This picture, which Titian executed in his fortieth 
 year, became so dimmed with candle-smoke and was so 
 ill-kept that Vasari wrote, " It can scarcely be seen." 
 The French did not think it worth carrying to Paris. 
 The lower part has suffered from extensive restoration, 
 especially the scarlet garment of St. Peter. Signed 
 "TICIANUS." Formerly in the Church of the Frari. Panel: 
 2.2 ft. 9 in. by lift. loj in. 
 
 VECELLIO (Titian) and Palma the younger. 
 
 4. The Deposition from the Cross. Christ lying in the 
 lap of the Virgin attended by the Magdalene and 
 St. Joseph of Arimathea. On either side of the niche, 
 in the background, are statues of Moses and the Helle- 
 spontic Sibyl, and on a scutcheon at the Sibyl's feet 
 are the arms of Titian. This large work, which was 
 begun when Titian was more than ninety-nine years 
 old, was interrupted by his death and left to Palma 
 Giovine to finish. Between this picture, and that of 
 the Assumption, there is a space of an ordinary man's 
 life-time — a period of sixty years. Formerly in Sant Angela, 
 now demolished. Canvas : 1 1 ft. 6i in. by 6 ft. 3 J in. 
 
 VECELLIO (Titian). (Ascribed to.) 
 
 15. The Visitation of St. Elizabeth by the Virgin. In the 
 background St. Joseph and Zacharias. This greatly 
 
VECELLIO 137 
 
 repainted picture is accepted by some connoisseurs as 
 a genuine Titian. It is, however, greatly injured. 
 Formerly in the Convent of Sant Andrea^ noiv suppressed. Canvas ; 
 7 ft- h 4 ft- 9i '■»• 
 22. Portrait of an Old Lady. According to tradition, this sala xiv. 
 portrait is the mother of Titian, but there is little 
 authority for this supposition. Presented by Molin. Panel: 
 I ft. 6J in. by I ft. 2| in. 
 
 TITIAN. (School of.) 
 
 46. A Portrait. Half-length. Canvas: \ft. io| in. by \ ft. 5 in. sale 
 
 PALLA- 
 
 VECELLIO (Titian). (Copy of.) ''''"'^• 
 
 14. Venus and Adonis. Canvas: 2 ft. f in. by ift. 9J in. sala n. 
 
 VECELLIO (Francesco). Pieve di Cadore : 1483-1560. 
 Francesco, the elder brother of Titian, was a soldier in 
 the earlier part of his life, and actively engaged during 
 the wars of the League. When he returned home, 
 and took up painting, it is said that Titian became 
 somewhat jealous of his brother's artistic powers, "a 
 questionable statement ; any way their brotherly inter- 
 course does not seem to have been chilled At 
 
 last, in the year 1560, at the age of eighty-five, and 
 under the roof that had sheltered his birth, the old 
 soldier, artist, corn-dealer, timber merchant, and town 
 councillor, ended his chequered, but always honour- 
 able, career." — (Josiah Gilbert, Cadore.) 
 
 52. Virgin, Child, and St. John the Baptist. Canvas: 2fi- sale 
 6 in. by 5 ft. 6 in. PALLA- 
 
 •^ •'■' DIANE. 
 
 58. The Annunciation. Formerly in San Domenico of Castcllo, new sALA Vll. 
 demolisied. Canvas: J ft. lO in. by 6 ft. I J in. ' 
 
 VECCHIA. See MUTTONI. 
 
i3« VELDE 
 
 VELDE (Adriaen van de). Dutch : 1635-6-1672. 
 
 Adriaen van de Velde, the brother of William the 
 younger and son of William the elder, was born at 
 Amsterdam. He became the pupil of Wynants, and 
 afterwards studied under Wouwermann. Adriaen 
 van de Velde is one of the best of the " Little 
 Masters " of Holland. He frequently painted the 
 figures in the pictures of Ruisdael, Van der Heyde, 
 Hobbema -and other painters ; he himself painted 
 landscapes, figures, and animals with equal facility. 
 
 6. Landscape with Windmill, Figures, and Horses. 
 Coffer : lO J in. by ift. i in. 
 
 7. Rainy Landscape with Figures and Horses. Coffer: 
 
 10. Landscape with Combatants. Coffer : 10 in. by ift. i in. 
 
 11. Landscape with a Lake. Coffer : loj in. by ift. 2 in. 
 
 14. Skaters. Coffer : lOj in. by i ft. 2 in. 
 
 15. Storm at Sea. Coffer: loj in. by ift. 2 in. 
 
 27. A Ruined Castle. Two people on horseback, and an 
 artist sketching. Coffer ; loj in, by i ft. 2 in. 
 
 28. Landscape with people dancing. A fountain, church, 
 and houses. Coffer : loj in. by i ft. 2 in. 
 
 2g. Mountainous Landscape with Castle and Bridge. 
 Coffer : loj in. by I ft. 2 in. 
 
 30. Country People returning from their Work. Coffer: 
 
 34. A Country Mansion. People walking in the gardens. 
 Coffer : 4 ft. I j in. by ift. ij in. 
 
 VELDE (William van de) the younger. Dutch : 1633- 
 1707. 
 
 The son of an artist of the same name, William van 
 de Velde was born at Amsterdam. Both father and 
 
VENETIAN SCHOOL 139 
 
 son were the most renowned sea-painters of their time ; 
 they established themselves at Greenwich, and 
 Charles II. granted them pensions of ^^ 100 a year. 
 But let lovers of Ruskin take notice that he fails to 
 find anything whatever admirable in these sea- 
 painters. 
 
 65. Sea-piece. Presented by Molin. Canvas: i ft. 7J in. by 2 ft. LOGGIA 
 4 in. . PALLA- 
 
 DIANA. 
 
 VENETIAN SCHOOL. Fourteenth century. 
 
 g. The Passion of Jesus Christ. This panel is divided sala i. 
 into six parts; it is painted in tempera on a gold 
 ground, and is Byzantine in style. Presented by Molin. 
 Panel: I ft. 4 J in. by I ft. SJ /».' 
 
 12. Altar-piece divided into three parts. Centre, Christ 
 crucified, with the Virgin and St. John at the foot of 
 the cross; SS. Jerome and Augustine in the side 
 panels. Inscribed "JACOBUS ALBEREGNO 
 PISIT." This signature is apocryphal. Presented by 
 Molin. Panel: 1 ft. i^^ in. by I ft. 10^ in. 
 
 20. Altar-piece. See under Niccol6, page gi. 
 
 32. Four small panels representing the Entombment, corridor. 
 Resurrection, Ascension, and the Descent of the Holy 
 Spirit. Presented by Molin. Panel, tempera: 2, ft. if in. by ift. 
 7i •«■ 
 
 34. Pieti. Christ, the Virgin, St. John and Nicodemus. 
 The signature "JACOPUS AVANZI. MCCCLXVII." 
 is apocryphal. Panel : ift. 5f in. by ift. 2 in. 
 
 35. Piet4. The Virgin and Child, St. John the Baptist and 
 St. Joseph. Presented by Molin. Panel: 2 ft. 4 in. by ift. Sin. 
 
 Sixteenth century. 
 
 18. St. James. Inscribed " MARCI ZOTTI OPUS." sala i. 
 According to the Italian catalogue this signature is 
 false, but the painting is greatly injured and the author- 
 
I4-0 
 
 VENEZIANO (ANTONIO) 
 
 SALE 
 
 PALLA- 
 
 DIANE. 
 
 SALA XIV. 
 
 ship involved in doubt. Presented by Malm. Panel : i ft. 
 6 in. by i ft. 2 in. 
 
 5. Portrait of a Man with a black cap and longhair. Panel: 
 8 in. by loj in. 
 
 64. Portrait of a Woman. Panel: 6f in. by 4J in. 
 
 15. St. Benedict and two kneeling Nuns. Presented by Molin. 
 Panel : ^ft. 3J in. by I ft. 7J in. 
 
 26. St. Maurice going to Martyrdom. St. Maurice was the 
 leader of the Theban legion who refused to renounce 
 their Christianity at the command of the Emperor 
 Maximin (about A.D. 286). Presented by Molin. Panel, tem- 
 pera: I ft. II J in. by 2 ft. 2| in. 
 
 3. Portrait of a Venetian Noble. Half-length. Formerly in 
 the Procuratie Numie. Canvas : 2, ft. 3J in. by 2 ft. 2j in. 
 
 32. The Virgin and Child. The latter holds a flower in 
 His left hand. Bequeat/ied by Marzari G. di Verona. Wood: 
 ^fi- 7i >"■ h I /'■ 8 in. 
 
 Seventeenth century. 
 
 SALA III. 38. A Youthful Head. Panel: 6i in. by 5f in. 
 
 VENEZIANO (Antonio). Florentine: painted 137c- 
 1387- 
 
 Antonio Veneziano, though born in Venice, in the 
 latter half of the fourteenth century, belongs to the 
 Florentine School. His family name was probably 
 Longhi. According to Vasari, Antonio wras the pupil 
 of Agnolo Gaddi, but as these two painters were 
 nearly of an age, it seems unlikely that one should 
 have been the pupil of the other. Antonio's style 
 more resembles that of Taddeo Gaddi. Antonio 
 worked at Sienna in 1370 ; and in 1386-7 at Pisa. He 
 forms an important link in the chain which unites 
 Orcagna to Masolino, Angelico and . Masaccio, for 
 
VENEZIANO (LORENZO) 
 
 141 
 
 though the naturalism of his art lacks something of 
 the dignity of the early Giottesques, he maintains, 
 and develops, the impulse they had given to realism. 
 
 g. A Triptych. Christ on the Cross, with the Virgin and 
 St. John Evangelist ; below, the Virgin and Child. At 
 the sides, the Annunciation, St. John the Baptist and St. 
 Jerome. Signed " ANTONIUS VEN 1358." 
 
 Presented by Molin. Panel, tempera : I ft. 2f in. by i ft. 4f w. 
 
 VENEZIANO (Lorenzo). Venetian : painted 13 57-1 379. 
 
 Lorenzo was a follower of Faiilus of Venice. He is 
 mentioned by Zanetti and Lanzi, and there is a docu- 
 ment, quoted by Cicogna, showing that he contributed 
 money to the prosecution of the Chioggian war in 
 1379, but the details of his life are unknown. 
 
 10. Altar-piece. Centre, the Annunciation ; at the Virgin's 
 feet kneels a diminutive figure of Domenico, of the 
 noble house of Lion, for whom the picture was painted 
 in 1357. In the panels are SS. Francis, Dominic, Mary 
 Magdalen, St. John the Evangelist, and- SS. Anthony, 
 John the Baptist, and the Apostles SS. Paul and Peter. 
 In the upper division eight Saints of the Old Testa- 
 ment ; in the centre, the Almighty.* Below are the 
 five hermit Saints — Hilary, Macarius, Sabba and Theo- 
 dore, in the midst of whom is Paul of Thebes, the first 
 hermit. Inscribed " MCCCLVII HEC TABELLA 
 F. ca FUIT & HIC AFFISSA P. LAURECIUM 
 PICTOREM CANINUM SCULTOREM IT PERE- 
 GIS VEN VIRI D.NI FRIS COTI DABBATIB D. 
 FLOTIOIS & FUNTO MONIS ISTI." On the right 
 
 another inscription " HANC TUIS S.AGNES 
 
 TRIUMPHATO. ORBIS DOMINICUS LION EGO 
 NUNC SUPPLX ARTE PREPOLITAM DONO 
 TABELLAM." From the Church of Sant Antonio di Castello, 
 since demolished. Panel : lift. 5 J in. by l^ft. 3J in. 
 
 * This is the work of Benedetto Diana. 
 
142 
 
 VERONESE SCHOOL— VITRULIO 
 
 CORRIDOR. 15. St. Mark and St. Peter. Inscribed " MCCCLXXI 
 
 MESE NOVEB. LAURECI. PINXIT HOC OP." 
 
 Formerly in the Officio delta Seta, Rialto. Panel, tempera : 3/f. 7| in. 
 by 2 ft. loj in. 
 
 17. Altar-piece. Centre, the Annunciation ; at the sides, 
 SS. John the Baptist and Nicholas, SS. James and 
 Stephen. Signed "MCCCLXXI LAURECI PIN- 
 SIT." Formerly in the Confraternita di St. Giov. Evangelista. 
 Panel, tempera : ■^ft. 7J in. by ^ft. IlJ in. 
 
 VERONESE. See CALIARI. 
 
 SALE 
 
 PALLA- 
 
 DIANE. 
 
 VERONESE SCHOOL. Sixteenth century. 
 
 19. The Field of Bethulia ; Judith and Holofernes. This 
 picture probably once formed part of an old Italian 
 cassone. Presented by Molin. Wood: 1 ft. 2% in. by a, ft. "]% in. 
 
 57. Ecce Homo. Bequeathed by Marzari di Verona. Panel : 2 ft. 
 1 4 in. by I ft. 8 in. 
 
 VIGRI (Caterina). Bolognese : 141 3— 1463. 
 
 The blessed Caterina Vigri was an Ursuline nun. 
 She attained a certain degree of proficiency in her 
 art, but her work tends to the old Byzantine style. 
 
 SALA I. 7. St. Ursula and four Virgins. Signed " CATERINA 
 
 VIGRI F. BOLOGNA, 1456." Presented by Molin. Panel: 
 2ft.i in. by 1 ft. 4! in. 
 
 VISENTINI (Antonio). VENETlA^f : J688-1782. 
 SALA XI. 19- Architecture. Canvas : 4/^ 2J i". by 3 ft. § in. 
 
 VISENTINO. See MICHIELI. 
 
 VITRULIO. Venetian : flourished in the latter half of 
 the sixteenth century. 
 SALA vii. 57. An allegory of the creation of the Magistrate del Monte 
 
VIVARINI 143 
 
 • Novissimo. Inscribed " MONTE GRAVISSIMO ET 
 CERVICIBUS REIPUB. SUBLATO. G.P. 1359." 
 Formerly in the Monte NovissimOj Rialto. Canvas: 6 Jt, 8 /«. hy 
 4ft. Ili in. 
 
 VIVARINI. 
 
 In the island of Murano, once the resort of the 
 wealthier citizens, where much of the Venetian glass 
 is now made, there arose, in the fifteenth century, a 
 little school of painters known as the Vivarini. These 
 artists were among the first of the Venetians to break 
 with Byzantine traditions, and to be influenced by the 
 realism of their times. Venetian art, from whatever 
 cause, was quite a century behind that of the rest of 
 Italy. 
 ' The first of the Vivarini, Antonio da Murano, appears 
 to have worked with another painter for about ten 
 years, 1440 to 1450. This painter, who signs himself 
 " Johanes Alamanus," is thought, from his signature, 
 to have been a German. As German influence is 
 traceable in his work, this may have been the case, 
 but for Venetians the name " Alamanus " might 
 signify any one north of the Alps. 
 In 1450 Johanes Alamanus disappears, and we find 
 Antonio Vivarini working with a younger brother, 
 Bartolomeo. This partnership did not last long. 
 Antonio is known to have been alive in 1470, but, 
 except in a few instances, Bartolomeo worked alone 
 after 1450. He was greatly Antonio's superior as an 
 artist, and strongly Paduan in his tendencies. His 
 figures are seldom graceful, though they are generally 
 dignified. In 1470 the current of Venetian art was 
 disturbed by the advent of Antonello da Messina, and 
 Bartolomeo Vivarini was among the first to feel this 
 
14+ VIVARINI 
 
 new influence. He is said to have painted the first 
 picture in oils that was exhibited at Venice. 
 A third Vivarini, Luigi or Alvise, was probably the 
 pupil of Bartolomeo ; but in what relationship he stood 
 to the latter is not known. With Luigi, the fame of 
 the Vivarini rose to its highest point ; as- Bartolomeo 
 had surpassed Antonio, so Luigi surpassed Bartolomeo, 
 It is evident that Luigi was much influenced by Giov. 
 Bellini. In 1488 we find him praying the Signoria 
 for. permission to paint in the Hall of Council in the 
 Ducal Palace, in the method used by the brothers 
 Bellini — that is to say, in oil. His request was 
 granted, but death intervening, Giov. Bellini put the 
 last strokes to the canvas in the Council Hall, and it 
 was left for Basaiti to finish Luigi's altar-piece in the 
 church of the Frari. Luigi Vavarini is believed to 
 have died about 1503. He ranks high among Vene- 
 tian painters of the fifteenth century, and in him 
 Venice lost one who, in the estimation of some, might 
 have rivalled Giov. Bellini himself. 
 Antonio da Murano and Joannes Alamannus. 
 Giovanni or Joannes Alamannus painted 1440-1450. 
 Antonio da Murano painted 1435-1470. 
 
 14. Coronation of the Virgin. " The arrangement of the 
 subject generally is simply realistic, and in some things 
 as quaintly grotesque, as we might expect from Jaco- 
 bello [del Fiore]. We see nowhere, except in the 
 Venetian School, a Paradise in which angels and 
 seraphs, prophets, patriarchs or apostles, saints or 
 martyrs, are ranged in tiers at the sides of a pulpit on 
 pillars. We must go back to Cimabue to discover the 
 four doctors beneath the Virgin's chair. In Venice 
 alone we find St. Gregory, St. Augustin, St. Jerome 
 and St. Nicholas sharing the honours of the throne 
 
VIVARINI 145 
 
 with the four Evangelists and their symbols, and the 
 
 angels bearing the emblem of the passion A 
 
 certain shortness and helplessness in the figures, a 
 painful rudeness in the extremities, as well as in the 
 definition of detail, and the impression of the work is 
 all but complete. The redeeming features in it are 
 those which prove the influence of the Umbrian and 
 perhaps the German education in the painters." — 
 (Crowe and Cavalcaselle, Pamting in N. Italy, i.) Signed 
 "JOANNES ET ANTONIUS DE MURANO. F. 
 MCCCCXXXX." Presented by H^olin. Panel, tempera: "J ft. 
 6i in- by Sft. 9i In. 
 
 29. Madonna enthroned. Child and Saints. " The Virgin 
 sits upon a throne, under a rich canopy, sustained by 
 four little angels. She looks out of the picture with a 
 most dignified, tranquil goddess-like expression ; she 
 wears, as usual, the crimson tunic and blue mantle, the 
 latter being of a most brilliant azure ; on her brow a 
 magnificent jewelled crown ; the Divine Child stands 
 on her knee, and raises His little hand to bless the 
 worshipper. To the right of the Virgin, and on the 
 platform Of her throne, stands St. Jerome, robed as 
 cardinal, and bearing his church, with St. Gregory, 
 habited as pope. To the left stands St. Ambrose, 
 holding his crosier and knotted scourge, and St. 
 Augustine with his book. This is a wonderful picture, 
 and, as a specimen of the early Venetian School, un- 
 equalled. The accuracy of imitation, the dazzling 
 colour, the splendid dresses and accessories, the grave 
 beauty of the Madonna, the divine benignity of the 
 Infant Redeemer, and the sternly thoughtful heads of 
 the old doctors, are not only positively fine, but have a 
 relative interest and value, as being stamped with that 
 very peculiar character which belonged to the Vivarini 
 and their immediate followers. It was painted for the 
 Scuola della Carit^."— (Jameson, Saa-ed and Legendary Art.) 
 Inscribed " M.446, JOHANES ALAMANUS-ANTO- 
 NIUS D. MURIANO PIX." Two angels to the right 
 are repainted, as well as part of the dress of the angel 
 
146 VIVARINI 
 
 on the left, nearest the Virgin. Scmla delta Cariia. Can- 
 ■uas, tempera : llji-i in. by l^ft. 10 in. 
 
 SALA IX. 10. The Annunciation : the Virgin. 
 
 12. The Annunciation: the angel. These panels have 
 suffered much from repainting. Morelli considers the 
 workmanship to be that of Dario of Treviso, and not 
 that of the Vivarini. Formerly in the Scmla delta Carita. Tem- 
 pera ; eack panel ^ft. 11^ in. by 2ji. 6 in. 
 
 ANTONIO DA MURANO. (Ascribed to.) ' 
 
 CORRIDOR 16. St. Lawrence. Tempera, panel : 2 ft. l\ in. by 2,1 in. 
 
 VIVARINI (Bartolomeo). Muranese : painted 1450- 
 1499. 
 
 SALA I. I. Altar-piece. Virgin enthroned ; left, St. John the Bap- 
 
 tist and St. Andrew; right, SS. Dominic and Peter. 
 " The tendency to imitate statuary in the Child who 
 sleeps on the Virgin's lap, a recurrence to old and tra- 
 ditional types, an overweight of broken and angular 
 folds in the dresses, and a partiality to leanness in the 
 forms of the saints in niches at the sides, characterise 
 a work conceived in the old monumental shape ; but 
 the figures are improved in stature and in attitude, the 
 drapery has more meaning, and the extremities are 
 better drawn ; whilst the" light and highly-fused flesh 
 tone is relieved by a deeper and better defined shadow." 
 — (Crowe and Cavalcaselle, Painting in N. Italy, i.) This 
 picture is greatly injured by repainting ; blue mantle of 
 the Virgin new; blue tunic and yellow mantle of St. 
 Peter renewed. Inscribed "OPUS. BARTOLOMEI. 
 VIVARINI. DE MURANO. MCCCLXIII." Formerly 
 in the Church of Sant Andrea della Certosa. Panel, tempera: 6ft, 
 7 '»■ h 1ft- 3 '»• 
 
 15. St. Mary Magdalene. From the Church of San Gemignano, since 
 demolished. Panel, tempera 1 l^ft. 7 J in. by i ft. 8 in. 
 
VIVARINI 147 
 
 21. St. Barbara. Patron saint of armourers and gunsmiths, 
 of firearms and fortifications. Her aid is invoked 
 against thunder and lightning, and all accidents arising 
 from explosions of gunpowder. She generally holds a 
 tower, to represent the one in which, like Danae, she 
 was confined by her father. Inscribed " BARTHO- 
 LOMEUS VIVARINUS DEMURANO PINXIT, 
 1490.'' From the Church of San Gemignam. Panel s /^ ft. "j^ in. by 
 1 ft. 8 in. 
 
 12. Altar-piece. Above, Christ and two angels ; below, in corridor. 
 the centre, the Nativity; on the left, SS. Peter, John 
 the Baptist, Andrew and Francis' of Assisi; right, SS. 
 Paul, Jerome, Dominic, and Theodore. The predella 
 is divided into thirteen parts, Christ in the centre, and 
 the twelve Apostles at the sides. Inscribed beneath 
 the Nativity "HOC OPUS SUMPTIBUS DOMINI 
 ANTHONII DE CHARITATE CANONICI ECCLE- 
 SIE DE CONVERSANO IN FORMAM REDAC- 
 TUM EST. 1475." It is also signed on the predella 
 "OPUS FACTUM VENETUS [sic] PER BAR- 
 THOLOMEUM VIVARINUM " Panel, tempera: 
 
 Sf'- 3 '»• h 9fi- 3 '«• 
 
 28. Christ enthroned with SS. Augustin and Francis. In- 
 scribed " MCCCC6VIIII Adf II Gener." Formerly in the 
 Magistrato del Catla-Oer. ^ft. 6 in. by Sft. J in. 
 
 VIVARINI (Bartolomeo). (School of.) 
 
 23. Virgin, Child and four Dominican Saints : SS. Thomas 
 Aquiiias, Dominic, Peter, and St. Vincent. The in- 
 scription " B. VIVARINI," is probably false. This 
 panel is greatly injured. Presented by Molin. Panel, tempera : 
 1 ft. 61 in. by Z ft. 
 
 VIVARINI (LuiGi or Alvise). Venetian : painted 1480- 
 1503- 
 16.. St. Matthew. This panel has been greatly repainted, sala i. 
 
148 
 
 VIVARINI (LUIGI) 
 
 SALE 
 
 PALLA- 
 
 DIANE. 
 
 22. St. John the Baptist. From t/ie Church- of St. Pietro Martin di 
 Murano. Panel: Each nft. 3 J in. by I ft. gj in. 
 
 23. St. Sebastian. 
 
 24. St. Anthony. 
 
 25. St. John the Baptist. 
 
 26. St. Lawrence. These fmr faneh were formerly in the Chiesa della 
 Carita. Panel, tempera 1 Each 2 ft. 5i '». iy I ft. 6 in. 
 
 27. St. Chiara (Clara) of Assist. St. Clara was the daughter 
 of noble parents ; she renounced the wealth which she 
 inherited, and the many offers of marriage which she 
 received on account of her great beauty, to lead an 
 austere life. She fled from her home one evening to 
 seek the advice of St. Francis, who recommended her 
 to take refuge in the convent of San Paolo. She after- 
 wards formed an order. Her rule was as strict as that 
 of St. Francis, and like his, voluntary poverty was its 
 distinguishing characteristic. Formerly in the Church of San 
 Daniele. Panel : Sft.iy I /'. 3 in. 
 
 23. The Annunciation. The Virgin kneels with crossed 
 hands. This picture is heavily repainted. Formerly in 
 San Giov. Evangelista. Panel ;. 5^*. 2J in. by 2, ft. '10 in. 
 
 II. Virgin and Child enthroned. At the sides SS. Joachim, 
 Francis of Assisi, Bernard of Sienna, Anne, Anthony of 
 Padua, and St. Bonaventura. " The serenity of the 
 figures reminds us of Mantegna ; they are perhaps even 
 leaner than his; but the workmanship is admirable, 
 and the expression of devotion in the different heads is 
 finely rendered. It is in colour that he chiefly fails as 
 compared with the rest of the school ; he has attempted 
 to master the technique of oil-painting, but without 
 perfect success, and the results are often dull and 
 opaque."— (Woltmann and Woermann, ii.) Signed 
 "ALVIXE VIVARINI P. MCCCCLXXX." Formerly 
 in San Francesco, Tre-uiso. Panel: 6ft. 'j^in, by 6ft. 3i in. 
 
VIVARINI— WAEL 149 
 
 VIVARINI. (School of.) 
 
 2. Virgin and Child. The Virgin, seated on a cushion, sala i. 
 looks downwards, and watches the Child upon her 
 knees ; background, landscape. Formerly in the Monastery of 
 &a. Croce. Panel: tft. 8| in. by l/. j in. 
 
 1. St. James. Panel, tempera: 2 ft, 4 in. iy l ft. 10 i». CORRIDC 
 
 2. St. Jerome. Panel, tempera: 3/f. by 2 ft. \\ in. 
 
 3. St. Francis of Assisi, Panel, tempera: ift. by 2 ft. ij in. 
 
 4. St. AugUStin. Panel, tempera : ■^ft. by 2 ft,' These four panels 
 •were presented by Molin. 
 
 i.g. Altar-piece divided into seven parts. Virgin and Child, 
 with SS. AugUStin, Theodore, Anthony of Padua (right), 
 John the Baptist, Jerome and Francis. Formerly in the 
 Church of San Pietro Martire in Murano. Panel: t^ft. 2 in, by 10 ft, 
 
 VOS (Martin de). (Ascribed to.) Flemish : 1 532-1603. 
 Martino de Vos was born at Antwerp in 1532. He 
 was one of the best among the pupils of Frans Floris, 
 He came to Venice, and was fortunate enough to 
 receive instruction from Tintoretto, after which he 
 returned to Antwerp, and there established a school. 
 " Martin de Vos is less cold in feeling and less exagge- 
 rated in his muscular indications than Frans Floris ; 
 he is also generally careful in finish, and melting in 
 touch ; at the same time his motives are often maA- 
 nered, his outlines hard, and his colouring crude." — 
 (KuGLER, Dutch, Flemish, and German Schools.) 
 24. The Death of Abel. Canvas ; ift, 5J in. by ift. I J in, SALA ID 
 
 WAEL (Cornelius). Flemish: i 592-1662 (.?) 
 
 Cornelius Wael was born at Antwerp, and was the 
 pupil of his father, but he acquired his reputation in 
 . Italy. He died about 1662. . 
 
I50 WEENIX— WEYDEN 
 
 64. Soldiers Resting. Canvas : zfi. if in. by 2, ft. S <«. , 
 
 69. A Garden Fgte. Canvas: zft. ij in._by 7, ft. 5 in. 
 
 70. A Rural Dance. Cam/as: 2 ft. 2 in. by ■^ft. i,% in. 
 
 79. A Market. Canvas ; 2 ft. f in. by 3 ft. 5 in. 
 
 80. Sea-piece. Canvas: 2 ft. 2 in. by ^ft. 5 in, 
 
 83. Monks dispensing Alms. Canvas : 2 ft. if in. by ^fi. 5 in, 
 
 WEENIX (Jan Baptist). (Ascribed to.) Dutch: 1621- 
 1660. 
 
 Weenix was born at Amsterdam, and studied under 
 Micker, Abraham Bloewart, and Nicolas Moegat. He 
 visited Italy, where he remained for about four years, 
 after which he returned to live in his native country. 
 He died at his residence, the chateau of Ter May, 
 near Utrecht, in 1660. Weenix was a gifted painter, 
 not only of dead game — the subject by which he is 
 generally known — but of figures, ruins and landscapes. 
 He had a son Jan, whose works are sometimes errone- 
 ously ascribed to his father. 
 
 23. Still Life : Fruit, &c. Canvas: 2 ft. | in. by ^ft. 6J in. 
 
 WEYDEN (RoGiER van der). Flemish : about 1400 ; about 
 1464. 
 
 Rogier van der Weyden, whose family name was De 
 le Pasture, was born at Tournay. In 1426 he appren- 
 ticed himself to a certain Robert Campin of Tournay. 
 In 1432 he was there enrolled as Master in the 
 Painters' Guild! In 1435 he wrent to Brussels, with 
 his wife and children, and there received an official 
 appointment as painter to that city. Here he executed 
 some important commissions, and rapidly became 
 famous. He travelled to Italy about 1449, and 
 appears to have painted for the -E&tes, the Sforzas, 
 
WOUWERMAN 151 
 
 the Medici and Alfonso of Naples. It is thus appa- 
 rent that Rogier must have been the means of spread- 
 ing some knowledge of the Flemish method of oil 
 painting in Italy, and that his influence could not have 
 been without effect upon the Italian painters. He was 
 a painter of strong religious feeling, and in this differs 
 widely from his great countryman, Jan van Eyck, As 
 Mr. E. T. Cook, in his Handbook to the National 
 Gallery says, he "united the older religious feeling, 
 from which Van Eyck had cut himself adrift, with 
 the new Naturalism and improved technique which 
 Van Eyck had introduced. His French blood, too, 
 gave his art an element of vivid emotion, which was 
 lacking in the staid control of Van Eyck. He is espe- 
 cially praised for his representations, of human desires 
 and dispositions, whether grief, pain or joy. He thus 
 painted for the religious needs of the people at large ; 
 and, though an inferior artist, enjoyed a far wider in- 
 .fluence than Van Eyck." 
 
 48. Portrait of Lorenz Fraimont. Inscribed " RAISON loggia 
 L'ENSAIGNE,". the motto of the Fraimonts, a noble ^J^^^f^' 
 Flemish family. This painting was formerly ascribed 
 to Holbein. It is a work of the greatest delicacy and 
 'finish. Formerly in the Manfrini Gallery. Panel: ift. 8 J in. by 
 I ft. if in. 
 
 WOUWERMAN (Philips), Dutch : 1619-1668. 
 
 Philips Wouwerman was born at Haarlem ; he studied 
 first under his father, and afterwards under Jan Wyn- 
 ants. It is said that the father of Philips, who was 
 also a painter, burnt his own studies and sketches in 
 order to prevent his son adopting a career which, to 
 him, had been but a source of bitterness and disap- 
 pointment. Philips pursued his course-, hovvever, and 
 
 DIANA 
 
152 
 
 WYCK— ZASSO 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 LOGGIA 
 
 PALLA- 
 DIANA* 
 
 37' 
 
 to-day some hundreds of paintings bear his name. 
 ■Though prolific in his productions, Wouwerman was 
 a careful workman, and the action both of his people 
 and animals is spirited, and shows great observation of 
 nature. He was especially fond of introducing a 
 white horse into his pictures. 
 
 Troops Bivouacing. Presented by Molin. Canvas : i ft. Z in, 
 by ift. I in. 
 
 WYCK (Thomas) the elder. Dutch : 1616-1686 (?) 
 
 Wyck was born in 1 6 16, It is evident, from his work, 
 that he visited Italy at some period of his life. He 
 etched twenty-one plates which are superior to his 
 pictures, inasmuch as in the latter his colouring is cold 
 and heavy. 
 
 30. A Philosopher. Formerly in the Manfrini Gallery. Panel ;\ ft, 
 if in. by loj in. 
 
 ZAIS (Giuseppe). Eighteenth century. -Died 1784. 
 
 17. Landscape with Fountain. Formerly in the old Academy of 
 Fainting. Canvas : ^ft. 2f in. by 2 ft. 6 J in. 
 
 ZANCHI (Antonio). Venetian : 1639 — (?) 
 
 Zanchi was born at Este. In 1666 he executed a 
 large painting for the Scuola di St. Rocco. The year 
 of his death is unknown. 
 
 5. The Prodigal Son. 
 
 36. Job taunted by his Wife. Formerly in the Convento dei Mira- 
 colt. Canvas : ^ft. J^.in. by 2 ft. Sj in. 
 
 SALA 
 
 DELLE 
 
 STATUE. 
 
 ZASSO (GlULIANO). 
 
 12. The Massacre of the Innocents. Canvas 1 4 ft. 6| in. by 
 ift. 10 in. 
 
ZONA— ZUCCARELLI 1 5 3 
 
 •ZONA (Antonio). 
 
 18. The Departure of Tobias from the House of Raguel. sala 
 Canvas: 6 ft. 4I ;». by J ft. 64 in. DELLE 
 
 STATUE. 
 
 II. The Meeting of Titian with the young Paul Veronese. 
 Presented by the Emperor Francis jf-oseph I. Canvas ; 8^?. gj in, by 
 il ft. ^ in. 
 
 19. Portrait of the Consigliere Longhi. Canvas ; 2 ft, 6f in. by 
 2 ft. 2 in. 
 
 ^OPPO (Marco). Paduan : Flourished 1468-1498. 
 
 " Of the many pupils who reflected Squarcione's 
 manner, Marco Zoppo is the most remarkable, but 
 the character of his work is ugly, with the exagger- 
 ated anatomy and the stilT broken drapery which is 
 a marked characteristic of Squarcione's school. He, 
 and others from the same workshops, were much 
 employed in painting house-fronts, many of which 
 may still be seen in Castelfranco, Conegliano, Bassano, 
 and other towns of Lombardo-Venetia." — (Poynter 
 and Head, Italian Painting.) 
 
 27. Triumphal Arch of the Doge Niccol6 Tron. Formerly in corridor. 
 the Ducal Palace. Canvas, tempera: \ ft, 7 J in. by ■^ft. •^ in, 
 
 ZUCCARELLI (Francesco). Florentine : 1702-1788. 
 
 Zuccarelli studied in Rome but settled in Venice, 
 where he worked in conjunction with Antonio 
 Visentino. He travelled in Germany, France and 
 Holland, and twice visited England ; the second 
 time (1752) he was patronised by George III, 
 Zuccarelli was one of the foundation members of the 
 English Royal Academy. 
 
 5. The Holy Family in a Landscape. Presented by Molin. sala xi. 
 Canvas : I ft. 5I in. by J ft, loj in. 
 
154- ZUCCARELLI 
 
 12. The Holy Family in a Landscape. Presented by Molin, 
 Canvas : 3/f. 4J in. by 2fi. 11^ in. 
 
 22. Landscape with the Magdalene. Formerly in the Academy 
 of Painting. Canvas : \ft. 2,\ in. by ^fi. f in. 
 
 31. St. John the Baptist in a Landscape. Formerly in tie 
 Academy of Painting, Canvas : 4 ft. f in. by ^fi. gj in, 
 
 2^. Landscape with Figures and Animals. Presented iy Molin. 
 Canvas: loj in, by ift, 2 in. 
 
SCULPTURE 
 
SCULPTURE 
 
 ASPETTI (TiziANo). Paduan : 1 565-1607. 
 
 Tiziano Aspetti was born at Padua. He became the 
 • .pupil of Alessandro Vittoria, and surpassed his master 
 in the extravagance of style and licenfious taste by 
 . which Alessandro had debased Italian art. 
 
 g. Bust in Bronze of the Doge Sebasiano Venier. Signed sala x. 
 " TITIANI ASPETTI P.O." Inscription " SEBAS- 
 TIANUS VENERIU VENETAE CLASSIS IM- 
 PERATOR QUI APUD ECHINADAS TURHCAR 
 CLASSE DISIECTA OB PRAECLARAM VIC- 
 TORIAM, MIRO TOTIUS REIPUBLICiE CON- 
 SENSU, MERITO POSTEA DUX ELECTUS, 
 Septimo Octobris, 1571." 
 
 10. Agostino Babarigo. Signed "TITIANI ASPETTI 
 P.O." Inscription "AUGUSTINUS BARBADI- 
 CUS TOTIUS CLASSIS LEGATUS. QUI APUD 
 ECHINADAS MAXIMA IN VICTORIA ET CON- 
 SILIO ET SANGUINE PARTA GLORIOSIS- 
 SIMAE [sic] OCCUBUIT PATRIAE BENE- 
 FICIUM POSTERIS SUMAE PRUDENTIS 
 SIMAE INVICTAEQUE FORTITUDINIS PLAE- 
 CLARUM liELINQUENS EXEMPLUM, Septimo 
 Octobris, 1571." 
 
 11. Marcantonio Bragadino. Signed "TITIANI AS- 
 PETTI P.O." Inscription " M. Ant. BRAGADENO 
 SALAMINAE CYPRIQUE PRAEFECTUS IN 
 DIUTURNA OBSIDIONE SUBSTINENDA SIN- 
 GULARI FORTITUDINE CLARUS SUMMA- 
 
LOGGIA 
 FALLA- 
 DIANA. 
 
 I S 8 BERGAMASCO— BRUSTOLON 
 
 QUE PIETATE ATQUE CONSTANTIA PRO 
 CRISTI FIDE ET PRO PATRIA VIVENS 
 GLORIOSISSIME CUTE EXUTUS, XVII AU- 
 GUSTI MDLXXI." Formerly in tlie Sale delle Armi of the 
 Council of Ten, Ducal Palace. 
 
 BERGAMASCO (Guglielmo). Sixteenth century. 
 
 In the two glass cases by the wall there are, among 
 terra-cottas, "bronzes, &c., six little statues in marble 
 representing the Virtues. 
 
 Figure of a Woman sculptured in marble. Acquired hy 
 the State, 
 
 BERNARDI (Giuseppe). 
 
 SALA XIII. Bust of Odorico Politi, the painter. On the left of the 
 
 marble urn in this room. 
 
 BORRO (LuiGi). i8z6-i886. 
 
 Borro Was born at Ceneda, and became a pupil of the 
 Accademia delle Belle Arte. 
 SALE Bass-reliefs in Gesso. 
 
 PALLA- 
 
 biANE. Christ Healing the Demoniac. 
 
 ^OGOifL Bust of Giovanni Bellini. 
 
 PALLA- 
 DIANA. 
 
 BRUSTOLON (Andrea). Venetian : 1660-1732. 
 
 This carver in wood was the pupil of Filippo Parodi. 
 He worked in Venice, in Rome and other cities of 
 Romagna. The furniture in this, room was, as the 
 inscription declares, executed by him for Pietro 
 Venier, It afterwards passed into the hands of 
 Girolamo Contarini, who presented it to the 
 Academy. 
 SALA IV. The furniture consists of twelve arm-chairs : a group 
 
 representing Hercules and Cerberus, slaves bearing 
 
CAMELLO 159 
 
 vases, six caryatides b.earing Japanese vases, children 
 supporting other vases, as well as figures representing 
 Bacchus, Spring, Air, the Aquatic Flora, Hymen, 
 Summer, Apollo, Vulcan and Pan. 
 
 Inscription upon the wall: " OPERE DI ANDREA 
 BRUSTOLON— N. BELLUNO 1662— M. 1732, 
 ESEGUITE PER LA FAMIGLIA PATRIZIA 
 VENIER, DALL' ANNO 1708 AL 1721, DONATE 
 ALLA R. ACCADEMIA DAL NOBIL UOMO 
 CO. GIROLAMO CONTARINI, NEL 1838." 
 
 CAMELLO (Vittore). Venetian: 1460 1559. 
 
 "Vittore Camello, or Gambello, was a sculptor,, 
 bronze-caster and medallist, who counterfeited 
 antique coins so perfectly that they deceived even the 
 
 most expert With little individuality, he had 
 
 a tendency to imitate the most opposite styles 
 
 The two battle-scenes in relief at the Academy are 
 ' violent and exaggerated in action." — (Perkins, Hand- 
 booh of Italian Sculpture^ 
 
 5. Two Bas-reliefs representing a combat between Men 
 bn Foot and on Horseback. " VICTORCAMELIUS." 
 
 Once fart of the Briamonte Monument in the Chiesa della Car it a, 
 
 CANOVA (Antonio). Venetian: 1757-1822 
 
 Antonio Canova was born in Possagno, an obscure 
 village among the Venetian Alps, near the plains of 
 Treviso. He was the only child of a stone-cutter. 
 His father died when Canova was still a child, and as 
 his mother married again, he was left to the care of 
 his paternal grand-parents. In 1780 he went to 
 Rome, where he studied the antique. At the special 
 request of Napoleon he afterwards visited Paris, where 
 he was received with great honour and made a member 
 
i6o COLONN A— FLORENTINE SCHOOL 
 
 SALA II. 
 
 (centre 
 
 OF ROOM.) 
 SALA VII. 
 
 VESTI- 
 BULE. 
 
 of the Institute. The statute of Napoleon, which he 
 executed while in Paris, became the possession of the 
 Duke of Wellington. On returning to Rome, Canova 
 was made President of the Academy of St. Luke, and, 
 in 1816, he received the title of Marquis of Ischia, 
 with an annual pension of 3000 crowns. He died in 
 1822, and was buried at Possagno. 
 
 Statue of Daedalus and Icarus. 
 
 I. Hercules in the act of throwing Lichas into the sea. 
 Plaster model of the group in the Torlonia Palace at 
 Rome. 
 
 COLONNA (Jacopo). Fifteenth century. 
 
 Jacopo Colonna was born in the latter part of the 
 fifteenth century. He became the pupil of Jacopo 
 Sansovino, and died about 1 540. 
 
 6. Statue of the Redeemer. Formerly in Sta. Croce alia Guidecca. 
 
 DU QUESNOY. See QUESNOY. 
 
 ESTE (Antonio d'). 
 
 SALA XIII. On the right hand of the marble urn in this room is 
 
 placed a bust of Antonio d'Este, executed by himself. 
 
 FERRARI (LuiGi). 
 
 Commendatori Luigi Ferrari is Professor of Sculpture 
 in the Royal Instituto delle Belle Arti, and President 
 of the Accademia. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 SALA XIV. 
 
 5. The Emperor of Austria, Francis Joseph I. 
 44. Statue of Humbert I., King of Italy. 
 
 FLORENTINE SCHOOL. Fifteenth to sixteenth century. 
 I. Bas-reliefs. The Ascension of the Virgin, Coronation 
 
GIACARELLI— LEOPARDI i6i - 
 
 of the Virgin, and the Apostles at the Virgin's tomb. 
 From the Monument of the Doges Marco and jigoslino Barbarign in 
 the Chiesa della Carita, 
 
 GIACARELLI (Antonio). 
 
 I. Bas-relief (above). Priam demanding Hector's body vesti- 
 from Achilles. bule. 
 
 LEOPARDI (Alessandro). Venetian : Fifteenth to six- 
 teenth century. 
 
 Leopardi was a sculptor, architect, and the most 
 eminent bronze caster of his time. He was a pupil of 
 'the Lombardi. In 1487 he was banished from the 
 Venetian territory for forgery ; but in the following 
 year, Andrea Verrochio died at Venice while engaged 
 upon the Coleoni statue, and the Senate, knowing no 
 other artist so capable, recalled Leopardi to finish it. 
 How much of this famous statue we owe to Verrochio, 
 and how much to Leopardi, is a matter of dispute. 
 In all probability Leopardi greatly modified and 
 stamped with the impress of his own individuality 
 whatever models and studies Verrochio had made. 
 Moreover, Leopardi signed his own name upon the 
 saddle and was thenceforward known by the surname 
 of " del Cavallo," which seems to imply that, by the 
 Venetians at any rate, he was regarded as the chief 
 author. Between the years 1501 to 1506, Leopardi 
 was engaged upon three standard bases of bronze for 
 the Piazza of St. Mark. He made a design for the 
 Scuola della Misericordia, and built the church of 
 Santa Giustina of Padua after the plans of Antonio 
 Rizzo. The date of Leopardi's death is uncertain, 
 but he was still working at the Zecca in 1522. 
 
l62 
 
 LOMBARDO— MORETTI-LARESE 
 
 SALA X. 
 
 IN CORNER 
 OF ROOM, 
 
 4. Two Little Bronze Doors. Ornamented with bas- 
 reliefs representing angels sustaining the Cross and 
 two depositions from the Cross. Formerly in tie CImrch itf 
 the Servi. 
 
 Three bronze candelabra which were used in the elec- 
 tions of the Grand Council.' 
 
 VESTI- 
 BULE. 
 
 BAS- 
 RELIEFS, 
 ABOVE. 
 
 LOGGIA 
 PALLA- 
 DIANA. 
 
 LOMBARDO (Antonio). (School of.) 
 
 6. St. Martin of Tours dividing his cloak with a beggar. 
 St. Martin was a Roman soldier. In the year A.D. 332, 
 whilst his legion was quartered at Amiens, the winter 
 set in with such severity that men died in the streets 
 of cold. It was thus the above incident occurred. 
 Formerly in the Church of the Servi. 
 
 MARTINI (Jacopo de). Venetian : born 1793. 
 
 De Martini was a pupil at the Accademia delle Belle 
 Arti, and contemporary with Rinaldi. The date of 
 his death is unknown. 
 
 4. Adonis. 
 
 5. Venice. 
 
 122. Venus refusing to heal the wounds of Paris. 
 
 4. Ganymede. 
 125. Hector reproaching Paris for dallying with Helen. 
 
 MORETTI-LARESE (Eugenic). Venetian: i 822-1 874. 
 This painter executed the decorations of the ceiling 
 in this room in 1854. 
 
 MORETTI-LARESE (Lorenzo). Venetian: 1807-1885. 
 
 Moretti-Larese was a pupil of the Accademia delle 
 
 Belle Arti. 
 
 6. Bust of the Venetian painter, Sebastiano Luciani, called 
 del Piombo. 
 
PIZZI— RICCIO 163 
 
 PIZZI (Angelo). Milanese : 1775-1819. 
 
 3. Bust of the Empress Marie Louise, wife of Napoleon loggia 
 Bonaparte. Formerly in the Ducal Palace. PALLA- 
 
 DIANA. 
 8. Bust of Napoleon Bonaparte. Formerly in the Ducal Palace. 
 
 10. Francis I., Emperor of Austria. 
 
 QUESNOY (Francois du). Flemish : 1594-1644 or 1646. 
 Francois du Quesnoy, afterwards celebrated under the 
 name of II Fiammingo, was born at Brussels. He first 
 studied under his father, who was also a sculptor, but 
 early displayed so much talent that the Archduke 
 Albert sent him to Italy. He went to Rome, and 
 afterwards lived in the . same house with Nicolas 
 Poussin, with whom he formed a close friendship. 
 They pursued their studies together, and it was pro- 
 bably owing to Du Quesnoy's influence that Poussin 
 paid so much attention to the ancient bas-reliefs. 
 Du Quesnoy became distinguished for his statues of 
 children. He modelled the groups of_ children which 
 adorn the columns of the high altar of St. Peter's. 
 He died in 1644 or 1646 from the effects of poison 
 administered by his brother. 
 
 4. Bust of Bacchus. Formerly in the Sale iVArmi of the Council of LOGGIA 
 Ten. PALLA- 
 
 DIANA. 
 
 RICCIO (Andrea), called Briosco. Paduan : i47o(?)-i532. 
 Andrea Briosco, called Riccio or Crispo, from his 
 closely curling hair, was a pupil of Belluno, who had 
 learned his art from Donatello ; so that through Riccio, 
 the influence of the great Florentine sculptor was pro- 
 mulgated in the north of Italy. Briosco greatly sur- 
 passed his master Belluno. He was a founder in 
 bronze, sculptor and architect ; he founded no school, 
 
164 
 
 RINALDI— VITTORIA 
 
 VESTI- 
 BULE. 
 
 but the marks of his influence are evident on other 
 Paduan sculptors. 
 
 2, 3. Four Bas-reliefs in Bronze. The history of St. Helena 
 and the triumph of Constantine. Ricolo's style is 
 marked by a love of classical ornament, and his com- 
 position is somewhat monotonous. " His habit of 
 overcrowding space is especially conspicuous " in 
 these four bas-reliefs. Formerly in the Church of the &rvi. 
 
 RINALDI (RiNALDo). Venetian : 1793, living in 1858. 
 
 Rinaldi was born in Padua,; he was first the pupil of 
 his father, and subsequently of Canova. 
 
 1. Statue of Adonis. 
 
 2. Bust of Titian. 
 
 3. The Centaur Chiron instructing Achilles. 
 
 2. Bas-relief (above). The child Astyanax frightened of 
 his father Hector. 
 
 SANAVIO (Natale), Professor of Sculpture at Padua. 
 
 47. Plaster Bust of Pietro Estense Selvatico. Presented iy 
 the Count Gino Cittadella Vtgodarzere. 
 
 SPINELLI (Andrea). (Ascribed to.) 
 
 7, 8. Two medallions in bronze with the portraits of Augus- 
 tine (died 1523), and Jerome Angeli (died 1527), physi- 
 cians of Pesaro. Formerly in St. Pietro, Murano, Canvas: 
 
 VENETIAN SCHOOL. Fifteenth century. 
 
 13. High-relief in porphyry of St. John the Baptist. 
 
 VITTORIA (Alessandro). 1525-1558 (?) 
 
 Alessandro Vittorio, the son of a citizen of Trent, 
 came to Venice when young, and entered the studio 
 of Jacopo Sansovino. 
 
ZANDOMENIGHI 165 
 
 " With a mind quick in its conceptions, extreme 
 facility of hand, and an undisciplined taste, he spent 
 the years which he should have devoted to severe 
 study in modelling ornaments for public and private 
 buildings in stucco, a material which allowed of rapid 
 free handling, and was therefore peculiarly adapted to 
 
 his habits of work After Sansovino's death 
 
 Vittoria took his place as director of all art enter- 
 prises, and no artist could succeed at Venice without 
 his favour. . . : . He died in his house at San 
 Giovanni in Bragora, in 161 3, at the age of eighty- 
 five, and left a large sum of money to the poor and 
 to the convent of St. Zacario." — (Perkins, Handbook 
 of Italian Sculpture.) 
 . Girolamo Contarini, General of the Venetian Republic, loggia 
 
 PALLA- 
 DIANA. 
 
 who died in 1577. Formerly in the Church of S. Sepolcro. 
 
 ZANDOMENIGHI (Luici). Venetian : 1779-1850, 
 
 This artist was first a pupil and afterwards a professor 
 of the Accademia delle Belli Arti. He executed the 
 monument erected to Titian in the church of the 
 Frari. 
 
 Bas-relief of Count Girolamo Contarini, donor of the sala hi. 
 Contarina collection in this Gallery. above 
 
 THE 
 
 27. Medallion in Marble of Count Leopold Cicognara, door. 
 President of the Accademia delli Belle Arti, who died sala xiv. 
 in 1834. 
 
DRAWINGS 
 
DRAWINGS 
 
 This important collection of Drawings, amongst which is the sala xin. 
 famous Sketch-book of Raphael, belonged, in the first 
 instance, to Giuseppe Bossi, Professor at the Brera 
 Academy of Milan. Upon his death it was bought, 
 at the instigation of Count Cicognara, by the Austrian 
 Government, for the Accademia delle Belle Arti, of 
 which Cicognara was then Director. 
 
 Aldegrever (Heinrich). Frame xx. No. 4. 
 
 Alfani (Domenico). {Ascribed to.) Frame xxxv. No. 4. 
 
 Allori (Cristofano). Frame xxxii. No. 4. 
 
 Altdorfer. Frame xxxviii. Nos. 5 to 10. 
 
 Angelico (Fra Giovanni). {Ascribed to.) Frame xxi. No. 6. 
 
 Arpino (Cavaliere d'). Frame xvn. No. 6. 
 
 Assisi (Tiberio d'). Frame xxviii. Nos. I, 2, 5. 
 
 Bagnacavallo. {Ascribed to.) Frame xxxiv. No. 2. 
 Bandinelli (Baccio). Frame xxxiii. All the drawings. 
 Barbarelli (called Giorgione). Frame in. No. 9. 
 Barbieri (called 11 Guercino). Frame xv. Nos. 8 to 13. 
 Barocci (Federigo). Frame xvii. Nos. 3, 4. 
 Bartolomeo (Fra). Frame xxi. Nos. 1, 3. 
 
I/O BEHAM— CONTARIN 
 
 Beham (Bartolomeo). Frame xxxvni. No. 13, 
 
 Bellini. Frame iii. Nos. 5 (?) 7. 
 
 Berretini (Pietro da Cortona). Frame xvii. No. 5. 
 
 BiBiENA (Ferdinando). Frame xxxvii. No. I. 
 
 BiGio (Francia). {Ascribed to.) Frame xix. No. 6. 
 
 BoNviciNO (Alessandro). Frame iii. No. 4. 
 
 Bramante. Frame xxxvi. Nos. 5, 6. 
 
 Bramantino. Frame viii. Nos. I, 7. Frame ix. No. 2 (?) 
 
 Buonarroti (Michelangelo). {Ascribed to.) Frame xxix. 
 All the drawings. Frame xxxi. No. 5. 
 
 Caliari (Paolo) (called Paul Veronese). Frame i. No. 7. 
 
 Calvart (Dionisio). Frame xiii. No. 6. 
 
 Campi (Antonio). Frame xxxvii. Nos. 2, 3. 
 
 Campi (Bernadino). Frame xvi. Nos. 5 to 10. 
 
 Campi (Giulio). Frame xvi. Nos. 2, 3, 4. 
 
 Caracci (Agostino). Frame xii. Nos. 2, 3, 8, 14. 
 
 Caracci (Annibale). Frame xii. Nos. i, 4, 9 to 13. 
 
 Caracci (Lodovico). Frame xii. Nos, 5, 6, 7. 
 
 Caeavaggio (Polidoro da). Frame xvii. Nos. i, 2 (?) 
 Frame xviii. No. 3. Frame xxxii. No. 2 (?) Frame 
 XXXVII. No. 5. 
 
 Cento (Guercino da). Frame xiv. No. i to 12. 
 
 Cerva (Giov. Batt.,dalla). Frame vni. No. 3. 
 
 CoNTARiN (Simone). Frame xiii. Nos. 5, 8. 
 
CRANACH— LEONARDESCO 171 
 
 CoRTONA. See Berrettin. 
 
 Cranach (Lucas). {Ascribed to.) Frame xx. No. 13. 
 
 D'Arpino. See Arpino. 
 
 D'Assisi. See Assist. 
 
 DoLci (Carlo). Frame xix. Nos. I, 3. 
 
 DtJRER (Albert). Frame xx..- Nos. 2, 3, 7. {Ascribed to 
 Durer, Nos. 11, 14.) Frame xxxviii. No. 3. 
 
 Ferrari (Gaudenzio). Frame ix. No. I . Frame x. No. 6. 
 
 FiGiNO (Ambrozio). Frame xxx. Nos. 1 to 7. Frame 
 XXXI. Nos. 2. 3. 
 
 Flemish School. Frame xx. Nos. I to 8. 
 
 FoppA (Vincenzo). Frame x. No. 2. 
 
 Franciabigio. See Bigio. 
 
 Franco (Battista). Frame xviii. Nos. i, 2, 5. 
 
 GERMA^f School. Frame xx. Nos. 5, 6, 8. Frame xxxviii. 
 Nos. 2, 4, 12. 
 
 GioRGiONE. See Barbarelli. 
 
 GuERCiNo. See Barbieri. 
 
 India (Bernardino). Frame i. No. 3. 
 
 Lanino (Bernardino). Frame viii. Nos. 5, 6. Frame ix. 
 
 No. 4. 
 Leonardesco. Frame viii. No. 9. Frame x. Nos. i, 3, 8. 
 Leonardo da Vinci. See Vinci. 
 
172 LIGOZZI— PISTOJA 
 
 LiciNio. See Pordenone. 
 
 LiGozzi (Jacopo). Frame xix. No. 7. 
 
 LoMAzzo (Giov. Paolo). Frame x. No. 47. 
 
 LuciANi (Sebastiano) (called del Piombo). Frame xxxii. 
 No. I. 
 
 LuiNi (Aurelio). Frame viii. No. 2. 
 
 LuiNi (Bernardino). Frame vi. No. i. Frame viii. No. 4. 
 Frame ix. No. 3. 
 
 Maier (A.). Frame xx. No. iz. 
 
 Mantegna (Andrea). Frame 11. No. 4 (?) Frame ni. 
 No. 6 (?) 8. 
 
 Masaccio. {Ascribed to.) Frame xxii. No. 7. 
 
 Maturing. Frame xxiii. No. 3. 
 
 Michelangelo. See Buonarroti. 
 
 ■ Oggionno (Marco d'). Frame viii. No. 8. 
 
 Palma (Jacopo, the younger). Frame i. No. 4, Frame 11. 
 Nos. I, 2, 3, 6. Frame iii. No, 3. 
 
 Parmigiano (Francesco Maria Mazzola). Frame xv. Nos. 
 
 I, 3 to 7. 
 Perugino (Pietro). Frame xxviii. Nos. 3, 4. 
 PiETRO DA Cortona. Sec Berrettini. 
 
 PlOMBO. &^ LUCIANI. 
 
 PisTojA (Gerino da). Frame xxii. No. I. 
 
PONTORMO— RAPHAEL 173 
 
 PoNTORMO (Jacopo da). Frame xix. No. 5. Frame xxxii. 
 Nos. 6, 7. 
 
 PoRDENONE (Giov. Ant.). {^Ascribed to.) Frame 11. No. 7. 
 
 Procaccino (Camillo). Frame xi. Nos. i to 4, 9 to 12. 
 
 PROCACcrNO. (Cesare), Frame xi. Nos. 5 to 7. 
 
 Procaccino (Ercole). Frame xi. No. 8. 
 
 Raphael. {Ascribed to.) Frames xxiii., xxiv., xxv., xxvi., 
 xxvii. These pen-and-ink drawings on white paper 
 once formed part of a volume which has been handed 
 down to posterity as Raphael's Sketch-book. 
 It was bought by Bossi, Professor at the Brera 
 Academy of Milan, from a lady of Parma. When 
 he acquired them the drawings were e«dently loose, 
 for he writes in his note-book: "I carefully examined 
 the pages .... all of the same size, and therefore 
 must have formed a little book together .... they 
 are all from his hand, with the exception of some 
 three or four." It must be observed, however, that 
 Kugler, and the distinguished art critic, Giovanni 
 Morelli, assign the greater number of these pen-and- 
 ink drawings to Bernardino Pinturicchio, two only to 
 Raphael, and the remainder to other masters, the 
 two by Raphael being apparently studies from 
 Leonardo's cartoon of the battle of Anghiara. 
 On the other hand, Cicognara, Passavant, and the 
 Marchese Pietro Selvatico Estensc of Padua, also 
 Crowe and Cavalcaselle, agree with Bossi in attri- 
 buting the above drawings to Raphael. 
 Frame xxxv. Nos. i (a copy), z, 3 (?), 5, 6 (a copy), 
 7 to 12(0 Frame xxxvi. After Raphael. No. i. 
 
174 RENI— TUSCAN SCHOOL 
 
 Reni (Guido). Frame xiii. Nos. z (?) 4, 7, 10. 
 
 RoBUSTi (Tintoretto). Frame i. Nos. I, 2, 8. Frame 11. 
 No. 5. Frame in. No. 10. 
 
 Roman School. Frame xxxvi. Nos. 3, 4. Frame xxxvii. 
 No. 4. 
 
 Romano (Guilio). Frame xxxi. Nos. 6, 7. Frame xxxiv. 
 Nos. I, 4, 5, 6. 
 
 Roselli (Cosimo). Frame xxi. No. 2. 
 
 Salmeggia (Enea). Frame xvi. No. i. 
 
 Sarto (Andrea del). Frame xix. No. 2. , 
 
 Schaffner (Martino). Frame xxxviii. No. 1. 
 
 ScHEDONE (Bartolomeo). Frame xv. No. 2, 
 
 Sebastiano del Piombo. See Luciani. 
 
 Sesto (Cesare di). Frame vii. Nos. I to 7. 
 
 Settignano (Desiderio da). Frame xxxvi. Nos. 2, 7 (?). 
 
 SiRANi (Elisabetta). Frame xiii. No. 9. 
 
 Snyders (Frans). Frame xxxviii. No. 11. 
 
 Spada (Leonello). Frame xiii. No. 11. 
 
 Starnina (Gerardo). {Ascribed to.) Frame xxi. No. 5. 
 
 Tatti (Francesco de). Frame x. No. 5. 
 
 Testa (Pietro). Frame xix. No. 4. 
 
 Tibaldi (Pellegrino). Frame xiii. Nos. I, 3. 
 
 Tiepolo (Giov. Batt). Frame iii. No. i. 
 
 Tuscan School. Frame xxi. No. 4, Frame XXU, Nos. 2 
 to 6, 8 to 15. 
 
VAGA— ZUCCHERI 175 
 
 Unknown. Frame xxxi. Nos. 1, 4. Frame xxxiv. No. 3. 
 
 Vaga (Perino del). Frame xxxiv. Nos. 7, 8. 
 
 Vasari (Giorgio). Frame xxxii. No. 5. 
 
 Vecellio (Titian). Frame i. Nos. 5, 6 (?),. Frame in. 
 No. 2 (?). 
 
 Veronese. See Caliari. 
 
 Vinci (Leonardo da). Frame iv. Nos. i to 16. Frame v. 
 Nos. I to 10. Frame vi. Nos. z to 7. 
 
 ViTE (Timoteo). Frame xxxiv. No. 10. 
 
 Volterra (Daniele Ricciarelli da). Frame xviii. No. 4. 
 
 Wohlgemuth. {Ascribed to.) Frame xx. Nos. 9, 10. 
 
 ZuccHERi (Federico). Frame xvii. No. 7. Frame xvm. 
 No. 6 (?). 
 
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Sala III. No. 48. 
 Giovanni Bellini: "Car of Bacchus" (?). 
 
Sala III. No. 49. 
 Giovanni Bellini: "Truth" (?). 
 
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 Andrea Mantegna : " St. George." 
 
Sala II. No. 102. 
 Robust! (Tintoretto) : " Madonna with Worshippers.' 
 
Sala XIV. No. 2. 
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 Vecellio (Titian) : " The Assumption of the Virgin.' 
 
LIST OF PAINTERS 
 
LIST OF PAINTERS 
 
 ARRANGED ACCORDING TO SCHOOLS AND 
 CHRONOLOGICALLY 
 
 SCHOOLS OF TUSCANY 
 
 FiRENZE, Antonio da about 1 309-1 383 
 
 Veneziano, Antonio da painting 1370-1387 
 
 Credi, Lorenzo di '459-1537 
 
 Ghirlandajo, Ridolfo 1483-1561 
 
 Rosso, Giovanni Battista 1494-1541 
 
 Barbatelli, Bernardino {called \l Pocetti) i 544-1612 
 Empoli, Jacopo da {erroneously Chimenti) i 544-1640 
 Berrettini, Pietro da Cortona 1596-1669 
 
 ZuccARELLi, Francesco 1702-1788 
 
 Batoni, Pompeo 1708-1787 
 
 UMBRIAN SCHOOL 
 
 Fabriano, Gentile da Xd^th to \t,th century 
 
 Francesca, Piero della about 141 5-1492 
 
 SCHOOLS OF LOMBARDY AND THE EMILIA 
 
 CREMONA 
 Melone, Altobello 14- ? after 1518 
 
 Boccaccino, Boccaccio lived about 1460-1525 
 
 MODENA 
 ScHEDONE, Bartolomeo 1570-16 15 (?) 
 
i8o 
 
 LIST OF PAINTERS 
 
 Strozzi, Bernardo {called II Prete Genovese) 
 
 1581-1644 
 Cassana, Giovanni Agostino 1658-1720 
 
 SCHOOLS OF VENICE AND THE VENETIAN 
 TERRITORIES 
 
 Paolo Maestro 
 Catteriho, Veneziano 
 Niccol6, di M. Pietro 
 Jacobello, del Fiore 
 CusiGHE, Simone da 
 Lorenzo, Veneziano 
 Semitecolo 
 
 ViVARiNi, Antonio da Murano 
 Moranzone, Jacopo 
 GiAMBONo, Michele 
 
 early fart of \\th century 
 
 i^h century 
 
 li^th century 
 
 i^ti century, died about 1439 
 
 about 1350— 1416 
 
 painting 13 57-1379 
 
 fainting 1367 
 
 fainting 1435-1470 
 
 lived about 1 441 
 
 fainting 1441-1470 
 
 ViVARiNi, Bartolomeo (da Murano) fainting 1450-1499 
 
 ViVARiNi, Luigi 
 Valesa, Jacopo da 
 MuRANO, Quirizio da 
 Bellini, Jacopo 
 Bellinj, Gentile 
 Bellini, Giovanni 
 Crivelli, Carlo 
 Messina, Antonello da 
 Sebastiani, Lazzaro 
 Carpaccio, Vittore 
 Fogolino, Marcello 
 Basaiti, Marco 
 Montagna, Bartolomeo 
 Pennachi, Pier Maria 
 Cariani, Giovanni de' Busi 
 
 fainting 1480-1503 
 
 \t^th century 
 
 I Ith century 
 
 \i)th century 
 
 about 1427 (?)-i5o7 
 
 about I428(?)-I5i6 
 
 fainting 1468 — {after) 1493 
 
 1444 (?)-i493 (?) 
 
 about 1450 — {living) 1508 
 
 about 1450 — {^living) 1522 
 
 about 1470-1553 
 
 fainting about 1490-1521 
 
 about 1450-1523 
 
 1464-1528 
 
 1480-90 (?) — 1 541 
 
LIST OF PAINTERS 
 
 i8i 
 
 painting 1489-1508 
 
 painting 1492- 1 507 
 
 living 1492-1530 
 
 painting 1493-1S31 
 
 painting 1494 
 
 painting 1502-1528 
 
 living 1507 
 
 painting about 1 5 10 
 
 — P-IS40 
 
 — ?-iS40 
 
 CiMA, Giovanni Battista 
 
 Marziale, Marco 
 
 BissoLO, Pier Francesco 
 
 Catena, Vincenzo di Biagio 
 
 Mansueti, Giovanni 
 
 Previtah, Andrea of Bergamo 
 
 MuRANO, Andrea da 
 
 BusATi, Andrea 
 
 Bonifacio, Veronese, the Elder 
 
 MoNTAGNA, Benedetto 
 
 Martino da Udine (Pellegrino da S. Daniell) 
 
 painting 1491—1547 
 Barbarelli (Giorgione) before 1477-1511 
 
 Bonifacio, Veronese, the Younger -'5 S3 
 
 Vecellio (Titian) 1477-1576 
 
 Savoldo, Giovanni Girolamo \\%o-{after) 1548 
 
 Palma, the Elder 148° (?)-i S^^ 
 
 Vecellio, Francesco 1483-1560 
 
 Pordenone, Giov. Antonio da {called Licinio) 
 
 1484-1539 
 BuoNCONSiGLi, Giovanni {called II Marescalco) 
 
 1497-1530 
 
 Girolamo da Treviso 
 
 MORETTO DA BrESCIA 
 
 Donato, Veneziano 
 
 Bellq, Marco 
 
 Bellini, Bellino 
 
 Diana, Benedetto 
 
 Marconi, Rocco 
 
 Beccaruzzi, Francesco 
 
 BoRDONE, Paris, of Treviso 
 
 Santa Croce, Francesco da (Rizzo) 
 
 1497-1544 
 
 1498-1555 
 
 end of the i^ti century 
 
 i^th to 16th century 
 
 16th century 
 
 lived about 1500 
 
 lived about 1500 
 
 1 500-1 5 50 
 
 1500-1570 
 
 painting 1 504-1 549 
 
1 82 LIST OF PAINTERS 
 
 Campagnola, Domenico painting 1508 
 
 PoNTE, Jacopo da (II Bassano) 15 10— 1592 
 
 Lanzani, Polidoro 1515-1565 
 
 RoBusTi, Jacopo (II Tintoretto) 15 18-1594. 
 
 Porta, Giuseppe {called Salviati) 
 
 about 1520 — living 1572 
 Santa Crock, Girolamo da (RIzzo) painting 1 5 20-1 549 
 LiciNo, Bernardino painting 1 524-1 541 
 
 Fasolo, Giovanni Antonio ^ 1 528-1 572 
 
 Caliari, Paolo (Paul Veronese) 1528-1588 
 
 Florigerio, Sebastiano flourished 1 529-1 543 
 
 Caliari, Benedetto 1 538-1 598 
 
 Udine, Girolamo da about 1540 
 
 Alberti, Francesco painting 1550 
 
 MiCHiELi, Andrea Vicentino 1539-1614 
 
 Palma, Jacopo, the Younger 1 544-1628 
 
 Ponte, Francesco da 1 549-1 592 
 
 CoNTARiNi 1 549-1 666 
 
 MoRo, Battista d'Angelo del middle of 16th century 
 
 Corona, Leonardo 1 561-1605 
 
 RoBusTi, Domenico 1 562-1637 
 
 Caliari, Carlo 1 572-1596 
 
 TiNELLi, Tiberio 1 586-1638 
 
 ViTRULio end of the i6th century 
 
 Varotari, Alessandro (II Padovanino) i 590-1650 
 
 Damini, Pietro 1592-1631 
 
 Mera, Pietro living 1603 
 
 Muttoni, Pietro {called 'Dm.i.x Vecchia) 1605-1687 
 LiBERi, Pietro 1 605-1 687 
 
 Zanchi, Antonio i639-(?) 
 
 Lazzarini, Gregorio 1655-1740 
 
 Balestra, Antonio 1666-1740 
 
 Carriera, Rosalba i67S"i7S7 
 
LIST OF PAINTERS 
 
 183 
 
 Ricci, Marco 
 VisENTiNi, Antonio 
 DiziANi, Gaspari 
 TiEPOLo, Giovanni Batrista 
 Canale, Antonio (Canaletto) 
 NoGARi, Giuseppe 
 LoNGHi, Pietro 
 CiGNAROLi, Giambettino 
 Marieschi, Jacopo 
 Belotto, Bernardo 
 Maggiotto, Domenico 
 TiEPOLO, Domenico 
 NovELLi, Pierantonio 
 LoNGHi, Alessandro 
 Gaspari, Pietro 
 Quarenghi, Jacopo 
 Zais, Giuseppe 
 . Hayez, Francesco 
 Fabris, Placido 
 Caffi, Ippolito 
 Cavagnin, Leonardo 
 Giacomelli, Vincenzo 
 Borro, Luigi 
 Carlini, Giulio 
 Tomaselw, Albano 
 
 1676-1729 
 1688-1782 
 I 690-1 767 
 1692-1769 
 1697-1768 
 I 699-1 763 
 1702-1785 
 1 706-1 772 
 1711-1794 
 1720-1780 
 1720-1794 
 i726-(?) 
 i728-(?) 
 1733-1813 
 
 i735-(?) 
 1744-1817 
 -1784 
 1791-1882 
 1802-1859 
 1 809-1 866 
 I 809-1 887 
 1812-1890 
 1826-1886 
 1827-1887 
 igtii century 
 
 PADUA 
 
 Squarcione, Francesco 
 
 Mantecna, Andrea 
 
 ZoFFo, Marco {see Bolognese School) 
 
 1 394-1474 
 1431-1506 
 
 painting 1468- 1498 
 
1 84 LIST OF PAINTERS 
 
 VERONA 
 
 Caroto, Giovanni Francesco 1470-1546 
 
 Bonifacio Veronese, the Elder {see Venetian School) 
 
 -1540 
 ToRBiDO, Francesco [called II Moro di Verona) 
 
 i486 — living 1546 
 Bonifacio, Veronese, the Younger {see Venetian 
 School) — i S 5 3 
 
 Badile, Antonio 1516-1560 
 
 Caliari, Paolo {see Venetian School) 152 8- 1588 
 
 Caliare, Benedetto {see Venetian School) 1538-1592 
 Varotari, Dario 1 5 3 9- 1 5 96 
 
 Riccio, Felice (?«//(?(/ Brusasorci) i 540-1 605 
 
 MoNTEMEZZANO, Francesco about 1560-1600 
 
 TuRCHi, Alessandro {called VOviN.TCo) 1580-1651 
 
 FERRARESE SCHOOL 
 Tisi, Benvenuto {called Garofolo) 1481-1559 
 
 BOLOGNESE SCHOOL 
 
 Lippo DI Dalmasio painting 1 376-1410 
 
 Bologna, Giovanni da 14^/6 century 
 
 ViGRi, Caterina 1413-1463 
 
 Lambertini (Michele di Matteo) painting 1440-1469 
 Raibolini, Francesco (II Francia) 1450-1517 
 
 Zoppo, Marco {see Paduan School) painting 1471-1498 
 CARACcij.Annibale 1560-1609 
 
 Ingoli, Matteo 1 587-1631 
 
 MoLA, Pier Francesco 1612-1668 
 
 Moretti, Giuseppe 165 9- 1738 
 
 Alboni, Paolo 1671 (?)-i734 
 
 Crespi, Luigi -"779 
 
LIST OF PAINTERS 
 
 185 
 
 ROMAN AND NEAPOLITAN SCHOOL 
 Udine, Giovanni da {see also Venetian School) 
 
 Barocci, Federigo 1528—1612 
 
 Amerighi, Michelangelo 1 569-1609 
 
 Manfredi, Bartolomeo i58o(?)-i657 
 
 RiBERA, Josef (lo Spagnoletto) {see Spanish School) 
 
 1588-1656 
 Feti, Domenico 
 Cerquozzi, Michelangelo 
 Salvi, Giovanni Battista (Sassoferrato) 
 Maratti, or Maratta, Carlo 
 Giordano, Luca 
 Ferri, Ciro 
 
 RuscHi, Francesco 
 
 1 589-1624 
 I 602-1 660 
 1605-1685 
 1625-1713 
 1632-1705 
 1634-1689 
 lived about 1650 
 
 SPANISH SCHOOL 
 RiBERA, Josef {see Roman School) 
 
 1588-1656 
 
 DUTCH SCHOOLS 
 
 Leyden, Lucas van 
 MiEREVELT, Michael Janze 
 Poelenburgh, Cornelius van 
 Bramer, Leonhard 
 Breenbergh, Bartholomeus. 
 MoLYN, Peter, the Elder 
 Olis, Jan van de 
 Heem, John David de 
 Ostade, Adriaan Jansz van 
 Wyck, Thomas, the Elder 
 Terborch, or Terburg, Gerard 
 WouVERMAN, Philips ; 
 
 I494-I533 
 
 I567-I64I 
 1 586-1667 
 
 1596 — living 1667 
 
 1599 — before 1659 
 
 about 1 600- 1 66 1 
 
 I 600-1 670 
 
 1600-1683 
 
 1610-1685 
 
 i6i6-i686(?) 
 
 i6i7(?)-i68i 
 
 1619-1668 
 
1 86 LIST OF PAINTERS 
 
 Bega, Cornelius 1620-1664 
 
 Berchem, Nicolas 1620—1683 
 
 OsTADE, Isaac van 1621-1657 (?) 
 
 Weenise, Jan Baptist 1 621-1660 
 Beyeren, Abraham van 1620-1 — living 1674 
 
 Steen, J AN 1 6 2 6 (?)- 1 6 79 
 
 Heem, Cornelius de 163 1- after 1671 
 
 RiusDAEL, Jacob van 1628-1682 
 
 MoLYN, Peter, the Younger 1632-1701 
 
 Velde, William van de 1633— 1707 
 
 Velde, Adriaen van de 1635-6-1672 
 
 HoNDECOETER, Mclchior de 1636-1695 
 
 ScHALCKEN, Godfried 1 643-1 706 
 
 Berkheyden, Gerit 1 645-1 698 
 
 Heusch, Jacob de 165 7-1 701 
 
 DusART, Cornelius 1666— 1704 
 
 FLEMISH SCHOOLS 
 
 Weyden, Rogier van der about 1 400- 1 464 
 
 Memlinc, or Memling, Hans -'495 
 
 Bles, Herri de {called Civwrrt,) about 1480- 1550 
 
 Orley, Barent (or Bernard) van about 1491— 1541 
 
 MoR, Antonij I5i2-i578(?) 
 
 Vos, Martin de 1532— 1603 
 
 Francheschi, or Franchoys, Paul 1 540-1 596 
 
 Bril, Matthew, the Younger I550-I584(?) 
 
 Bril, Paul 1556-1626 
 
 MoMPER, Jodocus, or Joos de 1564-1634 (?) 
 
 Breughel, Jan 1568-1625 
 
 PouRBus, Francis, the Younger 1 569-1 570 
 
 NiEULANDT, Adrian 1590 — living 1657 
 
 Jordaens, Jan 1 593-1678 
 
 Dyck, Sir Anthony van 1599-1641 
 
LIST OF PAINTERS 187 
 
 Alsloot, Denis van painting 1599— 1625 
 
 Fyt, Jan 1 609- 1 66 1 
 
 CoNiNCK, David 1636-1687 
 
 Renier, Nicholas lived in the i ith century 
 
 GERMAN SCHOOLS 
 
 Cranach, Lucas v 14.72-1553 
 
 Heinz, Joseph 1565-1 609 ( ?) 
 
 Elsheimer, Adam 1 5 74- 1 620- 1 
 
 Meyer, Felice 1653-1713 
 
 Dietrich, Christian Wilhelm Ernst 1712-1774 
 
 FRENCH SCHOOL 
 
 CALtoT, Jacques 1592-1635 
 
 Brun, Carlo le 1619-1690 
 
 CoYPEL, Antoine 1661-1722 
 
 Chardin, Jean-Baptiste Simeon 1699-1779 
 
 ENGLISH SCHOOL 
 Riley, John 1 646- 169 1 
 
INDEX 
 
INDEX 
 
 TO THE NAMES OF THE MASTERS OF THE PICTURES 
 IN THE ACCADEMIA DELLE BELLE ARTI 
 
 Arranged according to tie numbers of the Rooms and of the Pictures 
 
 -SAL A I 
 
 No. 
 
 1. yivarini, Bartolomeo 
 
 2. 'Vivarini, School of 
 
 3. Lambertini, or Michele di Matteo 
 
 4. Fabriano, Gentile da. Ascribed to 
 
 5. Giambono, Michele 
 
 6. Umbmn School 
 
 7. Vigri, Catterina 
 
 8. Basaiti, Marco 
 
 9. Venetian School 
 
 10. Veneziano, Lorenzo 
 
 11. Basaiti, Marco 
 
 12. Venetian School 
 
 13. Basaiti, Marco 
 
 14. Vivarini, G. and A. da Murano 
 
 15. Vivarini, Bartolomeo 
 
 16. Vivarini, Luigi or Alvise 
 
 17. Catena, Vincenzo 
 
 18. Zoppo. {See under Venetian School) 
 
 19. Catena, Vincenzo 
 
 20. Venetian School. {See undet- Niccolo) 
 
 21. Vivarini, Bartolomeo 
 
 22. 23, 24, 25, 26, 27. Vivarini, Luigi 
 
 28. Fiore, Jacobello del 
 
 29. Vivarini, G. and A. da Murano 
 
192 INDEX 
 
 VESTIBULE 
 
 No. 
 1,2, 3. Rinaldi, Rinaldo 
 4, 5. Martini, Jacopo de 
 6. Lombardo 
 
 BAS-RELIEFS ABOVE 
 
 1, Giacarelli, Antonio 
 
 2, Rinaldi, Rinaldo 
 
 3, 4, 5. Martini, Jacopo, de 
 
 SALA II 
 
 Marble group in centre of room by Canova 
 
 1. Muttoni, Pietro II Vecchio 
 
 2. Padovanino. {See Varotari) 
 
 3. Florentine School 
 
 4. Schiavone, Andrea 
 
 5. Palma, Jacopo, the Younger 
 
 6. Marconi, Rocco 
 
 7. Palma, Jacopo, the Elder 
 
 8. Padovanino. (See Varotari) 
 
 9. Palma, Jacopo, the Younger 
 
 10. Padovanino. (See Varotari) 
 
 11. Raphael, Copy of 
 
 12. Renieri, Niccolo 
 
 13. Bassano, Jacopo. (&e Ponte) 
 
 14. Vecellio (Titian), Copy of 
 
 15. 16. Bassano, Jacopo. (See Ponte) 
 
 17. Bellini, Giovanni 
 
 18. Feti, Demenico 
 
 19. Marziale, Marco 
 
 20. Bassano, Leandro. (See Ponte) 
 
 21. 22, Bassano, Jacopo. (See Ponte) ' 
 
 23. Maratta, Carlo, School of 
 
 24. Bellini, Giovanni 
 
 25. Lanzani, Polidoro 
 
 26. Manfredi, Bartolomeo 
 
 27. Bassano, Jacopo. (See Ponte) 
 18. Palma, the Younger 
 
 29. Bassano, Jacopo. (See Ponte) 
 
 30. Salvi, Giov. Batt., called Sassoferrato 
 
INDEX 193 
 
 No. 
 
 31. Cariani, copy of Giorglone 
 
 32. Unknown 
 
 33. Cordegliaghi, Andrea. (&e Previtali) 
 
 34. Manfred!, Bartolomeo ' 
 
 35. Palma, the Younger 
 
 36. Bassano, Jacopo. {See Ponte) 
 
 37. Bassano, Francesco. {See Ponte) 
 
 38. 39. Feti, Domenico 
 
 40. Bissolo, Pier Francesco 
 
 41. Caliari, Paolo (Veronese) 
 
 42. Padovanino. {See Varotari) 
 
 43. Tintoretto. {See Robusti) 
 
 44. Padovanino. {See Varotari) 
 
 45. Tintoretto, School of. {See Robusti) 
 
 46. Caliari, Paolo, Copy of 
 
 47. Diana, Benedetto 
 
 48. Cima, Giov. Battista. 
 
 49. Feti, Domenico 
 
 50. Bolognese School 
 
 51. Bassano, Leandro. {See Ponte) 
 
 52. Padovanino. (5ec Varotari) 
 
 53. Bassano, Leandro. {See Ponte) 
 
 54. Tintoretto, School of. {See Robusti) 
 
 55. Boccaccino, Boccaccio 
 
 56. Lanzanl, Polidoro 
 
 57. Padovanino. {See Varotari) 
 
 58. 59. Flemish School 
 
 60. Palma, the Younger 
 
 61. Moro, Antonio 
 
 62. Padovanino. {See Varotari) 
 
 63. Bassano, Leandro. {See Ponte) 
 
 64. Wael, Cornelius 
 
 65. Spanish School 
 
 66. Rembrandt, Copy of 
 
 67. Bassano, Leandro. (Sec Ponte) 
 
 68. Marconi, Rocco 
 
 69. 70. Wael, Cornelius 
 
 71. Manfredi, Bartolomeo 
 
 72, 73. Pordenone, After 
 74. Callot, Jacques 
 
194 INDEX 
 
 No. 
 
 75. Bassano, Leandro. (See Ponte) 
 
 76. Feti, Domenico 
 
 77. Neapolitan School 
 
 78. Schiavone, Andrea 
 
 79. 80. Wael, Cornelius 
 
 81. Padovanino. (&e Varotari) 
 
 82. Bassano, Jacopo. (See Ponte) 
 
 83. Wael, Cornelius 
 
 84. Florentine School 
 
 85. Flemish School 
 
 86. Feti, Domenico 
 
 87. Callot, Jacques 
 
 88. Bolognese School 
 
 89. Palma, the Younger 
 
 90. Schiavone, Andrea 
 
 91. Tintoretto. (See Robusti) 
 
 92. 93. Olis, Jan van der 
 
 94. Cariani, Manner of 
 
 95. Pordenone, Giov. Antonio 
 
 96. Pordenone (?) 
 
 97. Florentine School 
 
 98. Prete, Genovese. (See Strozzi) 
 
 99. 100. Feti, Domenico 
 
 loi. Bassano, Jacopo. (.Sl;^ Ponte) 
 
 102. Tintoretto. (See Robusti) 
 
 103. Spezzini, Copy 
 
 104. Orbetto. (See Turchi) 
 
 105. Schiavone, Andrea 
 
 106. Raphael, Copy of 
 
 107. 108. Bassano, Francesco. (See Ponte) 
 
 109. Bissolo, Francesco 
 
 1 10. Udine, Giovanni da (?) 
 
 SALA III 
 
 1. Bolognese School 
 
 2. Florentine School 
 
 3. Tintoretto. (See Robusti) 
 
 4. Badile, Antonio 
 
 5. Venetian School 
 
 6. 7. Velde, Adriaen van de 
 
INDEX 195. 
 
 No. 
 
 %. Beijerenj Abraham van 
 
 9. Schiavone, Andrea 
 10, II. Velde, Adfiaen van de 
 
 12. Rubens, Copy of 
 
 13. Unknown 
 
 14. 15. Velde, Adriaen van de 
 
 16. Gavagnin. {See Cavagnin) 
 
 17. Schalcken, Godfried 
 
 18. 19. Flemish School 
 
 20. Callot, Jacques 
 
 21. Rubens, Copy of 
 
 22. Unknown 
 
 23. Flemish School : Ascribed to Weenix (?) 
 
 24. Flemish School : Martin de Vos (?) 
 
 25. Diirer, Copy of 
 
 26. Jordaens, Jan 
 
 27. 28, 29, 30. Velde, Adriaen van de 
 
 31. Bassano, Francesco. {See Ponte) 
 
 32. Bolognese School 
 
 33. Bellini, -School of 
 
 34. Velde, Adriaen van de 
 
 35. 36, Flemish School 
 
 37. Holbein, Copy of 
 
 38. Venetian School 
 
 39. Flemish School 
 
 40. Dutch School 
 
 41. Brusasorci, {See Riccio) 
 
 42. 43, 44. Longhij Pietro 
 
 45. Flemish School 
 
 46. Bolognese School 
 
 47. 48, 49, 50, 51. Bellini, Giovanni 
 
 52. Bril, Paul 
 
 53. Schiavone, Andrea 
 54j S5> 5^- Longhi, Pietro 
 
 57. Bolognese School 
 
 58. Elsheimer, Adam 
 
 59. Roman School 
 
 60. Unknown 
 
 61. Brusasorci. {See Riccio) 
 
 62. Barocci, Federigo 
 
196 indejT 
 
 No. 
 
 63. Schiavone, Andrea 
 
 64. Venetian School 
 
 65. Spezzini, Copy 
 
 SALA DELLE STATUE 
 
 Jn this room the numbers of the Pictures are given in the order in ivhich 
 t/te latter are hung^ and begin on the left of the door as the Visitor 
 enters. 
 
 Zona, Antonio 
 
 15. Tomaselli, Albano 
 
 11. 19. Zona, Antonio 
 
 4. Lipparini, Lodovico 
 8. Riegher, Emilia 
 
 6. Demin, Giovanni 
 
 16. Demin, Giovanni 
 
 5. Masuti, Antonio 
 15. Hayez, Francesco 
 18. Zona, Antonio 
 22. Hayez, Francesco 
 
 15. 10, Orsi, Tranquillo 
 Frieze, Tiepolo, G. B. 
 
 16. Starck, Giuseppe 
 
 5. Carlini, Giulio 
 
 12. Zasso, Giuliano 
 
 6. Giacomelli, Vincenzo 
 I. Conconi, Marco 
 
 I, 2. Hayez, Francesco 
 
 7. Tomaselli, Albano 
 g. Bordignon, Noe" 
 
 17. Bini, Pietro 
 
 7. Chilone, Vincenzo 
 
 10. Baldacci, Antonio 
 14. Borsato, Giuseppe 
 
 3. Moja, Federico 
 
 11. Andrea, Jacopo d' 
 
 13. Dugoni, Antonio 
 
 12. Andrea, Jacopo d' 
 
 4. Grigoletti, Michelangelo 
 
INDEX 197 
 
 No. 
 
 3, Bagati-Valsecchi 
 14, Moja, Francesco 
 
 8, 9, Hayez, Francesco 
 
 ■i. Caffi, Ippollto 
 
 I to 10. The Works of Fabris 
 
 This collection of Pictures toitl be found described under the 
 Artistes name on f. 60. 
 
 SALA IV 
 
 Contains Furniture carved by Andrea Briistolon, 
 
 CORRIDOR 
 
 I, 2, 3, 4. Vivarini, School of G. & A. da Murano 
 5, 6, 7. Maestro, Paolo 
 
 8. Moranzone, Jacopo 
 
 9. Veneziano, Antonio 
 
 10. Bologna, Giovanni da 
 
 11, Veneziano, Catterino 
 iz. Vivarini, Bartolomeo 
 
 13. Bellini, Gentile 
 
 14. Carpaccio, Vittore, Ascribed to 
 
 15. Veneziano, Lorenzo 
 
 16. Vivarini, Antonio da Murano (?) , 
 
 17. Veneziano, Lorenzo 
 
 18. Bellini, Jacopo 
 
 19. Niccolo di M. Pietro 
 
 20. 21, Murano, ^jiirizio da 
 
 22. Sienese School 
 
 23. Vivarini, Bartolomeo (?) 
 
 24. Crivelli, Carlo 
 
 25. Squarcione, Francesco, Ascribed to 
 
 26. Bolognese School 
 
 27. Zoppo, Marco (?) 
 
 28. Vivarini, Bartolomeo 
 
 29. Vivarini, School of 
 
 30. Sienese School 
 
 31. Semitecolo (?) (See under Niccolo) 
 
 32. Cusighe, Simone da. {See under Venetian School) 
 
igS INDEX 
 
 No. 
 
 33. Cusighe, Simone da 
 
 34. Avanzi (?) {See under Venetian School) 
 
 35. Muranese. (See under Venetian School) 
 
 36. Pennacchi, Pier Maria 
 
 37. Fiore, Jacobello del 
 
 38. Murano, Andrea da 
 
 Quarenghij Jacopo ; the drawings on the walls. 
 Fiore, Jacobello del; large painting by the windows. 
 
 SALE PALLADIANE— SALA VI 
 
 1. Mera, Pietro 
 
 2, 3. Bellini, Giovanni 
 
 4. Santa Croce, Pietro Paolo 
 5 J 6. Schiavone, Andrea 
 
 7. Firenze, Antonio da 
 
 8. Pennacchi, Pier Maria 
 g. Firenze, Antonio da 
 
 10. Campagnola, Domenico 
 
 11. Crivelli, Carlo 
 
 12. Diana, Benedetto 
 
 13. Montagna, Bartolomeo 
 
 14. Pennacchi, Girolamo (?) 
 
 15. Venetian School 
 
 16. 17. Messina, Antonello da 
 
 18. Valesa, Jacopo da 
 
 19. Veronese School 
 
 20. Bellini, Bellino 
 
 21. Busati, Andrea 
 
 22. Cima, Giov. Battista 
 
 23. Vivarini, Luigl 
 
 24. 25. Firenze, Antonio da 
 
 26. Venetian School 
 
 27. Teopilo, Monaco 
 
 28. Rizzo, Girolamo, (See Santa Croce) 
 
 29. 30. Poelenburgh, Cornelius 
 
 31. Schiavone, Andrea 
 
 32. Bissolo, Francesco 
 
 33. Bellini, Giovanni 
 
 34. Spagnoletto. {See Ribera) 
 
INDEX 199 
 
 Na. 
 
 35. Carlani, Giovanni 
 
 36. Boccaccino, Boccaccio 
 
 37. Bassano, Francesco. {See Ponte) 
 
 38. Mansueti, Giovanni 
 
 39. Cima, Giov. Battista 
 
 40. Licinio, Bernardino 
 
 41. Udine, Martino da. (See Pellegrino) 
 
 42. Vensziano, Donato 
 
 43. Tintoretto. {See Robust!) 
 
 44. Bellini, Giovanni 
 
 45. Hello, Marco 
 
 46. Titian, School of. {See Vecellio) 
 
 47. Cima, Giov. Battista 
 
 48. Palma, the Elder 
 
 49. Francesca, Pietro della 
 
 50. Robusti, Domenico 
 
 51. Palma, the Younger 
 
 52. Vecellio, Francesco 
 
 53. Parrasio, Michele 
 
 54. Bassano, Jacopo. {See Ponte) 
 
 55. Unknown 
 
 56. Rosso, Giovanni Battista 
 
 57. Veronese School 
 
 58. Tintoretto. {See Robusti) 
 
 59. Boni&cio 
 
 60. Savoldo, Giov. Girolamo 
 
 61. Tisi, Benvenuto 
 
 6z. Boccaccino, Boccaccio 
 
 63. Caliari, Paolo (Veronese) 
 
 64. Tintoretto. {See Robusti) 
 
 65. Cima, Giov. Battista 
 
 66. Renieri, Niccolo 
 
 67. Rizzo, Girolamo. {See Santa Croce) 
 
 68. Renieri, Niccolo 
 
 69. Sebastiani, Lazzaro 
 
 70. Robusti, Domenico 
 
 71. Bassano, Leandro. {See Ponte) 
 
 72. Renieri, Niccolo 
 
 73. 74. Bolognese School 
 
 75. Tintoretto. {See Robusti) 
 
200 INDEX 
 
 
 LOGGIA PALLADIANA 
 
 No 
 
 1, 
 
 I 
 
 , 2. Flemish School 
 
 3' 
 
 . Cardin, Jean Baptiste Simeon. (Set Chardin) 
 
 4. 
 
 , Kranak, Lucas. (&e Cranach) 
 
 S- 
 
 , Carpaccio, Vittore (?) 
 
 6, 
 
 , Conning, David de. (See Coninck) 
 
 7: 
 
 , 8. Hondekoeter, Melchiorre 
 
 9. 
 
 , Poussin, Nicholas, Copy of 
 
 10. 
 
 Fyt, Jan 
 
 II. 
 
 Dutch School, Ascribed to Alsloot (?) 
 
 12. 
 
 Civetta, Erri de. (See Bles) 
 
 •3. 
 
 Ruisdael, Jacob 
 
 14. 
 
 Civetta, Erri de. (See Bles) 
 
 15- 
 
 Dutch School, Ascribed to Alsloot (?) 
 
 16. 
 
 Heusch, Jacob de 
 
 17- 
 
 Civetta, Erri de. (AeBles) 
 
 18. 
 
 Momper, Jodecus 
 
 19- 
 
 Playnel (?) 
 
 20. 
 
 Berchem, Nicolas 
 
 21. 
 
 French School 
 
 22. 
 
 Momper, Jodocus 
 
 23. 
 
 Berckheyde, Gerrit 
 
 24. 
 
 Metsu 
 
 25. 
 
 Dyck, Anthony van 
 
 26. 
 
 Playnel 
 
 27. 
 
 Dyck, Anthony van 
 
 28. 
 
 Terburg, Gerard 
 
 29. 
 
 Bril, Mathew 
 
 3°- 
 
 Wyck, Thomas, the Elder 
 
 3i- 
 
 Dyck, Anthony van 
 
 32. 
 
 Steen, Jan 
 
 33- 
 
 Diirer, Copy of 
 
 34- 
 
 Bramer, Leonhard 
 
 35- 
 
 Coypel, Antoine 
 
 36. 
 
 Molyn, Peter, the Elder 
 
 37- 
 
 Wouverman, Philips 
 
 38. 
 
 Bramer, Leonhard 
 
 39- 
 
 Dyck, Anthony van 
 
 40. 
 
 Nieulandt, Adrian van 
 
 4'- 
 
 Monoyer 
 
INDEX 201 
 
 No. 
 
 4Z. Bega, Cornelius 
 
 43. Orley, Barent van 
 
 44. Kranak. (&e German School) 
 
 45. Memling, Hans, Copy of 
 
 46. Monoyer 
 
 47. Dusart, Cornelius 
 
 48. Weyden, Rogier van der 
 
 49. Riley, John 
 
 50. Leyden, Lucas van 
 
 51. Ostade, Isaak van 
 
 52. Ostade, Adriaan van 
 
 53. Cerquozzi, Michelangelo 
 
 54. Dietrich, Christian Wilhelm 
 
 55. Osude, Adriaan van 
 
 56. Dyck, Anthony van 
 
 57. Steen, Jan 
 
 58. Franceschi, Paul dei 
 
 59. Breenbergh, Bartholomeus 
 
 60. Mola, Pier Francesco 
 
 61. Heinz, Joseph 
 6z. Alboni, Paul 
 
 63. Franceschi, Paul dei 
 
 64. Breughel, Jan 
 
 65. Velde, Adriaan van de 
 
 66. Molyn, Peter 
 
 67. Ostade, Isaak van 
 
 68. Hondekoeter 
 
 69. Mierevelt 
 
 70. 71. Flemish School 
 
 72. Ribei3, Giuseppe 
 
 73. Robusti, Domenico 
 
 74. Tinelli, Tiberius 
 
 75. Man&edi, Bartolomeo 
 
 76. Bassano, Leandro. {See Ponte 
 
 77. Amerighi, Michelangelo 
 
 78. Beccaruzzi, Francesco 
 
 79. 80. Bassano, Leandro. {See Ponte) 
 
 81, Licinio, Giov. Ant. {See Pordenone) 
 
 82. Bastiani, Lazzaro. {See Sebastiano) 
 
INDEX 
 
 SALA VII 
 
 No. 
 I. Canova, Antonio 
 z. Vicentino, Andrea. {See Mkhieli) 
 
 3. Venetian School 
 
 4. Ca'liari, Carletto 
 
 5. Robusti, Domenico 
 
 6. Pietro da Cortona. {See Berrettini) 
 
 7. Parrasio, Michele 
 
 8. Caliari, Carletto 
 
 9. Bassano, Jacopo. (See Ponte) 
 10, II. Robusti, Domenico 
 
 12. Caliari, Carletto 
 
 13. Barbarelli (Giorgione) 
 
 14. Padovanino. (See Varotari) 
 
 15. Contarini, Giovanni 
 
 16. Caliari, Carletto 
 
 17. Robusti, Domenico 
 
 18. Bonifacio 
 
 19. Bassano, Jacopo. (See Ponte) 
 
 20. Caliari, Benedetto 
 
 21. Vecellio (Titian) 
 
 22. Licinio, Giov. Ant. (&e Pordenone) 
 
 23. Caliari, Paolo (Veronese) 
 
 25. Licinio, Giov. Ant. (See Pordenone) 
 
 26. Caliari, Paolo (Veronese) 
 
 27. Bordone, Paris 
 
 17. Mansueti, Giovanni 
 
 28. Bassano, Leandro. (See Ponte) 
 
 29. Caliari, Carlo 
 
 30. Marconi, Rocco 
 
 31. Caliari, Paolo (Veronese) 
 
 32. Rizzo, Girolamo. (See Santa Croce) 
 
 33. Tintoretto. (See Robusti) 
 
 34. Bonifacio 
 
 35. Bonifacio 
 
 36. Rizzo, Girolamo. (See Santa Croce) 
 
 37. Caliari,- Paolo (Veronese) 
 
 38. Tintoretto. (See Robusti) 
 
 39. Bonifacio 
 
 40. Bonifacio 
 
INDEX 203 
 
 No. 
 
 41. Albert!, Francesco 
 
 42. Tintoretto. {See Robust!) 
 
 43. Pace or Paxe 
 
 44. Varotar!, Dar!o 
 
 45. Caliar!, Paolo (Veronese) 
 
 46. Renleri, Nlccolo 
 
 47. Callari, Paolo (Veronese) 
 
 48. Callar!, Benedetto 
 
 49. Tintoretto. {See Robust!) 
 
 50. Bonifacio 
 
 51. Bonifacio 
 
 52. Tintoretto. {See Robust!) 
 
 53. Contarini, Giovanni 
 
 54. Carpaccio, Vittore 
 
 55. Bonifacio 
 
 56. Caliari, Paolo (Veronese) 
 
 57. Vitrulio 
 
 58. Vicellio, Francesco 
 
 59. Boni&cio 
 
 60. Damini, Pietro 
 
 61. Bordone, Paris 
 
 SALA VIII 
 
 I. Udine, Martino da. {See Pellegrino) 
 i. Carpaccio, Vittore 
 
 3. Fogolino, Marcello 
 
 4. Donato, Veneziano 
 
 5. Bellini, Gentile 
 
 6. Tintoretto. (See Robust!) 
 
 7. Diana, Benedetto 
 
 8. Florigerio, Sebastiano 
 
 9. Bolognese Scliool 
 
 10, II. Carpaccio, Vittore 
 12, 13. Mansueti, Giovanni 
 
 14. Carpaccio, Vittore 
 
 15. Bissolo, Francesco 
 
 16. 18. Carpaccio, Vittore 
 
 19. Fasolo, Antonio 
 
 20. Carpaccio, Vittore 
 
 21. Caliari, Paolo (Veronese) 
 
204 INDEX 
 
 No. 
 
 22. Mansueti, Giovanni 
 
 23. Capaccio, Vlttore 
 
 24. 25. Sebastiano, Lazzaro 
 
 26. Porta, Giuseppe (Salviati) 
 
 27. Carpaccio, Vittore 
 
 28. Caliari, Benedetto 
 
 29. Bellini, Gentile 
 
 30. Flofigerio, Sebastiano 
 
 31. Rizzo, Francesco. (&e Santa Croce) 
 
 32. Carpaccio, Vittore 
 
 33. Udine, Martino da. (See Pellegrino) 
 
 34. Carpaccio, Vittore 
 
 35. Udine, Martino da. {See Pellegrino) 
 
 SALA IX 
 
 1, Caliari, Paolo (Veronese) 
 J., ingoli, Matteo 
 
 3. Tintoretto. {See Robusti) 
 
 4. Bonifacio 
 
 5. 6. Bonifacio 
 
 7. Bonifacio 
 
 8. Palma, the Elder 
 
 9. Bonifacio 
 
 10. Murano, Giov. and Ant. da. {See Vivarini) 
 
 11. Vivarini, Luigi 
 
 12. Murano, Giov. and Ant. da. {See Vivarini) 
 
 13. Catena, Vincenzo 
 
 14. Bonifacio 
 
 15. Vecellio (Titian), Ascribed to 
 
 16. Vecellio (Titian) 
 
 17. Ingoli, Matteo 
 
 18. Bonifacio 
 
 1 9. Tintoretto. {See Robusti) 
 
 20. Udine, Girolamo da 
 
 22. Tintoretto. {See Robusti) 
 
 23. Udine, Girolamo da 
 
 24. Basaiti, Marco 
 
 24. Boni&cio 
 
 25, 26, Rizzo, Girolamo. (See Santa Croce) 
 
INDEX 
 
 205 
 
 No. 
 
 27. Florentine School 
 
 28. Tintoretto. (See Robust!) 
 iSj. Bonifacio 
 
 30. Ghirlandajo, Ridolfo 
 
 31. Diana, Benedetto 
 
 32. Caliari, Carlo 
 
 33. Palma, the Elder 
 
 34. Polidoro, Lanzani 
 
 35. Bonifacio 
 
 36. Tintoretto. {See Robusti) 
 
 37. Marconi, Rocco 
 
 38. Monlagna, Bartolomeo 
 
 39. Mansueti, Giovanni 
 
 40. 41. Bonifacio 
 
 42. Tintoretto. (See Robusti) 
 
 43. Caliari, Paolo (Veronese) 
 
 44. Ferrari, Luigi 
 
 SALA X.— SCULPTURE 
 
 Tlie folloiving numbers are arranged in the order in ivhich the 'works of 
 art are disposed round the room^ and begin on the left hand side 
 of the door as the Visitor enters, 
 
 g. Aspetti, Tiziano 
 
 7. Spinelli, Andrea, Ascribed to 
 13. Venetian School 
 
 5. Camelio, Vittore 
 
 2. Riccio, Andrea 
 1. Flemish School 
 
 3. Riccio, Andrea 
 
 4. Leopardi, Alessandro 
 
 6. Lombardo, Antonio, School of 
 
 8. Spinelli, Andrea, Ascribed to 
 
 10. Aspetti, Tiziano 
 
 1 1. Aspetti, Tiziano 
 
 In the two glass cases tliere are, amongst terra- cattas, bronzes, tSfc, 
 six statuettes in marble representing the Virtues by Bergamasco 
 (Guglielmo'). 
 
2o6 INDEX 
 
 SALA XI.— PAINTINGS OF THE EIGHTEENTH 
 
 CENTURY 
 
 No. 
 
 1. Camera, Rosalba 
 
 2. Balestra, Antonio 
 
 3. Kicci, Marco 
 
 4. Bellotti, Bernardo 
 
 5. Zuccarelli, Francesco 
 
 6. Mar'ieschi, Jacopo 
 
 7. Tiepolo, Giov. Batdsta 
 
 8. Ruschi, Francesco 
 
 9. English School (?) 
 
 10. Longhi, Pietro 
 
 11. Nogari, Giuseppe 
 
 12. Zuccarelli, Francesco 
 
 13. Cassana, Giov. Agostino 
 
 14. Gaspari, Pietro 
 
 15. Lazzarini, Gregorio 
 
 16. Moretti, Giuseppe 
 
 17. Zais, Giuseppe 
 
 18. Cassana, Giov. Agostino 
 
 19. Viventini, Antonio 
 
 20. Battaglioli, Francesco 
 
 21. Lazzarini, Gregorio 
 
 22. Zuccarelli, Francesco 
 
 23. Piazzetta, Giov. Battista 
 
 24. Nogari, Giuseppe 
 
 25. Longhi, Alessandro 
 
 26. Maggiotto, Domenico 
 
 27. Ricci, Marco 
 
 28. 29. Tiepolo, Giov. Domenico 
 
 30. Canal, Antonio (?) 
 
 31. Zuccarelli, Francesco 
 
 32. Joli, Antonio 
 
 33i 34> 35- Longhi, Alessandro 
 
 36. Crespi, Luigi^ 
 
 37. Maggiotto, Domenico 
 
 38. Lazzarini, Gregorio 
 
 39. Novell!, Pierantonio 
 
 40. Cignaroli, Giambettino 
 
INDEX Z07 
 
 No. 
 
 41. Longhi, Pietro 
 
 42. Lazzarini, Gregorio 
 
 43. Ricci, Marco 
 
 44. Maggiotto, Francesco 
 
 SALA XII 
 
 3, 6. Tintoretto. (See Robust!) 
 
 17. Diziani, Gaspare 
 
 18. Eatoni, Ponipeo 
 
 20. Diziani, Gaspare 
 
 21. Ferri, Clro 
 
 23. Lazzarini, Gregorio 
 
 SALA XIII.— DRAWINGS 
 
 Tlie numbers begin on the left hand side of the entrance into Sala XIV. , 
 as the Visitor stands facing that door. 
 
 Frame I. — Venetian School: 1, i, 8, Tintoretto. 3. Bernardino, 
 India. 4, Palma, the Younger. 5, 6, Titian (?). 7, Paolo 
 Veronese. 
 
 Frame II. — Venetian School : 1, i, 3,6, Palma, the Younger. 4, 
 Andrea Mantegna (?). 5, Tintoretto. 7, Pordenone (?). 
 
 Frame III.— Venetian School: x, Tiepolo, G. B. z, Titian (?). 
 3, Palma the Younger. 4, A. Bonvicino. 5, Bellini (?). 
 6, Mantegna (?). 7, Giov. Bellini. 8, Mantegna. ^, Gior- 
 gioni. 10, Tintoretto. 
 
 Frames IV. and V. — Lombard School. Leonardo da Vinci. 
 
 Frame VI. — Lombard School : i, Bernardino Luino. 2 to 7, Leon- 
 ardo da Vinci. 
 
 Frame VII. — Lombard School : ' to 7, Cesare da Sesto. 
 
 Frame VIII.— Lombard School: i, 7, Bramantino. 2, Auralio 
 Luino. 3, Glo. Batt. Dalla Cerva. 4, Bernardino Luino. 
 5, 6. Bernardino Lanino. 8, Marco d' Oggiono. 9, School 
 of Leonarda da Vinci. 
 
 Frame IX. — Lombard School: i, Gaudenzio Ferrari. 2, Braman- 
 tino (?). 3, Bernardino Luino. 4, Bernardino Lanino. 
 
 Frame X. — Lombard School : i, 3, 8, School of Leonarda da Vinci, 
 z, Foppa, Vincenzo. 4, Giov. Paolo Lomazzo. 5, Francesco 
 de Tatti. 6, Gaudenzio Ferrari. 7, Lomazzo. 
 
2d8 index 
 
 Frame XI. — Lombard School : i to 4, Camillo Procacclno. 5 to 7, 
 
 Procaccino G. Cesare. 8, Procacclno, Ercole. 9 to 12, 
 
 Procaccino Camillo. 
 Frame XII. — Bolognese School: i, 4, 9, 10, 11, 12, 13, Annibale 
 
 Caracci. 2, 3, 8, 14, Agostino Caraccl. 5, 6, 7, Lodovico 
 
 Caracci. 
 Frame XIII. — Bolognese School: i, 3, Pellegrino Tibaldl. 2, After 
 
 Guido Reni. 4, 7, 10, Guido Reni. 5, 8, Simone Contarini. 
 
 6, Dionisio Calvart. 9, Elisabetta Slrani. 11, Leonello 
 
 Spada. 
 Frame XIV. — Bolognese School : Guercino da Cento. 
 Frame XV. — i, 3 to 7, School of Parmlglano. 2, Bartolomeo Sche- 
 
 done. 8 to 13, Guercino. 
 Frame XVI. — Cremonese School : i, Enea Salmeggia. 2, 3, 4, Giulio 
 
 Campi. 5 to 10, Bernardino Campi. 
 Frame XVII. — Roman School: i, i, After P. da Caravaggio. 3, 4, 
 
 Barocci. 5, P. da Cortona. 6, Cav. d' Arpino. 7, F. 
 
 Zuccheri. 
 Frame XVIII. — Roman School : i, 2, 5, Battista Franco. 3, P. da 
 
 Caravaggio. 4, D. Ricciarelli da Volterra. 6, After F. 
 
 Zuccheri. 
 Frame XIX. — Tuscan School: i, 3, Carlo Dolci. 2, Andrea del 
 
 Sarto. 4, Pietro Testa. 5, Jacopo da Pontormo. 6, After 
 
 Franciabigio. 7, Jacopo Ligozzi. 
 Frame XX. — i, 8, Flemish School. 2, 3, 7, Albert Diirer. 4, Alde- 
 
 grever. 5, 6, 8, Unknown. 9, 10, M. Wohlgemuth (?) 11, 
 
 14, After Durer. 12, A. Maier. 13, L. Cranach (?) 
 Frame XXI. — Tuscan School : 1, 3, Fra Bartolomeo. *, Cosimo 
 
 Roselli. 4, Unknown. 5, G. Stamina. 6, Fra Angelico. 
 Frame XXII. — Tuscan School : i, Gerino da Pistoja. 2 to 6, 
 
 Unknown. 7, Masaccio (?). 8 to 15, Unknown. 
 Frames XXIII., XXIV., XXV., XXVI., XXVII. — Ascribed to 
 
 Raphael. 
 Frame XXVIII. — Umbrian School: i, 2, 5, Tiberio d' Assisi. 3, 
 
 4, Peruglno. 
 Frame XXIX. — Florentine School : Ascribed to Buonarroti, Michel- 
 angelo. 
 Frame XXX. — Milanese School : ' to 7, Ambroglo Figino. 
 Frame XXXI. — i. Unknown. 2, 3, Figino. 4, Unknown. 5, 
 
 Michelangelo (?). 6, 7, Giulio Romano. 
 Frame XXXII. — i, Sebastiano del Piombo. 2, P. da Caravaggio (?). 
 
INDEX 209 
 
 3, Maturino, 4, Cristoforo AUori. 5, Vasari, 6, 7, Pon- 
 
 tormo. 
 Frame XXXIII. — Florentine School : Baccio Bandinelli. 
 Frame XXXIV. — i, 4, 5, 6, Giulio Romano, z, Bagnacavallo (?). 
 
 3, Unknown, 7, 8, Pietino del Vaga. 10, Timoteo Vite. 
 Frame XXXV, — Roman School : i, Copy of Raphael. 2, 3, 
 
 Raphael (?), 4, D. Aliani(?), 5, Raphael, 6, Copy of 
 
 Raphael. 7 to 12, Raphael (?). 
 Frame XXXVI. — Roman School: i, yi/ter Raphael. 2, Desiderio 
 
 da Settignano. 3, 4, Unknown. 5, 6, Bramante, 7, Desi- 
 derio da Settignano (?), 
 Frame XXXVII, — Roman School : 1, Bibiena, z. 3, Antonio 
 
 Campi. 4, Unknown. 5, P. da Caravaggio. 
 Frame XXXVIII. — German School: i, Martin Schaffner. 2, 4, 12, 
 
 Unknown. 3, A. Durer. 5 to 10, Altdorfer. n, F. Sny- 
 
 deis. 13, B. Beham. 
 
 SALA XIV 
 
 Saia delle Seduu del Collegh degli Accademici. 
 
 No. 
 
 1. Diana, Benedetto 
 
 2. Tintoretto. (&e Robust!) 
 
 3. 4. Messina, AntoneUo da 
 
 5. Rizzo, Girolamo. (See Santa Croce) 
 
 6. Mantegna, Andrea 
 
 7. Credi, Lorenzo di 
 
 8. Caroto, Giov. Francesco 
 
 9. Brusasorci. (See Riccio) 
 ID, Contarini, Giovanni 
 
 II. Tintoretto, (&e Robust!) 
 
 iz. Maiescalco. (See Buonconsigli) 
 
 13. Montemezzano, Francesco 
 
 14. Schedone, Bartolomeo 
 
 15. Rizzo, Girolamo. (See Santa Croce) 
 
 16. Lanzani, Polidoro 
 
 17. Liberi, Pietro 
 
 18. Basaiti, Marco 
 
 19. Bellini, Giovanni 
 
 zo. Chimenti. (See Empoli 
 21, Torbido, Francesco 
 
2IO INDEX 
 
 No. 
 
 22. Vecellio (Titian) 
 
 23. Tintoretto. {See Robust!) 
 
 24. Pulachi, Doro 
 
 25. Zuccarelli, Francesco 
 
 26. Bolognese School 
 
 27. Zandomenighi, Luigi 
 
 28. Bissolo, Pier Francesco 
 
 29. Pocetti. (&e Barbatelli) 
 
 30. Caliari, Paolo (Veronese) 
 
 31. Bassano, Jacopo. (&e Ponte) 
 
 32. Venetian School 
 
 33. Bonvicino, Alessandro 
 
 34. Brusasorci. {See Riccio) 
 
 35. Cima, Giov. Battista 
 
 36. Cariani, Giovanni 
 
 37. Bonvicino, Alessandro 
 
 38. Caracci, Annibale, School of 
 
 39. Bonifacio 
 
 40. Raibolini, Jacopo 
 
 41. Florentine School 
 
 42. Orbetto, Alessandro. {See Turchi) 
 
 43. Boccaccino, Boccaccio 
 
 44. Robusti, Domenico 
 
 SALA XV 
 
 1. Vecellio (Titian) 
 
 2, 4, 5. Tintoretto. (See Robusti) 
 
 8. Carpaccio, Vittore 
 
 9. Caliari, Paolo (Veronese) 
 
 10. Bellini, Giovanni 
 
 11. Basaiti, Marco 
 21, Cima, Giov. Batt. 
 
 SALA XVI 
 
 1. Tintoretto. {See Robusti) 
 
 2. Palma, the Elder 
 
 3. Tintoretto. {See Robusti) 
 
 4. Vecellio (Titian) 
 
 5. Zanchl, Antonio 
 
 6. Padovanino. {See Varotari) 
 
INDEX 211 
 
 No. 
 
 7. Renieri, Niccolo 
 
 8. Padovanino. (See Varotari) 
 
 9. Beccaruzzi, Francesco 
 
 10. Montagna, Benedetto 
 
 1 1. Giordano, Luca 
 
 n. Tintoretto. (5« Robusti) 
 
 12. Vicentino. (5ee Michieli) 
 
 13. Biun, Charles le 
 
 14. Robust!, Dotnenico 
 
 15. Caliaii, Carlo 
 
 16. Palma, the Younger 
 
 17. Caliari, Paolo (Veronese) 
 
 18. 19. Palma, the Younger 
 
 20. Caliari, Paolo (Veronese) 
 
 21. Caliari, Carlo 
 
 22. Bonifacio 
 
 23. Tintoretto. (See Robusti) 
 
 24. Caliari, Carlo 
 
 25. Padovanino. (See Varotari) 
 z6. Bassano, Jacopo. (See Ponte) 
 27. Tintoretto. (See Robusti) 
 z8. Boni&cio 
 
 29. Pase, or Pace 
 
 30. Caliari, Paolo (Veronese) 
 
 31. Caliari, Carlo 
 
 32. Bassano, Leandro. (See Ponte) 
 
 33. Caliari, Paolo (Veronese) 
 
 34. Renieri, Niccolo 
 
 35. Padovanino. See Varotari) 
 
 36. Zanchi, Antonio 
 
 37. Tintoretto. {See Robusti) 
 
 38. Ferrarese, Giov, Battista 
 
 Priiiied Sy Ballantvne, Hanson & Co. 
 London Iff Edinburgh