anxa 87-B 24249 ESSAY TOWARDS A CATALOGUE OF PRINTS ENGRAVED FROM THE WORKS OF DIEGO RODRIGUEZ DE SILVA VE L AZO UEZ AND BARTOLOME ESTEBAN M U R I L L O BY Sir WILLIAM STIRLING-MAXWELL, Bart. LONDON privately PRINTED FOR SIR W. S. M. 1873- CONTENTS. PAGE Preface, . iii Books cited under shortened titles, . . , vi Abbreviations, xiv Prints after Works of Velazquez : . . xv (His Portrait), xvi I. Sacred Subjects, . . . . . i II. Historical Subjects, . . . . 5 III. Portraits, Male, . . . . .13 „ Female, 35 IV. Landscapes, .38 V. Doubtful and Spurious, . ... 39 Prints after Works of Murillo: . . 47 (His Portrait), 48 I. Sacred Subjects, 49 II. Studies, 113 III. Portraits, 124 IV. Landscapes, 129 V. Doubtful and Spurious, .... 130 [only one hundred copies printed.] THE CETIY C£NI£fi The following Catalogue is founded on my own collection of Prints after Velazquez and Murillo, and the still larger collection of my friend, Mr. Charles Morse, who, for more than twenty years, has been one of the most diligent and successful collectors of the engraved works of those great masters. Whenever he or I met with a print which we did not possess and failed to obtain, a note and description of it was added to our catalogues, and the results of many years of print-collecting and note-making are here recorded for the use of future collectors. I must also gratefully record my obligations to Mr. Morse for assistance in this compilation. The manuscript was a joint labour, but its revision for the press was undertaken and accomplished by him. When special reference is made to either of us, or to either of our collections, each is distinguished by the initials of his name, CM. or W.S.M. To my Velazquez and his Works. ; London, 1856, sm. 8? I added (pp. 237-256) a Catalogue of such engraved works of the master as were then in either collection or known to us, a catalogue which will be here found to have been greatly increased. B iv PREFACE. The measurements of the following prints are given in inches and tenths of inches. The first measurement refers to the height, the second to the breadth of the print. The measurement is taken, in prints engraved on metal, at the plate mark, or indentation left on the paper by the pressure of the plate; in prints from stone and wood, it is taken so as to include all engraved bordering lines and the more important lettering, whether engraved or in type. If any portion of the paper within these limits has been cut away, the fact is noted. It is not easy to give any exact rule for taking the measurements of lithographs, as the mark left by the stone is seldom perceptible and the lettering is often so widely spread, that to include it all would give an erroneous idea of the size of the print. The prints have been arranged, first, in the order of subjects, all prints from the same picture being placed together, and next, so far as can be ascertained, in the order of their dates. When no date has been attain- able, the arrangement is in order of merit and importance. Here, as in all catalogues which aspire to completeness, space and type will sometimes seem to have been wasted on works of very little value, but the notices of these have, I hope, been made as brief as is consistent with possibility of clear identification. Of the prints after Murillo, especially those relating to the Virgin and to devotional subjects, many are very poor, and not a few, evidently taken from works of which Murillo was guiltless. In his case therefore the list of " doubtful and spurious " prints is somewhat PREFACE. V long ; but on the whole it seems to me that such a list may not be without its use. In the case of Velazquez a difficulty of an opposite kind presented itself. It cannot be doubted that many portraits were engraved from his pictures without any acknowledgment of the fact appearing on the prints. The portraits of royal Spanish personages by Pedro de Villafranca, being chiefly executed for books of a pubHc and official character may well be supposed to have been engraved from the works of the favourite court painter. Some of them, as for example the fine one of Isabel of Bourbon, first queen of Philip IV. in the book on her Honras, 1645, ^^^^ of Philip IV. himself in Los Santos's Escorial, 1657, ^^^^ stamp of the great master's style. The late Mr. Ford, than whom no one better understood Spanish art, was of opinion that a contemporary royal portrait of the Spanish House of Austria, from the burin of Pedro de Villa- franca, might always be also safely ascribed to the pencil of Velazquez. I have in this catalogue acted on that opinion, although there are but three engraved portraits, one of Philip IV. and two of Olivares, which bear the name of Velazquez on the plate. 10, Upper Grosvenor Street, ytdy 2Sth, 1873. BOOKS REFERRED TO IN THE FOLLOWING PAGES MORE THAN ONCE ARE CITED UNDER THESE SHORTENED TITLES. Blanc ; Peintres. Blanc ; Painters. Buchanan ; Memoirs. Burnet ; Port, painting. Castillo ; Viage de Phelipe IV. UHistoire des Peintres de tontes les Ecoles^par C. Blanc. Paris, 1852, 4? History of Painters by C. B. translated by P. Berlyn. London. Memoirs of Painting, with a His- tory of the importation of Pic- tures by the Great Masters into England, by William Buchanan. London, 1824, 2 vols. 89 PracticalHints onP or trait painting, by John Burnet, F.R.S. London, 1850, 4? Viage del Key N. S.D. Phelipe IV. a la frontera de Francia . . Des- posorio de la. . S? Infante Dona Maria Teresa de Austria. [1660.] por D. Leonardo del Castillo BOOKS UNDER SHORTENED TITLES, vii Cean Bermudez ; Dice. Cean Bermudez ; Carta. Cunningham ; Cab. Gal. Esp. I hist. [Madrid] 1667 4? As Aposen- tador Mayor, or Quarter-master of the royal household, Velaz- quez accompanied the king on this journey, and is enumerated amongst the other members of the household at p. 56. The portraits in the volume are all by P. de Villafranca, and that of Philip IV. is unquestionably, and the rest probably, taken from pictures or drawings by Velaz- quez. Diccionario historico de los mas illustres Professores de las Bellas Artes en Espafia. .por J. A. Cean Bermudez; Madrid, 1800, 6 vols, sm. 89 Carta sohre la Escuela Sevillana; Cadiz, 1806, sm. 80 Cabinet Gallery of Pictures se- lected from the collections of. . Great Britain., by Allan Cun- ningham. London, 1833-4, 2 vols. 4? Retvatos de los Espanoles Ilustres. Madrid, 1791, fol. Galleries. Dresden ; Royal Gallery. Meisterwerke der Dresdner Gallerie , . durch Karl Clauss. Dresden, viii BOOKS CITED UNDER Galleries. Clauss ; Paris, and London, [1871], foL Dresden Gall, (with German, French, and Eng- lish text). Bilder Brevier. Bilder Brevier der Dresdner Gallerie 1857 1858. V071 Julius Hiibner, mit original Radirungen von H. Burkner. Dresden, 1857-8, 2nd Part, sm. 89 Frenzel ; Die vorzugliehsten Gemdlde der Dresden Gall. kdniglich, Galerie zu Dresden anf Stein gezeichnet . . nebst Erkldrnngen » von J. G. A. Frenzel ; herausgegeben von Franz Hanfstaengl. Dresden,. 1836, fol. England ; See St. Petersburg ; Houghton Gall. Houghton Gall. Miles Gall. Catalogue of Pictures of P. jf. Miles, Esq. at Leigh Courts Bristol, by ]dhnYoMV\g. London, 1822, 4? Florence ; Ulmperiale e Reale G alter ia Pitti Gall. Pitti. per Luigi Bardi. Firenze, 1837- 42, 4 vols. fol. Royal Gallery. Reale Galleria de Firenze illustrata. Real Gall, di Serie IIL Ritratti di Pittori. Firenze illust. Firenze, 1817-1833, 4 vols 8? France ; Galleries Historiques de Versailles Gal. Hist, de et Supplement . .Frtis (Ch. Ga- Versailles. vard), 1838-1854, 19 and 6 torn, fol. SHORTENED TITLES. IX Galleries. London ; Catalogue of Pictures at Gvosvenov Grosvenor Gall. House, engraved by John Young. London, 1821, 4? Madrid ; Coleccion lithographica de Cuadros Royal Museum del Rey de Espana. Madrid, Col. Lith. Mad. 1826 32, 3 vols. fol. Gal. Alahern Galleria de Cuadros escogidos del Mad, Real Musco de Pinturas de Madrid, par D. Camilo Alabern. Tom. L Madrid, 1859, 8? [No more published.] jfoyas de la Pint. El Real Museo de Madrid y jfoyas de la Pintura en Espana. .collec- cion . . de cuadros pertinecientes a la Corona, a la Iglesia, al Estado y d Galerias particulares . . copiados . .por. . dihuj antes lito- grafos . .y esplicados por Don Pedro de Madrazo. Madrid, 1857, &c. fol. Entregas 1-24. [In progress.] Academy of San Cuadros Selectos de la real Acade- Fernando. mia de los tres nobles Artes de Cuad. Sel. de S. San Fernando, publicados por la Fern. misma. Madrid, 1870, fol. Munich ; Auswahl de VorzJiglichstem Ge- Royal mdlde der Pinakothek herausge- Pinakothek. geben von der literarisch artischen Gem. der Pinak. Anstalt. Miinchen (J. G. Cotta), fol. X Galleries. Kon. Bayer ; Pin. von Piloty, BOOKS CITED UNDER Samml. Leuchtenberg. Paris ; Gal. Aguado. Cab. Choiseul. Coll. Denon. Konigl. Bayer. Pinakothek zii Miinchen und Gemdlde Gallerie zu Schleisheim . . in lithographirten Abbildungen herausgegeben in der Kunst Anstalt von Piloty tmd loehle. Miinchen, fol. Gemdlde Sammlung in Miinchen Seiner kon-hoh. des Dom Augusto Herzogs v. Leuchtenberg, he- rausgegeben von J. N. Muxel. Miinchen, 1839, 4^ Galerie Aguado, choix des princi- paux tableaux de la Galerie de M. le Marquis de las Marismas del Guadalquivir [Alexander Marie Aguado], par L. Viardot. Paris, 1839-41, fol. Recueil d^estampes gravee d^apres les tableaux du Cabinet de M. le Due de Choiseul, par P. F. Basan. Paris, 1771 and 1781, 4? Monumens des Arts du Dessin., recueillis, par le Baron Vivant Denon. Paris, 1829, 4 vols. fol. Gal. Lebrmi. Recueil de Gravures d^apres du choix des Tableaux fait en Es- pagne, &'C. par M. Lebrun. Paris, 1809, 2 vols. 8? SHORTENED TITLES. xi Galleries. Louvre ; Galevie du Musee Napoleon, par Gal. Mils. Nap. Filhol. Paris, 1804-1828, 11 vols. 8? Louvre ; Annales du Musee [du Louvre'], Louvre, Landon. &'c. par C. P. Landon. Paris, 1803 -1834, 44 vols. 8? Gal. Massias. Galerie de M. Massias, ou Catalogue Jigtire des tableaux de cette Galerie redige par C. P. Landon. Paris, 1815, 8<5 St. Petersburg ; Galerie Imperiale de VErniitage. Gal. Imp. de St. Petersburg (Gohier des Fon- VErm. taines, &c.), 1845-47. Houghton Gall. Prints engraved after Paintings in the collection of the Emperor of Russia^ lately in the possession of the Earl of Orford at Houghton. London (J. Boydell), 1788, 2 vols. fol. Gaz. des B. Arts. Gazette des Beaux Arts. Paris, 1859-1869, 25 vols, and 2 vols, of Table; and vols. 1-3, 1870-73, second Period. Giuliani ; Descrittione delVApparato fatto Festa di S. nella festa di S. Giovanni dal Giovanni. 1631. popolo Napolitano . .di Gio. Bqt- nardino Giuliani. Napoli, 163 1, 49 Jameson; Sacred and Legendary Art, by Sac. and Leg. Art. Mrs. Jameson. London, 1848 2 vols. 8? xii BOOKS CITED UNDER Legends of the Monastic orders. London, 1850, 89 Legends of the Madonna. London, 1852, 8? Hist, of Our Lord. History of Our Lord. London, 1864, 2 vols. 8? Reductions d^ apres les anciensmai- tres, par L. Maurin. Dictionary of Spanish Painters^ by A. O'Neil. London, 1833, 2 vols. S? Jameson ; Leg. of Mon. Ord. Leg. of Madonna Maurin ; Reductions. O'Neil ; Span. Painters. Pacificatores ; Orhis Christiani. Pacificatores orhis Christiani sive I cones Principum^ et Legatorum qui Monasterii atque Osnahrugce Pacem Europce reconciliariint^ [1648.] Rotterodami, 1697, Most of the prints in this fine collection of portraits are after Anselm van Hulle, by De Jode, Pontius, Galle, etc. The Principes, including Philip IV. and Don John of Austria, are not found in the first edition Celeherrimi ad pacificandtun Christiani nominis orbeni Legati Monasterium et Osnahrugas.. missi ; Antverpiae, 1648, fol. but appeared for the first time in the second, 1697, again in the third and fourth, Amster- dam, 1705 and 1717. SHORTENED TITLES. xiii Parn. Espanol. Portfolio. Reveil et Duchesne. Scott ; Murillo, Sevilla Pintoresca. Stirling ; A. of A. Stirling ; V. Tapia y Robles ; Renomhre de Grande. Parnaso Espanol , ,poesias escogi- das de los . .poetas Castellanos [por J. J. Lopez de Sedano] » Madrid, 1768-78, 9 vols. 8? The Portfolio, an artistic periodical edited by P. G. Hamerton. Lon- don, 4? vols, i.-iv. in progress. Miisee de Peintre et de Sculpture ou recueil des principaux tableaux statues, and des collections pub- liques ou particuUers de VEurope; dessines et grave, .par Reveil; avec des notices.. par Duchesne aine. Paris, 1829-33, 17 vols. 8? Murillo and the Spanish School of Painting ; 15 Engravings on steel and ig on wood, with an account of the School, by William B. Scott. London, 1873, 4? Sevilla Pintoresca 0 descripcion de sus mas celebres monumentos ar- tisticos : por Jose Amador de los Rios. Sevilla, 1844, 89 Annals of the Artists of Spain, by William Stirling. London, 1848, 3 vols. 8? Velazquez and his works, by W. Stirling. London, 1855, sm. 8? Ilustracion del renombre de Grande por D. Juan Antonio Tapia y Robles. Madrid, 1638, 4? xiv ABBREVIATIONS. Uomini ilhisf. in Pitttira. Serie degli uomini i piu illustri in Pittura^ Scultura et Architettuva con i loro elogi e rifratti, Fi- renze, 1769-76, 13 vols. 40 ABBREVIATIONS Used in describing the Prints, In describing the prints the following abbreviations are used : — Etch, for Etching. Line. ,, Line Engraving. Litho. Lithograph. Mezzo. Mezzotint. Stip. Mezzo. Stippled Mezzotint. Wood. ,, Wood Engraving. Inscr. Inscription or Inscribed. r. ,, right. L „ left. h. ,, hand- The words right and left are used with reference not to the spectator, but to the print itself. If a portrait be described as profile, r. it means that the head is turned to the right hand of the person represented. ESSAY TOWARDS A CATALOGUE OF PRINTS AFTER THE WORKS OF DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ. DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ, Born at Seville 1599; died at Madrid 1660. Head ; from the picture in the Sala dc' Pittori in th Roy. Gallery at Florence; engraved by C Colom bini in Uomini illust. in Pittiira, x. p. 133. THL mi ^ PRINTS AFTER WORKS OF VELAZQUEZ. Lot and his Daughters. Line. 16.4 X 11.6. Ph.Triere. The picture was bought at the sale of the Orleans Gallery, in 1799, by Mr. Hope, for 500 guineas, and sold again in 1816 ; Buchanan's Memoirs, vol. I, p. 146. It was afterwards in Lord North- wick's collection, at Thirlestane House, Chelten- ham, and at the sale on August 23rd, 1859, was bought by Mr. Eckford, for;£'.i47, for the present Lord North wick. The Finding of Moses. Line. 16.4 X 11.6. De Launay le jeune. The picture is in England, at the Earl of Carlisle's, Castle Howard, Yorkshire, and was formerly in the Orleans Gallery, in which it was valued to the Lord Carlisle, one of the purchasers of the collection, at 500 guineas ; Buchanan's Memoirs, vol. i. p. 146. 2 VELAZQUEZ. [Sacred Subjects. The Coronation of Our Lady. Line. Paris. 21.9X15.9. Massard. The Coronation of Our Lady. Litho. 17.2 x 12.4. P. L. Feillet, In Col. Lith. Mad, vol. 11, No. ex. The Coronation of Our Lady. Litho. Paris. 21.5 x 15.8. Llanta, The Coronation of Our Lady. Litho. 10.6 x 7.5. Llanta, In Galerie Religieiise et Morale. Paris, No. 57. The Coronation of Our Lady. Litho. 10.6 x 7.6. Chevalier, In Musee Chretien. Paris, No. 106. The Coronation of Our Lady. Outhne. 4.5 x 3.4. A. R. In Reveil et Duchesne, vol. xiv. No. 955. The Coronation of Our Lady. Etch. 4.1 X 2.9. A, jfameson. In Jameson ; Leg. of Madonna, p. 26. The Coronation of Our Lady. Etch. 7.5 x 5.1. F. Facho, In Gal. Alahern. Mad. The Coronation of Our Lady. Etch. 11.4 X 7.9. y. Vallejo, In El Arte en Espana, The picture is at Madrid, Royal Museum, No. 62. Our Lady in adoration. Etch. 4.5 x 4.7. y. Young, In Miles Gall. No. 10. Adoration of the Kings. Litho. 17.4 x 17.5. Cayetano Palmaroli, In Col. Lith, Mad. vol. iii. No. clxii. The picture is at Madrid, Royal Museum, No. 167. Sacred Subjects.] VELAZQUEZ. 3 Adoration of the Shepherds. Outline. 14.2 x 10.7. E. Lijtgee. Adoration of the Shepherds. Wood. 8.4 x 5.9. Unknown, In Illustrated London NewSy Dec. 23, 1854. For- merly in the collection of the Count Aguila, at Seville, and afterwards in the Louvre. The picture is now in the National Gallery, London. Christ after the Flagellation. Etch. 5.1x5.5. 1862, E. y. Poynter. In Jameson ; Hist, of otir Lord, vol. ii. p. 82. The picture is in the possession of J. Savile Lumley, Esq. C.B. Her Majesty's Minister at Bruxelles. Our Lord on the Cross. Line. 11.3 x 7.6, Madrid, 1770, .... jfph. Man[ Mttrgnia. Our Lord on the Cross. Line. 13.2x8.6. Madrid, 1776. jfoaqiiin Ballester. Our Lord on the Cross. Line. 12.3 x 8.6. Madrid. y. A. Salvador Carmona. Our Lord on the Cross. Line. 5.2 x 3.3. Madrid. M. S. Carmona. Our Lord on the Cross. Litho. 18.6 x 12.2. F. Taylor. In Col.Lith. Mad. vol. iii. No. clxxxvi. Our Lord on the Cross. Etch. 5.3 x 3.3. 1862. E. y. Poynter. In Jameson ; Hist, of our Lord, vol. ii. p. 205. 4 VELAZQUEZ. [Sacred Subjects. Head of our Lord on the Cross. Etch, g.o x 6.7. [R, C. Belli In Stirling ; A. of A. vol. i. facing p. 6ig. The picture was painted for the nunnery of San Placido, at Madrid, and falling afterwards into the possession of the Duke of San Fernando, was presented by him to Ferdinand VIL Madrid, Royal Museum, No. 51. The Death of St. Joseph. Line. lo.g x 15.0. Alex, Bannerman, In Houghton Gall. vol. ii. No. xv. The Death of St. Joseph. Line. 5.1 x 6.5. Michel. In some copies of the Houghton Gallery, instead of the print above mentioned. The Death of St. Joseph. Outline. 7.8 X lo.o. Podolinski. In the Description de PHermitage, torn. ii. p. 60, fol. 68. St. Petersburgh, 1805. Death of St. Joseph. Litho. lo.o x 13.2. Hip. Robillard. In Gall. Imp. de VErmitage, vol. ii. 24th Livraison, plate 33. The Death of St. Joseph. Outline. 4.1 X 5.2. Madame Soyer. In journal des Artistes, No. 6. Paris, 1841. The Saint is attended by our Lord and the Virgin ; some heads of angels seen above. Formerly in the Houghton Collection ; the picture is at St. Petersburg, in the Imperial Gallery. Herm. No. 150. Historical Subjects.] VELAZQUEZ. 5 St. Antony the Abbot, and St. Paul the first hermit. Litho. 17.6 X 1 2. 1. . . . F. Blanchar. In Col. Lith, Mad. vol. i. No. xxxviii. The picture is at Madrid, Royal Museum, No. 87. St. Antony and St. Paul. Outline. 8.6 x 5.4. Le Brim. In Gal. Lebrun, vol. ii. No. 129, where the subject is erroneously entitled " Elie et Elisee." The Topers. Line. 18.4 x 23.9. Madrid. Man[ Salvador Carmona. Known as Los Bebedores, or Los Borrachos, a composition of 9 figures, in which Bacchus is crowning one of them with a vine-wreath. The Topers. Etch. 12.5 x 17. i. Madrid, 1778.- F. Goya. The Topers. Litho. 13.9 x 17. i. . . A.Blanco. In Col. Lith. Mad. vol. 11. No. cvi. The Topers. Outline. 3.4 x 4.5. . . . A. R. In Reveil et Duchesne, vol. x. No. 66g. The Topers. Etch. 4.4 x 5.1. . . H, Adlard. In Stirling; A. of A* vol. i. p. 596. c 6 VELAZQUEZ. [Historical Subjects. The Topers. Wood. French 4.9 x 6.9, English 6.5 X 6.6. ...... Unknown. In Blanc ; Peintres, Nos 68 and 69, p. 7, and Blanc ; Painters, pt. vii. p. 8. Also Scott ; Mnrillo ; from same plate as in the English Blanc. The Topers. Wood. 4.5 x 6.6. . . Unknown, In Art journal, Dec. 1852, p. 363. The Topers. Litho. 12.3 x 14.5. Madrid. D. Valdivieso. Inscr. Reunion de Bebedores. The Topers. Etch. 7.2 x 9.7. . Alabern y Fatjo. The Topers. Litho. 12.5 x 13.9. Madrid. C. NanteiiiL In yoyas de la Pint. Ent. i. The picture is at Madrid, Royal Museum, No. 138. The Forge of Vulcan. Line. 20.6 x 22.0. Madrid, 1798. ....... Glairon. The Forge of Vulcan. Litho. 13.2 X 15.8. Madrid, y. jfollivet. In Col. Lith. Mad. vol. i. No. xvii. The Forge of Vulcan. Outline. 3.7 X 4.6. . A. R. In Reveil et Duchesne, vol. xii. No. 825. The Forge of Vulcan. Litho. 12.3 x 14.6. Madrid. D. Valdivieso. Inscr. La Fragua de Vulcano. The Forge of Vulcan. Etch. 6.7 x 8.6. Alabern y Fatjo. Inscr. La Fragua de Vulcano. The picture is at Madrid, Royal Museum, No. 195. Historical Subjects.] VELAZQUEZ. 7 M ars. Line. 21.9 x Madrid, 1797. G. R. Le Villain, A naked figure, seated, with a helmet on his head, supported by r. hand with elbow resting on his knee; various pieces of armour on the ground at his feet. The picture is at Madrid, Royal Museum, No. 63. Mars. Etch. Outline. 10.6 X 5.6. . y. Vallejo, In El Arte en Espaiia, The same reversed. Mars. Litho. 16.3 x 8.0. Madrid. . F. Loutrel. In jfoyas de la Pint. Ent. 3. Mercury and Argus. Etch. 7.8 x 11.2. jf. Vallejo. Inscr. Mercuric y Argos. In El Arte en Espaha. Royal Museum, c. 295. Argus asleep on the ground to the left, Mercury kneeling with a sword in his r. hand about to kill him, a heifer behind. Moenippus. Line. 22.1 x 13. i. Madrid. Mamiel Esquivel, directed by D. Fran^^P Mtcntaner. An old man in a cloak, standing sideways ; on ground, behind, an open book, in front a roll of paper and smaller book, at his 1. a stool with jar. Moenippus. Etch. 11.9 x 8.6. Madrid, 1778. F. Goya. W. S. M. has an impression with the letters put in by pen in the hand of Cean Bermudez. The picture is at Madrid, Royal Museum, No. 245. 8 VELAZQUEZ. [Historical Subjects Moenippus. Etch. 6.0 x 4.4. Unknown^ probably Goya, Half length, reversed. Moenippus. Litho. 16.3 x 8.0. Madrid. Soulange Tessier, In jfoyas de la Pint. Ent. 18. Moenippus. Etch. 11.4 x 6.3. . Laguillermie. Esop. Line. 22.0 x 13.6. Madrid. Manuel Esquivel, directed by D. Fran^P Muntaner. An old man, standing, with book in r. hand, a tub at his r. foot. Esop. Etch. 11.8 >: 8.5. Madrid, 1778. . F. Goya. Goya's original Drawing for this etching was bought by C. M. at Messrs. Christie & Manson's, March 14, 1853. W. S. M. has a double impression ; on the back is an etching of D. Balthazar Carlos on horseback, and both he and C. M. have an impression with the lettering put in by the hand of Cean Bermudez. Esop. Etch. 8.6 x 4.5. . . . . Galvan. In El Arte en Espana. Esop. Etch. 8.2 X 5.9. . . . C. Alahern. In Gal. Alabcrn. Mad. The picture is at Madrid, Royal Museum, No. 254. Esop. Litho. 16.3 X 8.0. Madrid. Soulange Tessier. In yoyas de la Pint. Etch. 14. Esop. Etch. 1 1.3 X 6.3. . . Laguillermie. The Dead Roland. Inscr. Roland Mort." Etch. 7.0 X 10.4. Paris Flameng. In Gaz. des B. Arts, xviii. facing p. gS. Historical Subjects.] VELAZQUEZ. 9 Barbarossa, the Corsair. Line. 21.8 X 16.0. Madrid, 1799. L. Cvoutelle. Standing, with sword in r. and sheath in 1. hand cloak over 1. arm and shoulder, on head a pointed cap edged with fur and feather in it. Barbarossa. Etch, ii.i X 6.5. . . F. Goya. Barbarossa. Etch. 7.9 x 6.5. . . C. Alabern. The picture is at Madrid, Royal Museum, No. 127. The Surrender of Breda. Litho. 14.7 x 16.6. F. De Craene, Ambrosio, Marquess Spinola, receiving the keys of Breda from Justin of Nassau, 2 June, 1625. is known as El cuadro de las Lanzas, In CoL Lith. Mad. vol. 11. No. lxxiv. The Surrender of Breda. Outline. 3.6 x 4.1. A. R. In Reveil et Duchesne, vol. xiv. No. 970. The Surrender of Breda. Outline. Probably Litho. 12.0 X 15.0. Madrid, 1850. . Bachiller Est^ Inscr. El Artista en Italia, cap. 10, and a further note states that the original was painted about 1650. The Surrender of Breda. Etch. 17.6 x 17.7. Madrid, 1 87 1 Bavtolome Maura. The Surrender of Breda. Etch. x La Guillerniie. Mentioned in Portfolio iv. p. 49, and perhaps not published. The picture is at Madrid, Royal Museum, No. 319. The Tapestry Weavers. Line. 18.6 X 22.0. Madrid, 1796. i^. Muntaner, Known as Las Hilanderas. lO VELAZQUEZ. [Historical Subjects. The Tapestry Weavers. Outline. 3.6 x 4.5. A. R, In Reveil et Duchesne, vol. xiv. No. 987. The Tapestry Weavers. Etch. 17.6 X 17.7. Madrid, 1870. ..... Bartolome Maura. The Tapestry Weavers. Wood. 5.1x6.5. E.Sotam. In Scott ; Murillo, The picture is at Madrid, Royal Museum, No. 335. The Maids of Honour. Line. 22.6 x 17.5. Madrid, 1799 P''^"' Aiidouin. Known as Las Mcninas. The Maids of Honour. Etch. 16.0 x 12.9. Madrid. F. Goya. The plate of this rare etching was destroyed by the artist, who very justly considered it a failure. One impression is in the collection of Don Val. Carderera at Madrid ; another was in that of the late Lord Cowley. They were supposed by their possessors to be the only impressions in existence. A third was purchased by C. M. in London at a sale of Spanish engravings, at Messrs. Christie & Manson's, March 14, 1853. A fourth and curious example was seen in May 1854, by C. M. in the Royal Gallery of Engravings at Berlin, a double one, i. e. a black impression on one side of the paper, and a red impression on the other. It had been obtained in Spain from the collection of Cean Bermudez. The British Museum purchased their impression from Messrs. Colnaghi, in i860, for £.21. Historical Subjects.] VELAZQUEZ. II The Maids of Honour. Outline. 4.4 X 3.5. . A, R In Reveil et Duchesne, vol. xiv. No. gyi. The picture is at Madrid, Royal Museum, No. 155. The Maids of Honour. Litho. 15.3 x 10.7. Madrid. C. NantetiiL In jfoyas de la Pint. Ent. g. The Family of Velazquez. Line. 7.0 x lo.i. y. Kovatsch, Inscr. Des Mahlers Familie. In Galerie Impe- riale Roy ale au Belvedere a Vienne. Wapres les Dessins de Sigismund de Fergev, , pub lie par Charles Haas. Vienne et Prague, 1823 — 1828, 4 vols. 4? Text in French and German. Vol. i. Liv? 7, No. 2. The picture is at Vienna, in the Imperial Gallery, Belvedere Palace. Meeting of Artists. Wood. French 4.7 X 6.g, English 6.4 X 6.7. ...... Ad. Ligny. In Blanc ; Peintres, p. g, and Blanc ; Painters, Also Scott ; Murillo ; from same plate as in the English Blanc. Meeting of Artists. Wood. 4.2 x 6.6. . Ad. Ligny. In Art journal, 1852, p. 364. The picture is at the Louvre ; Ecoles d^ Italie et d^ Espagne, 1853, No. 557. It contains thirteen figures in three groups, amongst whom Velazquez is supposed to occupy the place to the extreme r. of the centre group, while Murillo, whose head and chest only are visible, is a little to the 1. of the centre. 12 VELAZQUEZ. fHistorical Subjects. The Place Hunter. Etch. 10.9X4.5. Madrid. F.Goya. Known as El Pretendiente. Only one impression of this plate is known, it is in the collection of Don V. Carderera, Madrid. The picture is at Madrid, Royal Museum, No. 267. The Water Carrier of Seville. Line. 17.5 x 13.0. Madrid. . . . . , . Bias Amettler, directed by M. S. Carmona. Known as El Aguador de Sevilla. Three-quarters length ; a man standing sideways, his 1. hand on a large jar, his r. hands a glass of water to a boy in front, leaning over a table on which is a smaller jar, behind, another youth drinks from a small pot. The Water Carrier of Seville. Outline. 12.8 X 10.2.' E. Lingee. The Water Carrier of Seville. Wood. 6.3 X 5.0. Unknown. In the Art jfoitrnal^ Nov. 1852, p. 334. The Water Carrier of Seville. Wood. French 6.8 x 5.2, English 6.3 X 5.0 Unknown, In Blanc ; Peintres ; and Blanc ; Painters^ pt. vii. p. 2 ; also Scott ; Murillo. The picture, formerly in the Eoyal Palace at Madrid, is now in the Duke of Wellington's collection. Portraits, Male.] VELAZQUEZ. 13 I. MALE PORTRAITS. Philip in. Etch. 14.9x12.1. Madrid, 1778. F.Goya. In armour, on a cream or dun-coloured horse, with baton in r. hand. W. S. M. has an impression with the lettering written by Goya. Philip III. Litho. 16.7 x 13.8. . . y. Jollivet. In Col. Lith. Mad. vol. 11. No. lxviii. Felipe III. Etch. 7.6 x 5.9. . . . Fatcho. In Gal. Alahern. Mad. The picture is at Madrid, Royal Museum, No. 230. Philip IV. Etch. 14.6 x 12.3. Madrid, 1778. F. Goya. In armour, on a bay horse. W. S. M. has an impression, with the lettering written by Goya. Philip IV. Litho. 16.5 x 13.8. . y. yollivet. In Col. Lith. Mad. vol. i. No. vii. Philip IV. Etch. . 7.5 x 5.8. C. Alabern y A, Fatjo. In Gal. Alahern. Mad. The picture is at Madrid, Royal Museum, No. 299. Philip IV. Line. 11.5 x 8.9. Florence. L. Errani. In armour, on horseback. In Gal. Pitti, vol. iv. Philip IV. Etch. 3.3 x 2.4. . . yohn Young, Apparently a sketch of the above picture. In Miles Gall. No. 56. 14 VELAZQUEZ. [Portraits, Male. Philip IV. on horseback. Line. 25.6 x 14.7. Florence. Cosmiis Mogalli. The picture is at Florence, in the Imperial and Royal Gallery, p. 87. It has been attributed to Rubens, but is now supposed to be the picture painted as a model for Tacca's bronze statue at Madrid. Inscr. PJdUppzis QuarUis, &c. Philip IV. Line. 6.8 x 4.9. Madrid. I. de Coitrhes. In armour, on horseback, holding a marshal's baton, and pointing to a battle in the back- ground ; above, the words phillipu.s iiii. HiSPANiAR : REX : beneath, Imperium sine fine fides asserta parabit, Assero, et imperium, non mihi sed fidei. Philip IV. Litho. 17.5 X 10.5. . jf- A. Lopez. Full length ; young ; standing in a sporting costume, a cap on his head, hands gloved, and in the r. hand a fowling piece ; a dog by his side, and a tree behind. In Col. Lith. Mad. vol. I. No. LV. Philip IV. Etch. 10.8 X 6.g. Madrid, 1870. Bme Mmira. The same, smaller. Philip IV. Etch. 10.2 x 5.8. London, 1849. John Burnet. The same reversed. In Burnet ; Port, painting. The picture is at Madrid, Royal Museum, No. 200. Philip IV. Line. 9.1 X 6.2. . W. Hansonllier. Full-length, cap in 1. hand ; with gun and dog. In Gaz. des B. Arts. xv. 1863. facing p. 72. The picture is in the Louvre. Portraits, Male.] VELAZQUEZ. 15 Philip IV. Line. 7.4 X 4.8. Madrid, 1633. Pedro Perete, Bust, in oval frame, with badge of the Golden Fleece. Philip IV. Line. 7.4 x 5.2. Madrid, 1638. Probably Herman Panneels. Bust, r. in rich armour, in frame with figures of Religion and Piety supporting a crown; above, a scroll inscr. a religione magnus ; on the base, DON FiLiPE nil. EL GRANDE, The lower part of the frame is inscr. Ex Archetypo Velazqiiez Matriti, 1638. In Tapia y Robles ; Renombre de Grande. Philip IV. Line. 10.4 X 6.g. Madrid, 1657. Pefrus de Villafranca. Bust, with badge of Golden Fleece ; oval frame, inscr. philipus iv. magn. hispaniarum rex.; above, supported by cherubs, a crown inscr. fine coronat, and a shield on which is a view of the interior of the Pantheon of the Escorial ; below, a bird's eye view of the Escorial, with scroll inscr. opvs miracvlvm orbis. In Fy? de los Santos Descripcion del Escorial^ fol. ; Madrid,, 1657, 1667, &c.; and in Fr. Luis de Santa Maria Centenario del S. Lorenzo del Escurial. Madrid ; 1664, fol. facing dedication. Philip IV. Line. 10.5 X 6.g. Madrid, 1660. Petrus de Villafranea, Bust, slightly 1. dark dress, in. oval frame, sur- mounted by a wreath held by children, and resting on a pedestal by which stand two children with flags, and shields inscr. philippvs iv. i6 VELAZQUEZ. [Portraits, Male. MAGNVS HISPANIARVM ET NOVI ORBIS REX QVINTVS ORDINIS CALATRAV^ PERPETVVS ADMI- NISTRATOR ; beneath, royal arms supported by a lion with a sword and an eagle with a thunder- bolt. In Diffiniciones de la order y cavalleria de Calatrava conforme al capitulo general celebrado en Madrid ano de mdclii. Madrid, 1661, fol. facing dedication. Philip IV. Line. 11.3 x 7.1. Madrid, 1661. Petrus de Villafranca. Bust in armour ; oval, beneath, pediment supported by four twisted columns, and surmounted by a serpent; inscr. Perpetvitas, etc.; crown, arms, and devices. Phihp IV. Line, ii.i X 7.4. Madrid, 1662. Petrus a Villafranca. Bust, r. dark dress, with Golden Fleece, in ornate frame, supported by two monks ; surmounted by the arms of the order of Alcantara and a crown; on the title of Dijiniciones de la Or deny Cavalleria de Alcantara con la historia y origen della. Madrid, 1662, fol. Philip IV. Line. 7.3 X 5.0. Madrid, 1667. Petrus a Villafranca. Bust ; slightly 1. dark dress ; in frame of palm boughs surmounted by star and serpent and the words MAGNVS PHiLiPVS IV ; below, two children with sword and trumpet, two crowns interlaced, an olive branch, and a pair of clasped hands, with scrolls inscr. ^tern^ fcedera pacis and TE stante vigebo. In L. de Castillo, Viage de Felipe IV. Portraits, Male.] VELAZQUEZ. 17 Philip IV. Line. 12.0 x 8.3. Madrid, 1666. P. a Villafranca. Bust in armour ; slightly 1. measuring about 3.0 X 2.5, at top of an allegorical print in Description de los Honras que se hicieron a la Cath, Mag^ de D. Philippe IV...escrivio el Dr. D. Pedro Rodriguez de Monforte. Madrid, i666» 49 before fol. i. Philip IV. Line. 9.3 x 6.0. Vienna. Cor. Meijssens, Bust ; in oval frame, with Order of the Golden Fleece ; beneath is Filippo Qvarto Re delle Spagna delle Indie, etc. Philip IV. Line. 11.8 X g.g. Turin. Cesare Ferreri. Head ; nearly full face. In La Real Galleria de Torino illustrata, per Roberto d'Azeglio, 4 vols, fol. Torino, 1836-41, vol. I. No. xxxvi. Philip IV. Litho. 12.9 X 9.5. Madrid. Francisco Garzoli, Bust in black, with white collar ; life size. The picture is at Madrid, Royal Museum, No. 156. Cardinal Infant Don Ferdinand of Austria. Etch. II. I X 6.5. Madrid, 1778. . . . F. Goya. The Prince is in a sporting dress, with a fowling piece in both hands, and a dog sitting in front. Cardinal Infant Don Ferdinand of Austria. Litho. 17.4 X 10.5. . . . jfuan Antonio Lopez, The same. In Col. Lith, Mad. vol. i. No. xlv. i8 VELAZQUEZ. [Portraits, Male. Cardinal Infant Don Ferdinand of Austria. Wood. French 8.4 x 5.3, English g.8 x 5.1. Carbonneau. The same. In Blanc; Peintres,a.nd Blanc; Painters, and Scott ; Murillo ; from same block as in the English Blanc. Cardinal Infant Don Ferdinand of Austria. Wood. 7.7 X 5.1. . . . . , . . Unknown. The same. In Art jfournal, 1852, p. 335. Called by mistake Infant Don Carlos Balthasar. Cardinal Infant Don Ferdinand of Austria. Etch. 8.2 X 5.3 C. Alabern. The same. In GaL Alabern. Mad. Cardinal Infant Don Ferdinand of Austria. Etch, 10.8x6.1. Madrid, 1870. . . B^,^, Maura. The same. The picture from which the above are taken is at Madrid, Royal Museum, No. 278. Cardinal Infant Don Ferdinand of Austria. Etch. 8.6 X 5.3. London, 1849. . . jfohn Burnet. The same reversed. In Burnet ; Port, painting. Infant Don Balthazar Carlos on a galloping pony. Etch. 13.7x8.7. 1778. . . . F.Goya. W. S. M. has an impression on the back of which is an Etch, of Esop. Infant Don Balthazar Carlos. Mezzo. 16.6 x 12.8. London, 1784 R<^ Earlom, The same. Infant Don Balthazar Carlos. Litho. 16.9 X 12.8. 1825. y. jfollivet. The same. In Col. Lith. Mad. vol. i. No. i. Portraits, Male.] VELAZQUEZ. 19 Infant Don Balthazar Carlos. Etch. g.i x 6.0. London, 1849. .... jfohn Burnet, The same. In Burnet ; Port painting. Infant Don Balthazar Carlos. Wood. French 7.9 x 5.5, English 9.4 X 5.2. .... Carbonneau, The same. In Blanc ; Peintres, p. 13, and Blanc ; Painters, Also Scott ; Murillo ; from same plate as in the French Blanc. Infant Don Balthazar Carlos. Wood. 7.4 x 5.2. Carbonneau . The same. In Art journal, 1852, p. 362. Infant Don Balthazar Carlos. Col4 Litho. 17.2x 9.8. Goater, The same. In The Qticen^ Lady^s Newspaper^ Supplement^ November 26, 1870. The picture is at Madrid, Royal Museum, No. 33, and a small repetition is at Dulwich College. Infant Don Balthazar Carlos. Etch. 4.3 x 2.7. jfohn Young. On horseback, attended by Count Duke of Olivares The picture is in the collection of the Marquis of Westminster. In Grosvenor Gall. Dining room, No. 142. Infant Don Balthazar Carlos. Etch. 8.6 x 6.2. Unknown. On a piebald horse, a tower and a number of figures in the background. Infant Don Balthazar Carlos. Litho.. 17.3 x 10.5. A. Blanco. In a shooting dress, with two dogs ; a gun in r. hand. In Col. Lith. Mad. vol. i. No. li. 20 VELAZQUEZ. [Portraits, Male. Infant Don Balthazar Carlos. Etch. 9.3 x 5.9. C. Alabern, The same. Infant Don Balthazar Carlos. Col^} Litho. 17. i x g.8. A. Goater. The same. In The Queen^ Lady^s Newspaper, Supplement, ]u\y 27, 1872. The picture is at Madrid, Royal Museum, No. 270. Infant Don Balthazar Carlos. Litho. 17.4 x 11.6. y. A. Lopez. In Col. Lith. Mad. vol. ii. No. lxxv. In a dress richly embroidered with gold, a carbine in his r. hand. The picture is at Madrid, Royal Museum, No. 308. Infant Don Balthazar Carlos. Outline. 8.3 x 5.3. Lehrun. " Full length, with gun. In Gal. Lehrun, vol. ii. No. 131. Infant Don Balthazar Carlos. Outline. 5.3 x 3.8. Latige. Standing in armour, a baton in his r. hand. In Les principaux tableaux du Musee Royal a la Haye ; Graves au trait avec leur description. A la Haye, 1826-1830, 4 parties, 8? p. 4, No. 95. Infant Don Balthazar Carlos. Line. 5.1 x 7.2. Madrid, 1643. . . Maria Eugenia de Beer. Head, within circular border, inscribed Don Balthasar Carlos Principe de las Espanas Y NvEvo MvNDO. DE Sv Edad XIV. Anos. Over the border, a crown supported by two female figures, terminating in a scroll and a wreath. Behind the border, an oblong panel, the base Portraits, Male.] VELAZQUEZ. 21 of which is inscr. M": Eug^ de Beer Sculp, en. Madrid. In Exercicios de la Gineta; por Don Gregorio de Tapia y Salzedo ; Madrid por Diego Diaz. 1643, oblong 49 facing the dedication to the Prince. Infant Don Balthazar Carlos. Line. 6.9 x 5.2. jfuan de Noort, Oval bust in armour ; in a rich frame surmounted by a crown. In Christoval de Benavente y Bena- vides ; Advertencias para Reyes, Principes y Emhaxadores, 4? Madrid, 1643 ; a book dedi- cated to the Prince. Infant Don Balthazar Carlos. Wood. French 6.5 x 5.1 English 8.1 X 4.9. . . . y. Gauchard, Full length ; in petticoats, 1. hand resting on a sword, r. holding a walking-stick. In Blanc ; Peintres, p. 11, and Blanc ; Painters. Infant Don Balthazar Carlos. Wood. 6.1 x 4.9. Unknown. The same. In Art jfournal, 1852, p. 361, inscr. " The Spanish Prince." Infant Don Balthazar Carlos. Line. 6.2 X 4.5. Unknown. Three quarters length, in oval frame, looped-up curtain behind ; 1. hand resting on sword-hilt , r. holding gloves. Inscr. beneath, Balthasar Charles, etc. Pope Innocent X. Mezzo. 6.0 X 4.0. London, 1774. Val. Green. In Houghton Gal. D 22 VELAZQUEZ. [Portraits, Male. Pope Innocent X. Line, ig.g x 13.9. London, 1820. y. Fittler, Pope Innocent X. Unfinished Etch. 7.2 x 6.2. C. Warren, The picture is at St. Petersburgh, in the Imperial Gallery. Pope Innocent X. Outline. 5.3 x 3.1. . Lebrun. Bust within an oval. In GaL Lebrun, vol. ii. No. 132. Pope Innocent X. Wood. 6.4 x 5.4. . Hebert. Bust in oval frame, richly carved and ornamented. The picture is at Rome in the Doria Gallery. In Les Galeries publiques de VEurope, par M. J. G. D. Armengaud, fol. Paris, 1856. Part V. p. 285. A Cardinal. Bust. Outline. 5.3 x 3.1. . Lebrun, In GaL Lebrun. vol. ii. No. 133. Don Gaspar de Guzman, Count of Olivares, Duke of San Lucar. Etch. 14.7 x 12.4. Madrid, 1778. F. Goya. On horseback. W. S. M. has an impression with the lettering written by Goya. Count-Duke of Olivares. Litho. 17.1 x 12.7. y. yollivet. In Col, Lith, Mad. vol. i. No. iv. Count-Duke of Olivares. Line. 7.5 X 5.3. Madrid, 1638. Herman Panneels. Bust, slightly 1. ; black dress, with part of a large cross of Alcantara on the breast ; oval scroll frame, garnished with armorial bearings and olive boughs, over which a scroll inscr. sicvT Portraits, Male.] VELAZQUEZ. 23 OLIVA FRVCTIFERA, Ps. li. A piece of drapery is attached to bottom of frame, and inscr. Ex archetypo Velazquez^ Herman Panneels. f, Matritij 1638. This very fine portrait, the best print of Olivares existing, was executed for, and is in Tapia y Robles ; Renomhre de Grande, Count-Duke of Olivares. Etch. 3,5 x 3.9. Ascribed to Velazquez, Head slightly 1. This rare and curious etching is at Berlin in the royal collection of prints. It was formerly in the collection of Cean Bermudez, who has not, however, mentioned it in his writings on Velazquez, and afterwards in those of Speckter andNagler. From the latter it passed to the Royal Museum of Prussia. The head is finely etched, but the rest of the plate is left unfinished. W. S. M. at first took it for an early proof of the print by H. Panneels, but the size of the head itself forbids this, it being 2§ in. x 2 in. It may nevertheless be by H. Panneels, and it may have been thrown aside as on too large a scale for Tapia's Renom- hre de Grande, Count-Duke of Olivares. Line. 24.2 x 17.5. Paul Pontius, Bust, 1. in armour ; in oval frame surmounted by the globe, and winged olive wreath, serpent, and star ; and set on a pedestal with the arms of the Count-Duke ; on either side a winged figure, one supporting a shield, with Medusa's head, and the other, a club and lion's skin. On base of pedestal, 12 verses by Gevartius, beginning 24 VELAZQUEZ. [Portraits, Male. BcEtis 0LIVIFER.5: debet cui serta CoroncE, and on a lower moulding, Ex archetypo Velazquez P. P. Rubenius ornavit et dedicavit L. M. Paulus Pontius sculpsit. This very fine portrait is an interesting example of the united skill of the two greatest painters of the 17th century, Velazquez and Rubens. Count-Duke of Olivares. Line. 10.7 x 6.8. Cor. GallcEus, jfun» Small copy of the above, reversed. Count-Duke of Olivares. Line. 6.5 X 4.8. M. Merian, Bust in armour ; in an oval, the upper corners of the border filled in with arms, armour, and flags, the lower with books and olive branches. This portrait, perhaps taken from the large head by P. Pontius, occurs in T. Petronii Arbitri E. R. Satiricon, extrema editio ex Muscbo D. Josephi Antonii Gonzali de Salas Francoforti, 1629, 4? It is placed on the back of the leaf next to the title, on front of which the editor's dedication to Olivares begins. Count-Duke of Olivares. Line. 6.5 x lo.i. Madrid, 1634. .... Probably by P. Perete. In armour on a prancing horse ; background, a lands- cape. In Origen y Dignidad de la Ca^a, par luan. Mateos, Madrid, 1634, 4° a book dedicated to Olivares. The title page and one of the other prints are by P. Perete, and there is little doubt that this portrait was engraved by him from a work of Velazquez. Portraits, Male.] VELAZQUEZ. 25 Count-Duke of Olivares. Line. 7.1 X 5.2. Madrid, 1638. ..... Fran^P. Navarro, Full length, dark dress ; with targe, and sword piercing a two-headed monster at his feet ; above, his arms with lettered scroll fr. Prov. xxvii. 18, held by cherubs ; tree and stork in background. In a book dedicated to Olivares, called Extremos y Grandezas de Consfantiitopla; compuesto por Rabi Moysen Almosnino, Madrid, 1638, 4? Count-Duke of Olivares. Wood. 9.2 x 4.8. Unknown, Standing in a black dress, the green cross of Calatrava on his breast, and in his r. hand, which rests on a table, a long riding switch. In Illustrated London News, May 21, 1853. D. Emanuel de Zuniga y Fonseca, Count of Monterey. Line. 7.0 x 5.1 iV. F, Half length in armour, within an oval border, inscr. D. EMMANVELA ZVNICA ET FONSECA MONTIS REGII COMES NEAPOLITANUS Q. PROREX. In Giuliani ; Festa di S. Giovanni, 163 1. The intimacy of Velazquez with Monterey while Am- bassador at Rome in 1629-30, renders it almost certain that the artist must have painted the Count's portrait in Italy, and this fine print very strongly recalls the style of Velazquez. Man. Etch. lo.i x 5.8. . . . F. Goya. Standing with a staff in his hand, and an iron key on his breast ; on the ground, some arms and balls ; in the distance a blazing ship. One of the rarest of Goya's etchings. 26 VELAZQUEZ. [Portraits, Male. Man. Line. 18.3 x 10.8. 1798. . Fosseyeux, The same. Man. Outline. 20.3 x 13.3. . . E, Lingee, The same. The picture is at Madrid, Royal Museum, No. 117. Man, Bust of the same. Line.. 2.8 X 1.7. Paris, 1828. A llais. In Iconographie instructive^ called, Fernand Cortez. Man in Armour. Outline. 8.5 X 5.1. . Lehrun, In Gal. Lehrun. Vol. ii. No. 130 ; the text absurdly suggests " perhaps a portrait of Cromwell." Velazquez. Line, g.6 X 7.0. . Girolamo Rossi. Bust, with small skull-cap on his head. Inscr. DIEGO VELAZQUEZ DE siLVA, &c. In Ritvatti de^ piu celebri Profess ori di pintura dipinti di propria mano esistenti nelV Imperial Galleria di Firenze, Firenze, 1748, fol. No. 41. Velazquez. Line. 6.8 x 5.0. . . C. Colombini, The same, smaller. Inscr. diego velazquez piTTORE DI siviglia. In Uomini i illust, in Pittiira. Vol. x. p. 33. Velazquez. Outline. 6.1 X 4.4. Florence. Lasinio Figlio. The same. In Real. Gall, di Firenze illiist. Vol. iii. 137. The picture is at Florence in the Imperial and Royal Gallery degli Uffizi, in the Sala de^ Pittori. Portraits, Male.] VELAZQUE2. 27 Velazquez. Line. 4.6 x 3.4. . . D^Argenville, Head, with skull-cap, in frame. On the base is DIEGO VELASQVEZ ; very similar to the above, reversed. In D'Argenville, Vie. des PeintreSy Paris, 1762. 4 Vols. 8? Vol. ii. p. 241. Velazquez. Etch. 3.0 x 2.6. Rome, 1790. Denon, Small bust, somewhat similar to the above. Velazquez. Wood. 6.g x 3.7. . . De Ghouy, Bust, similar to the above, but larger. In Artiste. Velazquez. Line. 10.8 x 7.8. 1759. yuan Minguef. Bust in oval frame, with name &c. round it ; three- quarters face ; key of office under r. sword-hilt under 1. arm. Velazquez. Line. 13.9 x 9.7. Madrid, 1791. Bias AmetUer, Three-quarters length ; 1. brush and palette in hands, chamberlain's key at girdle ; inscr. on scroll below d. diego velazquez d. silva, etc. In Esp. Ilust. Velazquez. Line. 6.9 x 4.4. . . H. Adlard, Copied from the last. In Stirling; A. of A, vol. I. facing p. 576. The picture probably existed in Spain at end of last century, but its present place has not been ascertained. Velazquez. Line. 12.7 x 8.9. Rome. Franciscus Cecchini, Three-quarters length ; the painter's r. hand rests on his hip, while the 1. is cut off by the frame. Except as regards the hands, it is nearly 28 VELAZQUEZ. [Portraits, Male. the same as that engraved in Esp. Ilust. in which Velazquez holds in his r. hand a brush, and his 1. a palette. Velazquez. Outline. 6.0 x 4.4. Florence. Lasinio Figlio, The same. In Real. Gall, di Firenze,illust. Vol. iii. 136. Velazquez. Outline. 9.2. x 5.8. . jfohn Bromley. The same. In O'Neil ; Span. Painters. Velazquez. Litho. 11.4 x 8.0. . C. Nanteuil. The same. In Cours Elementaire de Dessin,psiT A, Etex, pi. VII. The picture is at Florence, also in the Sala de'' Pittorij of the palace degli Uffizi. It appears to have been painted when Velazquez was younger ; it also differs from the other, in the head being without the small skull-cap. Velazquez. Wood. 4.1 x 3.0. . . Breviere. Bust ; apparently copied from the above. Velazquez. Litho. g.6 x 8.g. . . Mauvaisse. Bust ; The same reversed. Velazquez. Wood. 4.8 x 3.7. . y. Guillaume, Bust ; The same, but smaller. In Scott ; Murillo. Velazquez. Litho. 7.2 x 4.8. Madrid. . M^. Bust ; rather larger, with cross of Santiago on 1. breast. In El Artista. Velazquez. Outline. 0.7 x o.g. . . Unknown. Head ; very small, same as above. Portraits, Male.] VELAZQUEZ. 29 Velazquez. Line. 13.9 x lo.o. . . Calamatta. Three-quarters length. In Imperiale e Reale Gal- leria di Firenze publicata con incisioni in Roma da una Societa sotto la direzione di Bartolini, Bezzuoli e Jesi ed illustrata da Ferdinando Ranalli. Firenze 1844-48. 97 fol. Fascicoli 1-97 in progress. There is also an edition with French text. The picture is in the Sala de^ Pittori at the GaL degli Uffizi at Florence. Velazquez. Line. 11.8 x 8.5. . Fed, Navarrete, Half-length, in oval, with brush and palette ; apparently taken from the portrait of Velazquez in Las Meninas. Velazquez. Line. 8.6 x 6.9. . . Aug, Esteve. Oval bust. The same, but without the hands. Velazquez. Wood. 3.6 x 3.2. . . . Nichol, On title-page in Stirling ; V. From a miniature in W. S. M.'s possession at Keir. Velazquez. Line. . . . Francesco Cecchini, Rome, small. From a picture not known. Young Man. Line. 8.8 x 8.0. Paris, 1843. A, Masson. Bust, full face. In U Artiste, 40, tom. iii. Series 3, facing p. 416. This and the three following prints appear to be taken from the same painting, but on different sized plates ; the size of the engraved part in this is 5.7 X 4.9. Young Man. Line. 12.9 x 9.6. Paris, 1846. Pannier, Size of eng. pt. is 5.2 x 4.0. In Gal. Hist, de Ver- sailles, Supplement^ tom v. series 10, section 5. 30 VELAZQUEZ. [Portraits, Male. Young Man. Line. 16.7 x 12.4. . . Unknown. Size of eng. pt. is 6.2 x • Young Man. Line, g.8 x 7.6 . . Unknown, Size of eng. pt. is 6.6 x 5.5. Young Man. Wood. 4.5 X 3.5. . . Unknown, In Art yournal^ Nov. 1852, p. 333. Young Man. Wood. 4.3 x 3.7. . y. Fagnion. In Blanc ; Peintres, Young Man. Litho. 19.4x16.2. S. B. Malezieux. Bust, life size, same as above, reversed. Young Man. Litho. 8.6 X 6.5 . . jfulien. The same, small. In jfotirnal V Album, p. 70. Young Man. Wood. 3.7 x 3.0. French. Unknown, The same. The picture v^^as bought at Seville by Mr. J. F. Lewis, the eminent painter, and sold by him to Baron Taylor, by whom it was transferred to the Louvre Gal. Esp. No. 300, where it was erro- neously called the portrait of Velazquez, a mistake which the numerous engravings will perpetuate. It was sold in London in 1853 with the rest of the Spanish collection of the ex-King Louis Philippe. Man. Etch. 2.4 x 1.7. . . . jfohn Young, Head in a fur cap ; erroneously supposed to be Velazquez himself. In Grosvenor Gall, Drawing Room, No. 33. Man. Mezzo. 14.9 x 10.2. London, 1773. Val. Green, Head, somewhat turned away. Portraits, Male.] VELAZQUEZ. 31 Man. Line. 13.4 x g.6. Milano, 1826. L. Gruner. Half-length, head turned over 1. shoulder, r. hand pointing to ground. Man. Line. 6.6 x 4.1. Milano, 1834. Knolle, The same, smaller. Young Man. Litho in chalk. 16.7 X 13.4. Unknown. Head, turned over 1. shoulder. Man. Litho. 17.3 x 12.3. . . y. A, Mayr. Half-length in oval, long hair, black dress, square collar standing out horizontal, r. hand seen, and hilt of sword. Man. Outline. 8.1 x 5.6. . . J. iV. MuxeL Taken from the same picture as the last, and unknown, though erroneously supposed to be Velazquez. In SammL Leuchtenberg, No. 102. Man. Line. 8.7 x 6.1. . . G. Guadagnini. Bust, in ruff, standing out horizontal, head turned over r. shoulder. In GalL Pitti. vol. i. lettered Ignoto, No. I. Man. Line. 13.6 x g.8. . . V, Delia Bruna, Three-quarters length in a cloak over 1. shoulder, r. hand resting on hip, 1. on sword-hilt. In Gall. Pitti. vol. i. inscr. Ignoto. No. 2. Man on horseback. Etch. 14.5 x 11.5. C. Benedetto Luti. In oval ; face turned over 1. shoulder, r. hand on horse's crupper. Man. Litho. in chalk. 15.9 x 11.7. Lorenz Quaglio. Oval bust, in armour, plumed and jewelled cap,. supposed, but erroneously, to be Tilly. The picture is at Munich, Royal gallery. 3^ VELAZQUEZ. [Portraits, Male. Man. Etch. 12.0 x 9.0. . . . I. C. Loedel. On a prancing horse. Above is N^? XIL ; beneath, D. D. Velazquez de Silva del. — Aehrenlese, N? 829. Francisco de Quevedo y Villegas. x Line. Salvador Carmona, Francisco de Quevedo y Villegas. Line. 14.9 x 10.3. M. Brandt. Three-quarters length, in a square frame, with in- scription on a broad scroll beneath ; spectacles on nose, his r. hand holds a letter, his 1. rests on a table. In Esp. Ilust. Francisco de Quevedo y Villegas. Line. 5.0 x 3.2. Manuel Salvador Carmona. Bust within oval ; with lyre, mask, book, &c. beneath. In Parn. Espanol, vol. iv. p. 186. Luis de Gongora y Argote. Line. 5.1 x 3.2. Mamie I' Salvador Carmona. Bust within oval ; with lyre, pipes, mask, &c. beneath. In Parn. Espanol, vol. vii. p. 171. Luis de Gongora y Argote. Line. 14.2 x lo.o. Bias Ametller, dirQcted by Mamie I Salvador Carmona. Half-length, in a square frame, with inscription on a broad scroll beneath ; his 1. hand supports a book resting on a table having pens and inkstand, his r. holds a pen. In Esp. Ilnst. Don Luis de Haro. Line. 5.2 x 4.0 (the Engraving.) Unknown. Oval bust, full face, cloaked. Portraits, Male.] VELAZQUEZ. 33 Don Luis de Haro. Line. 5.4 X 4.4. Unknown, The same, smaller, reversed; size of the Engraving is 4.7 X 3.7. Beneath the oval is inscr. Dom Louis de Haro, Mediateur pour la Paix DE l'Isle des Faisans. Alonso Cano. Etch. 8.5 x 5.7. . jB"Jf Maura, Half-length, three quarter face, slightly turned to the r. a brush in his r. hand. The Actor. Etch. 8.5 x 5.1. . . B^f Maura, Full-length, dressed in black, 1. arm holding his cloak, and the r. extended as if reciting. Male Dwarf. Etch. 8.5 x 6.2. Madrid, 1778. F, Goya. Sitting on the ground, turning over the leaves of a book. W. S. M. has a proof before any letters. Male Dwarf. Line. 18.7 x 13.0. Madrid, 1792. F, Muntaner, The same. Male Dwarf. Etch. lo.g x 8.6. Madrid, 1870. B'^^, Maura, The same. The picture is at Madrid, Royal Museum. No. 246. Male Dwarf. Etch. 8.1 x 5 8. Madrid, 1778. F, Goya. With a beard, in a red dress, seated on the ground, cloaked. W. S. M. has an impression with the lettering written by Cean Bermudez. Male Dwarf. Line. 21.8 X 16.0. Madrid, 1798. F. Ribera. The same. 34 VELAZQUEZ. [Portraits, Male Male Dwarf. Etch. 10.9 x 8.5. Madrid, 1869. B^f Maura, The same. Male Dwarf. Wood. 2.8 X 2.4. . . E, Sotain, The same. In Blanc ; Peintres, Male Dwarf. Wood. 2.6 x 2.3. . . Unknown, The same. In Art yournal, 1852, p. 333, and in Scott ; MurillOi from the same plate. The picture is at Madrid, Royal Museum, No. 255. Male Dwarf with Mastiff. Line. . x .. Madrid. Unkitown, Male Dwarf. Etch. 10.9 x 8.6. Madrid, 1862. JB^^f Maura, The same. The picture is at Madrid, Royal Museum, No. 279. Male Dwarf. Litho. 16x10.3. Madrid, A.Lemoine. In jfoyas de la Pint. Ent, 10. Male Dwarf. Etch. 10.9 x 8.7. 1869. Laguillermie, In Portfolio^ No. 40, ap. 1870, vol. iv. facing p. 49. Boy of Vallecas. Etch. x Madrid, 1778. F. Goya, A child sitting on the ground. Boy of Vallecas. Line. 17.7 X 14.0. Madrid, 1792. Bart. Vazquez. Boy of Vallecas. Wood. 3.4x2.6. W.G.Mason, In Stirling; A. of A. vol. ii. p. 1391. The picture is at Madrid, Royal Museum, No. 284. Boy of Vallecas. Litho. 16. i X 10.3. Madrid. A. Lemoine, In jfoyas de la Pint. Ent. 17. Portraits, Female.] VELAZQUEZ. 35 The Idiot of Coria. Line. 22.0x16.0. Madrid, 1797. L. Croutelle, A laughing idiot, seated on the ground, with his hands clasped on one of his knees, at his side two gourds and a drinking cup. Known as El Bobo de Coria, The picture is at Madrid, Royal Museum, No. 291. The Idiot of Coria. Litho. 16.2 x 10.3. Madrid. V. Loutrel. In jfoyas de la Pint. Ent, 16. The Idiot of Coria. Etch, ii.o x 8.7. Laguillermie, 2. FEMALE PORTRAITS. Dona Margarita of Austria, wife of Philip III. Etch, 14.6 X 12.2. Madrid, 1778 . . . F. Goya, Full-length ; on a piebald horse. W. S. M. has an impression with the lettering written by Goya. The picture is at Madrid, Museum, No. 234. Dona Isabel of Bourbon, first wife of Philip IV. Etch. 14.6 X 12.3. Madrid, 1778 . . . F. Goya, Full-length ; on a white horse. The picture is at Madrid, Royal Museum, No. 303. Dona Isabel of Bourbon, first wife of Philip IV. Line. 12.6 X 8.3. Madrid, 1645. Petrus a Villafranca inven. et sculp. Bust, r. about 3.8 x 3.2, within oval frame sur- mounted by a very large crown, supported by two female allegorical figures, and placed on a pedestal with the royal arms. In Pompa funeral 36 VELAZQUEZ. [Portraits, Female. Hoiiras y Exequias en la Muerte de . .Dona Isabel de Borbon Reyna de las Espanas^ que se celebraron en el Real convento de S. Geronimo de Madrid. Madrid, 1645, 4° between title and f. i. Dona Mariana of Austria, second wife of Philip IV. Line. 6.8 x 4.7. . . . . Unknown, Half length ; in rich dress ; scroll below ; inscr. D. Mariana de Austria muger 2 del Rey D. Phelipe IV. A. 1649. In Memorias de las Reynas Catolicas, par Fr. Henrique Florez. Madrid, 1770, 2 vols. 4? ii. facing p. 950. Infanta Margarita Teresa. Mezzo. 8.9 x 6.9. Berlin, 1832. ....... Luderitz. Three-quarters length, standing, in a white dress trimmed with black lace, r. hand resting on a chair. Infanta Margarita Theresa. Etch. 11.7 x 9.5. Conquy. The same. In Gal. Hist, de Versailles, torn. xi. Series 10. Section 5, 2371. An Infanta of Spain, probably Margarita Theresa. Wood. 6.8 X 4.7 Sotain. Full length ; standing near an arm-chair on which lies a little dog ; she places her 1. hand on the dog. In Gaz. de B. Arts. xiv. 1863, p. 389. The picture was formerly in the collection of the Duke de Morny. Dona Eleonora Maria de Guzman, Countess of Monterey. Line. 7.0 x 5.1. . . . N. F. Half-length, in a ruff, within an oval border inscr. D. Heleonora Maria de Gvzman Portraits, Female.] VELAZQUEZ. 37 Montis Regii Comitissa neap, proregina. In Giuliani; Festa di S. Giovanni, 1631. A com- panion to the portrait of her husband, and like that it recalls the style of Velazquez. Dona Juana Pacheco, wife of Velazquez. Litho. I2.g X 9.4. .... Henriqtie Blanco. Bust, profile r. with black ribbons hanging from her head behind ; holding in her 1. hand a book or portfolio. In Col. Lith, Mad. vol. ii. No. lxvi. Dona Juana Pacheco. Etch. 6.1 x 4.0. Madrid, 1870 B, Maura, The same. The picture is at Madrid, Royal Museum, No. 230. Lady with Fan. Outline. 6.6 x 4.4. . Pistrucci, In La Galerie de Lucien Buonaparte, 4? London, 1812. Stanza IV. No. 36. Lady with Fan. Line. 12.8 X 9.7. . . Leroux. The same. In Gal, Aguado, No. 4. The picture, or a dupHcate of it, is now in the collection of the Duke of Devonshire at Chats- worth. 38 VELAZQUEZ. [Landscapes. Arch of Titus at Rome. Litho. 17.7 x 12.8. Asselineati, In Col. Lith. Mad. vol. ii- No. xci. The picture is at Madrid, Royal Museum, No. 118. Fountain of Tritons, in the garden at Aranjuez. Litho. 16. 1 X 13. 1 P. de Leopol. In Col. Lith. Mad. vol. 11. No. lxxxi. Fountain of Tritons. Wood. 4.1 X 3.4. W.G.Mason. In Stirhng ; A. of A. The picture is at Madrid, Royal Museum, No. 145. Avenue of the Queen at Aranjuez. Litho. 16.5 x 12. i. P. de Leopol. In Col. Lith. Mad. vol. 11. No. cxv. The picture is at Madrid, Royal Museum, No. 540. View of a bridge in the gardens of Aranjuez. Litho. 9.4 X 7.4 C. Araujo. In El arte en Espana. The picture is at Madrid, Royal Museum, No. 102. Doubtful.] VELAZQUEZ. 39 Holy Family. Litho. in crayons. 13.9 x 10.8. Unknown, In Coll, Denon. vol. iii. pi. 236. Holy Family. Litho. in crayons. 12.5 x 9.3. Unknown. The same, smaller, reversed. In Coll. Denorio Philip IV. Line. 8.9 x 6.8. 1663. . Unknown. Bust in octagon frame, with badge of Golden Fleece ; in background a hunting scene; beneath, inscr. philippes iv. roy d'espagne, de Naples, &c. &c. B, Moncornet, ex. 1663. Philip IV. Line. 6.0 x 4.1. . Unknozvn, Oval bust, surrounded with emblems ; order of the Golden Fleece round his neck. Philip IV. Line. 13.4 x 9.6. . . Unknown. Bust, in armour, 1. with oval border of olive and oak between two tvv'isted columns ; above, arms, below, pedestal inscr. philippvs iv. d. g. &c. and flanked by lions. In Pacificatores orbis Christiani, 1697, 2* The Infanta Dona Margarita Teresa, daughter of Philip IV. Line. 15.0 x 11. 3. . Coenr Woumans, Three-quarters length, standing, 1. hand resting on table, on v/hich is a crown. 40 VELAZQUEZ. [Doubtfui. 'ihe Infanta Dona Margarita, daughter of Philip IV. and first wife of the Emperor Leopold I. Line, 13 g X II. I. .... Bartliolome Kilian, Half-length, in a circular ornamental frame, with crown and arms beneath. Don Balthazar Carlos. Line. 18.3 x 13. i. Brussels, 1642. ....... C. Galle. A monumental slab, with a long inscription, headed posteritati sacrum, commemorates the fact that Don Balthazar Carlos " Hispani imperii fumr us olim arbiter, aged nine years, on the 26th January, 1638, shot a wild boar in the chase of the Pardo, ''^ gland e sclopo eniissa dexteri- tati suce imolavit,'^ and soon afterwards, in the bull-ring, a bull when excited to rage by the banderillevos " mox stimulatiim spiculis in arena taiirum pari fulmine perculit at confecit.^'' In front of the monument, the boar and bull lie wallowing in their blood ; the prince stands on the r. side of the monument (which is to his 1. hand) giving his gun to an attendant ; on the other side another attendant displays a lion's skin, whereon are emblazoned the royal arms ; behind is the chase of the Pardo. The figure of the prince is probably taken from a portrait by Velazquez. Don John of Austria. Line. 13.4 x g.6. Unhiown. Bust, in armour, 1. in oval border, with arms above and, below, a pedestal inscr. ioannis avstriacvs PHILIPPI IV. REGIS CATHOLICIS FILIVS. In Pacificatores orhis Cliristiani, 1697, ^• There are no names either of painter or engraver Doubtful.] VELAZQUEZ. 41 on this print, so it may be after a portrait* by Velazquez, but more probably from one by a Netherlander. Don John of Austria. Etch. 6.4 X 4.5. Unknown. Three-quarters length, in armour. In Gal. Hist, de Versailles^ No. 2285. Lewis XIV. King of France. Line. 7.3 x 5.1. Madrid, 1667. . . . Petrits a Villafranca. Bust, 1. full wig, in oval frame inscr. Lvdovicvs XIIII. Gallic Rex. placed on a pedestal on which is sculptured a Queen and Cupid, and inscr. Bene convenitint omnibus idem, and Maiestas et amor. In Castillo ; Viage de Phelipe IV. facing p. 246. Ferdinand II. Grand Duke of Tuscany, and his wife Vittoria della Rovere, Line, 7.1 x 51. W.Holl. Certainly not by Velazquez, though perhaps a copy of a picture by him when at Florence. Ferdinand 11. Grand Duke of Tuscany, and his wife. Etch. 4.0 X 3.2. . , « . . Starling. Ferdinand 11. Grand Duke of Tusicany, and his wife. Etch. 6.4 X 5 3. . , . . H. F. Rose. The picture is in the National Gallery, London, Diego Sarmiento de Acuiia Count of Gondomar. Line. 20.9 X 13.1. . . . . . R. Cooper. Ascribed to Velazquez, but the date is conclusive against its being his work. Count of Gondomar. Line. 8.4 x 6.4. Unknown. The same, smaller. 42 VELAZQUEZ. [Doubtful. Duke of Seg^ovia. Line. 11.8 x 8.1. . Unknown. On horseback, baton in hand^ apparently directing a siege. Man on horseback, pointing a sword. Etch. 9.0 X 5.4, y.S- Inscr. From Velazquez, 1829. Fernando Cortes, Line. 11.2 X 9.5. {the engraving). Unknown. Three-quarters length, in black, 1. hand on sword- hilt, r. holding gloves, rests on a table, on v/hich stands a clock. Miguel de Cervantes Saavedra. Line. 15.4 x 11.8. Paris, 1853. ... . o . Leisnier. Bust, full face, frame inscr» Michel Cervantes. The print does not say where the original picture is. But as Cervantes died in 1616 it is scarcely possible that Velazquez can have painted it unless from the drawing by Pacheco, Juan de Pareja, the Mulatto slave of Velazquez. Litho. 17.6 X 13.8. . . . . o Unknown, Bust, arms resting on a window sill. Inscr. Pareja Modele de Velazquez,. From a picture by Rembrandt, in the Dulwich Gallery, No. 206, and called there^ " Rembrandt's Servant Maid." Anne of Austria, Queen Dowager of France. Line. 7-3 X 5.0. Madrid, 1667. . P. Villafranca, Bust, slightly r. in rich oval frame inscr. Anna AvsTRiACA et Regis Gallic mater, below which two cherubs supporting s-hields with the arms of Spain and France, and holding in their hands each a loaf of bread (?) towards a naked Doubtful.] VELAZQUEZ. 43 sword displayed on the space between them,- under scroll inscr. Allicivnt pariter. In Castillo ; Viage de Phelipe IV. facing p. 232. Maria Anne of Austria. Line. 9.3 X 6.9. 1663. Unknown. In octagon frame, a curtain behind partly drawn, through which is seen a battle in the background. A long inscription beneath. Maria Theresa, Queen of France. Line. 7.4 x 5.0. Madrid, 1667 P. Villafranca. Bust, r. in oval frame surmounted by a crown and placed on a pedestal inscr. Maria Theresa AvsTRiACA Gallic Regina. between female figures representing Grace and Beneficence. In Castillo ; Viage de Phelipe IV. facing p. 262. Lady with hawk and boy. Outline. 5.8 x 6.7. Simmons. Inscr. From a Picture in the Cabinet of the Hon. and Rev. Charles Digby. In O'Neil ; Span. Painters. View of the River Bidassoa with the Isle of Pheasants, and the Pavilion erected under the orders of Velazquez for the meeting of Philip IV. and Lewis XIV. and the marriage of Lewis with the Infanta Maria Theresa. 1660. Etch. 13.8 X 18.0. . . Unknown. An extensive prospect taken from a height on the Spanish side, and embracing Fuenterabia, Irun, Andaya, and the mouth of the river ; inscr. at top DOMus super flumen vidasoa, with reference- letters, and names below. In Castillo ; Viage VELAZQUEZ. [Doubtful. de Phelipe IV. folded between pp. 270 and 271. There is not sufficient merit in the print to justify a belief that it was executed from a sketch by Velazquez. But it is highly probable that Velazquez sketched an interesting scene at which he was present in an official capacity, and it is not impossible that this sketch may have been used by the engraver of this print. In the French collection of prints engraved in the time and at the expense of Louis XIV. and known as the Cabinet du Roi, 23 vols. 1670- 1683, ^i^d re-issued with additional plates in 1727 and 1743, fol. there are, amongst the Plans du Chevalier de Beaulieu, Ingenieur et Geographe Ordinaire du Roy, some elaborate line-engraved views of the same place and transaction. These are : — 1. Plan de VIsle de la Conference. Bird's-eye view of the mouth of the Bidassoa and the estuary ; with a Table of names of places, and a Plan de VIsle on a larger scale in the lower corner. 17.7 X 21. 1. . . . A. Perelle, fecit. 2. Ulsle de la Conference^ with Table of names. 17.8 X 21.2. 3. Profil de Fontarabie. 17.8 X 21.3. A. Perelle, fecit. These two (Nos. 2 «& 3) if joined together, as perhaps they might be, by cutting off or folding back one of the borders of each, would form a view similar to No. i, but on a larger scale, and with different figures and accessories. Doubtful.] VELAZQUEZ. 45 4. Plan de Vlsle des Faisans ; showing the ground plan of the island, boat, bridges, and pavilions ; with a Carte des Environs in lower corner. 18.0 X 21.7 , , , N. Cochiji, sculp. 5. Large view without title ; showing the isle, the elevations of the pavilions and galleries, the bridges, and the troops and carriages of the two kings on both sides of the river. 17.4 x 40.9. L. Richer et Perelle, sculp. It is printed from two plates, and is joined in the middle. I have seen an impression, unjoined, in which one of the borders at the side of junction has been left unshaded. All these views are taken from the French side of the river. They agree tolerably well with the Spanish view in Castillo, especially in re- presenting a greater number of coaches and troops on their own side than on that of Spain. ESSAY TOWARDS A CATALOGUE OF PRINTS AFTER THE WORKS OF BARTOLOME ESTEBAN MURILLO. BART GLOME ESTEBAN MURILLO, Born at Seville 1618, died 1682. From the portrait by Richard Collin, in J. Sandrart ; Academia iwbilissimcB Artis pictoricB ; Norimbergae, 1683, fol- facing p. 392. PRINTS AFTER WORKS OF MURILLO. Abraham receiving the three Angels. Outline. 3-7 X 3-7- Reveil. In Reveil et Duchesne, vol. iv. No. 271. The picture is in the gallery of the Duke of Sutherland, Stafford House, London. The late Duke purchased it from Marshal Soult, who stole it from the church of the Hospital of Charity at Seville, for which Murillo painted it. Abraham entertaining the three Angels. Stip. Mezzo. 21.0 X 24.3. London, 1781. G. S. &> J. G. Facius. From a picture in the collection of the Duke of Norfolk. Rebecca and Eliezer at the well. Litho. 13. i X 16.2. F. Decraene. In Col. Lith. Mad. vol. i. No. 11. • Rebecca and Eliezer. Outline. 3.5 x 4.5. . A. R, In Reveil et Duchesne, vol. xiv. No. 951. 50 MURILLO. [Sacred Subjects. Rebecca and Eiiezer. Litho. 12.7 x 14.8. Madrid. C. Mugica. Rebecca and Eiiezer. Etch. 6.4 x 9.5. E. Bilxo, In Gal. Alabevn. Mad. The picture is at Madrid, Royal Museum, No. 208. Jacob's Dream. Line. 9.9 X 13.8. . . Kernot. In Gal. Aguado, No. 16, and Scott : Mtirillo, f. p. 92. From the same plate. Jacob and Rachel. Coloured Litho. 6.6 x 9.7. 1818. R. Cockhiirn. The picture is in the Dulwich Gallery. Jacob and Rachel at the well. Outline. 5.3 x 8.5. Lebriin. In Gal. Lebrmiy vol. II. No. 139. Jacob, Laban, and flocks. Line. lo.o x 13.8. y antes H. Kernot, In Gal. Aguado^ No. 15, and Scott; Mtirillo, f. p. loi. From the same plate. Laban seeking for his gods in the tent of Jacob and Rachel. Etch. 4.7 x 6.1. . . jfohn Young. In Grosveiior Gall. No. 69. Jacob wrestling with the Angel. Line. 14.5 x 17.0. Louise Panier. In Gal. Aguado, No. 14. Moses in the bulrushes. Mezzo. 20.1 X 14.0. AvdelL Moses in the bulrushes. Line. 6.7 x 4.2. London, 1809. P. Rothwell. Moses in the bulrushes. Line. 15.5x10.8. London, Ludov. Gruiier. Sacred Subjects.] MURILLO. 51 Moses striking the Rock. Line. 21.3 x 38.5. 1839. R. Esteve. Moses striking the Rock. Stip. Mezzo. 18.2 x 25 g. Paris. ....... Boilly, The picture is at Seville, in the church of the Hos- pital of Charity. Moses striking the Rock. Line. 6.8 x 4.5. Blanchard. In La Sainte Bible, traduite par Le Maistre de Sacy. Paris, 1864. Large 8? Exodus, chap. xvii. v. 6, P- 51- This and the five following prints represent the central portion of the picture mentioned above and are probably copied from the print by R. Esteve. Moses striking the Rock. Line. 11.5 x 8.g. Unknown. Moses striking the Rock. Line. 11.2 x 9.0. J. Rogers. Moses striking the Rock. Line. 9.0 X 6.7. Unknown. Moses striking the Rock. Mezzo. 25.8 x 19.3. London, 1845 F. Girard. Moses striking the Rock. Mezzo. 6.5 x 4.5. Sartain, In The Rosemary ; a selection of poetry from English authors. 8^. Philadelphia. The Guardian Angel. Line. 9.0 x 6.8. R. C. Bell. In Stirling ; A. of A. From a copy executed in 1809 by Gutierrez, and now at Keir, of the fine altar piece in the chapel del Angel de la Gnarda m the cathedral of Seville. Birth of Our Lady. Outhne. 3.2 x 5.6. . A.R. In Reveil et Duchesne, vol. vii. No. 471. 52 MURILLO. [Sacred Subjects. Birth of Our Lady. Wood. 5.4 x 8.g. Unknown. In The Illustrated News of the World, Jan. 22, 1859. Birth of Our Lady. Stip. Mezzo. 15.7 x 24.8. Paris, 1859 . Alph. Masson. It was formerly in the Gallery of Marshal Soult who stole it from the small cloister of the Fran- ciscan convent at Seville, for which it was painted. The picture from which this and the two previous prints were taken is now in the Louvre. St. Anne teaching Our Lady to read. 16.9 x 12.7. F. Decraene. In Col. Lith. Mad. vol. i. No. xi. St. Anne teaching Our Lady to read. Litho. 24.2 x 17.5. London, 1843 H. Eichens, St. Anne teaching Our Lady to read. Litho. 17.2 x 12.6. yendelle. The picture is at Madrid, Royal Museum, No. 310. St. Anne teaching Our Lady to read. Litho. 1 1.5 X 8.2. Prat. The same reversed. In Mtisee Chretien, No. 116. St. Anne teaching Our Lady to read. Litho. 4.7 x 3.9. L. Maiirin. The same. In Maurin ; Reductions. The Annunciation made by the Angel Gabriel to Our Lady. Litho. 17.0 x 12.7. . . F. Decraene. In Col. Lith. Mad. vol. i. No. viii. The Annunciation to Our Lady. Litho. 20.3 x 15.5. Marin Lavigne. The picture is at Madrid, Royal Museum, No. 56. Sacred Subjects.] MURILLO. 53 The Annunciation to Our Lady. Litho. 13.0 x 9.9. In Gal. Imp. de VErm. vol. ii. liv. 26. The Annunciation to Our Lady. Litho. 17.9 x 12.1. Unknown, The same reversed. The Annunciation to Our Lady. Etch. 5.6 x 3.7. yohii Yowig. In Miles Gall. No. 68. The Annunciation to Our Lady. Litho. 14.4 x 15.8. August o Guglielmi. In Col. Lith. Mad. vol. iii. No. clviii. The picture is at Madrid, Royal Museum, No. 41. The Annunciation to Our Lady. Line. 18. i x 13.2. A. Lefevre. In Gal. Agnado, No. 5. The Annunciation to Our Lady. Line. 7.3 x 4.6. Unknown. The Annunciation to our Lady. Litho. 21.9 x 15.5, 1843. , Lafosse. The Annunciation to Our Lady. Litho. 14.1 x 9.5. Berlin Blumner. The picture, formerly in the Aguado Collection, w^as purchased by the late Marquis of Hertford, and is now in the possession of Sir Richard Wallace. The Annunciation to Our Lady. Line. 7.1 x 4.5, W. Midland. Circular top ; and seems to have been taken from Sir R. Wallace's picture, but without the angels- F 54 MURILLO. [Sacred Subjects. Our Lady of the Immaculate Conception. Mezzo. ig.g X 13.9 ilf^ ArdelL Inscr. From the Original in the possession OF John Blackwood, Esq. Our Lady stands upon a crescent with the points up, supported by five cherubs holding flowers and a palm branch ; above, a faint glory and eight cherubs' heads. Our Lady of the Immaculate Conception. Litho. 28.5 X 20.4 Lafosse, Inscr. L^K tres Sainte Vierge. Apparently from the above picture, the cherubs above, and one below being omitted. Our Lady of the Immaculate Conception. Mezzo. 12.5 X 9.8. London, 1839. . . . Coombs, Inscr. The Virgin. Three quarters length ; appa- rently from the same picture as the print by M<; Ardell, the glory being strongly defined and the cherubs omitted. Our Lady of the Immaculate Conception. Mezzo. 19.8 X 14.0. London, 1776. . . Val. Green. Stands upon clouds, supported and surrounded by cherubs ; her r. hand is stretched out with the palm upwards. In Houghton Gall. vol. i. No. XXV. where it is erroneously called " The Assumption of the Virgin." Our Lady of the Immaculate Conception. Litho. 13.9 X 10.3 Hiiot, The same; erroneously inscr. L'Assomption.^^ In Gal. Imp. de VErm. vol. 11. Liv. 20. The picture is at St. Petersburg, Imperial Gallery. Sacred Subjects.] MURILLO. 55 Our Lady of the Immaculate Conception. Line. 20.7 X 12.5. (Top cut, no plate mark.) Madrid, 1788. ...... Bart. Vazquez. Inscr. La purissima Concepcion, &c. A Glory of rays and stars surrounds Our Lady's head, beneath, five cherubs with palm branches. Our Lady of the Immaculate Conception. Stip. Mezzo. 14.1 X II. 2. Paris, 1859. . . . y. Ballin. The same, with circular top and arabesque corners, having the monogram A. M. in each. Our Lady of the Immaculate Conception. Line. 18. 1 X 13.3. Madrid, 1794. Francisco de Paula Marti, Inscr. Mater Inmaculata, &c. Surrounded with thirteen cherubs and a Glory of rays and stars. Our Lady of the Immaculate Conception. Litho. 17.2 X 12.7 F. Decraene. Stands upon a crescent, supported by four cherubs holding flowers and palm-branches ; palms of the hands together, the mantle floating behind r. eight cherubs' heads above. In Col. Lith. Mad. vol. I. No. XXIV. Our Lady of the Immaculate Conception. Stip. Mezzo. 16.5 X 12. 1. Madrid, 1855. Domingo Martinez. The same. Our Lady of the Immaculate Conception. Litho. 16.9 X 10.6. Madrid, 1856. . . Lemoine. The same. In jfoyas de la Pint. Ent. 13. 56 MURILLO. [Sacred Subjects. Our Lady of the Immaculate Conception. Lithe. 18.9 X 13.2. Paris. . . Herman Ratmheim. The same. Our Lady of the Immaculate Conception. Litho. 17.1 X 11.4. Madrid. . . . Unknown, The same, with circular top in square border. The picture is at Madrid, Royal Museum, No. 229. Our Lady of the Immaculate Conception. Litho. 23.5 X 16.0. London, 1844. . Eniilc Lasalle, Apparently from the above picture, but reversed and the cherubs omitted. Our Lady of the Immaculate Conception. Line. 12.2 X 8.6. Seville, 1832. . Josef Martin, Inscr. La Purisima Concepcion, &c. Our Lady of the Immaculate Conception. Etch. 4.5 X 2.8. • Anna Jameson. The same. In Leg. of Madonna, p. 50. Our Lady of the Immaculate Conception. Litho. 21.4 X 14.1. Dresden. . . . G. WeinJiold, The same. Inscr. Die Madonna von Sevilla. The picture, of colossal size, and formerly in the church of the convent of San Francisco, at Seville, is now in the Museum. Our Lady of the Immaculate Conception. Line. 23.4 X 17.0. Paris, 1845. . . . Bridoux. Our Lady of the Immaculate Conception. Outline. Wood. 3.5 X 2.4 Unknown. The same. In Stirling ; A, of A. p. 1413. Sacred Subjects.] MURILLO. 57 Our Lady of the Immaculate Conception. Wood. II.2 X 8.0. ..... Unknown. The same. In The Illustrated London NewSy Sept. 23, 1848. Our Lady of the Immaculate Conception. Line. 8.7 X 5.9. Paris C. Clement, The same. Our Lady of the Immaculate Conception. Line. 10.7 X 7.2 . Ch. Carey. The same. Our Lady of the Immaculate Conception. Litho. 14.6 X lo.o. Paris. . . . C. Chamouin, The same. The picture was in the Spanish Gallery of the Louvre, and was sold with the rest of the collec- tion at Messrs. Christie and Hanson's in 1853 ; the print by Bridonx is exactly the size of the picture. Our Lady of the Immaculate Conception. Litho. 15. 1 X 1 1.2. Paris. . . Adolphe Manrin. The same, without the lily. Our Lady of the Immaculate Conception. Litho. 21.5 X 16.5. Paris. . . Soulange Tessier, The same as the print by Bridoux, reversed. Our Lady of the Immaculate Conception. Litho. 16.4 X 12.6. Paris. .... Pincon, The same. Our Lady of the Immaculate Conception. Line. 7.6 X 5.0. 58 MURILLO. [Sacred Subjects. Within a border of scroll work surmounted by a crown. An indifferent copy of the print by Bridotix, to which a Glory of cherubs' heads has been added. In Kunst &> geogr. Anstalt V, Serz &^ Cie in Niirnbg. Our Lady of the Immaculate Conception. Wood. 1 1.5 X 7.9. ...... Unknown. Inscr. Mr. Aspinwall's Murillo. In Harper^s Weekly, Jan. 30, 1858. It is somewhat similar to the print by Bridotix. The picture appears to have belonged to the late King of Holland, from whose family it was purchased by Mr. Aspinwall and taken to America. Our Lady of the Immaculate Conception. Line. 21.6 X 15.7. Paris, 1855. . . . Burdet. This popular picture was painted in 1678 for the Church of Los Venerables at Seville, whence it was stolen by Marshal Soult. At the sale of his pictures in 1852 it was purchased by the French Government for the sum of 615,300 francs, or ;f .24,612, and is now in the Louvre. Our Lady of the Immaculate Conception. Line. 31.4 X 22.8. Paris. . . . Ach. Lefevre, The same. Our Lady of the Immaculate Conception. Line. 15.6 X 1 1.3. Paris. . . . . Massard. The same. Sacred Subjects.] MURILLO. 59 Our Lady of the Immaculate Conception. Line. 1 1.6 X 8.5. Paris Cousin. The same. Our Lady of the Immaculate Conception. Line. 3.8 X 2.1. Paris Dopter. The same. Circular top, with lace border. Our Lady of the Immaculate Conception. Mezzo. 24.8 X 16.8. Paris. . V Herman Eichens, The same. Our Lady of the Immaculate Conception. Litho. 15.5 X 9.7. Paris Lafosse. The same. Our Lady of the Immaculate Conception. Litho. 25.0 X 16.6. Paris. .... Llanfa» The same. Our Lady of the Immaculate Conception. Wood. 10.9 X 7.0. Unknown, The same. In The Illustrated London News, June 19, 1852. Our Lady of the Immaculate Conception. Wood. French, 6.9 x 4.5, English, 9.1 x 4.6. L. Dtijardin, The same. In Blanc ; Peintres^ p. 9, and Blanc ; Painters^ p. 6. Our Lady of the Immaculate Conception. Litho. 14. 1 X 9.1. Paris Geoffroy, The same. In Galcrie Chretienne^ No. 821. Our Lady of the Immaculate Conception. Litho. 15.3 X lo.i. Paris. .... Pingot, The same. In La Religion, No. 5. 6o MURILLO. [Sacred Subjects. Our Lady of the Immaculate Conception. Chrome- Litho. 23.6 X 17.2. Paris, 1858. . Desjardins, The same. Our Lady of the Immaculate Conception. Litho. 16.5 X 12.0. Paris. .... Graille, The same. Our Lady of the Immaculate Conception. Litho. 14.9 X 9.5. Paris. .... yacott. The same. In Recueil Religieux, Our Lady of the Immaculate Conception. Litho. 15. 1 X 1 0.0. Paris A, Maiirin, The same. Our Lady of the Immaculate Conception. Mezzo. 21.0 X 16.5. ..... Unknown, The same, very black and bad. Our Lady of the Immaculate Conception. Litho. 30.6 X 20.5. Paris and New York. . Lafosse, Apparently taken from the Soult picture, the cherubs above and some below being omitted. Our Lady of the Immaculate Conception. Litho. 26.1 X 21.0. Paris, London and New York. Gilbert, Apparently from the Soult picture, without cherubs. In Notivelles Etudes Variees, No. 86. Our Lady of the Immaculate Conception. Litho. 24.8 X ig.6. Madrid. . . . Unknown, The same, with a Glory of rays and stars. Inscr. PuRisiMA Concepcion. Our Lady of the Immaculate Conception. 5.1 x 7.2. Migneret, Five male ecclesiastics and one woman adoring. Sacred Subjects.] MURILLO. 6i In Gal. Mns. Nap. vol. xi. No. 43. The picture is in the Louvre. Notice des Tableaux ^ par F. Villot, Partie I. 1852. Ecole^ tVItalie et d^Espagne, No. 546, p. 258. It was purchased in 1817, of M. Lorn, for 6,000 francs, by Louis XVIII. A picture very similar in subject is men- tioned by Cean Bermudez {Dicc.ii.ip. 59) amongst the works of Murillo in the church of St. Maria la Blancaat Seville, and as that church was. stripped by Marshal Soult, it is very probable that this picture formed part of his plunder, and had been acquired by M. Lom before the taste of France and England had enabled the military dealer to raise his prices to their subsequent level. Our Lady of the Immaculate Conception. Outhne^ 8.5 X 5.2. Lebnuu In Gal. Lcbnin, vol. ii. No. 134. Our Lady of the Immaculate Conception. Line. 24.7 X 18.9. London, 1864. . R. Graves, A,R.A. Called, La Vierge att Miroir. This print, taken from the original picture now in thepossession of Thos. Baring, Esq., M.P., is the same, reversed, as the above in Lebrun, who says, vol. ii. p. 27, that came from the Convent of Cannes Dechausses in the Calle de Alcala at Madrid. Our Lady of the Immaculate Conception. Litho. 20.2 X 14.9 . . Llanta, Beneath her is a portion of a globe with a serpent lying on it. 62 MURILLO. [Sacred Subjects. Our Lady of the Immaculate Conception. Litho. I2.g X 9.1. Madrid. . . . J-M. Batisac. Half length ; behind a large crescent, hands crossed on her bosom, six cherubs' heads above. Our Lady of the Immaculate Conception. Mezzo. 22.1 X 15.7. . . . . Hyp^f Gamier. The same. The picture is at Madrid, Royal Museum, No. 275. In all the above prints of the Immaculate Concep- tion the horns of the crescent are timied tip. Our Lady of the Immaculate Conception. Line. 14.2 X 10.5 G. Paterson, Inscr. Adoration. Stands on a cloud, upon the crescent, with the horns turned down, surrounded by cherubs ; above, a faint Glory and cherubs' heads. Our Lady of the Immaculate Conception. Line. 7.6 X 4.9. engraving. . . jf- C. Arniytage, The same. In Scott ; Miirillo, f. p. 5. Our Lady of the Immaculate Conception. Litho. 21.6 X 15.2 Marin Lavigne. The same. Our Lady of the Immaculate Conception. Litho. 15.9 X 1 1.6 Weber. The same. Our Lady of the Immaculate Conception. Litho. 1 1.5 X 7.7 Weber. The same. In Musee Chretien, No. 51. Sacred Subjects.] MURILLO. 63 Our Lady of the Immaculate Conception. Litho. 15.3 X 10.7 Maggi, The same reversed. In Galerie Chretienney No. 4. The picture is in the Dulwich Gallery. Our Lady of the Immaculate Conception. Litho. 4-6 X 3.5 A, Maurin, Bust, the same, without cherubs. In Maurin ; Reductions, Our Lady of the Immaculate Conception. Line. 26.5 X 22.g. London, 1861. . Professor Knolle. Standing on clouds upon a crescent, eight cherubs with flowers and palms beneath, and two above. The original picture is or lately was in the posses- sion of Sir Culling Eardley, Bart, at Belvedere, Kent. Our Lady of the Immaculate Conception. Outline. 15.2 X g.g. ...... JE. Lingee. Standing on a globe suspended in the air sur- rounded by cherubs, one holds apparently a looking glass ; above, a Glory ; beneath, a town, tower, river, and mountains. Inscr. Morillos I. as if from a book. Our Lady of the Immaculate Conception. Outline, g.o X 6.5. London, 1835. • • F.jfoubert, Full length ; to the 1. of Our Lady's feet three cherubs support a scroll inscr. non pro te sed PRO OMNIBVS H^C LEX CONSTITVTA EST. In Collection of Pictures of Wf G. Coesvelt, with introduction by Mrs. Jameson. London, 1836. 49 No. 32. 64 MURILLO. [Sacred Subjects. Our Lady of the Immaculate Conception. Litho. 10.5 X 7.5 Llanta. i Inscr. La Soeur des Anges, Standing on a globe in air surrounded by cherubs, beneath, in 1. corner, are a cross, church, and tree. In Galerie Reli- gieiise et Morale, No 4. Our Lady of the Immaculate Conception. Litho. 15.2 X 10.2. Madrid. . . Vicente Palmaroli. Bust. Inscr. La PjuHsinia Concepcion. The picture is at Madrid, in the collection of D. Jose de Madrazo. The above prints of the Immaculate Conception all profess to be taken from works by Murillo ; but many, if copied from pictures at all, are evidently copied from pictures of small merit and doubtful authenticity, and are probably inventions of second-rate draughtsmen for the cheap devo- tional market, to which Murillo's name has been affixed to give them credit and currency. The Adoration of the Shepherds. Mezzo, ig.8 X 13.9. London, 1775 Val. Green. In Houghton GalL vol. i. No. xxiv. The picture is at St. Petersburg, Imperial Gallery. The Nativity of our Lord, and Adoration of the Shepherds. Line. 20.8 x 22.1. Madrid. Huvert. The Nativity of our Lord, and Adoration of the Shepherds. 14.4 X 16.0. . . P. F. Feillet. In Col. Lith. Mad. vol. iii. No. clxxiv. The picture is at Madrid, Royal Museum, No. 191. Sacred Subjects.] MURILLO. 65 The Flight into Egypt. Mezzo. 12.4 x 6.g. London, 1778 y. Spilsbury, In Houghton Gall. vol. i. No. xlv. The picture is at St. Petersburg, Imperial Gallery. The Flight into Egypt. Outline. 4.5 x 3.2. Reveil. In Reveil et Duchesne, vol. iii. pi. 93. The picture was in the gallery of the late Marshal Soult. The Repose in Egypt. OutHne. 7.2 x 8.6. Sanders. In Description de V Hermitage. 2 vols. 4? St. Petersburg and London, 1805, vol. i. pi. 72. The picture is at St. Petersburg, Imperial Gallery. The Repose in Egypt. Etch. 5.0 x 6.2. jfohn Young. In Miles Gall. No. 12. The picture is at Leigh Court. The Repose in Egypt. Etch. 7.4 x 9.3. . Ghigi. Inscr. Sacra Famiglia. Stanza xii. No. log. Apparently from some book. Our Lady of the Girdle, with Infant Saviour. Lithe. 21.9 X 15.3. .... Marin Lavigne, Three-quarters length ; known as Nziestra Sefwra de la Fdja : from the linen bandage lying near her, sitting on a low wall ; the child on her knees is being bound with a girdle, two angels behind playing a guitar and a violin, cherubs above. Our Lady of the Girdle. Wood. French, 8.2 x 5.9, English, 9-9 x 5.9. . . . . . Piaiid. The same. In Blanc ; Peinfres, p. 5. and Blanc ; Painters, p. 2. 66 MURILLO. [Sacred Subjects. Our Lady of the Girdle. Litho. 16.0 x 11.6. Geoffroy. The same. Our Lady of the Girdle. Litho. 11.2 x 8.0. Coqiiardon. The same. In Gal. Religietise et Morale^ No. 152. Our Lady of the Girdle. Litho. 11.2 x 8.2. y. Prat. The same. In Musee Chretien, No. 76. This fine picture was formerly in the collection of the Count of Aguila at Seville, whence it passed for about ^5000 to the Spanish gallery of the Louvre, and at the dispersion of that collection, it was bought by the Due de Montpensier for Our Lady of the Girdle. Litho. 4.7X3.5. L.Maiirin. The same, without angels. In Maurin; Reductions. Our Lady and Infant Saviour. Line. 11.6 x 8.1. Madrid, 1763. . . Manuel Salvador Carmona. Insc. Ymagen de la Santis^^ V? Maria. From a picture in the collection of Don Tiburcio Aguirre y Ayanz. Our Lady and Infant Saviour. Line. 5.5 X 3.8. Madrid jfuez. The same, smaller. Inscr. Mater Christi. Our Lady with Infant Saviour. Mezzo. 20.9 x 15.4. C. Turner. Full length ; seated on a stone bench or low wall, child standing on her knee. In The Kinnaird Collection. 1809. fol. a work projected by or for the late Lord Kinnaird, of which several numbers appeared, containing twelve plates. Sacred Subjects.] MURILLO. 67 The picture was brought from Spain by an English merchant, and was sold by Mr. Buchanan to the late Lord Kinnaird. At the sale of Lord Kinnaird's pictures and furniture, 4th and 5th March, 1813, it was not forthcoming, and is supposed by the present Lord Kinnaird to have been stolen. Our Lady with Infant Saviour. Line. 19. i X ii.g. Madrid. ..... Estehan Boix. Full length ; seated on a stone bench or low wall ; child standing on her knee. Inscr. Mater Amabilis. From a picture in the collection of Senor Conde de Trastamara. Our Lady with Infant Saviour. Outline. 4.9 x 3.5. y. Bemmi, Full length ; seated on clouds ; child standing on her knee. In L^s Principeanx tableaux du Musee Royal a la Haye ; graves au trait avec letir description. A la Haye, 1826-1830, 4 parties, 8? p. iv. No. 95. Our Lady with Infant Saviour. Line. 12.9 x 8.8. G. Ballero, Full length ; seated on stone pedestal, child standing on her knee, and looking over his 1. shoulder. In Gall. Pitti. vol. I. This and the three following prints are taken from the picture at Florence, in the Royal gallery of the Pitti Palace. 68 MURILLO. [Sacred Subjects. Our Lady with Infant Saviour. Line. 14.3 x ii.o. L. Martclli Faentino. The same. Our Lady with Infant Saviour. Line. 13.4 x g.g. Ant^ Pcrfetti. The same. Our Lady with Infant Saviour. Litho. 16.3 x 11. 8. Prat. Inscr. La Vierge dii Mttsee de Florence. Our Lady with Infant Saviour. Line. 12.9 x 10.5. Lefevre. Three-quarters length ; seated ; child sitting on her knee holding a ball. . In Gal. Aguado, No. 6. Our Lady with Infant Saviour. Line. 12.8 X 10.6. Dieji. Three quarters length ; seated, child sitting on her knee, and looking over his 1. shoulder. In Gal. Agiiado^ No. 7. Our Lady with Infant Saviour. Line. 16.8 X 12.6. Leroux. The same, larger. Inscr. La Viergc a V Aureole. From a picture formerly in the Aguado Gallery. Our Lady of the napkm with Infant Saviour. Line. 11.2 X 10.8. .... Bias Ametller. Known as " Nucstra Senora de la Scrvilleta.^* Our Lady of the Napkin. Wood. 3.6 x 3.3. W. G. Mason. The same. In Stirling; A. of A. ii. p. 879. The picture is at Seville, in the Museum. Sacred Subjects.] MURILLO. 69 Our Lady with Infant Saviour. Litho. 4.5 X 3.7. L. Maurin. Inscr. Vierge des Capucius a Seville, In Maurin; Reductions. Our Lady with Infant Saviour. Litho. 21.3 x 14.4. Dresden, 1840. . , . Franz Haenfsfaeitgl. Full length ; seated on stone bench or low wall, part of a stone ball seen on her 1. on a projecting part of wall ; child, naked, sitting on her knees and looking over his 1. shoulder. In Haenfstaengl ; Dresden Gall. Our Lady with Infant Saviour. Line. 5.6 x 4.0. F. Seiffert. The same. In Bilder Brevier, 1858, No. 15. Our Lady with Infant Saviour. Wood. 14.3 X g.2. W. Thomas. The same. In The Illustrated London News, June 9, 1866, p. 556. Our Lady with Infant Saviour. Line. 10.8 X 7.6. A. Semmler. The same. In Clauss ; Dresden Gall. The picture is at Dresden, Royal Gallery, No. 607. Our Lady with Infant Saviour. Litho. 20.1 x 15. i. Llanta. Nearly the same ; the child partly clothed, and the whole ball seen. Our Lady of the Rosary. Outline. 5.1 x 3.8. G.M.B. Full length; seated on a stone bench or basement, or low wall, part of a stone ball seen on her r. on a projecting part of wall ; child sitting on her knee, holding in both hands a rosary. In Louvre Landon, vol. xvi. pL 65, p. 125. 70 MURILLO. [Sacred Subjects. Our Lady of the Rosary. Line. 16.4 x 11.8. Henriquez, The same. Our Lady of the Rosary. Mezzo. 14.2 x ii.i. Paris, 1859 y. Ballin. The same reversed ; circular top, with monogram M.A. in Arabesque corners. Inscr. La Vierge an Rosaire. Our Lady of the Rosary. Litho. 21.8 x 15.0. Marin Lavigne, The same. Our Lady of the Rosary. Litho. 15.2x10.1. Ch.Vallet, The same. Our Lady of the Rosary. Litho. 11.3 x 7.7. Weber. The same. In Musee Chretien, No. 55. The picture is at Paris, the Louvre ; Ecoles d^Italie et d'Espagne, No. 547. It belonged to Louis XVI. Our Lady of the Rosary. Litho. 4.7 x 3.8. L. Maurin, Half length ; reversed, with no ball. In Maurin ; Reductions. Our Lady of the Rosary. Line. 12.5 x 8.2. P. Mancion, Full length; seated on a stone bench, or basement, or low wall, part of a stone ball seen on her 1. on a projecting part of wall; child seated on her knee, holding in both hands a rosary, which is also held by the Virgin's r. hand. Inscr. Madonna del Rosario. In Gall. Pitti. vol. I. The picture is at Florence, Royal Gallery, Pitti Palace. Sacred Subjects.] MURILLO. 71 Our Lady of the Rosary. Outline. 8.4 x 5.1. Lebrun. Full length ; seated on a low bench or wall ; child stands on her knee, looking over his r. shoulder; a rosary hangs on the Virgin's 1. wrist. In Gal. Lebrun. vol. ii. No. 135. The picture was formerly in the collection of the Chevalier d'Azara, long minister of Charles III. King of Spain, at Rome. Our Lady of the Rosary. Outline. 4.9 x 3.2. F. Soyer. Full length ; seated on the corner of a low stone, bench, or wall ; child seated on her knees, holds in his r. hand a rosary, which is also enclosed in the Virgin's r. hand ; six cherub's heads float above. In Gal. Massias, pi. 21, p. 47. Our Lady of the Rosary. Mezzo. 25.9 x 16.4. London, 18 14. .... W, Say. Full length ; seated on clouds supported by four cherubs ; child sits on her knee, holding in both hands a rosary, which is also held in the Virgin's r. hand. Inscr. Virgin and child; from the original in the collection of the late Noel Desenfans, Esq. Our Lady of the Rosary. Line. 25.4 x 19.3. London. R. Graves. The same. This print was begun by E. Smith, altered by T. Vernon, and finished by the late R. Graves, A.R.A. The picture is in the Dulwich Gallery. Our Lady of the Rosary. Litho. 21.8 x 14.9. Marin Lavigne, The same. 7^ MURILLO. [Sacred Subjects. Our Lady of the Rosary. Litho. 15.4 x lo.g. Maggi. The same. In Galerie Chretienne^ No. 25. Our Lady of the Rosary. Litho. 11.9 x 8.1. Prat, The same reversed. In Musee Chretien, No. 117. Our Lady of the Rosary. Line. 18.4 x 14.4. London. jfohn Somerville, Three-quarters length ; same as above print by W. Say, without the cherubs. Inscr. Virgin and child. Our Lady of the Rosary. Line, g.o x 5.9. R. Graves, The same. Inscr. Madonna and child. Our Lady of the Rosary. Line, g.2 x 6.8. London. jf. Rogers. The same. Oval, within a square arabesque border. Our Lady of the Rosary. Line. 4.0 X 2.5. Paris. A. Feart, The same. In square arabesque border. Our Lady of the Rosary. Wood. 8.2x5.6. A.Masson. The same. Inscr. Madonna. In HowitVs jfournal, p. 197. The above five prints are repetitions of part of the Dulwich picture. Our Lady of the Rosary. Litho. 4.7 x 3.7. L. Maurin. Reversed. In Maurin ; Reductions. Our Lady with Infant Saviour. Line. 17.3 x 13.6. Paris, 185 1 E. Flamet. Three-quarters length ; seated ; child stands with one foot on her r. hand, the other on her Sacred Subjects.] MURILLO. 73 knee. From a picture in the possession of M. Thiers. Our Lady with Infant Saviour. Litho. 24.1 x 18.0. Paris, 185 1. . . . . C.N. Lemercier. Inscr. La Vierge de Seville. Three-quarters length ; seated ; child stands on her knee holding a cross in his 1. hand ; above, a dove descends. Our Lady with Infant Saviour. Litho. 4.7 x 3.9. L. Maurin. The same reversed, with no cross or dove. In Maurin ; Reductions. Our Lady with Infant Saviour. Wood. 6.6 x 4.8. Pannemaker. Full length ; in richly ornamented frame ; seated on the corner of a low stone, bench, or wall, 1. foot on a step, child seated on her 1. knee. In Les Galeries publiques de V Europe, par M. J. G. D. Armengaud, fol. Paris, 1856, part v. p. 321. Our Lady with Infant Saviour. Wood. 4.7 x 3.8. Unknown, The same. In Scott ; Murillo. Title p. The picture is at Rome, Corsini Palace. Our Lady with Infant Saviour. Line. 29.8 x 21.9. Paris Leroux, Inscr. La Vierge aux Anges. Full length; stands upon clouds supported and surrounded by thirty- seven cherubs ; holding the child in her arms ; circular top, within a square. The picture formerly belonged to Marshal Soult. 74 MURILLO. [Sacred Subjects. Our Lady with Infant Saviour, and St. John. Etch. 11.3 X g.o. Vienna, 1815. . . A. de Bartsch, Our Lady with Infant Saviour. Line. 15.9 x 12.8. Nargeot. Seated on clouds, surrounded with angels and cherubs ; beneath, St. John Baptist, S\^. Justa and S*^ Rufina, patronesses of Seville, and St. Francis kneel in adoration. In Gal. Aguadoy No. 8, and in Scott ; Murillo^ f. p. 72, from the same plate. Our Lady with Infant Saviour. Line. 5.7 x 4.1. Vienna, 1853. .... jfos. Axmanii. Seated on clouds, attended by an angel and ♦ cherubs, giving bread to three ecclesiastics. Our Lady with Infant Saviour. Litho. 20.5 X 15.6. Vienna Folger. The same. The picture is at Vienna, in the gallery of Prince Esterhazy. St. Joseph with Infant Saviour. Line, ig.o x 13.6. Madrid. Estevan Boix. Inscr. El Patriarca san Joseph. Stands, holding child's r. hand in his r. a palm branch in his 1. ; cherubs above. Engraved probably towards the end of the last century ; from a picture in the collection of the Marquis of San Adrian and Santiago. St. Joseph with Infant Saviour. Litho. 13.3 x 8.g. Madrid, 1827. . . . Mig\ Gamhorino. Sacred Subjects.] MURILLO. 75 Inscr. S. Jose conditce de la mano d la Luz del mundo. Leads with his r. hand the child by his 1. ; a palm branch in his 1. hand. St. Joseph with Infant Saviour. Litho. 19.6. X 14.8. Paris, 1844 Llanta. Full length ; seated on sea shore, palm branch in his r. hand, child asleep on his r. knee. St. Joseph with Infant Saviour. Mezzo. 24.2 x 16.2. Paris, 1865 Abel Luraf. Three-quarters length ; child stands on a stone pedestal r., a palm branch in his 1. hand. The picture is at Seville, in the Museum. St. Joseph with Infant Saviour. Litho. 15.4 x ii.i. Maggi. Three-quarters length, seated, child stands on a stone pedestal r. a palm branch in his r. hand. In Galerie Chretienne^ No. 14. St. Joseph with Infant Saviour. Litho. 10.8 X 7.8. Prat. The same. In Musee Chretien^ No. 61. St. Joseph with Infant Saviour. Litho. 23.2 x 19.3. Paris Emile Lasalle. The same. St. Joseph with Infant Saviour. Litho. 23.8 x 19.6. Paris and New York. .... Barry, The same. In NouveUes Etudes aiix deux Crayons, No. 22. St. Joseph with Infant Saviour. Litho. 21.6 x 15.2. Paris Marin Lavigne, The same reversed. 76 MURILLO. [Sacred Subjects. St. Joseph with Infant Saviour. Line. 3.6 x 2.2. Paris. ....... Schneider, The same. St. Joseph with Infant Saviour. Line. 3.5 X 2.2. Paris. Geoffroy, The same. St. Joseph with Infant Saviour. Litho. 19.2 X 14.2. Llanta, The same. St. Joseph with Infant Saviour. Litho. 15.8 x 11.4. Geoffroy. The same. St. Joseph with Infant Saviour. Litho. 24.0 >: 18.5. Paris Unknown. The same. St. Joseph with Infant Saviour. Litho. 4.7 X 3.9. L. Maurin, The same. In Maurin ; Reductions. The Holy Family. Litho. 26.4 x 17.6. London. W. Franquinet. Full length ; the Eternal Father and dove with cherubs in the clouds above. The Holy Family. Line. 27.8 x 20.2. London, 1851. Bridoux, The same. The Holy Family. Litho. 21.4 X 15. i. Marin Lavigne, The same. The picture was formerly at Cadiz, in the col- lection of the Marquess of Pedroso. It was brought to England after the War of Indepen- Sacred Subjects.] MURILLO. 77 dence, and bought for the National Gallery with Rubens's Brazen Serpent^ for ;£'7,350. The Holy Family. Litho. 21.8 X 15.0. Paris. Hermann Eichens, Full length ; the Eternal Father, with dove, angels, and cherubs, in the clouds above. The Holy Family. Litho. 11.7 X 8.i. . Prat. The same. In Musee Chretien^ No. 120. The Holy Family and St. John. Line. 21.8 x 15.9. Paris, 1797. . . • . A, L, Romanet. Three quarters length ; child asleep on a rock 1. the mother lifts a cloth to shew the father and infant St John r. who holds a cross with scroll in both hands ; background, a landscape. The picture was at Madrid, Royal Palace. The Holy Family. Line. 19.9 x 13.9. London, 1808. y. Heath, A.R.A. Three-quarters length ; mother seated uncovers with r. hand child asleep on her knee, Joseph 1. looks on ; background, a landscape. The Holy Family. Etch. 4.7 x 3.7. jfohn Voting, The same. In Miles Gall. No. 9. The Holy Family. Mezzo. 17.0 x 14.0. London, 1788. Thos. Burke. Circular ; full length ; mother r. father 1. kneel ; child standing between them, looks and points up to a dove in the clouds ; background, a landscape. The Holy Family. Litho. 17.6 X 13.2. . Maggi. The same. In Galerie Chretienne, No. 27. 78 MURILLO. [Sacred Subjects. The Holy Family. Line. 13.2 x 16.0. Madrid. Juan Antonio Salvador y Carmona. Known as El Pajarito ; from the goldfinch which the child, leaning against Joseph's knee, holds in his r. hand, as if keeping it out of the reach of a little white dog ; to the r. the Virgin sits winding thread ; to the 1. a carpenter's bench. The Holy Family. Line. 7.6 x 10.7. Madrid. Ber^? Gallart. The same. The Holy Family. Litho. 12.7 x15.9. Luis Zoellner, The same. In Col. Lith. Mad. vol. ii. No. xciv. The Holy Family. Outline. 3.5 X 4.5. . A. R, The same. In Reveil et Duchesne, vol. xiv pi. 956. The Holy Family. Litho. 13.0 X 13.7. Madrid, 1856. A. Lemoine. The same. In Joyas de la Pint. Ent. 2. The Holy Family. Litho. 10.8 X 13.2. Paris. Unknown, The same. The Holy Family. Litho. 12.5 x 14.9. Madrid. y. Vallejo. The same. The picture is at Madrid, Royal Museum, No. 43. Our Lady and St. EHzabeth. Outline. 4.9 x 3.6. ]}^me Soyer, Full length ; seated, child standing on her knee, receives in his 1. hand a cross presented by infant St. John with his r. his 1. holds a scroll ; Elizabeth kneels behind ; above, the Eternal Sacred Subjects.] MURILLO. 7g Father, with dove and cherubs ; lamb in fore- ground. In Louvre, Landon, 2 Collection, Partie Ancienne, vol. in. pi. 21, p. 49. Our Lady and St. Elizabeth. Outline. 4.5 x 3.2. A, The same. In Reveil et Duchesne, vol. xv. pi. 1017. Our Lady and St. Elizabeth. Wood. 11.2 x 8.0. W. y. Linton. The same. In The Ilhistrated London News, Jan^ 17, 1846. Our Lady and St. Elizabeth. Mezzo. 25.1 x 18.2. Paris, 185 1 Herman Eichens, The same. Our Lady and St. Elizabeth. Wood. French 7.6 X 5.3,, English g.2 X 5.3. ..... Timms. The same. In Blanc. ; Peintres, p. 13 ; and Blanc Painters, p. 10. Our Lady and St. Elizabeth. Litho. 21.7 x 15.3. Paris Marin Lavigne. The same. Our Lady and St. Elizabeth. Litho. 17.8 X i2.6* Paris Geoffroy, The same. Our Lady and St. Elizabeth. Litho. 11.3 x 7.6. Weher. The same. In Miisee Chretien^ No. 46. Our Lady and St. Elizabeth. Litho. lo.i X 7.2. Regnier, The same. In Galerie Religieiise et Morale, No. 2228. 8o MURILLO. [Sacred Subjects. Our Lady and St. Elizabeth. Wood. 7.4 x 5.0. yohnston. The same. The picture is at Paris, the Louvre ; Ecoles dUtalie et d^Espagne. No. 548, and is generally called La Vierge de Seville. Our Lady and St. Elizabeth. Line. 3.6 X 2.5. Rouarque, The same ; without the Eternal Father, dove, and cherubs. Our Lord as a Child. Line. 15.4 X 11. 5. Madrid, 1806. . . . Manuel Salvador Carrdona, Asleep on the cross, r. hand resting on a skull ; two cherubs float in clouds above. Inscr. Ego DoRMio, ET COR Meum Vigilat. Cant.V.C. V. 2. The picture is at Madrid, Royal Museum, No. 179. Our Lord as a Child, asleep on a cushion. Etch. 2.3 X 2.9. yohn Young, In Grosvenor Gall. No. 52. St. John Baptist and Lamb. Mezzo. 19.7 X 14.0. Val. Green. Stands, embracing a lamb on a rock 1. a cross with scroll by his 1. foot. Inscr. from the original IN THE POSSESSION OF THE HON. THOS. KING. St. John Baptist and Lamb. Line. 22.4 X 15.9. F. Bacon. The same. St. John Baptist and Lamb. Line. 12.6 X lo.i. L. Stocks. The same ; and in Scott ; Mtirillo, f. p. 104, from the same plate. Sacred Subjects.] MURILLO. 8i St. John Baptist and Lamb. Litho. 13.0 X g.g. Victor. The same. In Gal. Imp. de VErm. vol. 11. Liv. 17. St. John Baptist and Lamb. Litho. 17.7 x 12.4. Paris Becquet freres. The same. St. John Baptist and Lamb. Coloured Litho. ICQ X 6.0. ..... y. Brandard. The same. In Sabbath Evenings, No. 2. St. John Baptist and Lamb. Coloured Litho. 12.7 X 6.6 T.D. Scott. The same. In Coloured Prints from Sacred Sub- jects for Cottage walls, No. 3. The picture was formerly at Paris, in the collections of Lassay, Presle, and Robit, whence it after- wards passed to that of Sir Simon Clarke, Bart, to whom it was valued with its companion, the Good Shepherd, at £^200. At the sale of his pictures, in 1840, it was bought for ;£'2ioo for the National Gallery. St. John Baptist and Lamb. Line. 13.7 X g.8. No pi. mark. . . . . . James Stow. The same reversed. St. John Baptist and Lamb. Line, unfinished. 17.6 X 14.3 Engraving, . . . Unknown. The same. St. John Baptist and Lamb. Outline. 8.4 x 5.2. Lebrun. Full length ; seated beneath a tree, r. hand resting on lamb's head, holds a cross with scroll. In Gal. Lebrun, vol. ii. No. 136. 82 MURILLO. [Sacred Subjects. St. John Baptist and Lamb. Litho. 18.2 x 12.6. Geoffroy, The same. Inscr. St. yean Baptiste^ Inspire. St. John Baptist and Lamb. Etch. 7.7 x 5.7. 1815. A. de Bartsch. Kneels, and receives in a shell water falling from a rock; cross in I. hand; part of a lamb seen behind. St. John Baptist and Lamb. Etch. 3.4 x 2.6. John Young. Full length ; seated with lamb, 1. hand holding cross, rests on lamb's neck. In Grosvenor Gall. No. 85. The picture is in the collection of the Marquis of Westminster. St. John Baptist and Lamb. Line, g.o x 5.9. Davenport. The same. St. John Baptist and Lamb. Line. 6.4 X 3.6. Vienna. y. Blaschke. Full length, stands with cross and scroll in 1. hand, r. rests on lamb. In Galerie Imperiale Royale ait Belvedere a Vienne. D^apres les Dessins de Sigismond doFerger. .publie par Charles Haas. Vienne et Prague, 1823-1828, 4 vols. 4? (Text in French and German.) Vol. iii. Liv. 32, No. 4. The picture is at Vienna, Imperial Gallery, Belve- dere Palace. St. John Baptist and Lamb. Litho. 15.8 x 11.7. V. Caniaron, Sacred Subjects.] MURILLO. 83 Full length ; seated on a rock, 1. hand holding cross and scroll rests on lamb. In CoL Lith, Mad. vol. i. No. lvi. St. John Baptist and Lamb. Litho. 18.6 x 13.9. Paris. ....... Lafosse. The same. St. John Baptist and Lamb. Litho. 16.8 X 11.8. Madrid, 1856 A. Lemoine. The same. St. John Baptist and Lamb. Litho. 15.8 x ii.g. Madrid. . . . . Auguste de Belvedere, The same. The picture is at Madrid, Royal Museum, No. 50. St. John Baptist and Lamb. Coloured Litho. 17.2 X g.g A. Goater. The same. In The Queen, Lady^s Newspaper, Supplement, April 22, 1871. St. John Baptist and Lamb. Litho. 4.6 x 3.8. L. Maurin. The same reversed. In Maurin ; Reductions. St. John Baptist and Lamb. Mezzo. 13.8 x 9.7. Paris, 1855 Alph. Boilly, Circular top ; stands r. holding lamb with r. hand, 1. holds cross and scroll. The picture is at Seville, in the church of the Hospital of Charity. Our Lord as a Child. Mezzo. 13.8 X 9.7. Paris, 1855. Alph. Boilly, Standing on clouds supported by cherubs, his 1, hand on a large globe with cross. 84 MURILLO. [Sacred Subjects. The picture is at Seville, in the church of the Hospital of Charity. Our Lord and St. John Baptist. Line. 14.9 x 16. i. Madrid, 1799. . Manuel Salvador y Carmona, As children, with lamb in a rocky landscape, basket and oranges in the foreground, three cherubs in clouds above. Dedicated to " da luisa MARIA DE BORBON," &C. Our Lord and St. John. Litho. 14.4 x 15.9. V. Camaroit. As children ; known as Los Niilos de la Concha^ from the shell held by our Lord, out of which St. John drinks. In Col. Lith. Mad. vol. ii. No. cii. Our Lord and St. John Baptist. Outline. 3.5 X 4.0. A.R. The same. In Reveil et Duchesne, vol. xiv. pi. 936. Our Lord and St. John Baptist. Litho. 15.2 x 17. i. London, 1843. Lafosse. The same. Our Lord and St. John Baptist. Litho, 11.5 x 13.2. Paris. M^^ Asselineati. The same. Our Lord and St. John Baptist. Mezzo. 13.5 X 15.7. Paris, 1856 Ledoux. The same. Our Lord and St. John Baptist. Etch. 6.5 x 9.4. y. Pi. The same. In. Gal. Alabern. Mad. The picture is at Madrid, Royal Museum, No. 202. Sacred Subjects.] MURILLO. 85 Our Lord as the good shepherd. Line. 13.8 x 15.8. R, Strange. Seated beneath a rock, with sheep near, in his hands a crown of thorns, crook on the ground. Our Lord as the good shepherd. Line. 6.2 x 5.5. London. George Virtue, The same. Our Lord as the good shepherd. Mezzo. 13.8 X 15.8. Paris, 1856 Ledoux, The same. Our Lord as the good shepherd. Mezzo. 8.5 x ii.o. London S. AngelL The same ; erroneously inscr. *' St. John." In Specimens of Art, by J. M^Cormick. London, part IX. pi. 34. The picture is in the Hunterian collection in the University of Glasgow. Our Lord as the good shepherd. Line. 24.6 x 17.0. London, 1772 Thomas Major, Stands with three sheep, holding a stick in his r. hand. Our Lord as the good shepherd. Line. 19.6 X 13.2. London Cooper, The same. Our Lord as the good shepherd. Line. 22.5 X 16.8. Paris, 1806 Duclos, The same ; inscr. le bon pasteur, and dedicated to Cardinal de Belloy. Our Lord as the good shepherd. Line. 13.4 X 10.4. London y. C. Armytage. H 86 MURILLO. [Sacred Subjects Our Lord as the good shepherd. Line. 7.4 X 5.8. London. George Virtue. The same. In Devotional Family Bible, by the Rev. Alexander Fletcher, D.D. London, 3 vols. 49 title-page to vol. ii. Our Lord as the good shepherd. Mezzo. 23.4 x 16.6. (no pi. mark.) Reynolds. The same ; reversed. Our Lord as the good shepherd. Line. 10.7 x 5.5. London, i8og. . . . jf. Heath, A.R.A. The same. Our Lord as the good shepherd. Mezzo. 26.3 x 18.4. Unknown. The same ; very black. Our Lord as the good shepherd. Mezzo. 8.9 X 6.4. Unknown, Circular top ; the same. Our Lord as the good shepherd. Line (coloured). 4.3 X 2.6. Paris, 1822. . . Simonel jfeune. The same. Our Lord as the good shepherd. Mezzo. 23.0 x 15.9^ London, i860. . . jf. Richardson Jackson. The same. Our Lord as the good shepherd. Line. 25.3 x 17.8. London, 1863 R. Graves. The same. Our Lord as the good shepherd. Line. 4.0 X 2.7. Unknown. The same. Sacred Subjects.] MURILLO. 87 Our Lord as the good shepherd. Litho. 10.5 x 7.3. Maggiolo. The same. In Galerie Religieuse et Morale^ Nos. 134 and 2233. » Our Lord as the good shepherd. Printed in oils and coloured. 17.2 x 9.7. , , , A, Goater. The same. In The Queen, Lady^s Newspaper, Supplement, Dec. 17, 1870. The picture was formerly in the Lassay, Presle, and Robit Collections at Paris. From the latter it passed with its companion St. John and lamb, to Sir Simon Clarke, to whom the two pictures were valued at ;£"4200. At the sale of his collection in 1840, it was purchased for ;£"3900 by Baron de Rothschild, and is now at his seat, Gunners- bury House, Middlesex. A fine duplicate is in the collection of the Earl of Wemyss, at Gosford House, Haddingtonshire. Our Lord as the good shepherd. Etch. 8.g x 5.0. M. Much resembling the above, but of very inferior merit. In Samml. Leuchtenherg, No. g6. The picture is at Munich, in the gallery of the Duke of Leuchtenberg. Our Lord as the good shepherd. Litho. 16.5 x 10.8. Munich. R, Leiter. The same. Our Lord as the good shepherd. Litho. 17.6 x 12.5. Paris Becquet freres. Standing, with crook in 1. hand, and three sheep in front of a stone arch or cavern ; sheep and a town in the background. 88 MURILLO. [Sacred Subjects. Our Lord as the good shepherd. Litho. 15.6 x 11.6. jfose AbriaL Seated on the ruins of a building, crook in r. hand ; 1. on a sheep, looking over r. shoulder ; more sheep in the distance. In Col. Lith. Mad. vol. L No. xxxii. Our Lord as the good shepherd. Litho. 18.5 x 13.8. Paris and London, 1843. . . . Lafosse. The same. Our Lord as the good shepherd. Litho. 16.8 X 11.9. Madrid, 1856 A. Lemoine. The same. In yoyas de la Pint. Ent. ig. The picture is at Madrid, Royal Museum, No. 46. Our Lord as the good shepherd. Litho. 4.7 x 3.9. L. Maurin, The same ; reversed. In Maurin ; Rediictions. Our Lord as the good shepherd. Line. 14.3 x 10.2. Barcelona? E.Boix. Seated on a stone, With his 1. hand on a lamb ; five cherubs' heads above, behind a ruined building. It is dedicated to the Real jftinta of Commerce of Cataluna, by the engraver, a pen- sioner of their School of Fine Arts ; and although the engraving is tolerable, the picture was evidently unworthy of the artist to whom the plate ascribes it. Our Lord and St. John Baptist. Litho. 17.1 X 13. i. pg^j.jg Victor Desclaux, As youths, standing by a fountain ; lamb feeds from Our Lord's 1. hand ; cross and scroll in St. John's r. hand. Inscr. Ecce Agnus Dei. Sacred Subjects.] MURILLO. 89 Our Lord as a youth. Line. 14.3 X 9.7. London. P. Caravelli, Full length ; stands on a stone platform holding up his hands ; above, the dove in a bright light. .Our Lord baptized by St. John. Etch. X Small. Seville, 1698. . . Matias de Arteaga. Probably from the picture in the chapel of the baptistery in the cathedral of Seville. Our Lord and St. John Baptist. Litho. 17.7 x 12.4. Paris. ....... Sevestre. Standing on the banks of the Jordan ; St. John points to Our Lord with his r. cross and scroll in his 1. hand ; landscape background. Headof St. John Baptist in a charger. Etch. 2.4 x 2.2. yohn Young. In Miles Gall. No. 42. The picture is at Leigh Court. The Miracle of the Loaves and Fishes. Stip. Mezzo. 18.0 X 26.0. Paris, 1859. . . . Boilly, Known as the Pan y Pezes ; painted for the Hos- pital of Charity at Seville, where it still hangs. Our Lord at the pool of Bethesda. Outline. 3.6x3.7. Reveil, In Reveil et Duchesne, vol. iv. pi. 262. Our Lord at the pool of Bethesda. Line. 27.4 x 29.4. London T. Vernon. The same. Painted for the Church of the Hos- pital of Charity at Seville. This picture was part of the plunder of which Marshal Soult stripped the hospital. He sold it to George go MURILLO. [Sacred Subjects. Tomline, Esq. M.P. in whose possession it now is, at Orwell Park, Suffolk. Keturn of the Prodigal Son. Outline. 3.7 x 4.0. A,R. Painted for the Church of the Hospital of Charity. The picture was stolen from thence by Marshal Soult, and sold by him to the Duke of Suther- land, in whose gallery at Stafford House it now is. In Reveil et Duchesne, vol. v. pi. 301. The Last Supper. Line. 6.3 x 10.2. London. W, H. Worthington. In Cunningham ; Cab, Gal. vol. i. p. 106. Our Lord in the Garden. Line. 10.3 x 6.4. Godefroy Jils, finished by Godefroy pere. In GaJ. Mils. Nap. vol. i. No. 50. Our Lord in the Garden. Outline. 6.0 X 4.1. C. Normand. In Louvre, Landon, vol. vi. pi. 5. The picture is in the Louvre Ecoles d^Italie et d^Espagne, No. 549. It belonged to Louis XVI. Our Lord bound to the column. Outline. 4.4 x 3.5. Pauline Landon. St. Peter kneels at his feet, with keys one of which lies on a book. In Louvre, Landoii, vol. XV. pi. 31. Our Lord crowned with thorns. Line. 11.9 x 8.6. Madrid, 1798 Man\ Alegre. Half length, bound and holding the reed in his r. hand. Inscr. ecce homo. Dedicated to D. Josef Antonio Azlor y Aragon, Duque de Villahermosa. Sacred Subjects.] MURILLO. 91 Our Lord crowned with thorns. Line. 13.3 X 9.4. Paris, 1843. .... Arthur Collier. Bust, formerly in the Louvre, Galerie Espagnole, No. 163. Head of Our Lord crowned with thorns, as impressed on the kerchief of St. Veronica. Line. 9.3x7.0. 1792. R. O. Probably engraved at Seville from the picture of this subject. La Santa FaZy as it is called in Spain, at that time in the high altar of the church of the Capuchins. This picture appa- rently fell into the hands of Don Julian Williams who sold it to Mr. Ford, by whom it was after- wards sold to Mr. Jones Lloyd, now Lord Overstone. The Crucifixion of Our Lord. Mezzo. 12.4 x 7.0. London, 1778 Spilsbury. Our Lady, St. Mary Magdalen, and St. John standing at the foot of the cross. In Houghton Gall. vol. i. No. xlvi. The picture is at St. Petersburg, Imperial Gallery. Deposition from the Cross. Etch. 5.4 x 3.7. jfohn Young, Our Lady supports the dead body of Our Lord, attended by two weeping cherubs. In Miles Gall. No. 71. The picture is at Leigh Court. Our Lady of Sorrows. Line. 9.8 X 6.4. Madrid, 1792 Manuel Alegre. Half length ; shawl over head, hands clasped. Inscr. MATER DOLOROSA. 92 MURILLO. [Sacred Subjects. Our Lady of Sorrows. Line. 16.6 X 13.3. Blanchard. Half length ; white shawl on head, hands apart, raised. Our Lady of Sorrows. Litho. 13.4 X lo.i. G, Weinhold. Bust ; weeping ; two shawls, black and white on head, hands on bosom. The picture was, in 1849, in the collection of Don. Franc? Balmaseda, at Seville. Our Lady of Sorrows. Outline. 2.6 X 2.1. Unknown. In Jameson ; Leg. of Madonna^ p. 38. Our Lady of Sorrows. Litho. 21.8 X 15.9. Marin Lavigne. Full length ; seated, a sword piercing her bosom ; cherubs above, two beside her with a crown of thorns. Our Lady of Sorrows. Litho. 4.6 X 3.9. L. Maurin, Bust ; similar, reversed. In Maurin ; Reductions. Our Lady of Sorrows. Litho. 16.9 x 13. i. Paris. Geoffroy. Three-quarters length ; sword piercing bosom. St. Mary Magdalene. Line. 9.2 x 7.0. Madrid, 1871. Simon Brieva, Three-quarters length ; seated, with clasped hands and open book; skull, cross, and jar on table r. The picture is at Madrid, Academy of San Fernando. St. Mary Magdalene. Line. 17.8 X 12.5. Florence. Raphael Morghen. Full length ; kneeling amongst rocks, with open book, cross, and skull, before her. Sacred Subjects.] MURILLO. 93 St. Mary Magdalene. Line. 18.3 X 12.7. Rome. yoan Balestra Ven^^. directed by jfoannes Folo. The same. St. Mary Magdalene. Outline. 4.5 X 3.3. . ReveiL The same. In Reveil et Duchesne, vol. i. pi. ig. St. Mary Magdalene. Line. 18.7 X 13. i. Florence, 1830. Ltiigi Finocchi directed by Raffaello Morghen. The same. St. Mary Magdalene. Line. 11. i X 7.6. London. Unknown. The same. St. Mary Magdalene. Litho. 16.0 X 11.6. Miinchen. Th. Driendl. The same. A St. Mary Magdalene, attributed to Murillo, formerly existed in the Bracciano palace at Rome, and may perhaps have been the picture engraved by Raphael Morghen. The five prints last cited are apparently mere copies of that by him. St. Mary Magdalene. Line. 8.8 X 6.5. Gio, Battista Nocchi directed by Raff. Morghen. Half length ; a reproduction of a portion of the print by Morghen. St. Mary Magdalene. Litho. 15.8 X 11. 8. Henrique Blanco. Full length ; penitent seated amongst rocks. In Col. Lith. Mad. vol. iii. No. clxxxi. The picture is at Madrid, Royal Museum, No. 82. St. Mary Magdalene. Litho. 13. i X 9.4. Madrid. Villamil. 94 MURILLO. [Sacred Subjects. Three-quarters length, in a cavern, with skull, and cross. The print professes to be taken from a picture at Madrid, Royal Museum ; but it is not described in the catalogue. St. Mary Magdalene. Etch. 9.6 x 7.0. . Muxel. Half-length with very long hair. In SammL Leuchtenbergy No. 97. St. Mary Magdalene. Litho. 19. i x 13.8. Miinchen. L. Schbninger, The same. The picture is at Munich, in the Gallery of the Duke of Leuchtenberg. St. Mary Magdalene. Line. 16.6 X 12.4. Paris, 1845. ...... ArihiiY Collier, Three-quarters length ; her hands crossed on her bosom in the attitude of prayer. The picture from which this print was taken is full-length, life size, and the Saint is represented kneeling. It was bought from Dean Pereira at Seville, for the Spanish Gallery of the Louvre, and at the sale of that collection in 1852, it was purchased by W. Wells, Esq. M.P. for £^^0, St. Mary Magdalene. Wood. 3.7 X 3.0. Fred, Gyde. Full-length; kneeling, with skull, cross, and book on the ground before her. In Jameson; Sac. and Leg, Art. vol. i. p. 352. St. Peter released from prison by the Angel. Outline. 3.7 X 3.6. ...... ReveiL In Reveil et Duchesne, vol. iii. Tavola 781, pi. 178, where it is erroneously attributed to Ribera. Sacred Subjects.] MURILLO. 95 The picture was painted for the Flospital of Charity at Seville and formed part of Marshal Soult's plunder. At the sale of his pictures in 1852 it was bought by the Emperor of Russia for ;£'6,ooo, and is now in the Imperial Gallery, at St. Petersburg. St. James the Apostle, the Greater. Line. 12.5 x 8.4. Madrid. . . yuan Ant^. Salvador Carmona^ Three-quarters length, in mantle, with pilgrim's scallop, holding in his 1. hand a staff, in his r. a book. St. James the Apostle, the Greater. Litho. 14.3x10.5. Madrid Vicente Camaron. The same; reversed. In Col. Lith. Mad. vol. i. No. XXXIII. The picture is at Madrid, Royal Museum, No. iSg. The Martyrdom of St. Andrew. Etch. 5.0 x 6.3. yohn Young. In Miles Gall. No. 11. The picture is at Leigh Court, and is apparently a sketch or small repetition of the large work at Madrid, Royal Museum, No. 182. St. John the Apostle. Etch. 6.0 X 4.0. jfohn Young. In Miles Gall. No. 47. The picture is at Leigh Court. St. Jerome. Mezzo, ig.8 x 14.0. . Unknown., Full length ; kneeling beneath rocks, on which are a skull, books, and hat ; his 1. hand holds a crucifix ; three cherubs above, a lion lying near him, four figures dancing in the background. 96 MURILLO, [Sacred Subjects. St. Augustine meditating. Etch. 7.5 X 5.1. Pistvucci. Three-quarters length, seated at a table with books. In La Galerie de Lucien Bonaparte, 4? London, 1812, St. iv. No. 35. St. Augustine. Litho. in Crayons. 14.1 X 10.5. Gounod. Kneeling, Our Lord and the Virgin appear above. In ColL DenoHj vol, iii. pi. 238. St. Augustine. Litho. 13. i x g.8. Paris. Franqtiinet, Kneeling, attended by two cherubs, one 1. holds a crozier in both hands, the other r. a mitre ; books in front ; above. Our Lord and the Virgin ap- pear in clouds. St. Augustine. Line. 12.0 X 8.7. Paris. jfoubert. Kneeling ; curtain, crozier, and mitre behind ; books in front ; above a flaming heart with Latin inscription. The picture was stolen from the Augustine Convent at Seville by Marshal Soult, who sold it to George Tomline, Esq. M.P. The Vision of St. Augustine. Wood. 4.2 x 3.4. G. Dalziel, Full length ; on the sea shore with a child. In Jameson ; Sac, and Leg. Art. vol. i. p. 298. The Dream of the Roman Senator and his Wife. Outline. 4.0 x 6.8. . . . M^e Soyer. Full length; both asleep; Our Lady and child appear in clouds and point to a distant hill, on Sacred Subjects.] MURILLO. 97 which was afterwards built the church of St. Maria Maggiore at Rome. In yoimial des Artistes, vol. ii. No. 21, and in Et. Huard : Vie des Peintres Espagnoles, 2 vols. 89 Paris, 1839-41, vol. II. p. I. The Dream of the Roman Senator. Outline. 10.7 X ig.i. Paris. . . . M^f Soyer, The same. Inscr. murillos i. The Dream of the Roman Senator. Mezzo. 17.6 X 27.7. Madrid, 1857. • Domingo Martinez. The same. The Dream of the Roman Senator. Etch. 7.8 x 12.7. Madrid. ....... Galvan, The same. In Cuad. Sel. de S. Fern, ciiad. 4. The picture is at Madrid, Academy of San Fernando. The Roman Senator and his wife telling their dream to Pope Liberius. Mezzo. 17.7 x 27.8. Madrid, 1858. D. Martinez. Full length ; a procession in the distance with Our Lady and child appearing in the clouds. The Roman Senator and his wife telling their dream to Pope Liberius. Etch. 7.8 X 12.6. Madrid. Galvan. The same. In Cuad. Sel. de S. Fern. cuad. 4. The picture is at Madrid, Academy of San Fernando. St. Giles. Line. 12.5 x 12.8. Paris. . Tavernier. Standing, raised off the ground in an ecstacy before Pope Gregory II. In Gal, Aguado, No. xi. The picture was painted for the small cloister of 98 MURILLO. [Sacred Subjects. the Francescan convent at Seville, and stolen from thence by Marshal Soult, who sold it to M. Aguado, Marquis de las Marismas. At the dispersion of his collection, it came into the hands of Mr. Buchanan, picture dealer in Pall Mall, who exposed it for sale at Messrs. Christie and Manson's, July 1846, but afterwards with- drew it. While there W.S.M. copied the inscrip- tion which is incorrectly given in the above print. Parece en su santidad Gil el noveno Gregorio por hablarse va asperosa Visitale fray Gil el pecho lleno De fervor y obediencia affectuosa Teme entrar y al fin entra al claustro pleno Siendo su amor y fe milagrosa Q admirando al Pontefice a quedado En extasis divino arrebatado. St. Bonaventura. Wood. 3.6 x 2.3. . Fred. Gyde, Writing his life after death ; full length ; seated in a chair, wearing his doctor's cap and gown, with pen in one hand, and book in the other ; a crucifix and inkstand on a table beside him. In Jameson ; Leg. of Mon. Ord. No 56, p. 303. Martyrdom of St. Peter the Dominican. Litho. 13.5 X 9.3 H. Rohillard. Full length ; kneeling at his prayers, two men with dagger and sword about to kill him ; an angel and three cherubs' heads above ; book and lamp on altar step. In Gal. Imp. de VErm. i. liv. 6. Sacred Subjects.] MURILLO. 99 The picture is at St. Petersburg, Imperial Gallery of the Hermitage. St. Bernard. Line. 25.7 x 19.2. Madrid. Francisco Muntaner , Full length ; fed with milk from the bosom of Our Lady. St. Bernard. Outline, g.i x 6.7. . jfohn Bromley. The same. In O'Neil ; Span. Painters, pt. i. f. title p. St. Bernard. Etch. 8.5 X 5.5. . Anna Jameson, The same. In Jameson; Leg. of Mon. Ord. p. 155. St. Bernard. Etch, g.o X 6.6. . C. Alabern, The same. In Gal. Alabern Mad. The picture is at Madrid, Royal Museum, No. 315. St. Ildefonso. Line. 26.0 x 20.5. Madrid. Fernando Selma. Kneeling ; is invested with the holy chasuble by Our Lady, seated on a throne, cherubs above. St. Ildefonso. Etch. 7.9 x 6.8. . C. Alabern. The same. In Gal. Alabern Mad. The picture is at Madrid, Royal Museum, No. 326. St. Ferdinand. Line. 15.6 x 9.5 (no plate mark). Madrid, 1791. . . Man\ Salvador Carmona. Kneeling ; armed and robed ; two cherubs hovering over his head draw aside a curtain ; a crown and sceptre beside him on a cushion. St. Ferdinand. Line. 9.5 x 6.8. . L. F. Noseret. The same. Inscr. with eight lines underneath : Este varon celestial etc. 100 MURILLO. [Sacred Subjects. St. Ferdinand. Litho. 17. i x 11. i. A. G. VillamiL The same. In Col. Lith. Mad, vol. i. No. xxxvi. From the inscription on the print by M. S. Carmona we learn, that in lygi the picture was in the collection of D. Fernando de Nestares, Marques de la Hinojosa. It is now at Madrid, Royal Museum, No. 159. St. Ferdinand. Wood. 4.1 x 2.8. M. A, Williams. The same reversed. In Jameson; Leg. of Mon. Ord. p. 187. St. Ferdinand III. King of Castile. Etch, ii.i x 7.4. Seville, 1672. .... Mathias Arteaga, In his robes and crown, with a sword in his r. and a globe in his 1. hand. Bust within an oval frame, on the top of which are three cherubs, two of them holding aside a curtain ; beneath, two cherubs holding a scroll. Inscr. magni fer- DiNANDi, ETC. In F. de la Torre Farfan ; " Fiestas de la Sta. Inglesia de Sevilla al niievo culto del Senor Rey S. Fernando^'''' Seville, 1672, fol. St. Ferdinand III. Line. 7.0 X 4.8. Madrid, 1786. Francisco Mtmtaner. Bust within an oval. It may perhaps be a copy of M. de Arteaga's print after Murillo. Frontispiece to the Vida de S. Fernando el III. escrita por D. Alonso Nunez de Castro, Madrid, 1787, 4? St. Ferdinand III. Line. 5.0 X 3.9. . Unknown. Bust within an oval, lettered Vera effigies S. Ferdinandi Regis CastellcB et Legionis.'' A copy of the above print by M. de Arteaga. Sacred Subjects.] MURILLO. lOI St. Raphael. Etch. 8.8 x 5.6. . . Muxel. In Samml. Leuchtenherg^ No. 95. This is very probably the picture mentioned by Cean Bermudez, Carta ; p. g8, as the famous St. Raphael with the portrait, at the foot, of bishop D. Fray Francisco Domonte, in an altar of the church of La Merced now the Museum at Seville. St. Raphael. Wood. 4.2 X 3.1. . G. Dalziel, The same. In Jameson ; Sac, and Leg. Art, vol. i. p. 94. The picture is at Munich, Leuchtenberg Gallery. St. Francis of Assisi. Etch. 3.3 x 2.4. [5. Esteban Mtcrillo.] Half length, adoring a cross. The only known impression of this rare etching is that formerly in the collection of Richard Ford, Esq. who obtained it at Seville from Don Julian Williams, by whom it was bought with the choice cabinet of drawings of the Count of Aguila. St. Francis of Assisi. Etch. 3.3 X 2.4. London. Unknown. Copy of the above. St. Francis of Assisi. Line. 12.5 x 7.7. Cadiz. 1800. Martin Gutierrez. Full-length ; supporting Our Lord nailed by the 1. hand to the cross ; r. foot of the St. rests on a globe ; two cherubs above holding an open book. St. Francis of Assisi. Outline. 13.4 x lo.o. ikf^f Soyer. 102 MURILLO. [Sacred Subjects. The same. The picture is at Seville, in the Museum. St. Francis of Assisi. Line. 10.6 X 6.8. Seville. Fidele Roca, Kneeling and receiving the stigmata ; a skull, cross and book, before him on the ground. St. Francis of Assisi. Line. 12.6 x 8.7. Unknown. Same as the above, with the additions, in the back- ground r. of the faint impression of a man's bust reading a book, and above r. a winged figure appears in the clouds. No painter's or engraver's name, or place of publication appears on this print, but it seems to be from the same picture as the previous one, and is perhaps by the same engraver ; there are also marks as if the engraving on the plate had been widened, and added to above. The Porciuncula of St. Francis of Assisi. Lithe. 18.5 X 11.9. Madrid." . . . V. Camaron. To whom Our Lord and the Blessed Virgin appears as he kneels before his altar in his cavern on Mt. Alvernus. The original, which was formerly deposited in the National Museum at Madrid, is now in the gallery of the Inf. Don Sebastian, for whom this print was privately taken. See Stirling; A. of A. p. 873 and 1436. St. Francis of Assisi. Stip. Mezzo. ig.i X 12.7. Paris. ... . . Z. Prevosf. Sacred Subjects.] MURILLO. 103 Kneeling at an altar, above which appears an angel with a large scroll. In Gal. Agiiadoy No. 13. St. Francis of Assisi. Wood. French, 7.9 X 6.g, English, 9.7 X 6.9. A, H, Cahasson^ the border by E, Sotain. The same ; within an elaborate border. In Blanc ; Peintres, p. 7, Blanc ; Painters, p. 14 ; and Scott ; Mtirillo, p. 85, from the same block, which exclusive of the border measures 3.6 x 2.9 {eitgraving), St. Francis of Assisi. Litho. 18.9 X 14. i. Paris. Llanta. Half length ; praying before a crucifix, with a skull and book on a table. St. Francis of Assisi. Litho. 12.4 X 8.1. Paris. Maggiolo, The same. In Mzisee Chretien, No. 78. St. Francis de Paula. Mezzo. 19.9 x 13.9. ilf? ArdelL Kneeling on the sea shore with a forked staff in his 1. hand ; cherubs above with the word CHARiTAS surrounded by a glory ; three figures in the background by the water's edge. St. Francis de Paula. Etch. 8.0 x 9.0. C. Alabern. Half-length, taken from the above, without the cherubs. St. Francis de Paula. Litho. 16.1 X 11.2. Madrid. A. Lemoine. Three-quarters length. The same. In Joyas de la Pint, Ent. 20. The picture is at Madrid, Royal Museum, No. 173. 104 MURILLO. [Sacred Subjects. St. Francis de Paula. Litho. 10.9 x 8.0. Madrid. y. B, Vgalde, Bust, hands together, in prayer, staff against 1. shoulder. The picture is at Madrid, Royal Museum, No. 323. St. Francis de Paula. Wood. 3.0 x 1.8. M.A.W. Three-quarters length, with cowl, staff and bag. In Jameson ; Leg. of Mon. Ord. p. 336, No. 65. St. Anthony. Mezzo, ig.8 X 14.0. London, 1776. John Dean. Kneeling wth open book, on which stands the Infant Saviour. The picture is in the collection of Lady Holland^ at Holland House. St. Anthony. Line. 1 1.3 x 8.3. . . Unknown. Kneeling and extending his 1. hand to the Infant Saviour, who seems to be soaring upwards, and is pointing both hands to heaven. Five heads of cherubs are seen around him. Below the end of a table with a book upon it. The print was sent to W. S. M. from Madrid by Don V. Carderera. St. Anthony of Padua. Line. 7.4 X 5.0. Cadiz. yosef Rico. Half-length, with Infant Saviour, seated on a table, three cherubs' heads above. The inscrip- tion states it to be copied from the original in the collection of Josef Ignacio Lazcano, Consiliario de la Academia de nobles artes de Cadiz. Sacred Subjects.] MURILLO. 105 St. Anthony of Padua. Litho. 16.9 X ly.g. Berlin, Loeillot de Mars, Kneeling with Infant Saviour in his arms, cherubs seen above and beneath. The picture is at Berlin, Royal Gallery, No. 403 a. The two following prints are reproductions of its central portion. St. Anthony of Padua, with Infant Saviour. Line. 15.5 X 12.4. Berlin. . . . y. Caspar, Bust, circular. St. Anthony of Padua, with Infant Saviour. Litho. 21.4 X 17.2. Berlin. . . Loeillot de Mars, Head nearly life size. St. Anthony of Padua. Litho. 23.6 X 19.2. Paris, and New York. . . . . . Pingot. Half-length, with Infant Saviour seated on a book: his r. hand round the child, his 1. holding a lily. In Nouvelles Grandes Etudes, No. 56. The Vision of St. Anthony of Padua. Litho. 21.6 X 12.7. Paris, 1859. . . Aug. Lemoine. Kneels with open arms in his chapel near a table, on which are an open book and vase of flowers : the Infant Saviour appears in a cloud of glory surrounded by angels and cherubs. St. Anthony of Padua. Litho. 17.7 x 12.6. Paris. Lafosse. Three-quarters length, the Infant Saviour stands on a lily branch supported by clouds. St, Anthony of Padua. Litho. 4.6 x 3.5. L, Maiirin. The same. In Maurin ; Reductions. I06 ^ MURILLO. [Sacred Subjects. S. Felix of Cantalisi. Wood. 4.3 x 3.9. M. A. W. Full length, holding open a sack, into which Our Lord as a child is putting a loaf of bread. In Jameson ; Leg. of Mon. Ord. p. 343, No. 66. St. John of God. Litho. 1.6 X o.g. Sevilla, 1845. jf. jfobbiiis. Sinking under the weight of a sick man, and assisted by an angel. In a lith. print of the interior of the Church of the Hospital of Charity at Seville, 7.3 X 4.4, taken from a picture by Jos^ Roldan, 1845, now at Keir; in Stirling; A. of A. vol. ii. f. p. 855. The picture was painted for the Church of the Hospital of Charity at Seville, where it now is. St. Thomas of Villanueva. Line. lo.o x 7.8. Sevif 1778. .... S^} Roman y CodHna. As a child dividing his clothes amongst four beggar children ; a street view beyond. The inscription of this poor and coarse, though probably rare print, is, " s^^^ thomas de viLLANVEVA, dibujado por el quadro original de Murillo, que esta en la Igle^ de S? Agustin de Sevilla." From this church it seems to have passed to the collection of D. Manuel Godoy who presented it to General, afterwards Marshal Sebastiani, from whom it was bought in 1815 by the late Lord Ashburton. This print C. M. bought at Messrs. Christie & Manson's, March 14, 1853. It is in such a bad state of preserva- tion, being so much torn away, that only an approximation to the real measurement can be given. Sacred Subjects.] MURILLO. 107 St. Thomas of Villanueva. Wood. French, 8.1 X 4.8, English, lo.o x 4.8. . . . . Unknown. Giving alms at the door of his Cathedral. In Blanc ; Peintres, p. 11, and Blanc ; Painters, p. 12. St. Thomas of Villanueva. Litho. 17.0 x ii.g. Paris. A. Pinqon, The same. St. Thomas of Villanueva. Etch. 5.5 x 3.6. Anna jfameson. The same. In Jameson; Leg. of Mon. Ord. p. 211. The picture v^^as formerly in the Spanish Gallery of the Louvre. Saints adoring a bright light in the heavens. Outline. 3.5 X 3.7 Reveil. In Reveil et Duchesne, vol. iii. pi. 146. This picture was painted for the small cloister of the Franciscan convent at Seville, and formed part of the plunder of Marshal Soult. It is mentioned by Cean Bermudez (Carta, p. 49), as remarkable for excellent heads and draperies, and a landscape bathed in light proceeding from a globe of fire, in which, according to the verses inscribed beneath, the soul of Philip II. is carried to heaven. This slight outline is entitled Apotheose de St. Philippe. M. Thore, in his notice of Marshal Soult's gallery, in the Revue de Paris, tom. xxiii. 1835, calls the ipictuTQ Apotheose de Philippe a roy d^Espagne. Mrs. Jameson, [Leg.of Mon. Ord. ^. 273), suggests that it may represent a passage in the life of St. Francis of Assisi, whose soul, one night, when he was asleep, appeared io8 MURILLO. [Sacred Subjects. to certain brothers of his convent in a globe of fire placed in a celestial chariot which entered by the door and drove three times round the court. But in this picture there is no building, only figures in a landscape, which 'appears to be seen by daylight. St. Philip Beniti, in the early part of his career, had a dream, or an ecstacy, in which Our Lady appeared to him in a car of fire (Villegas ; Flos Sanctorum, Barcelona, 1715, 3 vols. fol. vol. ii. p. 445), and he heard a voice saying to him, in the words addressed by the Holy Spirit to St. Philip the deacon (Acts 8 v. 29), " Philippe adjunge te ad currum istum but the story in other respects hardly agrees with the picture, for the saint fancied himself alone in a wilderness of cliffs and precipices. St. Diego of Alcala. Line. 12.6 x i2.g. Paris. Cousin, Standing in an ecstacy, and raised from the ground before a cross, attended by a prelate, two Franciscans, and two laymen. In Gal. Aguado, No. 12. The picture, formerly in the Aguado collection was presented in 1847 ^7 Duchatel to the Museum of pictures and antiquities, in the capital at Toulouse. The Miracle of St. Diego. Wood. 4.3 X 8.8. Unknown, Called The Angels^ Kitchen. He kneels in an ecstacy in the air, whilst angels and cherubs are cooking for him ; three guests appear at the Sacred Subjects.] MURILLO. log door. In The Illustrated News of the World, Feb. igth, 1859. The picture was in the Spanish Gallery of the Louvre. St. Diego of Alcala. Etch. 8.8 x 11.7. Fed. Navarrete. Kneeling, in the act of blessing a copper-pot of broth, which he is about to distribute to the poor. The picture was painted for the small cloister of the Franciscan convent at Seville, and formed part of Marshal Soult's plunder. Cean Bermu- dez ; Carta, p. 48. Franciscan Monk (St. Diego?). Outline. 3.6 X 3.9. A, R. Imploring aid for the plague-stricken. In Reveil et Duchesne, vol. iv. pi. 255. The picture was painted for the small cloister of the Franciscan convent at Seville, and formed part of Marshal Soult's plunder. St. Rodriguez. Line. 5.1 x 3.6. . Unknown. In the Dresden Gallery, Catalogue, No. 606. The print is signed with a cipher of two letters, either S.F. or F.S. In Bilder Brevier, 1857, ^o- ^i- St. Rodriguez. Line. 11.9 X 7.7. . . Buchel. Stands looking up ; a cherub above is about to crown him with a wreath ; his 1. hand holds his cap and a palm branch. In Clauss ; Dresden Gall. St. Peter of Alcantara. Wood. 3.8 X 2.6. Dalziel. Walking on the sea with a terrified lay brother. In Leg. of Mon. Ord. p. 351, No. 67. 110 MURILLO. [Sacred Subjects. Charity of the Roman Matron. Line. 17.8 X 20.2. Madrid, i8og. . . Tomas Lopez Engtudanos. Giving suck to her father in prison. The Souls in purgatory. Litho. 8.2 X 4.5. Portole, Above are seen the Eternal Father, Our Lord, the Dove, the Virgin, St. Joseph, and St. Francisco, seated on clouds ; beneath are the figures of those who hope to ascend. In Sevilla Pintoresca, vol. ii. p. 411. The picture was painted by order of the Duke of Alba for the church of Gelves, and in 1844 was in the collection of Don Aniceto Bravo at Seville. S^^Justa. Line. 14.4 X11.5. Paris. Blanchard pere. Three-quarters length, with two pots and palm branch in r. hand. S^^ Justa. Line. 11.4 X g.i. . . Unknown, The same. S^i^ Justa. Litho. 13.4 X 9.5. Madrid. D, jfacobo Freyve. Three-quarters length, with two pots and palm branch in r. hand. . The inscr. states the picture to be in the posses- sion of D. Ramon Castella. Rufina. Litho. 13.5 x 9.5. Madrid. Vicente Camaron. Three-quarters length, with two pots and palm branch in r. hand. S^a Justa and S^a Rufina. Litho. 17.3 X 12.5. Paris. Geoffroy. Holding the Giralda, pots and pans on the ground. The picture is at Seville, in the Museum. Sacred Subjects.] MURILLO. Ill St. Elizabeth of Hungary. Litho. ig.o x 13.6. Madrid F, de Craene. Tending the sick in her hospital. In CoL Lith, Mad. vol. i. No. xviii. St. Elizabeth of Hungary. Outline. 4.7 x 3.4. A.R. The same. In Reveil et Duchesne, vol. xiv. No. 975- St. Elizabeth of Hungary. Line. x Ph. Boutrois. The same. In Montalembert ; Monumens de Vhistoire de Ste.Elizahethde Hongrie duchesse de Thiiringe (plates), foL Paris, 1840, No. xiii. St. Elizabeth of Hungary. Litho. 20.3 x 15.6. Paris. Lafosse. The same. St. Elizabeth of Hungary. Litho. 11.8 X 8.4. Lon- don, 1844. ... . F. Chevalier. The same. In Musee Chretien, No. 89. St. Elizabeth of Hungary. Litho. 10.4 X 7.8. Paris. C. H. Vogt. The same. In Galerie Religieuse et Morale, No. 15 and 2197. The picture was painted for the Church of the Hospital of Charity at Seville, whence it was plundered by Marshal Soult, who gave or sold it to the Louvre. It was sent back to Spain in 1815, and has since remained in the Academy of San Fernando at Madrid. The composition so closely resembles the print of St. Erentrudis 112 MURILLO. [Sacred Subjects. washing the head of a patient, by Raphael Sadeler, in Bavaria Sancta, ,descripta a Matt. Radero; Monaci, 1615-24, 3 vols. fol. i. p. 45, No. 16 ; that there can be no doubt that Murillo used that print as the foundation of his own design. St. Catherine of Sienna. Line. 14.5x10.2. Barcelona. Francisco Fontanals, Half length, supporting a crucifix on the corner of a stone altar, on which are a book and skull. The print is dedicated by the engraver to " D. Jayme de Llanza y de Vails. Abad de Santa Maria de Amer." It is also inscr. " Aprovada por la R. Academia de S, Fernando y St. Rosa of Lima. Line. 17.0 X 11.9. Madrid. Bias Ametller, directed by M{ Carmona. Three-quarters length ; Our Lord stands on a rose branch which she holds in her r. hand ; six cherubs' heads above. St. Rosa of Lima. Litho. 4.6 x 3.3. . L. Mater in. The same. In Maurin ; Reductions. St. Rosa of Lima. Line. 7.4 X 5.1. Cadiz. J. Rico. Kneeling beside the Infant Saviour who stands on a basket ; a rose in her 1. hand ; in the back- ground a building seen behind a thicket of roses. The inscription states that it is taken from the original picture in the collection of D. Josef Ignacio Lazcano consiliario de la Academia de nobles artes de Cadiz. Studies.] MURILLO. Charity ; a woman standing beneath a cross, with two children in her arms, and a boy standing before her. Wood. 4.0 X 1.9. . . . W. G. Mason, In Stirling; A. of A. ii. p. 870. From a design by Murillo, executed in tiles over the portal of the church of the Hospital of Charity, at Seville. The Wine Seller. Line. 10.4 x 6.8. Madrid. jfuan Arif] Salvador Carmona. InSCr. EL VINATERO. The picture was at Madrid, Royal Palace. Boy. Line. 5.2 X 4.1. Paris. . . Weishrod. Half-length, with basket in r. hand looking down at a dog 1. In Cah. Choisetd, No. 100. Boy. Wood. French, 2.9 x 2.3, English, 2.8 X 2.3. Unknown, The same. In Blanc ; PeintreSy p. i, and Blanc ; Painters, p. i. Boy. Litho. 12.5 x 9.7. . . . Vr Dollet. The same reversed, Inscr. Le Mendiant, In Gal, Imp, de VErm. vol. ii. liv. 26. 114 MURILLO. [Studies. Boy. Wood. 4.6 X 3.3. . . . Unknown, The same. In Scott; Miivillo^ f. p. 77. Boy. Stip. Mezzo, g.i x 7.0. London, 1781. Caroline Watson. Half-length, in oval ; dog on a table, held by his r. and fed with his 1. hand. Boy with pigeon. Stip. Mezzo, g.i X 7.0. London, 178 1. . . . . . Caroline Watson, Companion prints, from pictures in the collection of the Duke of Norfolk. Boy, depediculizing himself. Line. 5.0 x 3.7. Paris. Chataigner^ finished by Villerey, Seated by a window, near him a basket and stone jar. In Gal. Mus. Nap. vol. iii. No. 155. Boy. Line. 4.1 X 3.2. Paris. . . Boutrois, The same. In Louvre, Landon, Paysages, vol. ii. pi. 38, p. 51. Boy. Line. 19.7 X 13.9. Paris, 1808. P^^^/ Boutrois, The same. Boy. Mezzo. 13.2 x g,6 (no plate mark), Paris.* jfazef. The same. Boy. Line. 10.2 X 8.7. Paris. . . Masson, The same. Boy. Litho. 4.5 X 3.3. London. . /. Baker, The same. Boy. Wood. French, 5.7 X 4.8, English, 8.0 x 4.8. Pisan. In Blanc ; Peintres, p. 3, and Blanc ; Painters, p. 4. This unpleasant, though popular picture, is in the Studies.] MURILLO. Louvre; Ecloes d^Italie et d^Espagne, No. 551. It was sold in 1768 at the sale of the Craignat collection for 1,554 livres. At the sale of the Sainte Foix collection in 1782 it was purchased by Louis XVL for 3,600 livres. Laughing Boy. Mezzo. 9.4 x 7.0. London, 1825. W. Ward, A.R.A. Leaning out of a window with his arms crossed. Laughing Boy. Line, ig.g X 14.0. London, 1833. W» Humphrys. The same. Laughing Boy. Line. 10. i x 6.3. London. W. H. Watt. The same. In Cunningham; Cab, Gal. vol. ii. No. 33. f. p. 33. Laughing Boy. Mezzo. 3.9 x 3.0. . Unknown. The same. The picture, formerly in the collections of the second Marquis of Lansdowne, and M. Zachary, Esq. was presented by the latter to the National Gallery, London. Boy seated. Line. 12.9 x 10.7. Paris. Aug. Blanchard. Seated ; a dish on his lap, and 1. hand on a bottle. In Gal.Aguado, No. g. Inscr. le petit paysan; and in Scott; Mtirillo, f. p. 76, from the same plate. Minstrel with cithern. Line. x 1847. F. Villot. The print is mentioned in R. Weigel's Kunstlager Catalog. Abth. xx. 8? Leipsig, 1848, No. 17,277. The picture is said to be in the Museum at Naples. ii6 MURILLO. [Studies, Young Tinker. Mezzo. 18.0 x 14.0. . Unknown. Seated on a stone, with a pipe in his 1. hand, and pans and bellows lying beside him ; background, a man with two horses. Schoolmaster and Scholar. Mezzo. 19.4 x 14.8. London W. Pether, Three-quarters length ; an old man with broad flapped hat, and white beard, teaching a boy with cap his letters from a book which they hold between them. Two Boys. Mezzo. 25.8 x 16.4. London, 1814. W. Say, One standing eating bread, the other seated ; a dog between them. Two Boys. Line. 13.0 x lo.i. London. y. Stephenson, The same; and in Scott; Murillo^ f. p. i, from the same plate. Two Boys. Mezzo. 7.2 x 4.4. London, y. Rogers. The same. In Specimens of Art, part ii. pi. 7. The picture is in the Dulwich Gallery, No. 284. Bust of a Boy looking up. Line. 16.7 x 13.4. Charles Cousen. Life size, of the boy seated in the above picture. Two Boys. Litho. 18.6x14.1. Munich. F.Piloty. Seated, eating bread and fruit, a dog beside them 1. basket of fruit and bag in front. In Kon. Bayer ; Pin. von. Piloty. Two Boys. Line. 7.4 X 5.2. London. . A. Carse. The same. Studies.] MURILLO. II7 Two Boys. Litho. 17.9x13.5. Munich. F-Piloty, The same ; reversed. In Gem. der Pinak, Two Boys. Litho. in chalk. 20.0 X 16.0. Munich. F. Piloty. The same. The picture is at Munich, Royal Pinacothek, No. 363. Two Boys. Stip. Mezzo. 26.7 x 18.8. Munich. Charles Langlois. Seated, one I. eating melon, the other grapes, a basket of grapes by his side. Two Boys. Litho. 19. i x 14.0. Munich. F. Piloty. The same. In K'on. Bayer ; Pin. von Piloty. Two Boys. Litho. 18.5 X 14.2. Munich. Auguste Selb. The same. Gem. der Pinak. Two Boys. Line. 7.8x5.3. London. A.H.Payne, The same. Two Boys. Litho. 19. i x 14.9. Munich. F. Piloty. The same, reversed. The picture is at Munich, Royal Pinacothek, No. 354. Repetitions exist in the collections of John Balfour, Esq. at Balbirnie, Fifeshire, and G. Bankes, Esq. Kingston Hall, Dorset. Two Boys. Litho. 8.1 X 4.6. 1845. . A. Rosi, Seated, with fruit and jar. Inscr. el piojoso. In Sevilla Pintoresca, vol. ii. f. p. 414. From a picture in the collection of D. Aniceto Bravo, at Seville. K Il8 MURILLO. [Studies. Two Children. Line. . x . Paris. B. MicheL With shellfish. Inscr. Les coqvillages. Three Boys. Line. 15.9 x 11. 8. . Unknown. One, a negro with a jar on his shoulder, appears to be begging of the others, who are seated on the ground, with a basket and jug between them. Three Boys. Mezzo. 8.5 x 6.0 {no pi. mark), E. Cooper, ex. The same, reversed. Three Boys. Stip. Mezzo. 26.7 x 19.3. Munich. Charles Langlois. Two throwing dice, one standing by, and eating bread ; a dog, basket of fruit, and ajar, beside them. Three Boys. Litho. 19. i x 14.1. Munich. F. Piloty, The same. In Kon. Bayer ; Pin. von Piloty. Three Boys. Outline. 4.3 x 3.0. . . A. R. The same, reversed. In Reveil et Duchesne, vol. xiii. No. 890. Three Boys. Litho. 18.2 x 13.6. Munich. F. Piloty. The same. In Gem. der Pinak. Three Boys. Litho. in chalk. 20.5 x 16.0. F, Piloty, The same. Three Children. Line. . X . Paris. B. Michel. Playing cards. Inscr. Le jeu mal place. Four Boys. Litho. 19.2 x 14.0. Munich. F. Piloty. Two playing cards, and two looking on. In Kon, Bayer; Pin. von Piloty. Studies.] MURILLO. 119 Four Boys. Litho. 18.0 X 14.1. Munich. W. Flachenecker, The same. The picture is at Munich, Royal Pinacothek, No. 383. Pour Boys. OutHne. 2.8 x 4.6. . . Reveil. Inscr. Des Enfans, Three, r. read a book, the fourth holds a piece of bread. In Reveil et Duchesne, vol. ii. tavola 723, pi. 117. Boy and girl. Mezzo. 17.3 X 11.4. Dessau, 1797. Pichler. Seated on a stone with basket of fruit. Boy and girl. Line. 13.9 X 9.7. Munich. Hauber. The same. Boy and girl. Litho. 19.1 x 13.9. Munich. F. Piloty. The same. In Kon. Bayer ; Pin, von Piloty. Boy and girl. Line. 14.3 X 10,6. y. C. Arniytage. The same. In Scott ; Murillo, f. p. 82, from the same plate. Boy and girl. Line. 7.1 x 4.8. . A, H. Payne, The same. Boy and girl. Litho. 20.4 x 15.6. . F. Piloty. The same reversed. In Gem. der Pinak, The picture is at Munich, Royal Pinacothek, No. 375. Boy and girl, with basket of fruit. Litho. 19.1 x 13.6. Sebald Widenhauer. The same. In Haensftaengl ; Dresden Gall, The picture, a repetition of the one at Munich, is at Dresden, Royal Gallery. 120 MURILLO. [Studies. Boy and girl. Litho. 8.2 X 4.8. 1845. . A. Rosi, The same. Inscr. La Frutera, In Sevilla Pin- tor esca, vol. ii. f. p. 410. The picture is at Seville, in the collection of D. Aniceto Bravo. Two girls. Chromo Litho. 21.0 X 13.0. London. William Dickes. Inscr. Sharing the gains. Seated, with basket of fruit r. ; the 1. one counting money; ajar, glass of water, and knife on the ground. In The Queen, Ladies'' Newspaper, May 27, 1871. Old woman and boy. Mezzo. 16.8 X 11. 3. Dessau, 1797, Pichler, Removing vermin from his head, whilst he plays with a dog. Old woman and boy. Line. 13.9 X 9.7. Munich. Hauher, The same. Old woman and boy. Litho. 18. i X 14.0. Munich. F. Piloty. The same. In Kbn. Bayer ; Pin, von Piloty. Old woman and boy. Litho. 19.8 X 15.3. Munich. F. Piloty, The same reversed. In Gem. der Pinak. Old woman and boy. Outline. 4.7 x 3.2. . A. R. The same. In Reveil et Duchesne, vol. xiv. No. 937. Old woman and boy. Etch. 5.8 X 4.0. . B. Weis. The same. The picture is at Munich, Royal Pinacothek, No. 382. Studies.] MURILLO. 121 Woman with basket of grapes. Line. 10.3 x 6.8. yuan Ant^. Salvador Carmona. Inscr. La Vendimiadora ; three-quarters length. The picture was at the Royal Palace, at Madrid. Girl with basket of fruit. Line. 5.4 X 4.3. 1771. C. Weishrod, Three-quarters length ; head enveloped in shawl, which r. hand holds to her face ; basket in 1. hand. In Cab. Choiseul, No. loi. Girl. Litho. 12.3 x 9.6. . . . F. Dollet, The same reversed, Inscr. La jfardiniere. In Gal, Imp, de VErm, vol. ii. liv. 22. Girl. Wood. 6.5 X 5.3. . . . Pannemaker. The same ; in ornamental frame. In Scott ; MurillOf f. p. 99, Appendix. Gipsey-girl. Litho. 11.7 x 9.6. Henrique Blanco, Bust. The picture is at Madrid, Royal Museum, No. 313. Girl seated on the ground. Line. 12.8 X 10.7. Blanchard, A basket of fruit and a plate of fish beside her. In Gal, Aguado, No. 9, inscr. La petite Paysanne; and in Scott ; Murillo, f. p. 78, from the same plate. Girl. Wood. 7.3 x 5.6. . . . . Timms. The same. In Blanc ; Painters, p. 8. The picture was formerly at Paris, in the Aguado Gallery. 122 MURILLO. [Studies. Flower girl. Etch. 11.8 x g.g. Dulwich, 1816. R. Cock burn. Three-quarters length ; seated on a stone bench holding flowers in the end of her scarf. Flower girl. Line. 14.0 X ii.o. London, 1835. jfohn Henry Robinson. The same. Flower girl. Wood. lo.o x 7.6. . W. jf. Linton. The same. In The Illustrated News of the Worlds March 6th, 1858, p. 73. Flower girl. Line. 12.6 X 10.2. Peter Lightfoot. The same. In Scott ; Murillo, f. p. 86, from the same plate. Flower girl. Line. 7.9 x 5.0. . . R. Graves. The same. Flower girl. Line. 8.4 X 6.5. . A. H. Payne. The same. This popular picture is at Dulwich College. From the collection of M. Randon de Boissy, it passed, for goo louis, to that of M. de Calonne, at whose sale Mr. Noel Desenfans purchased it for ^640. Flower girl. Line. 24.0 x 2o.g. . . C. Cousen. Bust ; life size ; from the picture in the Dulwich Gallery. Flower girl. Litho. X Vienna. E. Cramolini. This print is mentioned in R. Weigel's Catalog, von Kunstsachen. Abth. IV. 8? Leipsig, 1837, p. 51, No. 5753. Studies.] MURILLO. 123 The chestnut seller. Outline. 3.4 x 2.6. F. Soyer. Inscr. La Vendeuse de Marrons. Seated on a chair with chestnuts in her lap ; dog in basket 1. by her side. In Gal. Massias, f p. 125. Woman in a kitchen. Litho. 15.8 x ig.6. Madrid. Le Grand. Plucking a fowl, a dog turns a spit over a pan of charcoal ; child nearly naked by the woman's side. Old woman. Litho. 15.3 x 11. 3. Madrid. Enrique Blanco, Half-length ; with distaff, white drapery on head. Two women at a window. Line. 13. i x ii.i. Madrid jfoaquijt Ballester, Known as Las Gallegas. Two women. Wood. 2.6 x 2.6. . W. G. Mason. The same. In Stirling ; A. of A. p. 920. The picture, formerly in the gallery of the Duke of Almodovar, at Madrid, is now at Heytesbury House in the collection of Lord Heytesbury. Two women. Mezzo. i6.g x 14.4. yohn Bromley. The same. From a picture, a duplicate of the above, formerly in the collection of the late H. A. J. Munro, Esq. of Novar, N.B. Two women. Mezzo. 11.8 x 8.6. London. W. Nicholas. The same. Inscr. Spanish Girl and her Nurse. In Specimens of Art, pt. xi. pi. 41. 124 MURILLO. [Portraits. Bartolome Esteban Murillo. Line. 14.2 X 9.6. Bruxells, 1682 Richard Collin, Bust, r. ; with falling lace collar. Within an oval frame, which leans against a stone niche. Base beneath inscr. bartholomeus morillus HisPALENSis se-ipsum depingens pro filiorum totis ac precibus explendis. Nicolaus Oma- zurinus Anverpiensis tanti viri simulacrum in amicitiae symbolon in ses incidi mandavit, anno 1682. The plate is signed Richard Collin calcographus Regis sciilpsit, Murillo. Line. 11.2 x 8.7. . . Calamatta. Apparently from the same picture, but without frame and accessories. In Gal. Aguado, No. 2 ; and in Scott ; Murillo, frontispiece, from the same plate. Murillo. Outline. 4.9 X 2.5. London, 1808. George Cooke, Bust ; slightly r, background of horizontal lines. Murillo. Outline. 5.0 x 2.7. . Landon dirext. Bust ; in Biographic universelle. Paris, 18 11- 1828, 52 vols. 8? vol. XXX. (1821), f. p. 144. The series of portraits to which it belongs is not always found in the book. Murillo. Litho. 8.9 X 6.9. Madrid. . . C. L. Portraits.] MURILLO. 125 Similar to the above. Given to the subscribers to the periodical, El Mundo Pintoresco. Murillo. Line. 3.8 X 3.5. . . Richard Collin, Oval bust ; reversed ; apparently from the larger print. In Joachim Sandrart, Academia Jiobi- lissimcE artis pictorice^ fol. Norimberg, 1683, p. 392. Murillo. Line. 4.5 X 3.3. . . . Unknown. Bust, in scroll frame. The same. In D'Argen- ville Nouvelle ahregee de la vie des peintres avec leurs portraits, 4 vols. 89 1762, vol. ii. p. 254. Murillo. Etch. 2.7 x 2.3. . , . Unknown, The same. Murillo. Outline. 3.4 x 2.5. . . . A, R, The same. In Reveil et Duchesne, vol. 5. These prints appear to derive their origin from the same picture. The portrait formerly in the Aguado Gallery may have been the work repro- duced in 1682 by the graver of Collin, whose portrait, as the earliest, and as being engraved at the expense of his friend, must be regarded as the most authentic. Murillo. Line. 6.9 X 4.8. . . . Ben Eredi. Bust ; Inscr. bartolomeo murillo pittore di siviGLiA. In Uomini ilhist, in Pittura, vol. xi. No. 256, p. 55. Murillo. Line. 10.8 X 7.7. Madrid, 1790. Manuel A Ihuerne, Bust, within an oval. 126 MURILLO. [Portraits. Murillo. Line. 9.4 x 7.1. Madrid, 1790. Manuel Allegre, Bust, within an oval. These two prints profess to be taken from a por- trait in the collection of D. Bernardo Iriarte at Madrid. Murillo. Line. 8.1 X 5.5. Madrid, 'jfiian Palomino, Bust within an oval frame ; a floriated scroll beneath. Inscr. In laudem D. Bartholomasi Murillo celeberrimi pictoris Hispani. Huic similes dedit una Viros Hispania multos : arte sua huic nullum protulit ilia parem. Murillo. Line. 5.2 x 2.9. . . . Unknown, Bust ; inscr. Bartholome Mnrillo. These two prints appear to be taken from the same picture as the above print by Albuerne, reversed ; They are at Madrid, in the collection of D. Valentine Carderera, who kindly allowed C. M. to photograph them. Murillo. Line. 14.4 X 9.8. Madrid. M\ Alegre, finished by D, M\ Sr Carmona, Three-quarters length, with a pencil in his r. and a sketch in his 1. hand. In Esp, Iliist. Murillo. Outline. 9.0 x 5.9. . John Bromley, The same. In O'Neil; Span. Painters. This print appears to have been taken from that in the collection of Iriarte above-mentioned, the engraver lengthening it, and supplying acces- sories from his own fancy. Murillo. Litho. 9.0 X 8.0. London. . Unknown. The same. Portraits.] MURILLO. 127 Murillo. Litho. 10.5 X 8.4. Paris. . Mauvaisse. The same reversed. Murillo. Etch. 9.5 x 6.g. London, 1817. Unknown, Half length ; within an oval frame, on which his r. hand rests ; in the 1. he holds a small drawing of Our Lady and child ; he wears a flat ruff and dark dress, with white appearing through his slashed sleeve ; the face is fat and coarse. Inscr. Bartholomew -Stephen Murillo. Murillo. Line. 10.6 X 7.4. . . . Sichling. Bust ; on a broken carved stone slab, which rests on a stone base. Inscr. vera effigies bar- THOLOMCEI STEPHANI A MORILLO MAXIMI PIC- TORIS, HISPALI NATI ANNO 1618, OBIIT ANNO 1682 TERTIA DIE MENSIS APRILIS. In GaL Hist, de Versailles. The picture was formerly in the Spanish Gallery of the Louvre, bought for ;£'iooo from D. Julian Williams at Seville, who purchased it at the death of D. Francisco de la Barrera Enguidanos, by whom it had been acquired at the sale of the collection of D. Bernardo Iriarte ; at the sale of the pictures of the ex-King Louis Phillipe, in 1853, it was bought by M. Nieuwenhuys for ;£'420. Murillo. Line. 15.4 X 11.7. . . Blanchard. The same. Murillo. Line. 6.7 x 4.2. , . . H. Adlard. The same. In Stirling; A. of A. ii. facing p. 826. The two Spanish prints by Albuerne and Allegre differ from the above three in the omission of the stone work and the inscription. 128 MURILLO. [Portraits. Murillo. Wood. French, 6.4 X 4.3, English, 6.3 x 4.2. Carhonneau, The same, without inscription. In Blanc ; Peintres^ p. i. and Blanc ; Painters^ p. i ; and in Scott ; Murillo^ p. 72, from the same block. Murillo. Wood. 3.8 X 3.0. Paris. . Brevieve, The same. Murillo. Outline, i.o x 0.9. . . Unknown, The same. Head only. Murillo. Wood. 3.9 x 2.7. Paris. . . B.V, The same reversed, Murillo. Line. 7.1 x 4.1. London. . E. Scriven, Bust ; in his younger days, with palette and brushes in his hands. In Gallery of English a7id Foreign Portraits, London, 7 vols. imp. 8 ? This print professes to be taken from an original picture (evidently a very bad one), in the private collection of Louis Philippe, King of the French, which does not appear to have been sold with his collection in 1853. Murillo. Line. 4.9 x 4.0. Paris. . Geoffroy, The same, without the palette and brushes. In Biographic Universelle, Paris, 1838, 6 vols. 8? vol. iv. f. p. 328. D. Job. Casparis Beretta. Litho. lo.g X 7.7. Berlin, 1824. ...... Unknown. Half length ; oval, seated in a chair, skull cap on head, book in 1. hand, resting on table, pen in r. . books and curtain behind. Landscapes.] MURILLO. 129 Woman with long hair. Etch. 5.6x4.1. F. Pisfrucci, Bust ; in loose robe. In Galerie de Lucien Bona- parte, Stanza vii. No. 73. The picture, formerly in the gallery of Lucien Bonaparte, was afterwards in the collection of E. Gray, Esq. and of R. Sanderson, Esq. M.P. ; at the sale of the latter, in 1848, it was sold for £94 10s. to W. S. M. Landscape. Litho. 14.4 x 16.3. Madrid. Pic de LeopoL Ruin on a rock overhanging water ; figures and horse in foreground. The picture is at Madrid, Royal Museum, No. 276. Landscape. Outline. 5.2 x 8.4. Seville, 1618. Lebrun. Man, boy, and mule ; village in the distance. In GaL Lebrun, vol. ii. No. 137. Landscape. Outline. 5.2 x 8.4. . . Lebrun. Two women and two jars ; village in the distance. In Gal. Lebrun, vol. ii. No. 138. 130 MURILLO. [Doubtful & Spurious. Landscape. Outline. 5.2 x 8.4. . . Lehrtin. Three figures, with dog, round a well ; shepherd, sheep, and donkey 1. ; village in the distance. In Gal. Lebrtm, vol. ii. No. 139. Landscape. Outline. 5.2 x 8.4. . . Lebrtin. House, man, two women and two children. In Gal. Lebrun, vol. ii. No. 140. Joseph's Dream. 13.0 x 16.5. . . y. Miller. Mentioned in Boydell's Catalogue, 1803. Our Lady of the Immaculate Conception. Litho. 17.2 x 1 1. 8 Geoffroy. Standing on clouds supported by cherubs holding flowers and lilies, one r. holds the vessel for the wafer, another 1. a crown ; above, cherubs' heads and the dove. Erroneously inscr. UAssomption. Our Lady of the Immaculate Conception. Mezzo. 14.2 X lo.i C. Turner, A.R.A. Inscr. on one impression, a great wonder in HEAVEN, Revelations, c. xii. v. i ; on another, THE VIRGIN OF THE CRESCENT. Doubtful & Spurious.] MURILLO. From a picture in the possession of Lieut. -Gen. Thornton, which was exhibited at the British Gallery in Pall Mall, in 1840, and of which the print alone affords sufficient evidence that Murillo's pencil was wholly guiltless. Our Lady with Infant Saviour. Litho. ig.8 x 14.5. Paris M^Pf H. Nolet, Standing on the upturned crescent, on clouds sur- rounded by cherubs ; child in her arms holds a cross pointed as a spear in his r. hand, about to pierce a winged dragon on the section of a globe. Inscr. Vierge a la Croix, The Holy Family. Line. 16.3 x 12.3. London, 1764. yohn Miller, Two cherubs above, r. one bears a scroll, inscr. Ex Egypto vocavi filitim nieiim ; the child at her breast, Joseph, 1. asleep. Dedicated to W. Fitzherbert, Esq. and bears his arms ; also inscr. Ex collect : Frederici Caroli Com^ Schoen- born Ep\ B. et H. It bears no resemblance to a work of Murillo. Holy Family. Line. 20.2 x 15.2. London, 1764. T. Chambers. The mother sitting r. holds out her hands for the child Joseph, standing, has in his arms; a car- penter's bench behind. From a picture in the possession of Sir Lawrence Dundas, Bart. Holy Family. Line. lo.o x 7.6. Paris. y. B, Tilliard. Nearly the same reversed. 132 MURILLO. [Doubtful & Spurious. From a picture in the cabinet of Monsieur Crozat, Baron de Thiers. Neither resemble the style of Murillo. Our Lady with Infant Saviour. Line. 13.3 x 10.4. London, 1793. . . . . y. Caldwell. This professes to be taken from a picture formerly in the collection of King Charles L and presented by his Queen to Lady St. Alban's, in whose family it remained until purchased by Sir Peter Burrell, Bart. The catalogues of the collections of Charles L contain no Spanish name, and Murillo, born in 1613, is little likely to have been known in England during the time that the King was a collector. The print bears no trace of Murillo's style arid treatment, and must be regarded as spurious. Our Lady with Infant Saviour. Line. 16.5 X 12.7. Montmorillon. Three-quarters length ; seated, supporting child with her r. arm, his r. foot rests on her 1. hand. Our Lady with Infant Saviour. Line. 15. i x 11.3. C. Gonzenbach, The same ; in ornamental frame. Our Lady with Infant Saviour. Litho. 17. i X 12.3. Dresden and Munich. . . Fr. Haenfstaengl. The same. Our Lady with Infant Saviour. Litho. 18.7 x 13.4. Munich H. Dragendorfj. The same. Doubtful & Spurious.] MURILLO. I33 Our Lady with Infant Saviour. Litho. 17.0 x 12.5. Berlin J.G. Steffan. The same. Our Lady with Infant Saviour. Litho. 17.7 x 12.7. Vienna. Lmicedelli. The same. Our Lady with Infant Saviour. Outline. 8.2 x 5.7. N. Muxel. The same. In Samml. Leuchtenberg, No. g8. Our Lady with Infant Saviour. Line. 3.6 x 2.2. Paris Schneider, The same ; circular top, with lace border. Our Lady with Infant Saviour. Litho. 20.7 x 15. i. Paris . . Llanta. The same. Our Lady with Infant Saviour. Litho. 18.8 x 13.7. Paris. ....... Llanta. The same. Our Lady with Infant Saviour. Litho. 19.2 x 14.2. Paris. Llanta, The same. Our Lady with Infant Saviour. Litho. 15.9 X 11.5. Paris Geoffrey. The same. Our Lady with Infant Saviour. Litho. 10.5 X 7.7. Paris. ..... Hermann Eichens. The same. In Musee Chretien., No. 60. 134 MURILLO. [Doubtful & Spurious. Our Lady with Infant Saviour. Litho. 4.8 x 4.0. Paris L. MaiLrin. The same. In Maurin; Reductions. Our Lady with Infant Saviour. Outline. 2.5 x i.g. Unknown. The same. In Jameson ; Leg. of Madonna, No. 62, p. 130. The original picture of this popular subject is at Munich, in the gallery of the Duke of Leuchten- berg. It bears no resemblance to other works of Murillo, and must therefore be regarded as of very doubtful authenticity. St. Thomas of Villanueva. Etch. 6.5 x 4.1. Ascribed to B. E. Murillo. Giving alms. Inscr. ST. thomas villanovus ARCHIEPISCOPUS VALENTIN CANONICE SANCTIFI- CATUS ET ELEEMOSYNARIUS DECLARATUS, 1658. This etch is minutely described and highly praised in R. Weigel's Kunstlagev Catalog. Abth xviii. 8? Leipsic, 1846, No. 15,815, p. 63. It was sold to the late King of Saxony, in whose private- collection it was in 1850. It does not appear to bear the slightest resemblance in design or feeling to any known work of Murillo ; nor does it resemble in execution the etching of St. Francis mentioned by Cean Bermudez. The archbishop is a fat, vulgar, Flemish-looking priest, standing on a platform attended by three angels ; below are the heads and shoulders of devotees, above some poorly designed cherubs. The print was probably engraved by a Valencian, Doubtful & Spurious.] MURILLO. I35 for some work describing the festivals held at Valentia in honour of the Saint. It is noticed here solely because it has been thought worthy of such minute description by Mr. Weigel. St. Anthony of Padua. Etch. 4.5 x 3.7. Ascribed to B. E. Murillo. A bushy-haired monk, with short cape, bending forward, with Our Lord in his arms. W.S.M saw this print at Dresden in 1850 and 1862 in the private collection of the King of Saxony. It does not resemble the St. Francis of Assisi (Sacred, p. loi), and seems very doubtful, though better than the St. Thomas of Villanueva. St. Francis. Litho. in crayon. 6.2 x 4.9. Camoin. Kneeling in ecstacy with outstretched hands, and receiving the Stigmata from a dove, 1. ; back- ground ; a figure r. seated near a fire reading. In Coll, Dcnon. vol. iii. pi. 237. St. Germain meeting St. Genevieve. Litho. 12.7 x 18.4. Mauzaisse. A peasant and his wife present their daughter r. to two old ecclesiastics ; landscape with church 1. in background. In Coll. Denon. vol. iii. pi. 239. Man playing a pipe. Etch. 5.5 x 4.0. Attributed to B. Estcbmi Murillo. Bust, with cap and fur collar. An impression is in the Royal Collection of Prints at Berlin. The director informed C. M. that it had been purchased in Spain from the collection of Cean Bermudez by M. de Werter. W.S.M. saw it in 1862, and thought it extremely doubtful. t 136 MURILLO. [Doubtful & Spurious. Laughing boy. Mezzo. 14.1 x 10.5 {no pi. mark), . P. Dawe. Three-quarters length ; seated, with a cat on his shoulders, rat in r. hand, 1. holds a trap on a tub in front ; inscr. The Rat Catcher. Spanish beggar boy. Mezzo. 14.5 x 10.5 [no pi. mark). P. Dawe. Three-quarters length ; seated, holding out his r. hand for money, in his 1. a staff. Companion prints from pictures in the possession of Mr. Broderip, which hardly resemble the works of Murillo. Laughing boy. Litho. 14.9 x 12.3. . J. Sprick. Half-length ; cap on head, with long hair, looking over r. shoulder ; 1. hand points to a snail on a melon in r. hand. Two boys. Line. 14.4 x 10.4. London, 1785. FTf Woollett. Half-length ; blowing soap-bubbles. The picture, which seems doubtful, was in the possession of Samuel Athawes, Esq. ^ Boy and girl. Mezzo, ii.o x 12.4. 1757. P- V. B. Half-length ; with rabbits and a cabbage. Some verses inscr. beneath, begin. The maid in rural happiness^ &c. Man and woman. Coloured Mezzo. 17.8 X 12.8. London, 1824. . . . . y. Dixon. Three-quarters length ; she, seated, with feather on her head, 1. arm leans on a table 1. on which are fruit, tumbler, plate, &c , her 1. hand holds a clarionet, her r. pushes away the man leaning % Doubtful & Spurious.] MURILLO. over her ; in his r. hand a chain ; 1. round her neck ; cap with miniature attached, on his head. Inscr. Rejected addresses. Girl Mezzo. 13.9 X 9.9. . . S. Okey, yttn. Three-quarters length ; seated, plaiting, with shawl on head, staff on 1. arm, hat hanging to 1. side. The picture is ascribed to Merrellio^ and is said to belong to Edwd. Athawes, Esq. Girl. Mezzo. 12.5 x 9.6 {no pi. mark). S. Okey. Jiin. Three-quarters length ; seated, making lace. The young gipsy. Line. 15.2 x 10.4 {no pi. mark). London, 1768 S.F. Ravenet. Half-length ; looking out of a window with a child's head asleep appearing over 1. shoulder. An inscr. ascribes the picture to Morelli, and states that it belonged to Edwd. Fitzgerald, Esq. of the Temple. Woman seated. Line. 15.7 x 11. 5. Paris, 1763. Lords Halbon. Inscr. La Toillete dii Savoyard. Full-length ; combing the head of a girl seated at her feet ; boy seated warming himself by the fire in background. The cap on the woman's head is obviously Flemish. LONDON : BRETTELL AND CO. PRINTERS, 51, RUPERT STREET, GETTY CENTER LIBRARY 3 3125005992249