VJ ' "^^^ A WA L K THBOUGH THE AET-TEEASTJEES EXHIBITION AT MANCHESTER, UNDEE THE GUIDANCE OF DR. WAAGEN, AUTHOB OF * TREASUEES OF ART IN GREAT BRITAIN.' A COMPANION TO THE OFFICIAL CATALOGUE. LONDON: JOHN MUKEAY, ALBEMAKLE STREET; AND W. H. SMITH & SON, STEAND. 1857. JVbic Ready. With a Classified Index. 3 vols. 8vo. 36s., THE TEEASUEES OF AET IN GEEAT BEITAIN : Being an Account of the Chief Collections of Paintings, Sculptures, Draw- ings, &c. By Dr. Waaqen, Director of the Royal Gallery at Berlin. " The work before us we unhesitatingly pronounce to contain more of the essence of true connoisseurship than any other of the same class that has yet come before the public. Dr. Waagen's name is too familiar to the art-world to require any introduction." — Quarterly Review. Also, hy the same Author, forming a Supplemental Volume to the above Work, A DDITIONAL AET-TEEASUEES IN GEEAT BEI- XjL tain : Being an Account of Forty Galleries, visited in 1854 and 1856, and now for the first time described. With Index. 8vo. " The knowledge of the materials contained in Waagen's ' Treasures of Art in Great Britain' must have exercised no small influence in promoting The Manchester Art Exhibition." — Notes and Queries. LONDON : FBIBTED BY WILLIAM CLOWISS AND SONS, STAUFOUU STREET, AND CHABINO CROSS. THE GETTY CENTER LIBRARY ART-TREASURES EXHIBITION, MANCHESTEE, 1857. The following pages are destined not for the small number of connoisseurs, but for the larger proportion of lovers of art who seek both pleasure and instruction witliin the walls of this Exhibition. My object is, in few words, to point out and to define the characteristics of such objects of art as deserve the attentive observation of all visitors. In so large a collection there is necessarily much of inferior interest, and many erroneous titles occur, by wliich the visitor may be misled. Moreover, he will gain time by not being obliged to select for himself from tliis accumulation of objects what is most worth seeing ; and he may be spared the disappoint- ment of discovering, after quitting the Exliibition, that he had left some very fine work unseen. At the same time, it is not my intention, nor would it be compatible with the scope of this smaU Guidebook, to enumerate all the good pictures by the old masters in this Exhibition. I therefore confine my remarks to those which have most attracted my observation, and especially to the pictures of the earlier schools, they being not only of great importance, but com- paratively less generally understood than works of later epoclis. For those who require more information I have quoted my ' Treasm-es of Art in Great Britain,' where the pictures are described in fuUer detail ; while to such pictures as are noticed in my forthcoming fourth volume of the same work I have affixed a " iv." The numbers in this Guide refer to the second edition of the Catalogue ; the figures are blue on a white ground seen on the pictures. GUSTAF WaAGEN. CONTENTS. PAGE ' Paintings by Ancient Masters 1 Contribution of the Marquis of Hertford 37 The English School 41 Modern Pictures by Foreign Masters 42 British Portrait Gallery 45 Drawings and Cartoons by the Old Masters 51 Engravings 55 Etchings 66 Mezzotinto Engraving 70 Wood Engravings 71 Museum of Ornamental Art 74 The Oriental Court 76 Miniatures, &c 76 ITALIAN SCHOOL. KTos. 7 — 27. PAINTINGS BY ANCIENT MASTERS. ITALIAN SCHOOL, in the Byzantine Style. 13tli and first half of the 14th Century. The pictiires of this and the next period are characterised by a deep religious sentiment, seen especially in the heads and gestures. The technical execution is hard, and the drawing generally stiff and uncouth. It is therefore advisable to look very close at them, in order that their beauties may be fully understood. 7 . . CiMABUE. The Madmna, the Child, and Angeh. Left wing, the Crucifixion. Eight wing, 8t. Francis receiving the Stigmata. Close and clever imitation of Byzantine art. 12 .. Duccio DA Siena. The Crucifixion. On the wings, the Annunciation, the Virgin and Child, St. Francis, the Virgin, and the Saviour. Duccio was the greatest master of Italy in the Byzantine style, and his works are extremely rare. This picture is remarkable for its noble and deep feeling, its speaking and graceful motives,* and the rare beauty of the heads. 25 .. UgOLINO DA Siena. Several portions of an Altarpiece. ^ These pictures show the influence of Duccio. The heads, in the character of the Byzantine school, are of a severe dignity. — Waagen, vol. ii. p. 461. * The word motive in its ordinary application by writers on art means the principle of action, attitude, and composition in a single figure or group. B 1 SCHOOL OF GIOTTO. Nos. 30 - 46. THE SCHOOL OF GIOTTO. 14tli Century. 30 .. Giotto. The Last Supper. Exhibits great animation in the motives, and careful exe- cution. — Waagen, vol. ii. p. 230. 35 .. Baetolo di Feedi. The Adoration of the Kings. Very dramatic, and of great power in the colour.— "PFaa^few, vol, ii. p. 462. 37 .. Simon Memmi of Siena. Christ returning to his Parents. Very earnest and touching in expression ; the execution of great delicacy. Dated 1342. — Waagen, vol, iii, p. 232, 38 .. Justus da Padova. The Coronation of the Virgin, and other subjects. Dated 1367. In composition, motives, drapery, and execution very fine, 39 .. Spinello Aeetino. St. Michael and Angels combating. Fresco. Very dramatic and spirited, A fragment of a painting now utterly destroyed. 42 . . By A Paintee of the School of Siena. A Diptych., with portrait of Richard II. Very delicate in execution, and very interesting. 45 .. Taddeo di Baetolo of Siena. The Virgin with the Child, and Four Angels. Displays fine sentiment, — Waagen, vol, ii. p. 462. 46 .. Baenaba da Modena. a. The Coronation of the Virgin. b. The Holy Trinity, c. The Virgin and Child. d. The Crucifixion. Dated 1374. An interesting specimen of the transition of the Byzantine style to the style of the school of Giotto.— Waa^rew, vol. iv. 2 ITALIAN SCHOOLS. Nos. 47-51. 47 .. Taddeo Gaddi and Giottino, pupils of Giotto. By the first are the wings, The Nativity and The Virgin Unthroned ; by the second, the central subject. The Crucifixion. Deep in sentiment. The figure of the fainting Virgin is particularly noble. Dated 1338.— Waagen, vol. iii. p. 2. THE ITALIAN SCHOOLS Of the ISthi and 16th Centiiries. In the 15th century the Italian, Netherlandish, and German schools will be seen aiming in every respect — in drawing, colour, and perspective— at a true delineation of Nature. In the 16th century — or what is called the Cinque- cento — painting attained the full knowledge and command of aU the means essential to true and beautiful delineation. 48 .. DoMENico Ghirlandajo. The Portrait of Maria Tor- 49 nabuoni, and probably of her Husband. This great master is not sufficiently represented in the Exhibition. These portraits, however, are distinguished by all the charm of his simple and true conception, and careful execution. Erroneously attributed to Ma- saccio. — Waagen, vol. iv. 50 .. PiETRO BELLA Francesca. Portrait of a Youth. Very finely conceived. — Waagen, vol. iv. 51 .. Masaccio (?). A Male Portrait. If not by him, at least fitted to give an idea of his energy of conception and of his manner of rendering form. Fra Angelico da Fiesole. This great master, who, as the "first to render with the utmost delicacy of feeling the moral expression of the human countenance, stands at the head of the Florentine painters of his epoch, is here represented by four works, which show the whole purity of his feehng, and the spiritual exaltation of his conceptions. B 2 3 ITALIAN SCHOOLS. Wos. 52-81. 52 .. Fka Angelico da Fiesole. The Virgin and Child, Angels, St. Dominic, St. Catherine. Waagen, vol. ii. p. 231. 58 .. The Last Judgment. One of his most renowned pictures, from the Fescli collec- tion. — Waagen, vol. ii. p. 231. 59 . . The Entombment of the Virgin. Waagen, vol. iii. p. 2. 57 .. Andkea Veeocchio. Holy Family. Very characteristic for the careful modelling, vs^hich is to be attributed to his practice as a sculptor.— Waagen, vol. iv. 63 .. Angelico da Fiesole. Eead of our Saviour. Full of dignity and deep feeling. 68 .. CosiMO Eoselli. Christ on the Cross, six Angels, St. John the Baptist, St. Dominie, St. Peter, and St. Jerome. The heads are very animated and characteristic, the motives noble, the drawing very careful, the colouring warm and clear. — Waagen, vol. iii. p. 4. Fea Filippo Lippi. This gi-eat master is not worthily represented in the Exhibi- tion; still the predella pictures 69, 70, _ 71, give an idea of his great energy. — Waagen, vol. iii. p. 3, 232. 72 . . Pesellino. The Exhibition of a Belie. A rich composition, the heads full of Hie.— Waagen, vol iii. p. 233. 77 .. Sandeo Botticelli, TJie Virgin adoring the Infant. The expression of the Virgin is very noble.— Waagen, vol. iii. p. 196. 78 ., Tlie Nativity. Very spirited, and characterised by the very dramatic mo- tives and the vehement character of the master. Dated 1511. — Waagen, vol. iii. p. 3. 81 .. Feancesco Feancia. The Baptism of Christ. Exhibiting all the deep and pure feeling of this master, and the warm transparent tone of his middle time. — Waagen, vol. ii. p. 419. 4 ITALIAN SCHOOLS. Nos. 83 — 95. 83- . . PiETKO Peeugino. NoU me tangere. The Hesurrectim. 87 Christ and the Woman of Samaria. The Bap- tism. The Nativity. These parts of a predella are very good specimens to show the grace of the motives and the noble religious senti- ment in the heads peculiar to this great master. 88 .. Pesello Peselli. The Virgin, the Child, and St John. An excellent specimen of this rare and clever master. The Child is full of dignity, the St. John very tender. — Waagen, vol. ii. p. 231. 89 . . GiovAiwi Bellini. Christ on the Mount of Olives. This picture shows the realistic tendency of the master, combined with the great influence exercised on him by his brother-in-law Andrea Mantegna, Compare the picture No. 98. — Waagen, vol. iii. p. 376. 90 .. Portrait of a Young Man. Of great naivete of conception ; rather pale in the colour for G. Bellini. — Waagen, vol. ii. p. 196. 92 .. Antonio Beltrafpio. The Virgin with the Child and Saints. One of the most important pictures of this rare painter, showing in the character of the heads the great influence of his master, Leonardo da Vinci. — Waagen, vol. iv. 93 .. CosiMO Eoselli. The Virgin, the Child, two Angels, SS. Andrew, John the Baptist, Bartholomew, and Zenobio. A powerful picture of the better time of the master. The angels are nobly conceived and admirably modelled. — Waagen, vol. iii. p. 372. 95 .. Matteo da Siena. The Virgin, the Child, and St. John. An uncommonly good specimen by this Sienese master. The head of the Virgin is particularly fine. 5 ITALIAN SCHOOLS. Nos. 96 -107. Andkea Mantegna. The greatest master in the north of Italy of the second half of the 15th century for composition and drawing ; his works show the influence of his study of Greek sculpture. Of the earlier time of the master ; the features and the action very noble and graceful. — Waagen, vol. iii. p. 151. The conception is very original, the execution miniature- like. Of the earlier time of the master. — Waagen, vol. ii. p. 178. 100 .. Sandeo Botticelli. The Virgin and St. John adoring the Infant Saviour. The heads are marked by earnest and noble sentiment. — Waagen, vol. iii. p. 3. 102 . . Andeea Mantegna. Triumph of Sdpio. A work of his best and latest period, and very interesting as an example of the manner in which he treated sub- jects of ancient history. — Waagen, vol. ii. p. 248. 105 . . FiLiPPiNO LiPPi. The Birth of the Virgin. Full of the fine sentiment of this great master. — Waagen, vol. iii. p. 233. 106 .. Lo Spagna. The Magdalen. Fine in the sentiment. — Waagen, vol. iv. 107 .. Michael Angelo Buonaeotti. The Virgin, the Child., St. John, and four Angels holding scrolls. No artist but Michael Angelo could have attained to the expression of so lofty a purity, so elevated a conscious- ness of divine maternity, as that displayed in the Virgin in this pictiu-e. The angel seen in profile is, too, of extraordinary beauty. All the undraped parts are modelled with the greatest knowledge. By far the rarest picture in the whole exhibition, as only one other easel picture by Michael Angelo is known to exist — that in the Tribune at Florence. Having been the first to attribute publicly this picture, previously assigned to Domenico Ghirlandajo, to Michael Angelo (Waagen^ vol. ii. p. 417), it gave me much satisfaction to find this denomination acknowledged by some of the first con- noisseurs I met in the Exhibition. 96 Judith. 98 .. Christ on the Mount of Olives. 6 itaijIAN schools. Nob. 108 - 127. 108 .. Fkancesco Fkancia. The Virgin, the Child, and St. Joseph. An excellent specimen of that refined melancholy sentiment peculiar to this master, and of great warmth of colour. 113 .. Lorenzo di Ceedi. The Coronation of the Virgin. Fine in the expression of the heads, graceful in the motives, clear in the colour, 115 .. NiccOLO Alunno. The Virgin and Child. The countenance of the Virgin is full of the pure religious feeling characteristic of this school. — Waagen, vol. iv. 117 .. PietkoPerugino. Virgin and Child between jSt. Jerome and jSt. Peter. A good picture of his earlier time, painted in tempera. 118 .. Fra Bartolommeo. The Virgin, the Child, and St. John the Baptist. In the expression of the heads, power of colour, and careful finishing, a first-rate work of this friend of Kaphael. — Waagen, vol. iii. p. 10. 120 .. CiMA DA Conegliano. St. Catherine. Noble and dignified in head and figure, and painted in the best style of colouring and drapery of this pupil of Giovani Bellini. — Waagen, vol. iii. p. 201. 121 .. Christ bearing the Cross. I do not venture to give a name to this picture, but it is a work of noble and fine sentiment. 126, .. Lo Spagna. Six full-length figures of Saints. 129 Highly attractive in feeling and motive, and very har- monious in the light colours. — Waagen, vol. ii. p. 232. 127 .. The Virgin and Child. A charming specimen of this clever pupil of Perugino. — Waagen, vol. iii. p. 197. Raphael. Of the first epoch, when he was painting in the style of his master, Pietro Perugino, there are the following pictures : — ITALIAN SCHOOLS. Nos. 123-141. 123 .. Raphael. The Crucifixion^ with the Virgin^ St. John, St. Jerome, the Magdalen, and Angels. This picture, painted in 1500, in his seventeenth year, calls to mind, more than any other of his pictures, the works of his master. The heads are deep in feeling, the colour warm and clear, the drawing in some parts not perfect. Fesch collection. — Waagen, vol. ii. p. 232. 134 .. Christ's Agmy in the Garden. Painted 1504, for Guidobaldo, Duke of Urbino ; after- wards at Eome, in the Palazzo Gabrielli. Of great in- tensity in the expression of the Saviour, powerful in colour, and most careful in execution. — Waagen, vol. iii. p. 4. 138 .. The Bead Christ upon the knees of the Virgin, with the Disciples around. Painted 1505. A predella picture of the purest religious feeling. — Waagen, vol. iii. p. 390. Of the second, or Florentine, epoch of Eaphael, when, improving in knowledge, he quitted the style of Perngino, are the following pictures : — 136 .. The Virgin and Child. A very interesting picture, of transition from the first to the second manner, probably painted in 1505. Charm- ing in the expression and composition, and of a very warm and clear colour. — Waagen, vol. iii. p. 8. 139 .. The Three Grraces. Probably painted in 1506, after the antique group in marble in the library of the cathedral at Siena ; charming in the expression of the fine heads, and very carefully modelled in a warm and clear tone. — Waagen, vol, iv. 141 . . The Virgin and Child. From the Casa Nicolini at Florence. Dated 1508, and painted, therefore, quite at the end of this epoch. This picture belongs to a series in which the artist gave him- self wholly up to the charm of graceful motives and careful imitation of nature, so that no strictly religious conception is to be sought in them. The modelling of the Child is especially excellent ; the coloming rather coolish. — Waa.gen, vol. iii. p. 9. ITALIAN- SCHOOIiS. Nos. 130-158. 147 ., Eaphael and Eidolfo Ghirlandajo. The Virgin, \ ascending from her tomb, drops her girdle to St. \ Thomas, in presence of St. Philip, St. Fran^ris, \ and St. Paul. The composition of this picture, formerly in the cathedral \ of Pisa, belongs, I am convinced, entirely to Eaphael, \ but in the execution I can recognise his hand only in \ the St. Thomas, St. Francis, and some cherubs. He \^ probably left the picture unfinished, in the same way as the Madonna del Baldachino in the Pitti palace, to which it bears much resemblance, when in the year 1508 he left Florence for Rome. In the other parts I recognise the hand of his friend Eidolfo Ghirlandajo, who on his departure finished another of his pictures. Of tlie third, or Eoman epocli of Eaphael, the Exhi- bition can only boast of the remains of one original picture. 133 .. The Virgin and Child. It is only the fine composition which shows his manner during the 'first period of his residence at Rome. Over- cleaning and bad restorations prevent any judgment being formed on the details. — Waagen, vol. ii. p. 76. Orleans collection. 148 The Holy Family — A copy, by Giulio Eoma'no, of the famous picture at Madrid called " La Perla," — is, after the preceding picture, the best calculated to convey an idea of the later time of Raphael. 158 .. Joanna of Aragm. A fine old copy from the picture in the Louvre. — Waagen, vol. iii. p. 213. 130 .. PiNTUEiccHio. The Virgin and Child. Beautiful in composition, and delicate and noble in feeling, but over-cleaned. — Waagen, vol. iv. ITALIAN SCHOOLS. M"os. 135-165. 135 .. GriovANNi Pedeini. The Virgin, with the Child ard St. John. A good picture of this little-known pupil of Leonardo, attributed here to the master, — Waagen, vol. It. 143 .. Antonio Belteaffio. St. Sebastian. A remarkably fine specimen of this rare pupil of Leonardo da Vinci. Erroneously ascribed to his master. — Waagen, vol, iv. 144 ,. Leonaedo da Yinci. The head of "la Vierge aux Rochers." A study of refined feeling. — Waagen, vol. ii. p. 194. 161 .. Sebastian del Piombo. The Virgin with the Child, St. John, the donor, and St. Joseph. A first-rate picture by this great and rare master, in which the spirit of Michael Angelo and his own style as a pupil of Giorgione are" united in the happiest way, — Waagen, vol. ii, p, 175. Andkea del Saeto. This great painter is not sufficiently represented in the Exhibition, except by a picture in the Hertford collec- tion. No. 56. 162 .. Joseph discovering himself to his Brethren. A predella picture, very spirited in composition and with free and graceful motives. Of the later period of the master. — Waagen, vol, iii. p. 11. 162, .. Two Companion Pieces of a Legend. 164 Yery much in the style of the foregoing, — Waagen, vol. iii. p. 12. Coeeeggio. This master, the greatest of the Lombard school, is not sufficiently represented in the Exhibition. 165 .. The Magdalen. In delicacy of modelling, transparency and tenderness of colour, and melting softness of execution, fine, but not equal to the famous picture at Dresden, from which it differs in the minute details of the landscape. — Waagen, vol, ii. p. 234. 10 ITALIAN SCHOOLS. Wos. 166 - 204. 166 .. CoKREGGio. Heads of Angels. ^^'^ Very beautiful and poetical, and of the greatest charm in the chiaroscuro as a specimen of fresco-painting, show- ing the rarest delicacy and freedom in the use of the ^ brush, — Waagen, vol. ii. p. 233. 174 .. Andrea del Saeto. His own Portrait. Of very noble and animated conception, wonderfully attrac- tive expression, fine drawing, and very soft execution. — Waagen, vol. iii. p. 11. 175 .. Gaudenzio Fereaei. The Visitation. Fine in the expression of the heads, and very carefully finished in a silvery tone. 192 .. Angelo Bronzing. Portrait of Cosmo I., Ghrand Duke of Tuscany. True in conception, and very carefully finished. 181 .. Portrait of the same. A masterpiece, combining the same qualities with uncom- mon power in the colour. — Waagen, vol. ii. p. 195. 186 .. Marcello Venusti. The Scourging of Christ. An excellent copy, by this pupil of Michael Angelo, of the famous fresco by Sebastian del Piombo in St. Pietro in Montorio at Eome. — Waagen, vol. iii. p. 188. 188 .. PiERiNO DEL Vaga. The Nativity. Dated 1534. A work of great power in the colour and beauty in the heads. 191 .. Mazzolino DA Ferrara. The Cireumcisim. Fine in the composition, warm in the colour, careful in the execution. 199 .. Pierino del Yaga. Portrait of Cardinal Pole. The character is strongly conceived, the colour glowing. — Waagen, vol, iii. p. 455. 204 .. Bernardino Luini. The Marriage of jSt. Catherine. Fine in the character of the heads, and carefully finished. — Waagen, vol. iv. 11 ITALIAN SCHOOLS. Nob. 209 — 259. 209 . . Beenaedino Luini. St. Catherine and Angels. In sentiment, beauty of form, masterly modelling, and deptli and harmony of colour, one of liis best works. 235 .. Gaudenzio Feeeaei. The Virgin, the Child, and Angels. "Well balanced in the composition, noble in the feeling of the heads, tender and clear in the colour, careful in the treatment. — Waagen, vol. ii. p. 196. 249 .. Sebastian del Piombo. Female Portrait. Nobly conceived and very harmonious in its subdued tone. — Waagen, vol. iv. 252 . , GiOEGiONE. The Daughter of Serodias with the head of St. John. Noble and fine in sentiment, tender and harmonious in colour, masterly in treatment. 253 . . Palma Vecchio. An idyllic subject. In close imitation of his master, Giorgione, and very attrac- tive, but too feeble in the drawing for him. Titian. This great master, considering the number of his works in Great Britain, is not sufficiently represented in the Exhibition. 256 .. A Male Portrait, hut not that of Alessandro de' Medici. Noble in conception, and of masterly execution in a subdued golden tone. — Waagen, vol. ii. p. 357. 257 .. A Male Portrait, but not that of Ariosto. A duplicate of the picture from the Manfrini collection, but very fine. 259 . . The Rape of Europa. The action of Europa is very animated, the landscape very poetical, the colouring very warm and clear ; the treat- ment, equally broad and spirited, indicates the later time of the master. — Waagen, vol. iii. p. 18. From the Orleans collection. 12 itaijIan schools. Nos. 261-288. 261 .. TiTiAif. The Magdalen. Of the many repetitions of this subject by the master, this picture is one of the finest. The sentiment is noble, the colour very warm, the execution spirited. 262 , . The Bape of Proserpine. A spirited sketch. 263 . . Portrait of a Crirl. Charming in the sentiment, of a subdued but harmonious colour. 277 .. Portrait of his Daughter, called "La Cassette du Titien:' Very lively in the motive, powerful but not very harmonious in the colouring. Orleans Gallery, 279 . , Sketch for the picture at Madrid called " La Grloria di Tiziano." The composition is not happy, but the painting throughout excellent. 281 . . Philip II. of Spain. Of fine conception, and very carefully painted, in a light and clear golden tone. — Waagen, vol. iv. 289 .. A Landscape. Grand and poetic in the scenery, very spirited in the exe- cution. 274 .. TiNTOKETTO. The Muses. Deficient in arrangement, but of great power of colouring and careful in execution. — Waagen, vol. ii. p. 359. 283 . . Sketch of the Miracle of St. Marc. Very spirited and powerful in tone. 285- . . Paolo Veeonese. Four allegorical subjects. 288 Por keeping, drawing, and masterly painting, these pictures may be placed amongst his best works ; the subjects are of little interest. Orleans collection. — Waagen, vol. iii. p. 20. 13 ITAIilAN SCHOOLS. Wos. 290 - 314. 290 .. Pakis BoEDONE. A Female Figure. Displays all the warmtli and clearness peculiar to this master. 293 .. BONIFAZIO. The Virgin, with the Ohild and Saints. An excellent specimen of this pupil of Titian. Paolo Yeeonese. Nymph extracting a thorn. The motive is happy, and the colour clear and golden. 300 . . TiNTOEETTO. Portrait of a Senator. Of uncommon truth, and displaying the gi-eatest warmth and clearness of his colour. 301 . . TlTIAJST. A Biposo. An excellent picture of his earlier time, carefully painted in the clearest, fullest golden tone. Orleans collection, — Waagen, vol. ii. p. 197. 304 . . Paolo Veeonese. Rebecca at the Well. Graceful in the motive of Eebecca, and of excellent keep- ing : in his silvery tone. 312 .. TiNTOEETTO. Two Landscapes. Extremely poetical, great effect being attained by the warmth of light, and very carefully painted.— Waagen, vol. iii. p. 320. 314 .. Esther before AJiasuerus. A masterpiece. Very dramatic in conception, the heads full of meaning, the colour glowing, the execution solid. — Waagen, vol. ii. p. 359. THE SCHOOL OF THE ECLECTICS, and Contempoi'ary Masters in Italy, From the end of the 16tli to the end of the 17th Century. Many painters of this period belong to a school called "the Eclectic," from its endeavour to combine with the 14 ECLECTIC SCHOOL. Nos. 310 - 344. study of nature and of antique sculpture all the various qualities of the great masters who preceded it in the 16th century. 310 .. Annibale Oaeracci. The Three Maries. From its profound and noble feeling, its fine drawing, and its rare warmth, and clearness of colour, this picture is well worthy of the great renown of the painter. Or- leans collection. — Waagen, vol. iii. p. 324. 311 .. GuiDO Eeni. The Asmmptim of the Virgin. More intense in feeling than usual in pictures by this master ; the modelling delicate, the keeping excellent. — Waagen, vol. iii. p. 190. 325 .. LoDOVico Caeeacci. The Virgin and Child adored by Saints, One of his most jjleasing pictures, in imitation of Correggio, 330 . . Albani. a Biposo. Pretty and rich in composition, attractive in the heads, transparent and warm in colour. 334 .. DoMENiCHiNO. St. Agnes. The bead of great beauty, the colour warm and transparent. 337 .. A Landscape. Poetical in composition, but dark. 341 .. St. John the Evangelist. Elevated, refined, and intense in feeling, and most deli- cately blended in a warm and harmonious tone of rare clearness. — Waagen, vol. iii, p. 324. 338 .. GuiDO Eeni. David and Abigail. Fine, but modern in treatment of the subject; highly finished. — Waagen, vol. iv. 344 .. • Cleopatra and the Asp. Beautiful in the forms, and of great delicacy of execution. 15 K-ETHERIiAITDS AND GERMANY. Nos. 355 - 380. 355 .. Carlo Dolci. The Virgin with the Child, as a small jyieture, adored hy Saints. One of the largest pictures known by him, and of great deli- cacy of execution. — Waagen, vol. iii. p. 20. 365 .. GuEECiNO. Lot and his Daughters. A very clear and careful picture of his latest manner. — Waagen, vol. iv. 373 .. The Virgin and Child worshipped hy Saints. A good specimen of his manner, which is effective hy the contrast of warm lights with dark shadows. — ii. p. 180. THE SCHOOLS OF THE NETHERLANDS & GERMANY. IStb, and 16tli Centuries. 375 . . TJie Adoration of the Lamh. A copy of the renowned masterpiece of Hubert and John van Eyck, the great founders of Realistic* art in the Netherlands. Important for the composition. 378 .. KOGEE VAJSr DEE WeYDEN THE YoUNGER. The JEh- tomhment. Eemarkable for the expression of deep grief, and powerful in colour. 379 .. Mastee op the Lyveesbeeg Passion at Cologne. The Presentation in the Temple. Displaying great truth in the heads, and great clearness in the colour. 380 .. Stephen Lothenee, called Meistee Stephan, the painter of the famous " cathedral picture " at Cologne. The character of the heads shows a pure taste, the drapery is soft, and the colours harmonious. * Realistic, a term in art applied to those painters who adhere as closely as possible in every respect to their models in nature. 16 * IJETHERIjAITDS and GERMAIirY. Nos. 382-398. 382 .. School op Cologne, about 1400. A Triptych, with several subjects from Scripture, and Legends. Yevj fine in the conception, in the heads, and in the exe- cution. — TVaagen, vol. iv. 384 . . John van Eyck. The Virgin and Child. Excellent in the colour, and masterly in the execution, but not successful in the heads. Early time of the master. — Waagen, vol. iv. 386 .. Mathias Grunewald. An Altarpiece ; the Virgin, the Child, and Saints. True and fine in the sentiment of the heads, of great power in the colours, and very carefully finished. — Waageii, vol. iv. 387 .. EOGIER VAN DEE WeYDEN THE YOUNGEE. Ecce Homo. Eemarkable for the expression of intense suffering, and warm and transparent in the colours. 388 .. Ecce Homo. Of the same merits. 389 .. Mater Dolorosa. Pendant of No. 387. Shows noble and earnest feeling. Hans Memling. This great master combines a pure and deep feeling with a tender clear colour in the flesh, a very powerful colour in the draperies with a masterly miniature-like execution. 393 . . Wings of an Altar ; the Donors, with their Patron 403 Saints. 397 .. A Triptych; the Lamentation over the dead body of our Saviour. St. James of Compostella, St. Christopher. Very finely painted ; about 1486. — Waagen, vol. iv. 398 .. St. Sebastian. Of the latest time of the master. — Waagen, vol. iv. c 17 NETHERLANDS AND GERMANY. Nos. 399 -422. 399 .. Hans Memling. A Diptych; Jeanne de France^ and the Crucifixion. A fine specimen of the earlier time of the master. — Waagen, vol. iv. 400 .. A Portrait. Very fine, but as a work of Memling doubtful. 401 .. The Wing of a Triptych; St. John the Baptist^ the Donor, and St. G-eorge. First-rate miniature in oil. 402 .. Virgin and Child. An excellent picture of his later time; about 1487. — Waagen, vol. iv. 407 .. EoGiER VAN DER Weyden THE YouNGEE. The De- position. Earlier time of the master ; the expression of affliction very true, the colour very glowing. — Waagen, vol. iv. 412 .. A Triptych; the Descent from the Cross. Very pathetic ; of the earlier time of the master. 414 .. GoswYN VAN DER Weyden. The Coronation of the Virgin. Of great individuality in the heads, and masterly in the treatment, but cold in the colour of the flesh.— Waagen, vol. iv. 415 .. Adoration of the Kings. By an unknown but excellent master, about 1490-1500. Of a deep sentiment, fine feeling for beauty, very harmonious, in a cool subdued colour, and careful in the execution. 421 .. Martin ScHONGAUER. Pilate and the Jews. Full of true sentiment in the heads ; of the earlier time of the master. 422 .. Lucas van Leyden. Men and Women playing at Cards. Very truthful in the heads and very clever in the execu- tion. Pictures by this master are very rare. 18 NETHERIiAITDS AND GERMANY. I3'os.429 - 443. Jan Mabuse. In his first style an excellent master of the school of the van Eyc]?s, Pine in the feeling, sometimes of great power in the colour, and masterly execution. 429 , . Legend of a Count of Toulouse. Very true in the expression, but now very faded. 433 .. Wings of an AUarpiece, with Portraits and Patron 434 /Saints. Very clever. 430 .. The Descent from the Cross. An excellent work by the master of No. 415. 434 . . Lattanzio Gambara, a master of the town of Brescia in Lombardy. Fresco-paintings, representing <■ the Battle between the Centaurs and the Lapithce, and several Gods and Groddesses. Very interesting as large specimens of this manner of painting in Italy in the middle of the 16th century. Some of them at the same time very graceful in the motives and of a fine harmony in the colours. 436 .. Mabuse. The Adoration of the Kings. In every respect the most capital work of the master. 438 ., Portrait of an Ecclesiastic. Very true and fine. 437 .. Maetin Schongauee. Virgin and Child. Fine in the expression of the head of the Virgin, and care- fully finished. 441 .. A Cologne Mastee. SS. Peter and Dorothea. Very clear in the colours, and of a great refinement in the modelling. 443 .. QuENTYN Messys. The Misers. This renowned picture is of uncommon power in the characteristic of the heads, and of a very warm but rather heavy colour, betraying more the hand of his son, John Messys. c 2 19 NETHERLANDS AND GERMANY. Nos.448 - 492. 448 . . QuENTYN Messys. The Virgin and Child. Of his earlier time ; very warm in the colour, and well modelled. — Waagen, vol. iv. 451 .. Head of the Weeping Virgin. Of his later time ; of a very tender and true feeling, and very harmonious in a subdued tone. — Waagen, vol. iv. 449 .. By the Master of No. 415. The Lamentation over the dead body of our Saviour. Of very noble and fine feeling. 450 .. Hans Memling. St. Christopher. A first-rate miniature in oil, repetition of a picture in the Pinacothek at Munich. — Waagen, vol. iv. 461 .. Jean Clouet. Portrait of Francis I. Of great truth and careful finishing. 462 .. Albeet DuREE. The Portrait of Ms Father. Of very true conception, warm and clear in the colour, very spirited in the execution. From the collection of the famous Earl of Arundel. — Waagen, vol. iv. 464 .. Hans Schauffelein. Portrait of the renowned sailor Martin Behaim. Very interesting. — Waagen, vol. iv. 469 . . Holbein. The Prodigal Son. Full of life and spirit ; of his earlier time. — Waagen, vol. iii. p. 236. 471 .. King Henry VIII. Of imcommon truth, and highly finished. — Waagen, vol. iii. p. 215. 489 . . Dr. StoJcesly. Of an admirable conception, masterly modelling, and an unusual softness. — WoMgen, vol. ii. p. 431. 492 . . George Penz. Portrait of Erasmus. A masterly copy of Holbein. — Waagen, vol. ii. p. 430. 20 NETH. GERM. PR. and SPANISH. N'os.493 — 511. 493 By the Mastee of No. 415. The Root of Jesse. Fine in the heads, very delicate in the coloiir, carefully- executed. — Waagen, vol. iv. 496 .. SiE Antonio Moke. The Earl of Essex. Full of life, and masterly in the careful execution. — Waagen, vol. iv. 497 .. Joachim Patenier. The Crucifixion. Of a true sentiment, fine taste in the draperies, and very clever in the execution of the landscape. 500 . . SiE Antonio Moee. Portrait of a G-entleman, but not Francis Drake. Clever. 503 .. Queen Mary. The best portrait of this queen known to me. 512 .. Philip II., King of Spain. Very true. 513 .. His own Portrait. Excellent. 508 .. Luis de Moeales. The Bemoaning of the body of our Saviour. An uncommonly good specimen of this rare Spanish master ; true and fine in the expression of sorrow, and very carefully executed. Soult collection. 509 .. GuiLLEM Steetes. Edward VI. Very interesting, as an instance of a clever English painter of the time of Holbein. 510 .. Jean Clouet (better known as Janet). Marguerite de Valois. Of a fine conception, and a delicate silvery tone. — Waagen, vol. iii. p. 236. 511 .. JoosT VAN Cleef. Sis own Portrait. True and fine in the conception, warm in the colour, masterly in the execution. 21 NETH. GERM. EE. and SPANISH. Nos. 533 — 551. NETHERLANDISH, GERMAN, FRENCH, AND SPANISH SCHOOLS, Of the 17th and 18th Centuries. 533 .. Teniers. a Guard Boom. An uncommonly good specimen of this very favourite sub- ject of his. EUBENS. Of this head master of this epoch of the Flemish schools the Exhibition possesses many very fine specimens. I must restrict myself to mentioning some of the most characteristic. 536 .. The Tribute Mmey. A picture of his grandest style. Collection of the King of Holland, 537 .. John Malderus. A first-rate portrait. 540 . . Children blowing Soap-bubbles. Of wonderful charm of nature, and a transparent golden tone. 544 .. Landscape. Of a deep feeling for nature, and very warm in the elfect of an evening sun. — Waagen, vol. iv. 549 .. Diana departing for the Chase. A very spirited composition, of an astonishing brightness and transparency of colour. — Waagen, vol. ii. p. 182. 550 .. His own Portrait. Of very lively conception, warm and clear colour, and care- ful finishing. — Waagen, vol. ii. p. 435. 551 .. Portrait of his first Wife. Animated in the expression, clear and blooming, but more subdued in the flesh-colour than common, and highly finished. — Waagen, vol. ii. p. 435. 22 NETH. GEBM. FR. and SPANISH. Nos. 558-598. 558 . . EuBENS. Sketches from the Life of Achilles. 563 Full of spirit. — Waagen, vol. iv. 566 .. Sketch for his " Urectim of the Cross" in the Cathedral of Antwerp. Very powerful in the effect, and very spirited in the execution. 569 .. St. Martin dividing his Cloak. Of astonishing energy of character, and of luminous warm colouring. — Waagen, vol. ii. p. 435. 574 .. Landscape. A rare union of feeling for nature and poetry pervades this charming work of art. 575 .. Lavid, with the Elders of Israel, presenting Thank- offering. In every respect one of the most beautiful sketches of the master I know. — Waagen, vol. iii. p. 458. 579 Queen Tomyris and the Head of Gyrus. A capital picture, of great effect, and very powerful in the warm colours. Orleans collection. — Waagen, vol. iii. p. 23. 573 .. Feans Snyders. Boar Hunt. One of the finest pictures of the master. Vandyck. The numher of pictures by this great master here is so great that I can only mention some of the most interesting. 595 The Magdalen. Of deep feeling, and masterly and careful execution, in a true and transparent colour. Collection of the King of Holland. 598 .. Nicolas PoussiN. Triumph of Bacchus. The most important picture here by this greatest master of the French school. Rich in the composition, of graceful motives, characteristic in the forms, clear in the colours, and carefully finished.— Waa^rew, vol. iv. JSTETH. GEKM. FR. and SPANISH. ITos.eOO— 632. 600 .. Nicolas Poussin. Landscape, with Orpheus and Eurydice. First-rate in the grandeur of composition, veiy fine in the keeping. — Waagen, vol. iv. 607 .. Landscape^ with the Woman of Megara. A fine example of his pictures, with buildings in the classic style, and of uncommonly careful execution. 608 .. Jacob Jordaens. A Girl with a Parrot. Of a rare power in the warm and transparent colour. 611 .. The same mhject, And of the same quality. MUEILLO. The number of pictures by this renowned painter here is so great that 1 can only mention such as struck me in preference. 623 . . Head of the Savimr. Of a fine sentiment and harmonious colour. Velasquez. With respect to this greatest master in the realistic line in art I must confine myself also to pointing out the most striking of the many pictures I found here. 626 . . The Infant Bon Balthazar Carlos. Charming in the conception and in the clear colour. 627 .. Shepherds leading a Bull. Full of animation, and treated with much spirit. 629 . . MuRiLLO. Woman drinking, with a Child. A Study. Of the greatest charm of truth, and the finest observation of nature. 631 .. Abraham entertaining the Angels. Full of life, of a warm and powerful colour, and careful execution. 632 . . His own Portrait. Very truthful in conception and colour. Standi sh gallery. 24 NETH. GERM. FR. and SPANISH. Nos. 635 — 651. 635 .. MuKiLLO. /St. Joseph embracing the Infant Saviour. Fine in the conception, and of a spirited execution, in a golden tone. 637 .. The Virgin, with the Saviour and St. John. Decidedly realistic, but very lively, and carefully modelled in a powerful tone.— Waagen, vol. iv. 639 .. Holy Family. Of a fine feeling and very careful execution. — Waagen,Yo\. iv. 640 .. His own Portrait. Of a striking truth in form and colour, and masterly modelling. 641 . . The Virgin in Grlory. Of the many representations of this subject by Murillo this is one of the most successful. The conception is very noble, the proportions slender, the effect, in a silvery tone, very fine, the execution throughout very careful. — Waagm, vol. iv. 642 .. The Virgin and Child. Very attractive, and of rare clearness in the vparm golden tone. — Waagen^ vol. iv. 647 . . ' The Crood Shepherd. Very tender in sentiment and in keeping. Vai^dyck. The dead Saviour. Good in conception, true in sentiment, and excellent in keeping. — Waagen, vol. iv. 649 .. Claude Lorraine. The Parnassus. One of the largest pictures of this master ; very poetical in feeling, excellent in keeping, and carefully finished. — Waagen, vol. iv. 650 . . Poetical Landscape. This picture, of the earlier time of the master, possesses in a high degree the charm peculiar to him. 651 .. Oval Landscape. Small, but very fine and harmonious. 25 NETH. GERM. FR. and SPANISH. Nos. 653 -667. 653 .. Vajstdyck. Rinaldo and Armida. Fine in keeping, and carefully finished. — Waagen, vol. iv. 654 .. Claude Loeeaine. Landscape, with a Biposo, I think by the hand of Sassoferrato. Very clear, in a fine silvery tone. — Waagen, vol. iv. 655 .. A Seaport Companion to 650, and of the same charm. Eembea^tdt. This foremost master of the Dutch school of the 17th century is very well represented here. I can mention only the most striking pictures. 656 .. Family Portraits. Very true to nature, and executed in a hright, clear, golden tone. — Waagen, vol. ii. p. 115. 660 .. YaJ!TDYCK. Three Children. Very happy in the composition, very warm in the whole effect, and careful in its spirited execution. A first- rate specimen of his Genoese manner. — Waagen, yol. ii. p. 84. 661 Charles I. Dated 1637. One of the finest examples of the numerous portraits of this king by Vandyck. 662 .. The Painter Snyders. Fine in sentiment, careful in drawing, and very spirited in execution. A first-rate specimen of his Flemish manner. 663 .. The Wife of Snyders. Nearly of the same merit. 665 .. Ferdinaijd Bol. A Man and his Wife. In truth, power, and transparency of the colours one of the chefs-d'oeuvre of the master. 667 Vandyck. Thomas Killigreiv and Thomas Carew,Poets. Dated 1638. Very easy in the composition, fine in sentiment, and very harmonious in a warm but subdued tone. A fine spe- cimen of his English m&nneY.— Waagen, vol. ii. p. 427. 26 NETH. GERM. TR. and SPAKISH. Nos. 675-702. 675 .. Eembraijdt. The Preaching of St. John. Very clever in its rich composition. The heads full of expression. Altogether one of his finest works. — Waagen, vol. ii. p. 237. 677 .. An Old Woman. Of a truth and transparency in the deep golden tone, even rare with this master. — Waagen, vol. iv. 681 .. Feank Hals. Portrait of a Man. A first-rate picture by this spirited master. 683 .. Vandyck. Children of Charles I. The children and the dogs are painted with great truth ; the accessories rather slightly treated. 684 . . Eembrandt. Head of an Old Man. Of uncommon power and clearness in the chiaroscuro. 685 . . Sis own Portrait. Of very delicate modelling, in a subdued light golden tone. 687 .. Jacob'' s Dream. Full of life, and glowing in colour. 691 .. Solomon de Koning. Daniel before Nebuchadnezzar, The best picture I know by this master. The heads of great truth, the execution very careful. — Waaqen, vol. iii. p. 391. 694 .. Eembrandt. Female Portrait. Very animated in conception, masterly in the modelling, true and clear in the colouring. ^698 .. Large Landscape. Of a poetical melancholy, very deep and clear in the chiaro- scuro, large and spirited in the management of the brush. — Waagen, vol. iv. 702 .. J. EuYSDAEL. A Waterfall. A first-rate picture. Combines with the execution of a great many details an excellent keeping, rarely met with in pictures on so large a scale by this master. * Look at the pictures 698-722 in the hours before noon. 27 IsTETH. GERM. TR. and SPANISH. Nos.703 - 721. 703 .. Philip DE KoNiNCK. An extensive View. Dated 1653. One of the finest specimens of this pupil of Kembrandt. Of great truth, and powerful in its warm colour, 706 .. J. EuYSDAEL. A Stormy Sea. Masterly. 708 . . View of Bentheim Castle. Of the views by this master, I think this, in size, keeping, and the masterly execution of an immense number of details, the finest he ever painted. — Waagen, vol. iv. 710 .. Albeet Cuyp. View of Nymwegen on the Rhine. A first-rate picture. Wonderful in the universal clearness of the morning light, and very solid in the masterly painting. — Waagen, vol. iii. p. 466. 711 .. J. EuYSDAEL. A. large Landscape. In every respect— composition, keeping, purest feeling for nature, clearness of tone, and masterly treatment — a capital work. — Waagen, vol. iii. p. 50. 712 .. Albeet Ctjyp. A Landscape — Evening. Wonderful in the warm vaporous tone, and of very careful execution in a solid body of colour. 715 .. Baetholomew VAN DEE Helst. Eight Figures in a Landscape. Of great animation in the heads, of very warm and clear colouring, in an excellent body of colour. — Waagen, vol. ii. p. 115. 716 .. Aetus van dee Neee. a Woody Landscape hy Moon- light. Very fine and deep in the chiaroscuro. 718 ., Jan Both. An Evening Scene. Fine in composition, clear and warm in colour, and solid and careful in execution. — Waagen, vol. iv. 721 .. Ctjyp. The Ferry Boat. Yery fine in keeping, delicate in execution. 28 WETH. GERM. FR. and SPANISH. Kos. 722-766. 722 .. MiNDERHOUT HoBBEMA. A Urge Landscape. The masterpiece of the painter. Highly striking for truth of nature, for delicacy of aerial perspective, and masterly lightness of execution. Dated 1663. — Waagen, vol. ii. p. 251. 727 .. Velasquez. The Admiral Adrian Pulido Pareja. Very spirited in conception, of great energy in the warm colour, and masterly in treatment. — Waagen, vol. iv, 728 .. Philip IV. of Spain. Fine ; the keeping in a more silvery tone. 730 .. Adeian van Ostade. The Musical Party. Dated 1656. Very warm and clear in the chiaroscuro, and of masterly execution. — Waagen, vol. ii. p. 13. 736 .. Yandyck. Charles I. on Eorsehach. One of the finest of his equestrian pictures. Noble in conception, warm and clear in colour, and excellent in keeping. — Waagen, vol. ii. p. 429. 738 .. Velasquez. The first Queen of Philip IV. Very clear in tone, and uncommonly careful in execution. 741 .. Jan VAN DER Heyden. View of a Dutch House, with Figures hy Adrian van de Velde. Very clear, and, although very minute in execution, not as stiff as usual. — Waagen, vol. ii. p. 22. 754 .. WiLLEM VAN DE Velde. A Sca-piece. Very fine. — Waagen, vol. iv. 761 .. HoBBEMA. Landscape. In composition, effect, and execution first-rate. — Waagen, vol. iv. 764 .. Albert Cuyp. Man holding a Horse. Painted in the brightest light, extremely clear, and with a full body. 766 .. EuYSDAEL. A Storm. A masterpiece. 29 NETH. GERM. FR. and SPANISH. Wos. 767 - 882. 767 .. HoBBEMA. Landscape. Approaching in every respect No. 722, and painted in the same year, 1663. 773 .. Adeian VAN DE Velde. The Ferry-Boot. One of his largest and finest pictures ; warm, clear, and yet harmonious. — Waagen, vol. iv. 775 .. SaLVATOE EOSA. Belonging, like Nos. 776, 777, to the number of his clear and poetical pictures. — Waagen, ii. p. 420; iii. p. 15. 780 . . Velasquez. Portrait of a Nobleman. Worthy in conception, and of masterly execution in a warm tone. 787 .. Venus. Quite in the realistic style, but modelled after nature in a masterly manner ; very true colour. 810 .. Claude Loeeaine. A Sea-Coast. Very warm and clear, and executed with a solid body of colour. — Waagen, ii. p. 177. ^ 823- .. CaNALETTO. 831 A series of first-rate pictures. 842 .. Rembeandt. The Entrance to the Sepulchre. Dated 1638. Of very remarkable originality, uniting great power in the colour, and very carefully executed. — Waagen, vol. ii. p. 5. 844 . . A Plain traversed hy a River. A little gem. Warm in effect, and uncommonly careful in execution. — Waagen, vol. ii. p. 115. 845 .. HoBBEMA. Landscape. Very attractive in the composition, and very spirited in the treatment. — Waagen, vol. iv. 882 .. Backhuysen. A Boat taking in a Cargo. Very delicate in touch, of great clearness and warmth o the tone. — Waagen, vol. ii. p. 123. 30 N"ETH. GERM. PR. and SPAKISH. N"os. 923-957. 923 Alonso Cano. Adam and Eve. Very clever, quite in the realistic style. 933 ..Jan Steen. The Musician and Us Audience. Displays a fine observation of nature in the heads, full of humour, wonderful in the power and clearness of its warm tone, and very solidly and carefully executed. — Waagen, vol. iv. 935 .. The Village School. Of great variety in the motives, excellent in the chiaroscuro, deep and juicy in the golden tones. — Waagen, vol. ii. p. 45. 836 .. Merrymaking. Dated 1663. Eich in humorous ideas, full of life, and clear in the colouring. — PFaa^'ew, vol. ii. p. 118. 938 .. WouvERMANS. A Eorse Fair. In every respect an excellent picture, of the second manner of the master. — Waagen, vol. iv. 943 ..Jan van Huysum. a large Flower-piece. Bright and sunny in the effect, and fine in the details. 946 .. PiETER DE HooGE. A Mother Nursing. For power and transparency of colour excellent.— Waagen, vol. ii. p. 227. 950 .. Figures in a Room of a House. The effect of the sunlight is very well expressed. — Waagen, vol. iii. p. 222. 953 .. Ninepin-Players in a Qarden. Unusually dramatic in composition, and very carefully finished. 954 .. KuYSDAEL. Trees, with a gleam of Sun. Of uncommon freshness and energy in the effect and in the execution, and of the finest sentiment. — Waagen, vol. iv. 955 .. Albert van Everdingen. A Norwegian Scene. In size, composition, power of colour, and masterly treat- ment, a first-rate picture by this master. 957 .. EUYSDAEL. A Watermill. An excellent work of art. 31 WETH. GERM. FR. and SPANISH. Nos. 958-979. 958 .. EuYSDAEL. A View of the Y. A first-rate picture in this line by the painter. Powerful in effect, very true in the water and in the sky, and carefully finished.— -T-Faa^'em, vol. ii. p. 452. 959 .. Gkeuze. a CrirVs Head. Charming. 960 „ Qirl with a Dove. Very attractive for conception, delicacy of the subdued tone, and careful execution.— Waagen, vol. ii. p. 199. 961 . . Grirl tvith a Lapdog. Happy in the motive, powerful in colour, and very carefully executed. One of his cliefs-d'oeuvre. — Waagen, vol. ii. p. 453. 963 .. Gaspar Poussin. A View of the Campagna. His poetical feeling is here combined with a warm light, and an unusual transparency, power, and freshness. 967 .. William van db Yelde. A Calm. Of great delicacy. 968 .. Gonzales Coques. Mynheer Verhelst with his Family. In composition, refinement, delicacy, clearness of colouring, and delicacy of execution, a first-rate picture. 971 .. Kakel DujAEDiN. Le Manage." Dated 1654. A masterpiece. Of a delicate silvery effect, great truth of detail, and tender execution.— Waagen, vol. ii. p. 186. 975 .. Euysdael. a Landscape. In the feeling for the melancholy in nature, in keeping, and masterly f xecution, a first-rate picture ; but placed too high. 978 .. J^AREL DuJARDiN. Cows in a Meadow. Of great effect and remarkable clearness.— Waa^-e^, vol. ii. p. 18. 979 .. Beeghem. Landscape, with Cattle. In composition, warmth and transparency of tone, and fine gradation in the masses of light, a first-rate picture.— Waagen, vol. ii. p. 452. 32 NETH. GERM. FR. and SPANISH. ITos. 980-996. 980 .. WouvEEMAisrs. " Le Coup de Pistolet." In composition and delicacy of touch, one of his finest works, — Waagen, vol. ii. p, 18. 981 . . Skirmish of Cavalry. Very happy and dramatic in the composition, of great power in the effect, and executed with great spirit. 983 .. Teniees. a G-uard-Room. Excellent in the keeping, solid and masterly in the execution. 986 .. WouvERMANS. A Cart with a grey Horse. Of the finest quality. 988 ., "La Course au Hareng." Very animated in the motives, and highly delicate in the execution. First-rate. — Waagen, vol. ii. p. 202. 989 .. A Cavalry Charge. For animation, spirited and broad treatment, one of his masterpieces in his second manner. — Waagen, vol. ii. p. 47. 990 .. RuYSDAEL. Landscape, with Figures hy Adeian van DE Velde. A very true expression of a rainy day. — Waagen, vol. ii. p. 228. 991 .. Beeghem. Landscape, with Peasants and Cattle. Dated 1655. Quite a gem. Bright and clear in a subdued tone, very fine in the aerial perspective, and of a light and spirited touch. — Waagen, vol. ii. p. 16. 992 . . A Landscape, with a Shepherd and his Floch. A wonder of fresh and transparent colouring, and precise and clever execution. — Waagen, vol. ii. p. 200. 993 .. Antoine Watteau. "Fete Champetre."" A first-rate specimen of the master. 996 .. Paul Pottee. Horses and Figures in a Stable, other Horses in the foreground. Dated 1647. In impasto, warmth and power of colouring, of the first quality. — Waagen, vol. ii. p. 120. D 33 iraSTH. GERM. FR. and SPANISH. Nos. 997 — 1020. 997 .. Paul Pottek. Seem hefore the front of a Stable. Uncommonly dramatic in composition, of great power in colouring, and executed in a very masterly manner in a solid body of colour. — Waagen, vol. ii. p. 15. 998 .. Two Com and a Bull. In truth, modelling, keeping, and minute but broad execu- tion, one of his greatest masterpieces. — Waagen, vol, iv. 999 .. Beeghem. Read of a Cow. Of striking truth, warm and clear in colour, and masterly in execution. 1003 .. Adeian van de Velde. a Landscape, with Cattle. Dated 1659. A masterpiece. Fine in its feeling of repose and coolness, very clear in the colouring, and delicate in execution. — Waagen, vol. ii. p. 16. 1004 .. Gonzales Coques and Aetois. A Picnic. Happy in composition, very clear in colour, and very careful in its spirited execution. — Waagen, vol. iv. 1007 .. Paul Pottee. Two HorseSy a Peasant, and a Dog. Dated 1653. The modelling careful, and the tone warm. — Waagen, vol. ii. p. 289. 1009, .. Jan van Huysum. Flowers and Fruits. 1010 Yery sunny in the general tone, very fine in execution. — Waagen, vol. ii. p. 203. 1011 .. Isaac van Ostade. Travellers halting at an Inn. In size, composition, and warmth of tone, one of his most capital pictures. 1013 .. BoNAVENTUEA Petees. A Storm. Very poetical, and approaching more than usual in execution the greatest masters in this line. 1020 .. Adeian van Ostade. Shittle-Players. Very golden and transparent in tone, and very spirited in execution. 34 NETH. GERM. FR. and SPANISH. ITos. 1021 - 1047. 1021 ., Teniers. Four Boors at a Table. A first-rate picture. Light and clear, but waiin in the tone, most delicate and spirited in the touch. — M^aagen, vol. ii. p 11. 1024 .. Egidius van Tilborg. a Party of Country People. In size, composition, and clever execxition one of his most important pictures. 1027 .. Berghem. a Winter Scene. Dated 1652. Of great truth and masterly execution. 1028 .. Teniers. The Interior of a Cabaret. Very clear in colour, of excellent keeping, and free and spirited in the touch. 1033 .. CuYP. A Frost Scene. Quite a masterpiece in this line. Very clear and bright in effect, interesting in the details, and executed in an excellent body of colour. 1040, .. CoRNELis PoELEMBURG. The Portraits of himself and 1041 his Wife. Of fine feeling and the gi-eatest delicacy of execution. 1042 .. Adrian Brouwer. Two Boors quarrelling. A little gem. Full of energy in the heads and actions, delicately and harmoniously broken in the colours, soft and masterly in the touch. 1043 .. Kembrandt. The Holy Family. Eepresented quite as a Dutch family, but of great power in the colour, and very spirited in treatment. 1045 .. Gerard Dow. A Q-irl and a Boy. A picture of the first class. More dramatic and of more feeling than usual, and very delicate in the execution of all objects. 1047 .. Adrian VAN OsTADE. Peasants after Dinner. Dated 1661. Very sunny, and as harmonioas as it is transparent and powerful in colour. D 2 35 JSTETH. GERM. PE. and SPANISH. Nos. 1049 - 1060. 1049 ., Gerakd Teeburg. Oonseil Paternel." For size, interest of composition, delicacy of execution, a first-rate picture by Mm. — Waayen, vol. ii. p. 43. 1050 .. Nicolas Maes. Laeemaker and Child. The quiet and privacy of home is finely represented ; painted with astonishing power, and an excellent body of colour. — Waagen, vol. ii. p. 421. 1051 .. Jan Steen. A School. Rich in composition, very animated in the motives, excel- lent in the chiaroscuro, deep and juicy in the warm tone. — Waagen, vol. ii. p. 45. 1053 '.. A Merrymahing. Full of his rather vulgar humour, and very carefully finished. — WaagpM, vol. iv, 1054 .. Teniees. An old Woman peeling Onions. Executed in a masterly manner, and in a humorous but subdued tone. 1056 .. Feans van Mieeis. a Cavalier and a Woman. Dated 1659. The finest picture I know by him in England. Striking in the effect of light, harmonious in the cool tints, tender and masterly in execution. — Waagen, vol, ii. p. 289. 1058 .. Gaspae Netsohee. a Lady with a Parrot. Dated 1664. An excellent work of his best time. Warm and clear in the colouring, most delicate in the finish. — Waagen, vol. ii. p. 117. 1059 .. Gabriel Metsu. The Intruder. A chef-d^