UNDER REVISION. 
 
 
 ■ 
 
 
 (ORPORBTlON OF London 
 
 73 rt Gallery 
 
 w^^fmLOGI)E 
 
 OF THE LOAN COLLECTION 
 
 of Pictures 
 
 1906 
 
 1 
 
 Price Sixpence. 
 
From the Library of 
 Frank Simpson 
 

 UNDER THE GRACIOUS PATRONAGE 
 
 jis ZTTajesty tf?e Ring of tfye Belgians. 
 
 1 906. 
 

 I 
 
 
 
 
 A 
 
 
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 *Art Gallery of the (Corporation 
 of London. 
 
 Catalogue of the 
 
 Exhibition of Works 
 by Flemish and 
 Modern Belgian 
 Painters. 
 
 — He-SSl-sS*— 
 
 A. G. TEMPLE, F.S.A., 
 
 • Director of the zArt Gallery of the 
 Corporation of London. 
 
 C. F. CORBOULD-ELLIS, Esq., Chairman . 
 1906. 
 
 A 2 
 
Blades, East & Blades, 
 Printers, 
 
 23, Abchurch Lane, London, E.G 
 
3ntrohuction 
 
 The present is the Fourteenth Exhibition held at 
 the Guildhall. 
 
 The First was in 1890, of works of the 
 Flemish, Dutch and British Schools, 
 
 and was visited by 
 
 1 09,383 persons. 
 
 The Second was in 1892, of works of the 
 Flemish, Dutch, Italian and British 
 Schools, and was visited by ... 
 
 236,362 
 
 n 
 
 The Third was in 1894, of works of the 
 Dutch and British Schools, and was 
 visited by 
 
 300,366 
 
 99 
 
 The Fourth was in 1895, of works of the 
 Dutch and British Schools, and was 
 visited by ... 
 
 262,810 
 
 99 
 
 The Fifth was in 1896, of Water 
 Colours of the British School, in only 
 a portion of the Galleries, and was 
 visited by 
 
 124,271 
 
 99 
 
 The Sixth was in 1897, of works by 
 Painters of the British School during 
 the Queen’s reign, and was v. ed by . . . 
 
 248,094 
 
 99 
 
 The Seventh was in 1898, of works of 
 the French School, and was visited by 
 
 206,746 
 
 99 
 
 The Eighth was in 1899, of the works of 
 J. M. W. Turner, R.A. , and his con- 
 temporaries, and was visited by 
 
 223,132 
 
 
 The Ninth was in 1900, of the works 
 of living British Painters, and was 
 visited by 
 
 201,456 
 
 99 
 
 The Tenth was in 1901, of the works of 
 the Spanish School, and was visited by 
 
 305.359 
 
 99 
 
 The Eleventh was in 1902, of works by 
 French and English Painters of the 
 1 8th Century, and was visited by 
 
 171,913 
 
 9 9 
 
 The Twelfth was in 1903, of works by 
 the Early and Modern Painters of the 
 Dutch School, and was visited by 
 
 134,880 
 
 99 
 
 The Thirteenth was in 1904, of works by 
 Irish Painters, organised at the request 
 of the Irish Executive, and was visited 
 
 b y 
 
 72,268 
 
 99 
 
 Total 2,597,040 
 
 99 
 
 In addition to the above number, the permanent 
 Collection of the Corporation has been visited since 
 
6 
 
 its establishment in 1886 by 1,094,525 persons, 
 bringing the total number of visitors to the Guildhall 
 Gallery to 3,691,565. 
 
 The Exhibition now open is composed of a selection 
 of works by Flemish and Modern Belgian Painters. 
 
 The Exhibition will be open from Thursday, the 
 3rd May, to Saturday, the 28th July, inclusive. 
 
 Week Days, 10 a. m. to 6 p.m. 
 
 Sundays, 3 p.m. to 6 p.m. 
 
 The Admission will be free. 
 
 Guildhall, 
 
 May, 1906. 
 
Xibrar? Committee, 
 
 r 
 
 THE RIGHT HONOURABLE THE LORD 
 MAYOR. 
 
 CUTHBERT FREDERICK CORBOULD-ELLIS, Esq., 
 Chairman. 
 
 Sir HENRY EDMUND KNIGHT, Alderman. 
 
 Sir JAMES THOMSON RITCHIE, Bart., Alderman. 
 
 Sir WILLIAM PURDIE TRELOAR, Alderman. 
 
 Sir JOHN CHARLES BELL, Alderman. 
 
 WILLIAM CHARLES SIMMONS, Esq., Alderman. 
 
 FRANCIS STANHOPE HANSON, Esq., Alderman. 
 
 THOMAS HENRY ELLIS, Esq., Deputy. 
 
 GEORGE HAYSOM, Esq. 
 
 JAMES BANKS PITTMAN, Esq. 
 
 EDWARD ANSTED, Esq. 
 
 GEORGE TAYLOR, Esq. 
 
 EDWIN FREDERICK FITCH, Esq. 
 
 WILFRID DE SELINCOURT, Esq. 
 
 THOMAS HOWARD DEIGHTON, Esq. 
 
 ROBERT WILLIAM EDWARDS, Esq. 
 
 ALFRED GILL, Esq. 
 
 JAMES ROWLAND BROUGH, Esq. 
 
 WILLIAM HENRY THOMAS, Esq. 
 
 JOHN HENRY WILLIAMS, Esq. 
 
 EDWARD HUGHES, Esq. 
 
 MILLAR WILKINSON, Esq., Deputy. 
 
 WILLIAM OATLEY, Esq. 
 
 JAMES LAKE, Esq. 
 
 WALTER HAYWARD PITMAN, Esq., Past Chairman. 
 
 WILLIAM ROME, Esq., J.P., F.S.A., F.L.S. 
 
 Sir HORACE BROOKS MARSHALL, J.P., M.A., LL.D. 
 
 ALFRED JERROLD-NATHAN, Esq. 
 
 CHARLES THOMAS HARRIS, Esq., J.P., Deputy. 
 
 HENRY EDWARD MOOJEN, Esq. 
 
 ARTHUR HOLT BARBER, Esq. 
 
 CHARLES JOHN TODD, Esq. 
 
 Major JOHN HUMPHERY. 
 
 Col. VICKERS DUNFEE. 
 
 JOSEPH HENRY BATTY, Esq. 
 
 JOHN JAMES BADDELEY, Esq., J.P., Deputy. 
 
GALLERY I. 
 
 “ The Flemish artists did not , like the Italians , paint for the 
 folk , but for the delight of a small clique of cultured and 
 solid individuals. They painted as their employers worked 
 with energy , honesty and endurance ; they cared not for 
 beauty of the more palpable ana less enduring kind, but they 
 cared infinitely for Truth ; for her they laboured in humility , 
 satisfied with the joy of their own obedience , and then , when 
 they slept and kneiv not of it, she came and clothed the 
 children of their industry with her own unfading garments 
 of loveliness and life .” — (Sir Martin Conway.) 
 
 The contents of this room bear witness to the absorb- 
 ing devotion with which the art of painting was pro- 
 secuted in the Low Countries at the time these painters 
 lived. Painting was more than a profession for the 
 means of livelihood ; it was a high calling, dignified 
 by an independence of immediate personal results to 
 the producer, and by the resolve that its productions 
 should be not only beautiful but lasting — for all time 
 in fact. 
 
 It was not a land where peace continually reigned, 
 but where contention for the sovereignty, and con- 
 flict with and persecution of the people were inces- 
 santly disturbing elements ; and it was harassed a 
 portion of the time from an external source by the 
 ambitious aims of Louis XI of France. 
 
 Mr. W. H. James Weale, the late Keeper of 
 the National Art Library, South Kensington, and a 
 life-long student of this particular school, has told 
 us that the inspectors of a Guild, or Art Corporation, 
 in the Low Countries at this time had the right to enter 
 the establishment of any member of the Guild and 
 seize any of the materials that were bad, such as 
 panels with knots in them, and gold, silver and azure, 
 if of inferior quality, and that any scamped or dis- 
 honest work rendered its producer liable to be 
 brought before the Guild and punished. This pro- 
 cedure indicates in as great a degree as the paintings 
 
IO 
 
 themselves with what seriousness the art was re- 
 garded by the entire community in those days, and 
 when we remember that almost every painter of note 
 was a member of a Guild, it means that even the 
 most illustrious of the craft, with the exception of 
 those who happened to be in the service of the Duke 
 of Burgundy, were not exempt from this careful 
 supervision. 
 
 The paintings in this room begin with Hubert van 
 Eyck (born circa 1366), and end with Lucas de 
 Heere (born 1534), and represent practically a cen- 
 tury or more of active work in the cities and towns 
 which are now included in the Kingdom of Belgium. 
 
 Hubert van Eyck, with his brother John (born 
 circa 1390), were the inventors of a new process of 
 painting in oil, and such portion of the great altar 
 piece at Ghent as can be pronounced to be by 
 Hubert’s hand shows how complete a master he had 
 become of the new method. Only two pictures by 
 Hubert can with absolute certainty now be said to be 
 by him, apart from the altar piece just referred to, 
 and both of these, ‘ ‘ The Three Maries at the 
 Sepulchre,” and the “ Portrait of a Young Man” 
 are in the present collection (Nos. 1 and 2). 
 
 Of John van Eyck, the authenticated examples 
 are more numerous, but even of these only four or 
 five of unquestioned authenticity are owned in this 
 country, apart from the three in the National Gallery. 
 Burghlev House, in recent years, possessed one, 
 “ The Virgin and Child with St. Barbara,” but it is 
 now in the Berlin Museum ; Lord Heytesbury owned 
 one, “ St. Francis and the Stigmata,” but parted with 
 it to an American collector. Of those which are now 
 shown, the large panel of the u Consecration of 
 Thomas a Becket as Archbishop of Canterbury ” (No. 
 5), although much repainted, has the merit and 
 interest of being the earliest example known of this 
 remarkable painter. 
 
 It may be useful, in surveying the examples in this 
 room, to contemplate the work of some of the more 
 
1 1 
 
 prominent of the remaining painters, in relation to 
 that of these two great revivers of the art of the 
 Netherlands. 
 
 Roger de la Pasture, known as Roger 
 van der Weyden, born 1400, and practising at 
 Brussels, was the only one of them who may be 
 said to have run concurrently with them or, at any 
 rate, with John van Eyck. He had done with his 
 days of pupilage before the great fame of John had 
 fully established itself. He was twenty-six when 
 Hubert died, and thirty-two when the great Ghent 
 masterpiece, in all its wondrous perfection, was com- 
 pleted. His individuality before this had asserted it- 
 self, and he was a radiating force in Brussels at the 
 time that John van Eyck was at the height of his in- 
 fluence at Bruges and Ghent. He headed a school 
 whose centre was in Brussels, and he exercised per- 
 haps a wider influence even than the two acknow- 
 ledged leaders of the Flemish School proper. It was 
 not all due to the van Eycks ; his art had something 
 to rest on in itself, and caught less than others, per- 
 haps, from the then great consolidating influence, 
 although its effect upon his work is, to an extent, dis- 
 tinctly apparent. His style differs from that of John 
 van Evck to a degree which serves to refute the con- 
 tention that he was ever his pupil. His works are not 
 so realistic as John’s, nor are they ever the literal 
 transcripts of nature such as John could command 
 with such marvellous exactitude and finish ; but they 
 have a more distinct expression of feeling, and, at 
 times, a touching pathos, with, in nearly every in- 
 stance, a significant beauty of line. 
 
 Hugo van der Goes, born about 1405, and 
 practising chiefly at Ghent, was not free of his 
 studentship when the influence of the van Eycks was 
 first felt, and his own individuality, leaning in the 
 direction of theirs, was clearly affected. by it, to an 
 extent, in fact, which has led to his pictures being 
 mistaken, in one or two instances, for those of John 
 van Eyck. He is said to have actually studied with 
 the van Eycks. In his earliest youth he painted 
 
12 
 
 shields and banners, and disclosed a capacity for 
 painting large productions with singular breadth, 
 and the experience he gained served him when he 
 took to painting on a certain cloth, in place of the 
 more expensive arras. His works are rare. The cele- 
 brated triptych of the “ Adoration of the Shep- 
 herds ” in the Hospital of Santa Maria Nuova at 
 Florence is the one authenticated work of Hugo’s. 
 In this the figures are nearly life-size. Some of 
 the works ascribed to him in the present collection 
 are open to contention, but they reveal the work of a 
 man whose style is obviously allied to that of the 
 van Eycks. 
 
 Dieric Bouts, born circa 1410, and practising 
 chiefly in Louvain, appears before us as one whose 
 work strongly resembles Roger de la Pasture’s, whose 
 pupil he probably was, judging from the indications 
 of the influence of that master, which are very 
 pronounced. The date of his death is known (1475) 
 but not that of his birth, which was probably early 
 in the fifteenth century, before the birth of Memling. 
 The examples here shown entirely illustrate his work. 
 
 Petrus Cristus, born circa 1410, and practising 
 at Bruges, was, according to competent authorities, the 
 only master actually trained by John van Eyck. 
 Nothing was really known of 1 his painter until 1833 
 except his name, which appeared in the list of Nether- 
 landish painters, published in 1566 by Guicciardini. 
 As the example here shows, he excelled in por- 
 traiture, although in technique and as a painter gene- 
 rally, he was inferior to both John and Hubert van 
 Eyck. 
 
 In Hans Memling, born circa 1430, and practis- 
 ing at Bruges, we see one to whom, when the world 
 of art opened to him, the work of the van Eycks 
 in its completeness was a thing of the past. He 
 was able to regard it as a whole, and, with due 
 reverence, he profited by it so far as his own gentle 
 individuality would allow him to profit by the high 
 lesson set him by their passionless exactitude. He 
 had no hesitation in employing the technical methods 
 
13 
 
 perfected by them. In chiaroscuro and realistic por- 
 traiture he is inferior to John van Eyck, and to 
 others of his craft in dramatic force, and in the 
 beauty and finish of landscape; but, in his expres- 
 sion as a religious painter, he is above them all ; 
 possessing a certain idealism and warmth of feeling 
 which softens, beautifies, and exalts all his work. The 
 brutal aspects of humanity, which frequently engaged 
 some of the early Flemish painters, did not appeal 
 to him. It will be observed that the examples in this 
 collection are imbued with a singular tenderness of 
 feeling and a dignified refinement of idea, and that 
 while certain of them cannot without dispute be pro- 
 nounced as by the hand of Memling, they are so 
 closely allied to his style and mode of expression 
 that their presence in the collection is justified. 
 
 Gerard David, born 1450, and practising at 
 Bruges, we meet twenty years later. He, too, has 
 ardently worshipped at the shrine of the van Eycks, 
 and goes his way stronger for the lesson, leaving 
 ever on his work the impress of their teaching, but 
 with his own warmth and feeling unrestrained by it. 
 With his strong sense of colour, beauty of line, and 
 sweetness of expression, he leaned rather towards 
 the styles of Dieric Bouts and Memling, the uncom- 
 promising severity of faithfulness to nature being 
 not so pronounced in his work as in that of John 
 van Eyck. In the abundance of feeling the man 
 is individualised and distinguished from his fellows 
 as one akin in his art to Memling. 
 
 Then, in Quentin Matsys, still later, born 1460, 
 and practising at Antwerp, innate originality bowed 
 itself before the acknowledged excellence of the van 
 Eycks, and kept the man bound to rigid precision 
 of execution, until a time when the touch broadened 
 and the devotion to precision bore its fruit of confi- 
 dent line and free expression. He kept to the 
 technical method practised by the van Eycks, but 
 his handling gradually became softer and his model- 
 ing exceedingly sensitive and expressive. His art 
 adapted itself to three classes of subjects ; religious, 
 
14 
 
 portraiture, and genre subjects of “The Misers” 
 order. Each of these classes is represented in the 
 present collection. 
 
 Jerome Bosch, born 1460-64, occurs at this period. 
 While devoting himself at times to pictures of a 
 serious cast in which beauty is not absent, he is best 
 known by the grotesque manner in which he treated 
 certain subjects, peopling them with spectres and 
 devils of the most repulsive character that his imagi- 
 nation could portray. Examples of this kind of his 
 work are in most of the European galleries. 
 
 Jan Gossaert, known as Mabuse (born 1470), 
 practising at Antwerp, started his career in the foot- 
 steps of his immediate predecessors and contem- 
 poraries, Memling, Gerard David, and Matsys, and, 
 during this earlier period of his art, he produced 
 many exquisite works, not significant of great feeling 
 or of any intensely religious sentiment, but of a 
 fullness of design, brilliant colouring, and most 
 elaborate finish. This fine and decidedly individual 
 style, consistent with his native training and sym- 
 pathies, and of which examples are in the present 
 collection, was not improved by a sojourn in Italy, 
 where the effort to Italianise his Flemish style was 
 not productive of desirable results. 
 
 Herri de Bles, born about 1480, and practising 
 chiefly at Liege, left a distinct impression on 
 the art of his country, following clearly in the foot- 
 steps of his predecessors in their religious sentiment 
 and painstaking finish. In most of his works his 
 peculiar habit is shown of introducing an owl into 
 his pictures. It earned for him among the Italians 
 the name “ Civetta,” and is tantamount to a signa- 
 ture by him. 
 
 Joachim Patinir, born about 1490, and practis- 
 ing at Antwerp, was distinguished for the great care 
 with which he dealt with the landscape portions of 
 his pictures, and shows his strong natural feeling in 
 this direction, in the truth with which he depicts 
 every detail, and it is interesting to note that Albert 
 
i5 
 
 Durer in his diary of a journey in the Netherlands, 
 makes mention of “ Joachim, the good landscape 
 painter.” The influence of the van Eycks is some- 
 what apparent in his work, unaffected by the Italians 
 by whom so many of his countrymen were being 
 captivated. 
 
 In Bernard van Orley, born 1491, and paint- 
 ing chiefly in Brussels, who comes next in point of 
 time, a distinctly different order of work is seen 
 developing. The precise and severe exactitude of 
 the earlier men gives place to greater freedom of 
 design, to heads of larger size, and to larger surfaces. 
 The rigid order of Flemish art is not held up by 
 him, as handed down bv the van Eycks. That he 
 should have studied under Raphael in Rome may 
 account for this. The influence of the illustrious 
 Umbrian may be seen unmistakably in certain of his 
 examples, but most of those in the present collection 
 exhibit his work before he came into contact with 
 Italian methods. 
 
 Adrian Isenbrant, bom late in the fifteenth cen- 
 tury, worked at Bruges, with Gerard David for his 
 master, and, like Gerard David, he was brought out 
 of obscurity by Mr. Weale in 1865. He was admitted 
 as a master of the Guild at Bruges in 1551. The 
 care of his execution and the sweetness of his expres- 
 sion are characteristics in all the works which can, 
 with reliance, be adjudged as his. It will be found 
 interesting to study together the two pictures, No. 47 
 and No. 52. The design is the same in each, but 
 one is the work of Gerard David (who was presum- 
 ably the originator) and the other of Adrian Isen- 
 brant. The difference of handiwork can be clearly 
 seen, the extreme delicacy and completeness of 
 Isenbrant being plainly detected. 
 
 Van Orley and Isenbrant may be regarded as the 
 latest of the direct followers of the van Eycks. More 
 than a century had passed between the period when 
 this famous school was at its height and the time 
 when the last remaining members of that school were 
 
i6 
 
 practising, among whom may be named Jan and 
 Catherine Hemessen, Campana, Lambert Lombard, 
 and de Heere, but a broader handling is theirs, a 
 clear departure is observed from the tenets of their 
 great forerunners, and ere many more years had run 
 their course, the same soil, the same cities and towns 
 which had known the footsteps of the van Eycks, and 
 Memling, Roger de la Pasture, Gerard David, 
 Matsys and Mabuse, had given place to a totally 
 different class of man, in the illustrious persons of 
 Rubens and van Dyck, Teniers, Snyders, and Frans 
 Hals. 
 
 A. G. T. 
 
GALLERY I. 
 
 I. 
 
 THE THREE MARIES AT THE 
 TOMB OF OUR LORD. 
 
 inches. Lent by SIR FREDERICK COOK, 
 BART., M.P. Formerly in the possession of 
 Philippe de Commines, the famous French 
 historian of the fifteenth century, whose 
 armorial bearings are painted in the lower 
 right corner. In later times it was in the 
 Collection of M. Bernard Bauwens and of 
 Mr. William Middleton, of Brussels. 
 
 angel is represented seated on the lid of 
 
 me empty tomb, and speaking directly to 
 Mary Magdalene, who kneels before her with 
 her box of ointment. The two other women 
 present bear similar boxes. Around the tomb 
 are the sleeping soldiers. The early morning 
 light is shed over the scene, and the towers on 
 the right have just caught the rays of the risen 
 sun, their lower portions remaining still in 
 shadow. The city of Jerusalem, which occupies 
 the background, is remarkable as being probably 
 the earliest landscape painting in the world. It 
 is thought to be a true picture of the city at the 
 
 By HUBERT VAN EYCK. Panel 28 % X 34% 
 
i8 
 
 GALLERY I. 
 
 time of the crusaders. Although Hubert van 
 Eyck was a great traveller before he finally 
 settled at Ghent, there is no evidence that the 
 painting is from a sketch by himself on the 
 spot. The supposition is that he obtained a 
 general idea of the topography of the city from 
 some pilgrim, and probably saw a plan of it 
 and a sketch of the Temple, and that he 
 imagined the rest. 
 
 In the Gazette des Beaux Arts , /poj, reference 
 is made, by M. P. Durrien, to certain miniatures 
 in a manuscript executed for William IV of 
 Bavaria, probably before 1418, but not later 
 than 1421, the background of one of which is 
 almost identical with that in the present picture, 
 and proves, according to Mr. Weale, the early 
 date of the picture, from which the miniaturist 
 borrowed details. 
 
 John van Eyck was for long reputed to have 
 been the painter of this picture, but considera- 
 tions of style, based on comparison with other 
 work believed to be by Hubert, now assigns it 
 to Hubert. 
 
 Hubert van Eyck, the elder brother of John 
 van Eyck, was born, probably, at Maestricht, about 
 1366, and was between forty and fifty years old when 
 the then modern process of oil painting was carried 
 to perfection by him and his brother John. During 
 the first twenty years of the fifteenth century, his- 
 torical annals contain little more than descriptions 
 of war and plunder, and the treasures of the painter’s 
 and goldsmith’s art were disposed of to pay for arms 
 and men. Little note appears to have been made, com- 
 paratively, of the details of the lives of the remarkable 
 men who were painting at that period ; even the name 
 of the man from whom Hubert van Eyck learnt his 
 craft is not known. It may be assumed that Hubert 
 was living at Ghent, in 1410 and onwards, and that 
 
GALLERY I. 
 
 19 
 
 his connection with the Count de Charolois, after- 
 wards Philip the Good, Duke of Burgundy, procured 
 him exemption from the rule of the Guild of St. 
 Luke, that no stranger should practice the art of 
 painting without being a burgess of the city and a 
 freeman of the guild. That he quickly found per- 
 manent employment in Ghent is certain, and after he 
 lost the patronage of Michelle de France (the wife 
 of Philip the Good), the liberality and taste of a 
 Ghent patrician, Jodocus Vydts, bestowed on him 
 a commission of greater importance than any which 
 are known in the annals of the Belgian towns — the 
 execution of an altar-piece representing the Adora- 
 tion of the Lamb, for the chapel founded by Jodocus 
 in the Church of St. Bavon at Ghent. He was 
 prevented by his death, in 1426, from finishing it, 
 and it was completed by his brother John. On the 
 frame of this renowned work is still legible the fol- 
 lowing inscription, “ Hubert of Eyck, whom no one 
 surpassed, began it. John, the second brother, with 
 art perfected it, at the prayer of Jodocus Vyd. This 
 verse invites you to contemplate that which was done 
 on the sixth of May, 1432.” 
 
 That this altar-piece is the only picture to which 
 the name of Hubert can be traced with certainty is a 
 fact (Crowe and Cavalcazelle say) unparalleled in 
 the case of an artist so great as he. Several works 
 are attributed to him in certain Continental galleries, 
 but they do not, in the opinion of students of this 
 school, bear the unmistakable stamp of his hand. Of 
 late years, however, the consensus of opinion among 
 accomplished experts is that the two panels now ex- 
 hibited, Nos. 1 and 2, are without question by Hubert. 
 
 The body of Hubert was consigned to the grave 
 in the crypt of the Vydts’ Chapel, where the altar- 
 piece now is. This indicates the reverence in which 
 he was held by those who commissioned this master- 
 piece. 
 
20 
 
 GALLERY I. 
 
 2 . 
 
 PORTRAIT OF A YOUNG 
 MAN. 
 
 By HUBERT VAN EYCK. Panel 9 X 6}4 
 inches. Lent by the GYMNASIUM OF HERR- 
 MANNSTADT, HUNGARY. 
 
 LJALF-LENGTH figure, standing; three- 
 1 1 quarter face turned towards the left; the 
 right hand holding a ring; the left resting on 
 a parapet. Brown garment, open in front, dis- 
 closing the collar of a closely-fitting black coat. 
 Head-covering of blue silk with a scarf falling 
 from it on either side to the shoulders. This 
 scarf has its edges cut into the shape of foliage, 
 a fashion which came into vogue towards the 
 end of the fourteenth century, and died out 
 before 1420. 
 
 When in the hands of a restorer the panel 
 was enlarged and Albert Diirer’s cipher added 
 in the upper left corner, with the date 1497. 
 
 At the Bruges Exhibition of 1902 it was 
 catalogued as by John van Eyck, but the gene- 
 ral opinion now is that it is the work of Hubert. 
 
 3 . 
 
 THE VIRGIN AND INFANT 
 CHRIST. 
 
 By JOHN VAN EYCK. Panel 9x6 inches. Lent 
 by CHARLES WELD-BLUNDELL, ESQ. 
 
 r T , HE Virgin, in a blue tunic and rich red 
 A mantle, the folds of which fall to and 
 cover the ground about her, holds a book before 
 the Child who sits on her knee, and is turning 
 
GALLERY I. 
 
 21 
 
 the leaves. The scene is in a dimly-lighted 
 chamber, illumined by small panes of coloured 
 glass. On a table is a crystal vase and, by its 
 side, some oranges. To the left, on a board, is 
 a branched candlestick and a brazen pot, and 
 a richly-coloured carpet is at the Virgin’s feet. 
 Her brown hair is held back by a circlet of 
 pearls, and similar ornaments adorn the upper 
 part of her blue dress. 
 
 Signed : 
 
 “ Completum anno domini MCCCCXXXII. 
 per Johannem de Eyck. Brugis. ‘ Als ikh kan.’ ” 
 
 ‘ Als ikh kan ’ are the first words of an old 
 Flemish saying, “ As I can, but not as I would.” 
 
 According to Dr. Bode, a good copy of this 
 picture is in the possession of the Duca di Ver- 
 dura, at Palermo. 
 
 John van Eyck was born, probably, at Maestricht, 
 about 1390, and is believed to have been resident in 
 Ghent with his brother Hubert in 1410. He appears 
 to have taken service at the Hague when he was 
 nearly thirty years of age, with John of Bavaria, and 
 was qualified then as “ our gracious Lord’s painter,” 
 the regular payment of his wages in that capacity 
 being recorded down to September, 1424. His 
 removal to the Hague severed the partnership which 
 had existed between himself and Hubert. On his 
 release from that engagement he entered the service 
 of Philip the Good, Duke of Burgundy, by whom he 
 was shown exceptional favour, and he appears to 
 have settled in Bruges, which, at that period, was 
 a city greatly distinguished for its trade and com- 
 merce. Only one picture is preserved which purports 
 to have been executed previous to his connection 
 with Philip, and that is “ The Consecration of 
 Thomas a Becket as Archbishop of Canterbury,” 
 painted 1421, and No. 5 in the present collection. 
 In 1428 he journeyed to Lisbon, and painted for 
 
22 
 
 GALLERY I. 
 
 Philip the portrait of the Portuguese Infanta Isabel, 
 a work which has disappeared, but of which a record 
 exists of its having been seen at Malines in 1516, 
 under the title of “La Belle Portugalaise.” His 
 chief occupation at this time was the completion, at 
 Ghent, of the famous altar-piece, which had been 
 left unfinished by his brother Hubert’s death, but 
 it did not absorb his whole time, as the little Ince 
 Hall picture of the Madonna and Child was com- 
 pleted the same year as the altar-piece. Very 
 important pictures and portraits were undertaken by 
 him at this time, on private commission, chief of 
 which may safely rank the Bruges cloth merchant, 
 “ John Arnolfini with his wife,” now in the National 
 Gallery. Another precious example is the “ Man 
 with the Pink,” until recently M. Suermondt’s, and 
 now in the Berlin Museum, truly remakable for its 
 exactitude and high finish ; and fine specimens of 
 his work may be found in the Louvre, the Dresden 
 Gallery, and the S. T. Museum at Madrid. 
 
 Undoubtedly many specimens of his portraiture 
 of remarkable men and women of his day are 
 missing, but there are several unquestionable and 
 beautiful examples extant, such as the portrait iden- 
 tified as that of his wife, at the Bruges Museum, 
 and those whose identification is difficult to deter- 
 mine, such as the two in the National Gallery, and 
 the one in the present collection (No. 4). 
 
 John died at Bruges in 1441 (?) and was buried 
 in the cemetery there, outside the Church of St. 
 Donatian, whence it was afterwards moved into the 
 church itself, to a vault near the font. Such was 
 the veneration in which he was held that funeral 
 masses for the repose of his soul were celebrated 
 yearly in the month of July for upwards of three 
 hundred years, when the first French Revolution 
 put an end to the ceremony, which brought to the 
 church an annual revenue of 34 gros. 
 
GALLERY I. 
 
 23 
 
 4 - 
 
 PORTRAIT OF A MAN. 
 
 By JOHN VAN EYCK. Panel 10x8 inches. Lent 
 by ALFRED BROWN, ESQ. Formerly in the 
 Collection of Mr. James Osmaston. 
 
 LJALF-LENGTH portrait of a man in a red 
 A * dress, standing towards the right, with 
 clasped hands. 
 
 5 * 
 
 THE ENTHRONEMENT OF 
 THOMAS A BECKET AS 
 ARCHBISHOP OF CANTER- 
 BURY. 
 
 By JOHN VAN EYCK. Panel 28 x 44^ inches. 
 Lent by the DUKE OF DEVONSHIRE, K.G. 
 It was given by John, Duke of Bedford, to 
 King Henry V, and was afterwards in the 
 Collection of the second Earl of Arundel, 
 who died at Padua in 1646, bequeathing 
 it to Henry, the sixth Duke of Norfolk, 
 whose son, the seventh Duke, sold it. It 
 came through the Duke’s steward, Mr. Fox, 
 to a Mr. Sykes, who sold it to the Duke of 
 Devonshire in 1722. 
 
 IN a church of the latest Norman style Thomas 
 A a Becket is seen standing in the foreground 
 under a scarlet canopy, with the Holy Ghost 
 hovering near, and above is a splendid crown in 
 which the figure of the risen Christ is introduced ; 
 above the crown is a circle with the Virgin and 
 Child. Three bishops are engaged in placing 
 
24 
 
 GALLERY I. 
 
 upon the head of the saint the archiepiscopal 
 mitre, while a priest, kneeling, holds an open 
 book before him. On the right are the clergy, 
 and on the left the laity, with King Henry II 
 at their head. A strong resemblance is observed 
 in some of the heads to those of the pilgrims 
 on the wing from the altar-piece at Ghent (in 
 the Berlin Museum). On the border is the fol- 
 lowing inscription, “ Johes de Eyck, fecit, ano, 
 M°. CCCCZI, 30° Octobris.” This inscription 
 is important, not only as authenticating the 
 painting, but because 1421 is still the earliest 
 known date on a picture by Jan van Eyck. 
 In the opinion of Mr. Weale, the picture 
 has been much repainted; and if only a por- 
 tion of the surface paint could be removed it 
 would do more than anything else to clear up 
 the history of the relative position of the two 
 brothers, and would show what were John’s 
 powers at that date. 
 
 6 . 
 
 PORTRAIT OF A DONOR. 
 
 By JOHN VAN EYCK. Panel 4 x 3^ inches. 
 Lent by H. C. HOWARD, ESQ. Formerly in 
 the Collection of Thomas Howard, second 
 Earl of Arundel. 
 
 is supposed to be a fragment of a large 
 
 aitar-piece, and represents the donor in a 
 blue fur-lined cassock and plaited lawn sur- 
 plice, kneeling, and protected by his patron 
 saint, whose hand is resting on the donor’s head. 
 
GALLERY I. 
 
 25 
 
 7 - 
 
 TRIPTYCH. 
 
 By JOHN VAN EYCK. Centre, 67 x 39 inches; 
 side panels, 67 x 16 inches. Lent by M. 
 GEORGES HELLEPUTTE. 
 
 '"THE centre panel shows the Virgin under an 
 A arched portico, carrying the Infant Jesus, 
 who is nude. An ecclesiastic kneels before her 
 on the pavement, wearing a brocaded cope, and 
 holding in one hand a Book of Hours, and in 
 the other a marshal’s baton, surmounted by an 
 ornament representing the charity of St. Martin. 
 Between the columns of the arch a landscape is 
 seen, with a river flowing through it. 
 
 On the right shutter “ The Burning Bush ” 
 and “ The Fleece of Gideon ” are depicted, and 
 on the left shutter “ The Rod of Aaron ” and 
 “ The closed door of Ezekiel.” 
 
 This picture was removed from the Church of 
 St. Martin, at Ypres, between 1757 and 1760, 
 and taken to the bishop’s house. A copy of the 
 centre panel was then made and placed in the 
 chapel of the Holy Virgin in the church. 
 
 After the taking of Ypres by the French Re- 
 publicans, it was sold for a low price to a 
 butcher, who disposed of it to M. Waelwyn, of 
 Ypres, who parted with it later to M. Armand 
 Bogaert, of Bruges, whose nephew, Alphonse 
 Bogaert, sold it to M. Van den Schrieck, of 
 Louvain. 
 
 It is said to have been the last work of the 
 painter. It was painted for Nicolas Maelbeke, 
 marshal of the Church of St. Martin, who was 
 buried in the choir of the church, near to the 
 spot where the picture was placed. 
 
26 
 
 GALLERY I. 
 
 8 . 
 
 CALVARY. 
 
 By a PAINTER OF THE SCHOOL OF ROGER VAN 
 DER WEYDEN. Panel, 39 x 28 inches. Lent 
 by SENOR D. PABLO BOSCH. 
 
 '"THE Holy women are in a group, at the foot 
 A of the cross, St. John in red, supporting 
 the mother of our Lord, whose arms are around 
 the cross. The city of Jerusalem is represented 
 in the background, and in the sky on either side 
 of the cross are two angels, darkly clad, in the 
 act of deploring the crucifixion. 
 
 9 * 
 
 THE DESCENT FROM THE 
 CROSS. 
 
 By ROGER DE LA PASTURE (VAN DER WEYDEN). 
 Panel 14 x 1 jy 2 inches. Lent by the 
 EARL OF POWIS. 
 
 ’T'HE dead Christ is supported on the knees 
 1 of His mother at the foot of the cross, 
 from which He has been taken; one arm is 
 around the body, while the other raises the head. 
 St. John is also lending his assistance to sup- 
 port the body, while Mary Magdalene, a little 
 to the left, is seen with hands together in grief. 
 In the background is a landscape lit by the 
 setting sun. 
 
 A similar picture to this is in the Royal 
 Museum, Berlin, but it is not, in the opinion of 
 experts, by Roger de la Pasture, to whom it is 
 assigned. 
 
 Roger van der Weyden, or Roger de la Pasture, 
 was born at Tournay about 1400. The year that the 
 great Hubert van Eyck died (1426) is the year we 
 
GALLERY I. 
 
 2 ; 
 
 first hear of Roger, when he was apprenticed to Robert 
 Campin, in his native city, “ to learn painting.” At 
 the age of thirty-two he was enrolled as master in the 
 Painters’ Guild at Tournay, and four years later he is 
 heard of at Brussels, where he was employed to deco- 
 rate the walls of the Court of Justice in the Hotel de 
 Ville. As he approached fifty he journeyed to Italy, 
 and on his return the calls on his activity were great. 
 He was a man of strong religious feelings, not so 
 realistic in his expression as John van Eyck, but aim- 
 ing rather to convey the feelings common to him and 
 to those pious folk for whom he wrought than to be 
 realistic for its own sake. In the freshness and deli- 
 cacy of his colouring he seemed to bring into his work 
 the light and brilliance of missal painting, an art 
 which possibly he himself practised. His influence 
 was considerable, and can be distinctly traceable in the 
 works of Dieric Bouts, Memling, and others. He 
 died in 1464, and was buried in the Church of St. 
 Gudule, at Brussels. His wife, Elizabeth Goffaerts, 
 survived him. 
 
 IO. 
 
 THE VIRGIN AND INFANT 
 CHRIST. 
 
 By ROGER VAN DER WEYDEN. Panel l 6}4 x 12)4 
 inches. Lent by M. MICHEL VAN GELDER. 
 
 1 1 . 
 
 PORTRAIT OF A YOUNG MAN. 
 
 By ROGER DE LA PASTURE. Panel 14^ x II 
 inches. Lent by M. CHARLES LEON CARDON. 
 
 LJ ALF-LENGTH figure of a young man, 
 * * leaning on a balcony ; face turned towards 
 the right. Red garment trimmed with brown fur, 
 and open in front, disclosing a dark, closely- 
 
28 
 
 GALLERY I. 
 
 fitting coat; and an under waistcoat, pleated, 
 on which a jewelled cross is seen suspended 
 from a chain. On the first finger of his right 
 hand and the fourth finger of the left are rings. 
 
 12 . 
 
 THE DESCENT FROM THE 
 CROSS. 
 
 By ROGER DE LA PASTURE ( ?). Panel 8 x 
 inches. Lent by M. J. RIKOFF, ESQ. 
 
 * 3 - 
 
 ST. VICTOR WITH A DONOR. 
 
 By HUBERT VAN DER GOES. Panel 22 X 18 14 
 inches. Lent by the CORPORATION OF GLAS- 
 GOW. Formerly in the Collection of Mr. 
 Archibald M‘Lellan. 
 
 AN ecclesiastic — in the character of donor — 
 ** in a cope of crimson velvet and gold bro- 
 cade is kneeling under the mantle of St. Victor, 
 whose hand lies on his shoulder. The saint 
 wears armour and a close coat of blue velvet, 
 with a scarlet baldric or belt and a kilt; white 
 gloves and a crimson-purple cloak, trimmed 
 with brown fur. A laurel wreath with a ruby 
 set in pearls is over his brow, and he bears a 
 pennoned lance and a shield. A rich landscape 
 occupies the background. 
 
 This work was originally attributed to 
 Mabuse, but latterly, by Sir Walter Armstrong, 
 to Hugo van der Goes. Herr Schone, Dr. Bode, 
 and M. Emile Wauters think it to be by John 
 van Eyck, while M. von Seidlitz recognises a 
 closer relationship to Memling than to any other 
 
GALLERY I. 
 
 29 
 
 master. M. Camille Benoit considers it to be 
 the work of a French painter of the close of the 
 fifteenth century — the Maitre des Portraits of 
 1488; and M. Rene de Vauloger, looking at the 
 heraldic insignia in the picture, regards the 
 donor as a member of the Cleves family — John 
 II, Duke of Cleves, cousin of Louis XII of 
 France. At the Bruges Exhibition of Flemish 
 Masters, in 1902, the Maitre des Portraits of 
 1488 was identified in the descriptive catalogue 
 prepared by George H. van Loo, as Jean de 
 Paris, the full maturity of whose art is marked 
 by this picture, which, he stated, was probably 
 painted about 1510. 
 
 Hugo van der Goes came of an artistic family ; 
 one of his name being free of the Guild of St. Luke, 
 at Ghent, in 1395, and another in 1406. He was 
 born at Ghent in about 1405, and practised first at 
 Bruges, but afterwards at Ghent. Apart from the 
 large works painted on cloth, referred to in the pre- 
 fatory notice, he executed many small altar pieces 
 and portraits of great firmness and feeling. He was 
 influenced by John Van Eyck in a greater degree 
 than any other master of the School. Late in life 
 he entered the Convent of Rooden Clooster, near 
 Brussels, where his anxiety for the salvation of his 
 soul eventually drove him to madness, and he died 
 in the convent in 1482. Pictures ascribed to him are 
 in several of the Continental galleries. Many panels 
 known to have been painted by him are missing, but 
 it must be remembered that the greater part of his 
 work was destroyed by the iconoclasts in the religious 
 disturbances in the sixteenth century. No example 
 of Hugo van der Goes is in the National Gallery. 
 
30 
 
 GALLERY I. 
 
 14 . 
 
 THE ADORATION OF THE 
 KINGS AND SHEPHERDS. 
 
 By HUGO VAN DER GOES. Panel 18^ x 30 
 inches. Lent by the CORPORATION OF 
 BATH. 
 
 NPHE Virgin, in deep blue mantle, seated with 
 A the Holy Child, the magi on either side, 
 richly clad, four on the left and one on the 
 right, offering their gifts. The horses and 
 camels which have borne them to the scene are 
 waiting in the moonlight on the right. 
 
 * 5 - 
 
 THE VIRGIN AND CHILD. 
 
 By HUGO VAN DER GOES. Panel 12 x 9 % 
 inches. Lent by M. CHARLES LEON CARDON. 
 
 l6. 
 
 MOSES AND THE BURNING 
 
 BUSH, AND GIDEON AND 
 THE FLEECE. 
 
 By DIERIC bouts. Panel 29 x 15^ inches. 
 Lent by CHARLES T. D. CREWS, ESQ. 
 
 TWO narrow volets or shutters of an altar- 
 A piece, put together to form a single panel. 
 
 Moses, on the left, kneeling, in a blue robe, 
 with red mantle falling from his left shoulder, 
 is uplifting his hands in homage and reverence, 
 as the Lord calls to him from the wondrous 
 bush, which burns but is not consumed, and 
 
GALLERY I. 3 1 
 
 tells him of the coming deliverance of Israel 
 from the bondage of Egypt. 
 
 Gideon, on the right, wearing a coat of mail 
 and a lilac mantle, is kneeling and gazing up- 
 ward at the angel, to whom he devoutly acknow- 
 ledges the token conveyed to him by the miracle 
 of the fleece which lies beside him, that God 
 had destined him to deliver Israel from the 
 Midianites. 
 
 The background of both scenes is significant 
 of the respective events, the rising ground on 
 the left, whither Moses has led the flock of 
 Jethro, his father-in-law, and the fortified castle 
 on the right, suggestive of some great conquest 
 to be achieved. 
 
 The date of the birth of Dieric Bouts is unknown, 
 but his death took place in 1475. We find this painter 
 settled in Louvain about the middle of the fifteenth 
 century, and some time at this period he painted two 
 large pictures for the Council Chamber in the Hotel 
 de Ville, at Louvain. These paintings are now in 
 the Brussels Gallery, and illustrate what is called 
 “ The Golden Legend.” His style resembles that of 
 Rogier van der Weyden, whose pupil he is assumed 
 to have been. He painted several large altar pieces., 
 and there are a few of his pictures in foreign galleries. 
 His works have no great individuality, so there is 
 always a measure of uncertainty to distinguish him 
 from others of his School and time. 
 
 THE VIRGIN AND INFANT 
 JESUS, WITH ST. ANNE. 
 
 By DIERIC BOUTS. Panels x io inches. Lent 
 by M. MICHEL VAN GELDER. 
 
32 
 
 GALLERY I. 
 
 18. 
 
 PORTRAIT OF GUILLAUME 
 MOREEL, BURGOMASTER 
 OF BRUGES. 
 
 By HANS MEMLING. Panel 14% x 11 inches 
 Lent by the PRESIDENT AND DIRECTORATE 
 OF THE ROYAL MUSEUM, BRUSSELS. 
 
 CMALL three-quarter length portrait, turned 
 ^ to the right, with hands joined together as 
 if in prayer. Black hair brought down low on 
 the forehead. Violet robe and large sleeves of 
 brown fur. 
 
 This portrait, like its companion (No. 19), has 
 in the background two arcades formed of 
 porphyry columns, and a landscape beyond, with 
 buildings and trees. 
 
 IQ. 
 
 PORTRAIT OF BARBARA DE 
 VLANDERBERGH, WIFE OF 
 GUILLAUME MOREEL. 
 
 By HANS MEMLING. Panel 14^ x ii inches. 
 Lent by the PRESIDENT AND DIRECTORATE 
 OF THE ROYAL MUSEUM, BRUSSELS. 
 
 CMALL three-quarter length portrait, turned 
 ^ to the left. Black drapery on the head, 
 with a gauze veil covering a portion of the 
 figure, and under which her hair can be seen. 
 Violet gown, with a border of black velvet and 
 a white chemisette, held together by a green belt 
 with a gold buckle. Necklace of massive gold 
 from which a jewel is suspended. 
 
GALLERY I. 
 
 33 
 
 20 . 
 
 DIPTYCH; REPRESENTING IN 
 THE RIGHT PANEL THE 
 VIRGIN AND THE INFANT 
 JESUS, AND IN THE LEFT, 
 CHRIST AND MARY. 
 
 By HANS MEMLING. Each panel 5 x 3^ inches. 
 Lent by M. MICHEL VAN GELDER. 
 
 21 . 
 
 THE VIRGIN MOTHER, WITH 
 DONORS AND SAINTS 
 (a Triptych). 
 
 By HANS MEMLING. Wood, centre panel, 28 x 
 25^6 inches; side panels, 28 x n^i inches. 
 Lent by the DUKE OF DEVONSHIRE, K.G. 
 
 IN the centre panel the Virgin and Child are 
 1 enthroned in a spacious portico with a rich 
 cloth of honour behind them, between two 
 angels, one of whom is offering the Child an 
 apple, while the other is playing on a portable 
 organ. The donors, who are being presented by 
 St. Katherine and St. Barbara, are kneeling in 
 the foreground — Sir John Donne, of Kidwelly, 
 Carmarthenshire, Controller of the Customs of 
 Bristol, and his wife, Elizabeth, youngest daugh- 
 ter of Sir Leonard Hastings, of Kerkby, and 
 sister of William, first Lord Hastings, Lord 
 Chamberlain to King Edward IV. Sir John 
 and his wife are wearing the badge of the white 
 lion of the house of Marche, appended to the 
 collar of roses and suns, adopted by Edward 
 IV in 1461. Sir John was slain at the Battle of 
 
 B 
 
34 
 
 GALLERY I. 
 
 Edgecote in 1469, so this triptych would have 
 been painted within that period, probably when 
 he and his wife went to Bruges to assist at the 
 wedding of Charles the Bold and Margaret of 
 York. The landscape in the background is one 
 of the loveliest of Memling’s, full of interesting 
 incident. 
 
 On the two wings are represented St. John 
 the Baptist and St. John the Evangelist, the 
 reverses being painted in grisaille with the 
 figures of St. Christopher and St. Anthony. 
 
 According to Mr. Weale, this is the earliest 
 work known by Mem ling. The landscape in it 
 bears a strong resemblance to that in his por- 
 trait of Nicholas Spinelli, painted in 1468, now 
 in the Antwerp Museum. 
 
 22 . 
 
 ST. LUKE PAINTING THE 
 VIRGIN MARY. 
 
 By DIERIC BOUTS. Canvas 43^ x 34 inches. 
 Lent by LORD PENRHYN. 
 
 "“THE scene is in an open gallery. The Virgin 
 * is seated beneath a green canopy, from 
 which hangs brocaded drapery of gold and 
 black. She wears a blue robe, with large sleeves 
 trimmed with fur, and a red mantle. Fruit is 
 held by her in her right hand, and with the 
 other she holds the Infant Child, Who is seated 
 on her knee. St. Luke is kneeling on the pave- 
 ment in a robe of rose-red, embellished with fur, 
 and in a blue undercoat and lilac cap. Through 
 three arches a wide landscape is seen, with a 
 castle, a winding river, and a mountain. An 
 
GALLERY I. 
 
 35 
 
 open door on the right exhibits the painter’s 
 studio, in which a portrait in outline on an easel 
 is seen of the Virgin and Child. 
 
 The picture was acquired by the first Lord 
 Penrhyn about 1850 from his son’s tutor, who 
 had recently become possessed of it. Until 
 1898 it was attributed to Memling, but the pre- 
 vailing opinion now is that it is by Dieric Bouts. 
 
 It was transferred from panel to canvas in 
 1899. 
 
 23- 
 
 ST. JOHN THE EVANGELIST 
 IN THE ISLAND OF 
 PATMOS. 
 
 By AN UNKNOWN PAINTER OF THE EARLY 
 FLEMISH SCHOOL. Panel, 17 x 1 734 
 inches. Lent by W. B. CHAMBERLIN, ESQ. 
 
 CT. JOHN, seated among rocks and facing 
 ^ towards the right, is in the act of writing 
 the Revelation on a white scroll, which lies 
 across his knees. He is clothed completely in 
 bright red, the mantle being fastened at the 
 neck by a rude button. At his side is a red- 
 bound book on which an eagle has just alighted. 
 To the left, at the feet of the saint, flows a 
 river, its course being traced in the primitively 
 painted landscape in the background. A glow 
 of vivid yellow marks the sky as it meets the 
 horizon. 
 
 B 2 
 
36 
 
 GALLERY I. 
 
 24 . 
 
 THE DEPARTURE OF A SAINT. 
 
 By GERARD DAVID. Panel 22 l / 2 x 16 inches. 
 Lent by the DUKE OF DEVONSHIRE, K.G. 
 
 N the left is seen a palatial structure in the 
 ^ early Renaissance style, from which the 
 company assembled have just issued. The cen- 
 tral figure is a young girl, to whom a king and 
 queen are sorrowfully bidding farewell, as they 
 consign her to the care of an archbishop, whom 
 she is about to follow, and around whom two 
 bishops and a number of Benedictine monks 
 are gathered. Her head is surrounded by a 
 nimbus, and she wears a close garment of red 
 and gold brocade, with a black mantle trimmed 
 with white fur. The king, with parental solici- 
 tude, rests his hand on the arm of his child, 
 while the queen weeps. Two of the monks hold 
 processional crosses with red banners, and await 
 the signal to proceed. 
 
 In the distance the continuation of the event 
 is witnessed. The procession is shown as having 
 arrived at the quay, where two ships are moored, 
 to one of which the archbishop is leading the 
 young saint. 
 
 25 - 
 
 PORTRAIT OF EDWARD 
 GRIMSTON. 
 
 By PETRUS CRISTUS. Panel 12 y 2 x 9 y 2 inches. 
 Lent by the EARL OF VERULAM. 
 
 r "THE portrait is that of a man of fifty, with a 
 long beardless face, and wearing a turban- 
 like black cap, white pleated shirt, red vest and 
 green coat. A collar of S.S., apparently in 
 
GALLERY I. 
 
 37 
 
 silver, is held in the right hand. Shields bear- 
 ing the arms of the Grimston family are seen 
 on either side, and the following inscription is 
 at the back of the panel, “ PETRUS XPI., ME FECIT 
 A. 1446.” 
 
 Edward Grimston was envoy of King Henry 
 VI of England to the Court of Burgundy, and 
 the portrait was probably painted at Calais in 
 1446. A female portrait, believed to be that of 
 his wife, is now in the Berlin Museum. It is 
 said that the late Mr. George Scharf, C.B., 
 Director of the National Portrait Gallery, res- 
 cued this portrait of Edward Grimston from 
 oblivion, and established the identity of the 
 person represented. 
 
 Petrus Cristus was the son of Peter of Baerle, 
 near Tilburg, in North Brabant, and was born early 
 in the fifteenth century. About 1410 he was a 
 disciple of the van Eycks, and it was John van Eyck 
 who initiated him in technical treatment. Indeed, 
 he is said to have been the only master whom John 
 van Eyck trained. In 1444 he came to Bruges and 
 purchased the citizenship of that city ; six years later 
 he entered the Guild of St. Luke, being selected 
 Dean of the Guild in 1471. The date of his death 
 has been fixed as 1472. Mr. Weale thinks that he 
 probably derived his surname from the fact of his 
 father having acquired a reputation as a manufac- 
 turer of crucifixes, painted and carved, whence his 
 son became known as lt Peter de Christus man.” 
 Until 1833 nothing more appears to have been 
 known of him than the inclusion of his name in the 
 list of Netherlandish painters, published in 1566, 
 by Guicciardini. According to Mr. Weale, the pre- 
 sent portrait is the earliest known by him. 
 
38 
 
 GALLERY I. 
 
 26. 
 
 THE HOLY VIRGIN AND 
 THE INFANT JESUS. 
 
 By DIERIC BOUTS. Panel, 13 y 2 x 9 inches. 
 Lent by MRS. STEPHENSON CLARKE. 
 
 Virgin, in a blue robe garnished with 
 
 grey fur, and wearing a red mantle, is 
 seated on a low bench in a garden, with the 
 Infant Christ on her knee. He is holding 
 out both hands for the flower which His mother 
 is plucking from the wall. Behind her in the 
 garden is St. Dorothy moving towards St. 
 Agnes and another saint. High up in the sky 
 is seen the Eternal Father. In the background 
 are the buildings of a city, a river, and an 
 embattled wall. 
 
 HEADS OF JEWS AND ROMAN 
 SOLDIERS. 
 
 By HANS MEMLING. Wood 8^ x 23 inches. 
 Lent by RALPH BROCKLEBANK, ESQ. For- 
 merly in the Collection of Mr. William 
 Graham. 
 
 '"THIS is probably a fragment of an “ Ecce 
 1 Homo ,” representing a portion of the 
 
 crowd. Most of the group are shouting in their 
 demand for the condemnation of Christ. 
 
 The picture had been always regarded as by 
 Quentin Matsys, and was first recognised as by 
 Memling by Dr. Friedlander in 1902, and this 
 appellation is supported by Mr. Weale. 
 
 27 . 
 
GALLERY I. 
 
 39 
 
 28. 
 
 THE VIRGIN ENTHRONED. 
 
 By HANS MEMLING. Panel 25^ x 18^ inches. 
 
 Lent by the DUKE OF WESTMINSTER. 
 
 HIS picture has been said by Eberhard Frei- 
 
 herr van Bodenhausen, to be by Gerard 
 David, or of his School, but Mr. Weale holds 
 it to be by the painter Louis Boel, who 
 was left in charge of Memling’s affairs at his 
 death. Memling may have commenced it, and 
 Boel continued and finished it, or Boel may 
 have composed and executed it throughout 
 from sketches which Memling may have left, 
 and over which Boel had full control. 
 
 A similar picture to this, and assigned to 
 Memling, is in the Uffizzi Gallery. 
 
 29. 
 
 THE VIRGIN AND CHILD. 
 
 By an UNKNOWN PAINTER OF BRUGES. Panel, 
 22^ x 16J/6 inches. Lent by the EARL OF 
 NORTHBROOK. Formerly ascribed to Mem- 
 ling and to Mabuse, but probably by the 
 Master of the Mater Dolorosa in the 
 Church of Notre Dame at Bruges. 
 
 Virgin is seated in an alcove of sculp- 
 
 tured marble of the Renaissance style, 
 ornamented by rams’ heads and arabesques, and 
 holding the Holy Child, who is caressing his 
 mother’s chin. Crimson dress, with green ker- 
 chief across the shoulders and a lilac mantle, 
 which she gathers up with her left hand. The 
 lower limbs of the Child are wrapped in trans- 
 parent muslin. 
 
40 
 
 GALLERY I. 
 
 30 . 
 
 THE DESCENT FROM THE 
 CROSS. 
 
 By PETRUS CRISTUS. Panel 15 x 12 inches. 
 
 Lent by M. ADOLPHE SCHLOSS. 
 
 holy women, with the body of our Lord, 
 
 a.re at the foot of the cross, St. John stand- 
 ing by in a crimson dress. Evening light, with 
 a luminous glow on the horizon. 
 
 THE VIRGIN WITH THE 
 INFANT JESUS. 
 
 By HUGO VAN DER GOES. Panel, IOj£ x Z ]/ 2 
 inches. Lent by MRS. STEPHENSON CLARKE. 
 
 Virgin, seated on a stone bench, holds 
 
 me Infant Jesus on her knee; with her 
 right hand she is picking a flower from the wall 
 at her side, and the Child is stretching out His 
 hand to take it from her. A cloth of honour of 
 black with gold brocade is hung behind her. 
 A landscape in the background, with some 
 churches and other buildings in the distance. 
 
 3 2 - 
 
 THE VIRGIN AND CHILD. 
 
 By HANS MEMLING. Panel 14 x ioj^ inches. 
 
 Lent by SIR JULIUS WERNHER, BART. 
 
 A RICH piece of red drapery falls from the 
 ** Virgin’s head. She is in the act of ten- 
 derly kissing the Holy Child. Trees in back- 
 ground and evening sky. 
 
 31- 
 
GALLERY I. 
 
 41 
 
 33 - 
 
 THE VIRGIN AND CHILD 
 WITH ST. ANNE. 
 
 By a PAINTER OF THE BRUGES SCHOOL. Panel, 
 14 x 10 inches. Lent by SENOR D. PABLO 
 BOSCH. 
 
 Virgin, in blue dress and white mantle, 
 
 is seated on the ground, and St. Anne, sit- 
 ting by, in a rich red mantle and white coiffure, 
 is offering an apple to the Child. The scene is 
 in a landscape, with castellated buildings on the 
 right. 
 
 34 & 39 - 
 
 DIPTYCH, REPRESENTING 
 
 CALVARY IN THE LEFT 
 PANEL, AND IN THE 
 RIGHT THE BLESSED 
 VIRGIN AND CHILD WITH 
 SAINT PHILIPPE AND THE 
 DONOR, SIR PHILIP 
 HINCKAERT. 
 
 By an unknown painter of Brabant. Each panel 
 2 S% x 2 9 inches. Date circa 1460. Lent 
 by CHARLES T. D. CREWS, ESQ. 
 
 interesting work is commemorative of 
 
 oir Philip Hinckaert, the Castellan or 
 Governor of Tervueren, near Brussels, who died 
 in 1460. His grandfather, Gerrelin, was lame, 
 and, in consequence, became known as “ Hinck- 
 aert,” “ hincken,” in Flemish, meaning “ to be 
 lame.” It is recorded that his recovery was due 
 to the intercession of the Virgin, of whom he 
 
42 
 
 GALLERY I. 
 
 implored assistance in the Church of St. 
 Gudule at Brussels. He repeated three times 
 the prayer, “ O mater Dei, memento mei,” and 
 a voice was suddenly heard saying, “ Walk 
 straight, Hinckaert.” 
 
 Sir Philip Hinckaert, wearing a suit of steel 
 armour, and a cloak embroidered with his 
 armorial bearings, is represented in the right 
 panel adoring the Infant Jesus, who is held 
 before him. He invokes the Virgin in the prayer 
 above mentioned, and which is inscribed on the 
 scroll which floats above him. His patron saint, 
 St. Philippe, stands behind him, and on his 
 right, leaning against the prayer-desk, is his 
 ivory-tipped Castellan’s staff, while his helmet 
 and gauntlets lie on the pavement beside him. 
 
 The background is spread with a cloth of 
 honour, into which are woven his knightly badge 
 (a legcradle with its buckle and strap) and the 
 initials P. G. To its left is an escutcheon, on 
 which the arms of Hinckaert and Brabant are 
 quartered, surmounted by a helmet, the crest of 
 which is a crown, from which the Holy Virgin 
 is rising. 
 
 By HANS MEMLING. Panel, centre, 38 x 23 
 inches; wings, 38 x 14^ inches. Lent by 
 MRS. ALFRED MORRISON. 
 
 centre panel shows the Virgin enthroned, 
 
 under a richly sculptured canopy; with the 
 Infant Christ in her lap. He is in the act of 
 reaching forward to take a pear from a kneeling 
 angel, who is holding a violin and bow, while 
 another angel on the opposite side is playing 
 
 35 - 
 
 triptych. 
 
GALLERY I. 
 
 43 
 
 the lute. Through the arches of the canopy a 
 tranquil landscape is seen. 
 
 St. John the Evangelist is shown on the volet 
 to the right and St. John the Baptist on that 
 to the left. Each is represented standing in a 
 cloister, with a view of a landscape through the 
 arches. 
 
 3 6 - 
 
 PORTRAIT OF A MAN. 
 
 By HANS MEMLING. Panel io x 7 inches. 
 Lent by M. CHARLES LEON CARDON. 
 
 37 - 
 
 madonna AND CHILD, WITH 
 SAINTS (Triptych). 
 
 By HANS MEMLING. Centre panel, 21 % x 16 
 inches; side panels, 21^ x 7 inches. Lent 
 by JAMES MANN, ESQ. Formerly in the 
 Collection of W. M. De Zoete, Esq. 
 
 r T , HE blessed Virgin is standing at the paved 
 1 entrance of a chapel giving nurture to the 
 Infant Jesus. Her form is enveloped by a long 
 white gown, over which is a lilac mantle. 
 
 On each volet or shutter an angel is repre- 
 sented ; the one on the right wears a blue robe 
 and red mantle and is playing the lute; the one 
 on the left is in a lilac robe and brown mantle 
 edged with red, and is playing the harp. 
 
44 
 
 GALLERY I. 
 
 38 . 
 
 PORTRAIT OF A YOUNG MAN. 
 
 By HANS MEMLING. Panel 13 x inches. 
 
 Lent by JAMES MANN, ESQ. 
 
 THREE-QUARTER face, almost life-size; 
 A pale complexion; long dark brown hair, 
 falling on either side from beneath a black 
 skull cap; black jacket, the edges slightly 
 turned back, and showing the blue lining; brown 
 vest, drawn together over an undervest of red, 
 by pale blue cords. Blue-grey background. 
 
 Hans Memling was born at Mayence about 1430, 
 and, it is said, learnt the first rudiments of his art 
 at Brussels. That Roger de la Pasture was his 
 master is very probable, as the joint labour of both 
 is evident in certain works. By the year 1470 he 
 was a painter of acknowledged fame in Bruges, to 
 which city he had come about 1467, and there is 
 evidence of his having prospered there by the re- 
 corded possession by him of lands and houses in that 
 city, and of his having married Anne, daughter of 
 Louis de Valkenaere, and being the father of several 
 children. What is believed to be the earliest work 
 extant by him is the triptych he executed for Sir 
 John Donne, of Kidwelly, about 1468, and now in 
 this collection (No. 21). In 1480 he was a con- 
 tributor to the loan raised by Bruges to meet the 
 sum Louis XI of France required from the citizens 
 of Flanders to prosecute the war with Austria. The 
 quaint little city of Bruges is enriched with his 
 masterpieces ; the Hospital of St. John owning six 
 out of the seven authentic works yet remaining in 
 Bruges ; among them being the large famous trip- 
 tych, finished about 1475, which originally adorned 
 the Church of St. John the Baptist attached to the 
 Hospital, and “ The Shrine of St. Ursula,” com- 
 pleted in 1489, perhaps his most famous work. He 
 died on August nth, 1494, anc * was buried in the 
 
GALLERY I. 
 
 45 
 
 Churchyard of St. Giles. He was the last of the 
 painters who preserved consistently the true tradi- 
 tions of the Netherlandish School of the fifteenth 
 century, withstanding the influence of those who 
 journeyed to Italy to imitate the styles of the Italian 
 revival. 
 
 40 . 
 
 THE MISERS. 
 
 By QUENTIN MATSYS. Panel, 34^ X 28X 
 
 inches. Lent by VISCOUNT COBH AM. 
 
 men are seated at a table on which are 
 
 seen numerous coins, a sand box, jewels, 
 and other objects of value, while on a shelf 
 above are documents with seals, and a quaintly 
 wrought candlestick, and, hanging on a nail, a 
 pair of scissors. One of the men, in dark gar- 
 ments and wearing a red headdress with a jewel 
 in it and large eyeglasses, is making an entry, 
 with precision, in an account book, the coins he 
 has counted lying in his left hand. His com- 
 panion, in a red dress and black headdress, 
 leans his right arm on his fellow miser’s shoul- 
 der and looks toward the spectator. 
 
 A work similar to this is in the Royal Collec- 
 tion at Windsor Castle. 
 
 Quentin Matsys was born at Louvain about 
 1466, and was admitted as master in the 
 Guild of St. Luke in 1491. He married, first in 
 1480, and again some 28 years later. He won a 
 great position for himself in his native town, and 
 acquired land and wealth. He was one of the most 
 notable painters of his time, and left a permanent 
 impress on the art of his country. His death took 
 place in 1530. 
 
46 
 
 GALLERY I. 
 
 4 1 - 
 
 THE VIRGIN AND CHILD. 
 
 By QUENTIN MATSYS. Panel 21 % x 1 9 inches. 
 
 Lent by SENOR DON PABLO BOSCH. 
 
 Virgin, with golden hair, and wearing a 
 
 uright red mantle, over a black dress. 
 Landscape seen through a window to the right, 
 with the earlier episode depicted of the Holy 
 Family on their way from Egypt. 
 
 42 . 
 
 THE VIRGIN AND CHILD. 
 
 By QUENTIN MATSYS. Panel 24 x 18 inches. 
 Lent by SIR JULIUS WERNHER, BART. 
 Formerly in the collections of the Rev. J. 
 Fuller Russell and Mr. Wickham Flower. 
 Virgin is seated in a room with the 
 
 infant Jesus on her knee. A fire is burn- 
 ing on the hearth to the right, while a bed is 
 seen on the left. The picture is said to be an 
 early work of Matsys. 
 
 43 - 
 
 THE VIRGIN AND CHILD 
 ENTHRONED. 
 
 By QUENTIN MATSYS. Panel, 29^ x 2 ^% 
 inches. Lent by the EARL OF NORTHBROOK. 
 Engraved by C. ED. TAUREL. 
 
 Virgin is seated beneath a canopy, hav- 
 
 ing a cloth of honour of gold brocade, 
 with flowers and birds, and curtains which are 
 drawn back on either side. Dark blue dress, 
 
GALLERY I. 
 
 47 
 
 full lilac sleeves, and a red mantle. With her 
 left arm she supports the Child, who is seated 
 on a crimson cushion with both his arms round 
 her neck, and in her right hand she holds two 
 cherries. A double row of pearls is in her hair, 
 with a jewel in front. Through an arched 
 opening on the left is seen a hilly landscape 
 with a castle and some trees, and distant moun- 
 tains. On a parapet in front are an apple and 
 a bunch of grapes. 
 
 Several copies of this picture exist, one is in 
 the Museum at Amsterdam, another in the Ber- 
 lin Museum, and a third in a private Collection 
 in Devonshire, and this picture itself has been 
 considered by certain authorities to be a copy. 
 In the middle of the seventeenth century it was 
 in the possession of Peter Stevens, almoner 
 and churchwarden of the Cathedral at Antwerp, 
 where it was seen by Alexander van Fornen- 
 bergh, who describes it at length in his work, 
 “ Den Antwepschen Protheus ofte Cyclopschen 
 Apelles,” published at Antwerp in 1658. 
 
 44. 
 
 A PHILOSOPHER. 
 
 By QUENTIN MATSYS. Panel, 24 x 18^ inches. 
 Lent by the DUKE OF FIFE, K.T. 
 
 A N aged man, seated towards the left, pauses 
 ** for a moment in the reading of the manu- 
 script in his hand, as he places a finger on a 
 human skull, as if he were reflecting on the 
 vanity of life. 
 
 It is said that this picture, with “ The Misers ” 
 at Windsor Castle, was painted to win the hand 
 of Alyt von Tulyt, whose father, an artist, 
 
4 8 
 
 GALLERY I. 
 
 would only allow her to wed a man of the same 
 craft as himself. 
 
 A picture of the same subject, 31 x 26 inches, 
 is in the possession of the Dowager Countess 
 of Seafield. 
 
 45. 
 
 PORTRAIT OF 
 
 A MAN. 
 
 By QUENTIN MATSYS. Panel, 20 x 15 inches. 
 Lent by MADAME EDOUARD ANDRE. 
 
 DUST portrait in profile of a man, turned 
 ^ to the left. Furred robe and heavy black 
 cap. White background, on which is inscribed 
 “ Quintinus Metsys Pingebat anno 1 5 1 3.” 
 
 46. 
 
 THE DESCENT FROM THE 
 CROSS. 
 
 By GERARD DAVID. Panel, 14 x 10 inches, 
 arched. Lent by M. CARVALLO. 
 
 HP HE Holy women and St. John are assisting 
 A Joseph of Arimathea, who is descending a 
 ladder, with the body of our Lord. Rocky land- 
 scape in the background, and heavily clouded 
 sky, betokening the approach of night. 
 
 Up to the year 1861 nothing whatever was known 
 of Gerard David. It was reserved to Mr. W. H. 
 James Weale, late Keeper of the National Art 
 Library, to restore the name of this great artist to 
 its proper place in the history of the Art of the 
 Low Countries. Gerard David was born at Onde- 
 water, South Holland, early in the second half of 
 the fifteenth century, and he came to Bruges late in 
 1483 or early in 1484, in the January of which year 
 he was admitted as Master Painter into the Guild 
 

 
 GALLERY I. 
 
 49 
 
 of St. Luke. It is not known who was his master, 
 but he was probably trained either by Gerard of 
 St. John’s or by Dieric Bouts. He was greatly in- 
 fluenced by Memling, who was at the height of his 
 talent when David settled in Bruges. He here 
 received a commission to paint two large panels for 
 the justice-room of the Town Hall, and these are 
 now in the Town Museum at Bruges. In 1496 he 
 married Cornelia Cnoop, the daughter of a goldsmith 
 at Bruges, and in 1502 he was appointed to the 
 honourable position of Dean of his craft. In 1509 
 he painted gratuitously an altar-piece (a Madonna 
 with angels and saints) for the Carmelite Nuns of 
 Sion at Bruges ; this is now in the Museum at 
 Rouen ; and later on, when they were in need, he 
 generously lent them ten pounds free of interest, on 
 condition that they returned it should he request 
 them to do so; this he did in 1523, when he was 
 dangerously ill. He died on August 13th of that 
 year and was buried in the Church of our Lady at 
 Bruges. His widow married again six years later 
 and left Bruges. 
 
 THE BLESSED VIRGIN AND 
 CHILD RESTING ON THE 
 WAY TO EGYPT. 
 
 By GERARD DAVID. Panel, 23 x 16 inches. 
 Painted circa 1507. Lent by SENOR DON 
 PABLO BOSCH. 
 
 Virgin is seated with the Child, in a 
 
 rocky landscape. Enveloped in a rich 
 blue mantle, only a very small portion of her 
 crimson dress is seen. Both mother and Child 
 are painted with singular delicacy and grace. 
 The Child is in white, and holds a wooden 
 spoon in His right hand. Away to the left are 
 low, distant hills, with, nearer, a church and 
 
 47 
 
50 
 
 GALLERY I. 
 
 other buildings and a winding river; while on 
 the right, forming an admirable background to 
 the principal figures, are the outskirts of a dense 
 wood, where the earlier episode of the flight is 
 seen — the hurrying group of the mother and 
 Child, with St. Joseph, just emerging from the 
 wood. 
 
 An almost exact replica of this interesting 
 work, but with a bough of fruit instead of a 
 basket at the Virgin’s left, is in the possession 
 of Mrs. Frank Stoop, and is believed to be by 
 Adrian Isenbrant (see No. 52). A third ex- 
 ample, smaller, and with many variations, is in 
 the Antwerp Museum. 
 
 48. 
 
 THE VIRGIN AND CHILD 
 (Centre of a Triptych). 
 
 By GERARD DAVID. Panel 24 x i8j^ inches. 
 Lent by M. J. RIKOFF, ESQ. 
 
 r THE Virgin is in a rich crimson mantle and 
 A deep purple dress. 
 
 1 * 
 
 49 * 
 
 Three Scenes from the Life of St. Nicholas of 
 Myra. By GERARD DAVID. Panels each 
 22 l / A x 13^ inches. Lent by LADY WANT- 
 AGE. Formerly in the Collections of 
 Cardinal Despayg, Archbishop of Valencia, 
 and M. Leon de Somzee. 
 
 (a) THE BIRTH OF ST. 
 NICHOLAS, a.d. 326. 
 
 HTHE child stands erect in a bronze bath, his 
 A hands together in prayer, and his eyes 
 raised to heaven, giving thanks for his birth. 
 
GALLERY I. 
 
 5 
 
 He is supported by a woman in Flemish costume 
 of green and red, and with white drapery on 
 her head. An elderly woman standing beyond 
 the child is turning towards the mother, who 
 gazes in timid thankfulness and with her hands 
 folded in prayer, on her miraculous child. 
 
 (b) ST. NICHOLAS BESTOWING 
 A DOWRY ON THE THREE 
 DAUGHTERS OF A NOBLE- 
 MAN OF PANTHERA. 
 
 youthful St. Nicholas has inherited his 
 
 parents’ vast riches, but regards himself 
 merely as the steward of God’s mercies, and 
 gives largely to all in need. In secular dress, 
 he is seen now at the open window of a certain 
 ruined nobleman about to deposit on the sill a 
 bag of gold. The nobleman, in green robe, and 
 with downcast mien, is seated in the apartment 
 where sleep his three penniless daughters. But 
 for the help of St. Nicholas he sees no means of 
 obtaining food for them but by sacrificing 
 them to an infamous life. On the floor may be 
 observed their shoes, stockings and pattens, and 
 on the window seat a black coffer (presumably 
 empty) bound with steel. 
 
 (c) ST. NICHOLAS RESTORING 
 TO LIFE THE DISMEM- 
 BERED CHILDREN IN THE 
 SALT-TUB. 
 
 CT. NICHOLAS, now Bishop of Myra, in epis- 
 
 ^ rnno 1 rAnoc hAlrlinrr o or* ic mo1/_ 
 
 ^ copal robes, and holding a crozier, is mak- 
 ing the sign of the cross over the three children 
 who, in the scarcity of provisions, had been 
 stolen and murdered, and their bodies salted 
 
52 
 
 GALLERY I. 
 
 down to be served up later as meat to his host’s 
 guests. As they rise from the salting-tub, out 
 of which one of them is in the act of stepping, 
 the hands of each are folded in prayer. The 
 clothing of the saint, painted with the care and 
 devotion which characterised the masters of this 
 school, should be observed : the chasuble, of 
 golden brocade; the white alb, showing at the 
 base and at the wrists the “ apparels ” or dress 
 decorations peculiar to bishops of Northern 
 Europe; the jewelled mitre; the amice, or white 
 cloth, round his neck; and the jewel on the back 
 of the scarlet glove. 
 
 Three Scenes from the Life of St. Anthony 
 of Padua (born 1196, died 1231). By 
 GERARD DAVID. Panels each 22^ x 13^ 
 inches. Lent by LADY WANTAGE. 
 
 (a) ST. ANTHONY 
 
 COMPELLING A MULE TO 
 KNEEL BEFORE THE HOLY 
 EUCHARIST. 
 
 saint, in the grey garb of a Franciscan 
 
 monk, is kneeling in adoration before the 
 Host, which floats in a supernatural light over 
 a brass paten Ailed with wafers. Behind him 
 kneels a priest, bearing the covered vessel used 
 for holding the consecrated Host, while oppo- 
 site to him kneels the mule of the heretic 
 Bovidilla. Of the three men standing by, one is 
 Bovidilla himself, who doubted the Real Pre- 
 sence and required a miracle to convince him. 
 He now points to the Host, the other two are in 
 attitudes of astonishment at the miracle. 
 
GALLERY I. 
 
 53 
 
 (b) ST. ANTHONY 
 
 RESTORING TO LIFE A 
 CHILD WHO HAD BEEN 
 DROWNED. 
 
 saint is kneeling at the edge of a stream 
 
 and in the act of assisting the child to rise 
 from the water, his left hand being raised in 
 benediction over it. The parents are standing 
 by, the mother’s hands being folded in thankful 
 prayer. The third figure is apparently a magis- 
 trate, in red tunic and grey cap, holding his 
 wand of office. 
 
 (c) ST. ANTHONY 
 
 PREACHING TO THE 
 FISHES OUTSIDE RUMINL 
 
 saint is standing on a low bank by the 
 
 waterside, addressing the fish, the action 
 of his hands emphasising his argument. In the 
 faces of the group of men a short distance away, 
 who have refused to listen to him, may be dis- 
 cerned various expressions of doubt, wonder, 
 conviction, or adoration. 
 
 THE VIRGIN AND INFANT 
 
 CHRIST, WITH ANGELS. 
 Known as The Madonna with the 
 Cherries. 
 
 By an unknown painter of the early Flemish 
 School. Panel 33 x 26 inches. Lent by 
 • CHARLES WELD-BLUNDELL, ESQ. 
 
 'T'HE Virgin, enthroned beneath an em- 
 A broidered canopy, is gazing with most 
 graceful action upon the Infant Christ sleeping 
 
 5 1 - 
 
54 
 
 GALLERY I. 
 
 on a cushion on her knee, holding an apple in 
 His right hand. She is taking some cherries 
 which an angel is offering her in a basket. On 
 the opposite side three angels are singing. To 
 right and left views are given of a rich land- 
 scape, and on the top of the canopy is the in- 
 scription, “ Pulchra es et Suairs.” 
 
 5 2 * 
 
 THE VIRGIN AND CHILD, 
 
 RESTING ON THE WAY TO 
 EGYPT. 
 
 By ADRIAN ISENBRANT. Panel 20 x 1 7 inches. 
 Lent by MRS. FRANK STOOP. 
 
 '"THIS work is almost identical in design and 
 * colour with that by Gerard David, No. 47, 
 with the exception of the bough of fruit on the 
 right, for which, in David’s, a basket is substi- 
 tuted. 
 
 Adrian Isenbrant was one of several assistants of 
 Gerard David. Previous to 1865 his name was un- 
 known as a painter of the Flemish School. It was 
 then brought to light by Mr. Weale. Isenbrant came 
 to Bruges as a journeyman, and was admitted as 
 master into the guild there in 1510. His compositions 
 very much resemble Gerard David’s work, and many 
 of his pictures were painted for Spain. He continued 
 working in Bruges until his death in 1551. 
 
 53 - 
 
 CHRIST BLESSING. 
 
 By JEROME BOSCH. Panel, 11 % x 8 % inches. 
 Lent by SENOR D. PABLO BOSCH. 
 
 Jerome Bosch, so called from his birthplace, 
 Hertogenbosch (Bois-le-Duc), was born between the 
 years 1460-1464. He executed various paintings for 
 
GALLERY I. 
 
 55 
 
 the Church of St. John in his native place, and later 
 was employed by Duke Philip the Fair. He died in 
 1518. His pictures generally represent spectres, 
 devils, and other grotesque subjects, which are cleverly 
 treated, though he painted a few works of more 
 serious subjects, of which the one now exhibited is an 
 example. It is said that Philip II of Spain so ad- 
 mired his painting that he had an altar-piece by him 
 always in his oratory, and it is thought by some that 
 Bosch once visited Spain for a short period. The 
 Madrid Museum contains several of his works. 
 
 54 - 
 
 THE ADORATION OF THE 
 KINGS. 
 
 By JAN GOSSAERT (MABUSE). Panel 35 X 22 
 inches. Lent by W. E. S. ERLE DRAX, ESQ. 
 
 55 - 
 
 portrait OF AN ELDERLY 
 MAN. 
 
 By JAN GOSSAERT (MABUSE). Panel 18 X 15 
 inches. Lent by M. CHARLES LEON CARDON. 
 
 Jan Gossaert was known as “ Mabuse,” from 
 Mauberge, the place where he was born. In the 
 earlier part of his career he adhered to the style then 
 prevalent in Flanders. He removed to Antwerp in 
 1503, but five years later went in the train of Philip 
 of Burgundy, and then endeavoured to combine with 
 his native style those forms of Italian art which cap- 
 tivated him most. From that time his works, though 
 always executed with the greatest care, lose any 
 deeper interest. He was one of the illuminators of 
 the famous Grimani Breviary, now in the library of 
 St. Mark’s, Venice. On his return from Italy, after 
 an absence of 10 years, he was much employed 
 throughout the Low Countries, and finally returned to 
 
56 
 
 GALLERY I. 
 
 Antwerp, where he died in 1541. He was remarkable 
 for conscientious and elaborate finish, for daylight 
 freshness, and warm and brilliant colouring. 
 
 THE VIRGIN AND CHILD. 
 
 By JAN GOSSAERT (MABUSE). Panel 14^ x 
 10^ inches. Lent by SIR JULIUS WERNHER, 
 BART. 
 
 LJALF-LENGTH figure of the Virgin in dark 
 A A green mantle, over a purple dress. A land- 
 scape to the left, with houses and a winding 
 road. 
 
 PORTRAIT OF ISABELLE DE 
 BOURGOGNE. 
 
 By JAN GOSSAERT (MABUSE). Panell5j4 x 13^ 
 
 inches. Lent by M. CHARLES LEON CARDON. 
 was the sister of Charles V, King of 
 
 Spain, the oppressor of the Netherlands, 
 and was born 1501. She was wedded at Copen- 
 hagen, at the age of fourteen, to King Christian 
 II of Denmark, and died in a castle near Ghent 
 in 1526. Her youth and virtue brought her the 
 affection of her people, and she shared with 
 fortitude the disgrace of her husband. It was 
 through her that the manners and fashions of 
 the brilliant Court of Burgundy were introduced 
 into the north. 
 
 Small half-length, turned toward the 
 left. White gown with large sleeves and cut 
 square, showing a crimson bodice bordered with 
 pearls and a chemisette of fine cloth. A cross, 
 ornamented with precious stones, hangs from a 
 chain round her neck. She is raising the cover 
 
 57 - 
 
GALLERY I. 
 
 57 
 
 of a vase of perfume, which she holds in her 
 left hand. 
 
 THE VIRGIN AND CHILD. 
 
 By JAN GOSSAERT (MABUSE). Panel 20 x 1 5 
 inches. Lent by the EARL OF NORTHBROOK. 
 
 LJALF-LENGTH figure of the Virgin, in a 
 A A blue robe with gold embroidered sleeves 
 and white headdress, supporting the Child in 
 her arms, upon a white cloth. 
 
 THE VIRGIN BY THE 
 FOUNTAIN. 
 
 Ascribed to JAN GOSSAERT (MABUSE). Panel 
 41^ x 32^ inches. Lent by the CORPORA- 
 TION OF GLASGOW. Formerly in the Col- 
 lection of Mr. Archibald MLellan. 
 
 Virgin is seated amid flowers, with the 
 
 infant Christ, whom she is nursing. Green 
 robe with yellow sleeves, and red drapery 
 around her, with an embroidered border. At 
 her side is a richly sculptured fountain which 
 adorns the garden of the vast palatial dwelling 
 on the right. A hilly landscape, with fields and 
 woods, river, and distant castle are on the left. 
 An open book of devotions lies at her feet. 
 
 By Dr. Friedlander this picture is assigned 
 to Bernard van Orley. A replica of it, but 
 smaller in size, is in the Ambrosiana at Milan, 
 and bears the name of Mabuse. 
 
 Near the top of the panel, on the right, a Y 
 is stamped, on a crown. 
 
 59 - 
 
58 
 
 GALLERY I. 
 
 5 9 A - 
 
 THE DESCENTFROMTHECROSS 
 
 By AMBROSE BENSON. Panel 47 x 37 inches. 
 Lent by PROFESSOR HOW. 
 
 Ambrose Benson, born in Lombardy, settled in 
 Bruges in the early part of the sixteenth century, 
 and continued there until his death, which occurred 
 about 1560. 
 
 THE MADONNA AND CHILD. 
 
 By JAN GOSSAERT (MABUSE). Panel 48 x 42 
 
 inches. Lent by CHARLES WELD-BLUNDELL, 
 
 Virgin, enthroned, holds on her knee the 
 
 Holy Child, who is grasping a goldfinch. 
 To the left an angel is playing on a Jew’s harp, 
 while an angel opposite holds a music book. In 
 the foreground, wearing the Order of St. 
 Michael and a rich blue mantle, ornamented with 
 golden fleur-de-lis, as if he were a monarch of 
 France, is an aged man, in the act of kneeling. 
 Opposite to'liim isthe kneeling figure of St. 
 Margaret, on whose shoulder a dove is resting, 
 and under whose feet is a terrible human visage, 
 representing Satan. The man has been thought 
 to be Louis XII of France, but a description 
 which exists of the picture points to his being a 
 Count de la March, and the opposite figure the 
 Count’s wife, not St. Margaret. 
 
 THE VIRGIN AND CHILD 
 IN A LANDSCAPE. 
 
 By JOACHIM PATENIER ( ?). Panel 16 X 13 
 inches. Lent by M. J. RIKOFF, ESQ. 
 
 60. 
 
 ESQ. 
 
 6l. 
 
GALLERY I. 
 
 59 
 
 62. 
 
 THE VISION OF ST. 
 ILDEPHONSUS. 
 
 By ADRIAN ISENBRANT. Panel, l 6)4 X 14^ 
 inches. Lent by the EARL OF NORTHBROOK. 
 A similar work to this was in the Collection 
 of the Rev. J. M. Heath, Vicar of Enfield. 
 
 ILDEPHONSUS was a learned Benedictine 
 1 abbot of a monastery called Agaliense, near 
 Toledo, of which city he was promoted to the 
 archbishopric about A.D. 657. He wrote a cele- 
 brated book entitled “ The Spotless Virginity 
 of the Virgip Mary,” in answer to the heretic 
 Helvidius; and the Virgin consequently re- 
 garded him with especial favour. He was enter- 
 ing the cathedral at the head of a midnight 
 procession when he perceived the high altar in 
 a blaze of light. He alone of all the clergy 
 ventured to approach, and found the Virgin 
 seated in the ivory episcopal chair, surrounded 
 by three singing angels. He bowed to the 
 ground before the heavenly vision, and the 
 Virgin thus addressed him : “ Come hither, most 
 faithful servant of God, and receive this robe 
 which I have brought thee from the treasury 
 of my Son.” Then she threw over him a red 
 chasuble with gold orphreys, which the atten- 
 dant angels adjusted on his shoulders. From 
 that night the ivory chair remained unoccupied, 
 and the celestial vestment unworn, until the 
 days of the presumptuous Archbishop Sisiberto, 
 who met a miserable death for seating himself 
 in the one and arraying himself in the other. 
 
 Ascribed to Adrian Isenbrant by Eberhard 
 Freiherr van Bodenhausen. 
 
GALLERY I. 
 
 6o 
 
 \ 
 
 
 I 
 
 63 - 
 
 CATHERINE OF ARAGON. 
 
 By an UNKNOWN FLEMISH ARTIST OF THE SIX- 
 TEENTH CENTURY. Panel, 16 x 10^ inches. 
 Lent by CAPTAIN E. G. PRETYMAN. 
 
 (CATHERINE, daughter of Ferdinand and 
 ^ Isabella, King and Queen of Spain, was 
 born at Alcala de Henares in 1485. Married, 
 at the age of sixteen, to Arthur, Prince of 
 Wales, and at his death to his brother, King 
 Henry VIII as his first wife, she being then 
 twenty-four and Henry eighteen. In 1533 
 Henry divorced her. She died at Kimbolton 
 Castle, 1536. 
 
 Small half-length, standing toward the left, 
 her hands together as if in prayer, black coiffure, 
 and rich black dress, with a jewel suspended 
 from her neck. 
 
 64. 
 
 THE VIRGIN AND CHILD. 
 
 By JOOST VAN CLEVE. Panel, 8^ x 7 inches. 
 Lent by DR. MAX WASSERMANN. 
 
 TTHE Virgin wears a vivid red mantle over a 
 A black dress. 
 
 6 5 - 
 
 CHRIST BEARING THE 
 CROSS. 
 
 By MICHIEL VAN COXCIEN. Panel, 31 X 20 
 inches. Lent by SENOR D. PABLO BOSCH. 
 
 Michiel van Coxcien was bom at Mechlin in 
 1499. He first studied with his father, and later with 
 
GALLERY I. 
 
 6l 
 
 Bernard van Orley, with whom he went to Rome, 
 where he learnt much from the works of Raphael. 
 They so far affected his style that he became known 
 as the Flemish - Raphael. Among the works en- 
 trusted to him in Rome was the painting of two 
 chapels in the Santa Maria dell ’Anima. He was 
 forty when he returned to the Netherlands, when he 
 became a member of the Guild of St. Luke, at Mech- 
 lin. Examples of his work are in most of the Euro- 
 pean galleries, and the churches of Brussels and Ant- 
 werp contain many of his productions. Both Charles 
 V and Philip II employed him. He lived to be 
 ninety-three years of age, dying in 1592. 
 
 PORTRAIT OF MARGARET OF 
 AUSTRIA. 
 
 By BERNARD VAN ORLEY. Panel, 14 X 11)4 
 inches. Lent by M. CARVALLO. Burl. 22, 
 page 300. 
 
 DALLID face, white coiffure, and black dress, 
 1 turning towards the left. 
 
 CHARLES V. 
 
 By BERNARD VAN ORLEY. Panel, 14^ x 1 1 
 inches. Lent by the EARL OF NORTHBROOK. 
 
 r^HARLES V was born at Ghent, 1500, and 
 ^ died at Yuste, in Spain, 1558. He was the 
 son of Philip of Burgundy and Joanna, the 
 daughter of Ferdinand and Isabella. Fie be- 
 came King of Spain at the age of sixteen, and 
 married, at the age of twenty-six, Isabella, 
 daughter of Emanuel the Great, King of Portu- 
 gal. It was in his reign that the Spaniards con- 
 
 66 
 
62 
 
 GALLERY I. 
 
 quered Mexico and Peru. He abdicated the 
 government of the Netherlands in favour of his 
 son Philip II in 1555, and of Spain in 1556. 
 
 The Emperor is on a white charger, and wears 
 a rich suit of armour and a fantastically-shaped 
 helmet with drooping plumes. He holds an 
 arrow in his right hand and the reins in his left, 
 which rests on the pommel of his sword. A 
 Moorish king, clutching at a sceptre and im- 
 ploring mercy, lies on the ground before him. 
 Beyond the figures is an archway of the Renais- 
 sance style. 
 
 68 . 
 
 PORTRAIT OF A LADY. 
 
 By BERNARD VAN ORLEY. Panel, 17^ X 12 
 inches. Lent by WM. ASCH, ESQ. 
 
 LJALF-LENGTH figure in a black dress, with 
 * * vivid red sleeves, standing towards the 
 left by a green covered table, on which is a rich 
 metal vessel. She is reading from an illumi- 
 nated volume. 
 
 Bernard, or Barent, Van Orley, was born about 
 1491 at Brussels, where his family, noted for artistic 
 talents, flourished for three centuries. When young 
 he studied in Rome, in the school of Raphael. Re- 
 turning to Brussels he was appointed Court Painter 
 to Margaret of Austria, regent of the Netherlands, 
 and, together with Michael Coxie, he superintended 
 the making of the tapestries for the Vatican, from 
 Raphael’s cartoons, which were woven in Brussels 
 by Pieter van Aelst. He also himself drew designs 
 for tapestry, and for paintings on glass. Some of 
 the windows in the church of St. Gudule, at Brussels, 
 are from his cartoons. He died in Brussels in 1542. 
 
GALLERY I. 
 
 63 
 
 69. 
 
 PORTRAIT OF A FLEMISH 
 LADY. 
 
 Artist unknown. Panel 9^ x inches. 
 Lent by RALPH BROCKLEBANK, ESQ. For- 
 merly in the Collection of Mr. Gibson 
 Craig. 
 
 LJEAD and shoulders of a lady facing 
 * * slightly to the left. Black dress with a 
 cape, small white ruff round her neck and a lace 
 cap. Landscape background, showing a piece 
 of water fringed with bushes near at hand, and 
 an inn and bowling green a little distance away, 
 with two men playing bowls. 
 
 70 . 
 
 THE VIRGIN AND INFANT 
 JESUS. 
 
 By JOACHIM PATENIER. Panel, 6x4^ inches. 
 Lent by M. GUSTAVE DREYFUS. 
 
 Joachim Patenier was born at D inant in the latter 
 part of the fifteenth century, and became a master 
 painter in the Guild of St. Luke at Antwerp, in 1515. 
 His second marriage took place in 1521, and Albert 
 Durer was present and drew his portrait. Although 
 some distance in point of time from the two great 
 founders of the Flemish School, he remained to the 
 last a true Fleming, and free from the Italianizing 
 influence which possessed many of his countrymen. 
 He died in or possibly before 1524. 
 
 71 - 
 
 portrait OF A LADY. 
 
 By BERNARD VAN ORLEY. Panel, 25 X 18 inches. 
 Lent by the EARL OF NORMANTON. 
 
64 
 
 GALLERY I. 
 
 72 . 
 
 PORTRAIT OF A YOUNG MAN. 
 
 By JOOST VAN CLEVE. Panel, 16^ x 12 inches. 
 Lent by the EARL OF WEMYSS. 
 
 Joost van Cleve, or Zotto Cleefe (Crazy Cleefe), 
 was born at Antwerp early in the sixteenth century. 
 It is said that before he arrived at the perfection he 
 might have attained in his art, his head was turned 
 with vanity. He came to England during the reign 
 of Mary Tudor, expecting to obtain great prices for 
 his pictures from King Philip, who was forming a 
 collection, but unfortunately for him, some works by 
 Titian arrived at the same time, and the Venetian 
 master outshone the Fleming. The neglect drove 
 him into a frenzy, and he had to be confined. He 
 died, it is said, soon after in a wretched condition. 
 
 73 - 
 
 THE LAST SUPPER. 
 
 It has hitherto borne the name of ALBERT DURER, 
 and also of LUCAS VAN LEYDEN, but con- 
 siderations of style and technique point to 
 its being by some Flemish painter of the 
 sixteenth century. Panel, 53^ x 65^ 
 inches. Dated 1527 on the gilt metal work 
 filling the upper part of the window. Lent 
 by the DUKE OF RUTLAND, K.G. 
 
 QUR Lord occupies the centre of the table, 
 ^ with an open window behind, showing a 
 landscape of remarkable beauty. Great study 
 is shown of character and expression in each of 
 the disciples. Attention may particularly be 
 drawn to the figure with red hair, at the end of 
 the table. He is said to resemble Martin Luther, 
 whose religious opinions were exciting so much 
 
GALLERY I. 
 
 65 
 
 agitation at the time this picture was painted. 
 His dress differs from those of the rest of the 
 disciples, and he wears shoes, whereas their feet 
 are bare. Yet, the introduction of the great Re- 
 former into such a picture as this, painted on 
 Netherlandish soil, would be calculated to ex- 
 pose the painter to grievous peril, owing to the 
 bloody edicts at that time in full force for the 
 suppression of his converts. The figure of 
 Judas is well depicted in the act of starting 
 from his seat as he clutches the bag, concealed 
 behind him. 
 
 The scene is in a lofty and stately hall, with 
 an arched passage at the side leading into a 
 distant chamber, where a woman is seated at 
 work, while on the wall are seen two circular 
 bas-reliefs representing David killing Goliath 
 and Samson slaying the Philistines. A repre- 
 sentation of the entry of our Lord into Jeru- 
 salem is seen through the window, with the gate 
 of the city on one side and palm trees on the 
 other, in the branches of one of which Zacchaeus 
 may be discerned. 
 
 A version of this picture is in the Brussels 
 Museum, dated in two places 1531, and attri- 
 buted to Pierre Coeke, born 1502, died 1550; 
 it was acquired from M. E. le Roy in 1857. An- 
 other version is in the Liege Gallery, and was 
 in the Collection of M. van der Weyer, of 
 Cologne, until 1862, when the Collection was 
 dispersed. A third version is in the Nuremberg 
 Museum, dated twice, 1551 and 1550, and de- 
 scribed as “ a copy from Lambert Lombard’s 
 original in the Liege Gallery.” Yet a fourth 
 version, dated 1531, is in the Collection of Sir 
 Frederick Cook, at Richmond, and figures in 
 the present Exhibition (No. 78). 
 
 Engraved (with alterations) by Goltzius, 
 
 1585. 
 
 C 
 
66 
 
 GALLERY I. 
 
 74 - 
 
 triptych. 
 
 By HERRI DE BLES. Panel, centre, 32 x 27 
 inches ; side panels, 32 x 1 1 inches. Lent 
 by SENOR D. PABLO BOSCH. 
 
 Hr HE centre panel represents the adoration of 
 * the Kings, and shows the Virgin and Child 
 in a pillared court, and the arrival of richly- 
 clad men, bearing costly presents. 
 
 The left panel pictures the annunciation, and 
 the right the Holy Child lying in the manger. 
 
 PORTRAIT OF MARY TUDOR, 
 QUEEN OF ENGLAND. 
 
 By LUCAS DE HEERE. Panel 30 X 22 y 2 inches. 
 
 Lent by SIR CUTHBERT QUILTER, BART. 
 
 1 WJ ARY, daughter of Henry VIII and Cathe- 
 rine of Aragon, was born at Greenwich in 
 1516, succeeded to the throne of England in 
 1553, and the following year married Philip II 
 of Spain. Died at St. James’s Palace 1558, and 
 buried in Westminster Abbey. 
 
 Three-quarter length, nearly life-size, seated, 
 facing spectator. Black dress, ornamented with 
 gold embroidery, and open at the neck, disclos- 
 ing a pale pink bodice, bordered with costly 
 needlework, sleeves richly furred at the elbows. 
 Black cap, with a band of pale red on it. Metal 
 girdle. Thin auburn hair against the pale cal- 
 culating countenance in which craft and narrow- 
 ness seem the predominating influences. Hands 
 together in front holding a rosary. 
 
 Lucas de Heere was born at Ghent in 1534, of 
 a family noted for their artistic proclivities in sculp- 
 
GALLERY I. 
 
 6 ; 
 
 ture, architecture, and miniature painting. He 
 studied under his parents, and later with Frans 
 Floris, at Antwerp. He then went to Paris, where 
 he was employed by Catherine de Medici in making 
 designs for tapestries for the Royal residences. He 
 must have been still young when he first visited Eng- 
 land, as Mary Tudor, the subject of the present por- 
 trait, died when he was but twenty-four. He was a 
 poet as well as a painter, and verses are preserved 
 which he addressed to the young and wealthy Pro- 
 testant daughter of the Burgomaster of Vere, whom 
 he afterwards won in marriage. For her he became 
 a Protestant, but fled with her to England on the 
 arrival of the Duke of Alva as Governor of the 
 Netherlands. Here he painted Queen Elizabeth and 
 many of the nobility. He returned to Ghent in 1577, 
 and died in Paris in 1584. 
 
 76. 
 
 PORTRAIT OF AN ELDERLY 
 MAN. 
 
 By JOOST VAN CLEVE. Panel, i 6)4 x 12 inches. 
 
 Lent by the EARL OF WEMYSS. 
 
 77 - 
 
 THE LAST SUPPER. 
 
 By AN UNKNOWN PAINTER OF THE FLEMISH 
 SCHOOL OF THE SIXTEENTH CENTURY. Panel, 
 25 x 32 inches. Dated 1531. Lent by 
 SIR FREDERICK COOK, BART., M.P. 
 
 A reference to picture No. 74 will explain 
 this work. 
 
68 
 
 GALLERY I 
 
 78 . 
 
 THE CALL OF ST. MATTHEW. 
 
 By JAN VAN HEMMESSEN. Panel, 27 x 33^ 
 inches. Lent by the EARL OF NORTHBROOK. 
 Formerly in the Collection of Mr. Edward 
 Puckle. At the Bruges Exhibition of Fle- 
 mish Art, in 1902, this picture was assigned 
 in the Catalogue to Marinus Claeszone de 
 Romerswael, called Le Zelandais, with the 
 note : “ This picture has been several times 
 copied, among others by Jean Sanders de 
 Hemixen.” A somewhat similar picture, 
 signed Jan van Hemmessen, is in the Ant- 
 werp Museum. 
 
 the left, our Lord, in grey, is turning to 
 ^ address Matthew, who is bending over his 
 office counter, holding a singularly-shaped hat, 
 round which is bound a brown scarf. On the j 
 counter are a coffer, a plate containing pieces of 
 money, a money-box, an inkstand and pen, with 
 some account books, one of which is open, show- j 
 ing the entries : “ Item, vertolt in Juli,” etc., etc. i 
 St. Peter is seen outside the office, in green, and 
 two other apostles, while in the background are 
 two towers, with a mountain in the distance. 
 
 Jan van Hemmessen, a painter of the sixteenth - 
 century, was born at Hemixen, near Antwerp. He j 
 was a member of an artistic family of whom little < 
 was known, though recent writers have shed some light 
 upon their history. A pupil of Hendrik van Cleef, ] 
 the elder, in 1519, at Antwerp, in 1535, 1537, he 1 
 started a studio and pupils of his own. In 1547 he j 
 was Dean of the Society of St. Luke. Towards the 
 close of his career he removed to Haarlem. 
 
GALLERY I. 
 
 69 
 
 79 . 
 
 THE SAVIOUR TAKING LEAVE 
 OF HIS MOTHER. 
 
 By LAMBERT LOMBARD. Panel 35 x 2i} 2 7 inches. 
 Lent by the CORPORATION OF GLASGOW. 
 Formerly in the Collection of Mr. Archi- 
 bald MLellan. 
 
 '"THE Saviour, with several of the Apostles, is 
 A taking leave of Mary, who is kneeling be- 
 fore Him, in front of an arched gateway. Other 
 of the holy women are with her. In the land- 
 scape beyond is a walled city representing 
 Jerusalem. 
 
 Lambert Lombard was born at Liege, in 1505. He 
 was a pupil of Mabuse, and visited Italy in the suite 
 of Cardinal Pole, where he acquired the Italian style 
 of painting. He afterwards returned to Liege, where 
 he established a school of painting, receiving many 
 pupils. He died poor, in 1566. 
 
 80. 
 
 PORTRAIT OF A LADY. 
 
 By PIETER POURBUS. „ Panel, 19 x 14 inches. 
 Lent by SIR CHARLES TURNER, G.C.E.I. 
 
 Pieter Pourbus was born at Gouda about 1510. 
 He was originally a mason, and when he became noted 
 as a painter and an architect, he marked his works 
 with a trowel. He painted for the city of Bruges a 
 large map or picture showing with the minutest detail 
 the territory with the jurisdiction of the Bruges magis- 
 tracy. This immense work is still in the Hotel de 
 Ville of that city. His portraits are in many cases 
 notable productions of great interest. He died in 
 1584, some say, at Bruges, others at Antwerp. 
 
GALLERY II. 
 
 m 
 
 81. 
 
 PIETER JACOBSZ OLYCAN. 
 
 By FRANS HALS. Canvas 26 1 / 2 x 22 l / 2 inches. 
 Lent by VERNON WATNEY, ESQ. 
 
 A N elderly man, in black costume and broad 
 ** white ruffle, facing the right. 
 
 A portrait of his son, also by Frans Hals, is 
 in the Museum at the Hague, No. 459. 
 
 82. 
 
 LANDSCAPE. 
 
 By PETER PAUL RUBENS. Panel 12 X 16 inches. 
 Lent by M. ADOLPHE SCHLOSS. 
 
 83. 
 
 PORTRAIT OF A LADY. 
 
 By ANTHONY VAN DYCK. Canvas 49 x 38 
 inches. Lent by the VISCOUNT COBHAM. 
 
 '"THREE-QUARTER length figure, turned 
 A towards the right, in elegantly cut blue 
 dress, ornamented with pearls. She is engaged 
 with a basket of roses. 
 
GALLERY II. 
 
 71 
 
 84. 
 
 THE EARL OF PETERBOROUGH. 
 
 By ANTHONY VAN DYCK. Canvas, 86^ x 49 
 inches. Lent by MAJOR M. ELRINGTON 
 BIS SET. 
 
 pULL-LENGTH figure, moving through a 
 * court towards the right. Red embroidered 
 dress, lace collar, and the left hand, ungloved, 
 pulling aside the dark curtain as he passes. 
 
 Sir Anthony Van Dyck was born at Antwerp, 
 1599. At the age of ten he became the pupil of 
 Hendrik van Balen, but his great instructor was 
 Rubens, with whom he lived for four years. Before 
 his twentieth birthday he was admitted a master of 
 the Antwerp Corporation of Painters. By the advice 
 of Rubens, he visited Italy, and remained there five 
 years. On his return he painted among others his 
 celebrated picture of “The Crucifixion” for the 
 i church of St. Michael, at Ghent, and this it was 
 which established his reputation as one of the 
 Masters of the age. He soon acquired, too, an un- 
 rivalled reputation as a portrait painter. In 1630 
 he visited Englind, but not meeting with the recep- 
 j tion he had anticipated, he returned to his own 
 country; but in 1632, Charles I, who had seen a 
 portrait of his Chapel -Master by Van Dyck, sent an 
 express invitation to him to come to England, and 
 on this occasion he was most courteously received, 
 being lodged by the king at Blackfriars, and in the 
 following year knighted. He was also granted a 
 pension of jQ 200 per annum for life. He settled in 
 England, where his success as a portrait painter 
 enabled him to live in great style. He had a country 
 house at Eltham, and kept great state when in town ; 
 “ he always went magnificently dressed, had a nume- 
 rous and gallant equipage, and kept so good a table 
 in his apartment that few princes were more visited 
 or better served.” He died in London, 1641, at the 
 age of forty-two, and was buried in the old church 
 
72 
 
 GALLERY II. 
 
 of St. Paul, near the tomb of John of Gaunt. Not- 
 withstanding his expensive style of living, he left 
 property to the value of about jQ 20,000 sterling. 
 
 In freshness, force, and vigour of handling his 
 works are unsurpassed. 
 
 8c. 
 
 J 
 
 PORTRAIT OF QUEEN 
 
 HENRIETTA MARIA, WIFE 
 OF CHARLES I. 
 
 By ANTHONY VAN DYCK. Canvas, 40% x 32 
 inches. Lent by LADY WANTAGE. Formerly 
 in the Collection of the Duke of Marl- 
 borough. Smith, Vol. Ill, No. 257. En- 
 graved by P. de Jode. 
 
 LJENRIETTA MARIA was the youngest 
 A * daughter of Henry IV of France, and was 
 born in 1609. At the age of sixteen she married 
 Charles I in the year of his accession to the 
 throne of England. She became the mother of 
 King Charles II and King James II. 
 
 Three-quarter length figure, standing towards 
 the left, and with her hand on some roses which 
 lie on the table. Silvery-grey dress, with red 
 bows. 
 
 86 . 
 
 MARIE VOOGT CLAESDR — 
 
 WIFE OF PIETER JACOBSZ 
 OLYCAN (No. 81). 
 
 By FRANS HALS. Canvas 26 1 / 2 x 22 y 2 inches. 
 Lent by VERNON WATNEY, ESQ. 
 
 A N elderly lady in black dress and white 
 ruffle and cap, and with a book in her 
 hand, facing the left. 
 

 GALLERY II. 
 
 73 
 
 Another portrait of this lady, also by Frans 
 Hals, is in the Museum at Amsterdam, No. 447. 
 
 87 - 
 
 interior WITH FIGURES. 
 
 By DAVID TENIERS THE YOUNGER. Copper, 
 14^ x 20 inches. Lent by EARL HOWE. 
 
 David Teniers was born at Antwerp, 1610. He 
 studied under his father, David Teniers, the elder, 
 whose style he adopted, but the influence of Rubens 
 and of Adriaen Brouwer is perceptible in his pic- 
 tures. He was admitted a Master into the Antwerp 
 Guild of Painters in 1632-3. Fie was twice married, 
 his first wife being Anna Brueghal, daughter of the 
 painter Jan Brueghal. In 1648 he settled in Brus- 
 sels, and became Court Painter and one of the Cham- 
 berlains of the Archduke Leopold. He bought himself 
 a country seat at Perck, a village between Antwerp 
 and Mechling, which became the constant resort of 
 the Spanish and Flemish nobility, and it was there 
 he died on 25th April, 1690. His colouring is very 
 delicate, his handling of the brush light and spirited, 
 and he is reputed to be the greatest genre painter 
 of all times. 
 
 88 . 
 
 PORTRAITS OF VAN ZURPELAN 
 AND HIS WIFE. 
 
 By JACOB JORDAENS. Canvas 84 x 75 inches. 
 Lent by the DUKE OF DEVONSHIRE, K.G. 
 
 nr PIE lady is seated to the right in an arm- 
 A chair, and her husband stands beside her 
 with a staff in his right hand ; both are dressed 
 in black with white lace collars and cuffs, and 
 are looking at the spectator. A red sash em- 
 
74 
 
 GALLERY II. 
 
 broidered with gold is worn by van Zurpelen; 
 near him is a white dog, and above him is a red 
 curtain. The sky is seen through arched open- 
 ings beyond. 
 
 Exhibited at the Antwerp Exhibition of Jor- 
 daen’s works, 1905. 
 
 Jacob Jordaens was born at Antwerp in 1593. He 
 was a pupil of Adam van Noort, whose daughter, 
 Catherine, he married. His talent attracted the at- 
 tention of Rubens, a fellow student of his, who greatly 
 assisted him, and engaged him to paint from his 
 designs a series of cartoons to be executed in tapestry 
 for the King of Spain. In 1638 he painted for the 
 same monarch the fine landscape with the story of 
 “ Vertumnus and Pomona,” which was taken away 
 by Joseph Bonaparte when he abdicated the throne of 
 Spain. Jordaens prospered in his art, and built a 
 magnificent house at Antwerp. He died of the plague 
 in that city in 1678. His works are numerous, and are 
 to be found in almost everv public building in Bel- 
 gium. 
 
 QUEEN TOMYRIS WITH THE 
 HEAD OF CYRUS. 
 
 By PETER PAUL RUBENS. Canvas 80 x 141 
 inches. Painted 1620. Lent by the EARL 
 OF DARNLEY. Formerly in the Collections 
 of Queen Christina of Sweden and of the 
 Duke of Orleans. A sketch for the picture 
 is in the possession of Lord Darnley, and 
 a modified copy is in the Louvre, treated 
 vertically, 103 x 73 inches. 
 
 ^\RUS THE GREAT, before attacking the 
 Massagetae, a people beyond the Araxes, 
 offered to marry their widowed queen, Tomyris; 
 the offer was rejected, and Cyrus invaded her 
 
GALLERY II. 
 
 75 
 
 territory. A battle was fought in which Cyrus 
 was defeated and slain, and his body, having 
 been brought to the Queen, she ordered the head 
 to be cut off and thrown into a pail of human 
 blood, in order, she said, that as he loved blood 
 he should have enough of it. 
 
 Dante makes reference to this occurrence in 
 Canto XII of the “ Purgatory,” in which the 
 Florentine — 
 
 “ . . . . Was shown 
 
 The scath and cruel mangling made 
 By Tomyris on Cyrus, when she cried, 
 
 ‘ Blood thou didst thirst for; take thy fill of blood.’ ” 
 
 Peter Paul Rubens was born at Siegen, in West- 
 phalia, on the day of St. Peter and St. Paul, June 
 28th, 1577. His parents were natives of Antwerp, but 
 as Protestants, on account of the religious disturb- 
 ances of the time in the Netherlands, they removed 
 to Cologne, whence his father, who was a lawyer, 
 having incurred the displeasure of the authorities, was 
 sent for a time with his family to Siegen. In 157 8 
 they returned to Cologne, where the artist’s father 
 died. His mother and her children then went back 
 to Antwerp. At an early age Rubens studied for four 
 years with Otto van Veen, afterwards going to Italy, 
 where he stayed for over eight years, entering the ser- 
 vice of Vicenzo Gonzaga, Duke of Mantua. In 1605 
 he was in Madrid, where he painted several portraits 
 of the nobility. He returned home to Antwerp on 
 hearing of the illness of his mother, and was appointed 
 Court painter to the Archduke Albert in 1609. The 
 same year he married his first wife, Isabella Brant, 
 and built for himself a magnificent house. In 1629 
 he was sent on a diplomatic mission to England, 
 where he received the honour of knighthood from 
 Charles I, a similar title being conferred on him by 
 Philip IV of Spain. In this year he married his 
 second wife, Helen Fourment, a beautiful girl of six- 
 teen. His first wife, by whom he had two sons, died 
 three years previously. 
 
GALLERY II. 
 
 /6 
 
 Rubens died at Antwerp in 1640, having amassed a 
 large fortune. He was a great and versatile artist, 
 and left behind him an immense number of pictures 
 and drawings, the paintings alone amounting, it is 
 supposed, to some thousands. 
 
 90 . 
 
 RINALDO AND ARMIDA. 
 
 By ANTHONY VAN DYCK. Canvas 76 x 78 y 2 
 inches. Lent by LORD HYLTON. 
 
 'T'HE picture is in illustration of Tasso’s 
 ^ “ Jerusalem delivered.” The crusaders, led 
 
 by Rinaldo, had arrived at the Holy City, to 
 effect its release from Pagan domination, and 
 the beautiful sorceress, Armida, was employed 
 to ensnare him and his companions. Rinaldo was 
 led to a remote island, where, amid its voluptuous 
 attractions, he forgot his Christian mission. 
 Overshadowed by trees, and lost in luxury, he 
 is here seen sleeping on a bank, while Armida 
 binds a wreath about him. Amorini and a siren 
 attend her. The romance relates that by means 
 of a talisman, the enchantments were dissolved, 
 and the knight was rescued and returned to the 
 war. The sorceress following him, he converted 
 her to Christianity, and devoted himself thence- 
 forth to her service. A version of this subject 
 by van Dyck is in the Louvre, another in the 
 collection of the Duke of Newcastle, and two 
 other versions are known. 
 
GALLERY II. 
 
 77 
 
 9 1 - 
 
 PORTRAIT OF VITELLESCHI, 
 CHIEF OF THE JESUITS. 
 
 By ANTHONY VAN DYCK. Canvas, 79 x 4 7 
 inches. Lent by LORD BATTERSEA. 
 
 ETULL-LENGTH figure, life-size, head turned 
 A slightly to left, arm resting on the base of 
 a pillar. He is holding a book with the fore- 
 finger between the leaves ; left hand holding his 
 black robe; dress black; architectural back- 
 ground. 
 
 92 . 
 
 PORTRAIT OF THE 
 ARTIST’S WIFE. 
 
 By JACOB JORDAENS. Canvas 36^ x 28^ inches. 
 Lent by FREDERICH C. K. FLEI SCHMANN, ESQ. 
 Exhibited in the Antwerp Exhibition of 
 Jordaen’s works, 1905. 
 
 SKETCH PORTRAIT OF ONE 
 OF THE PAINTER’S 
 DAUGHTERS. 
 
 By PETER PAUL RUBENS. Panel l8j^ X 13 
 inches. Lent by WILLIAM HARVEY, ESQ. 
 
 94. 
 
 A YOUNG LIONESS AT PLAY. 
 
 By PETER PAUL RUBENS. Canvas, 44 x 78 
 inches. Lent by the EARL OF NORMANTON. 
 Formerly in the Collection of Mr. G. Wat- 
 son Taylor. 
 
 

 7 » 
 
 GALLERY II. 
 
 95 - 
 
 dead FAWN AND FRUIT. 
 
 By FRANS SNYDERS. Canvas, 70 x 55 inches. 
 
 Lent by W. ROME, ESQ., F.S.A. 
 
 Frans Snyders was a native of Antwerp. He was 
 born about 1579, and studied under Peter Brueghel 
 the younger, and afterwards under Hendrick van 
 Balen. He was an intimate friend of Rubens. He 
 painted chiefly dead game, fish, fruit, and vegetables, 
 generally the natural size. As his father owned a 
 large eating-house, he had ample opportunity for 
 obtaining models. Later, he introduced figures and 
 the living forms of animals into his pictures, and pro- 
 duced powerful incidents of the chase, for which he 
 became celebrated. These were no doubt suggested or 
 inspired by Rubens. In the painting of fruit he is 
 unsurpassed ; with his broad touch and his clear colour 
 he reproduced with great truth the characteristic sur- 
 face of each product of the garden. He ranks next to 
 Rubens as a painter of animals. His fame was 
 great, and princes and nobles were anxious to secure 
 his paintings. He died at Antwerp, 1657. 
 
 A YOUNG MAN PLAYING A 
 GUITAR. 
 
 By FRANS HALS. Canvas, 32 x 29 inches. Lent 
 by EARL HOWE. 
 
 Frans Hals was born at Antwerp about 1580. 
 He was one of the greatest of portrait painters. His 
 parents, who were of noble family, afterwards re- 
 moved to Haarlem. Frans was twice married and 
 had seven sons, five of whom were painters. He was 
 a man of drunken and violent character, and was 
 brought once before the magistrate for ill-treating 
 his wife ; expressing contrition, he was discharged on 
 
GALLERY II. 
 
 79 
 
 the understanding that on the next occasion it would 
 be met with severe punishment. He was idle and 
 fond of pleasure, but his abilities as a painter were 
 held in high esteem by his fellow citizens, who seem 
 to have condoned on this account the faults of his in- 
 temperate and imprudent life. When in his old 
 age he suffered from poverty and debt the State 
 allowed him a pension. He was over eighty years of 
 age when he died in 1666. The story of his inter- 
 view with van Dyck, of whom he was a contempo- 
 rary, has often been related ; van Dyck pressed his 
 friend to come to London, and offered to introduce 
 him to his distinguished friends, but Hals declined, 
 saying he could earn a competence in his native city 
 from the practice of his art, and preferred ease and 
 congenial society to the ambition that sought for 
 more than these advantages. His life was conse- 
 qently retired and uneventful. Residing for sixty 
 years in the quiet Dutch town, few records have been 
 handed down to us, though he lived twice as long as 
 his celebrated rival, to whose brilliant and diversified 
 career his own forms a tame and striking contrast. 
 
 By DAVID TENIERS THE YOUNGER. Canvas, 
 20 J 4 x inches. Lent by SIR CHARLES 
 
 TURNER, G.C.E.I. 
 
 (For Note of the painter’s life see No. 17.) 
 
 A SPORTSMAN AND DOGS. 
 
 By JACOB JORDAENS and JAN FYT. Canvas 80 
 x 54 inches. Lent by SIR GEORGE DONALD- 
 SON. Formerly in the Collection of Lord 
 St. Leonards. 
 
 97 - 
 
 AN OLD MAN. 
 
8 o 
 
 GALLERY II. 
 
 99 - 
 
 PORTRAIT OF MARIE DE 
 MEDICI. 
 
 By FRANS POURBUS the younger. Panel, 43^ 
 x 35 inches. Lent by MRS. ALFRED MORRI- 
 SON. 
 
 Frans Pourbus, the younger, was born at Ant- 
 werp in 1569, and was the son of the painter, Frans 
 Pourbus. It is not known with whom he studied, 
 but at the age of twenty -two he became a Master of 
 the Guild of St. Luke. " Nine years later he was em- 
 ployed by the Archduke Albert of Brussels, and then 
 he journeyed to Italy, and thence to Paris, where he 
 remained for the rest of his life. When he was 
 forty-two he was appointed painter to Marie de 
 Medici, whose sister, Eleanor of Mantua, he accom- 
 panied in her progress through France. He died 
 in Paris in 1622, at the age of fifty-three. 
 
 IOO. 
 
 INTERIOR OF A CHURCH. 
 
 By PIETER NEEFS, figures by DAVID TENIERS THE 
 YOUNGER. Panel 19^ x 25 inches. Lent 
 by EARL HOWE. 
 
 Pieter Neefs was born at Antwerp a little after 
 1577. He was an eminent architectural painter, de- 
 voting himself chiefly to the interiors of the cathe- 
 drals and churches at Antwerp and its neighbourhood, 
 often with candle-light effects. He was the scholar 
 of the elder Steenwyck. Teniers, the two Francks, 
 and other artists inserted the figures in his pictures. 
 He was a member of the Guild of Painters at Ant- 
 werp. He died between the years 1657 and 1661. 
 
GALLERY II. 
 
 Si 
 
 IOI. 
 
 MELEAGER AND ATALANTA. 
 
 By PETER PAUL RUBENS. Canvas 22 x 18 
 inches. Lent by SIR GEORGE DONALDSON. 
 
 102 . 
 
 THE FARMSTEAD. 
 
 By DAVID TENIERS THE ELDER. Canvas 39^ X 
 69^ inches. Lent by LORD FORESTER. 
 
 David Teniers the elder was born at Antwerp 
 in 1582, and was admitted into the Guild of St. 
 Luke in 1606. He visited Rome, and placed himself 
 under the tuition of Elsheimer, with whom he 
 studied for six years. He died at Antwerp in 1649. 
 
 103. 
 
 DEAD GAME, FLOWERS 
 AND FRUIT. 
 
 By JAN FYT. Canvas, 33 x 43 inches. Lent by 
 CHARLES T. D. CREWS, ESQ. 
 
 Jan Fyt was born at Antwerp in 1609. He is, 
 after Snyders (whose pupil he was), the greatest 
 animal painter of the Flemish School, and at the 
 same time quite independent in style. He painted 
 the greyhound especially with such success as to be 
 approached by no other Master. In 1650 he entered 
 the Guild of “ Romanists,” at Antwerp, while Jan 
 van der Hoecke was Dean of the Guild, and suc- 
 ceeded to that dignity himself within two years. He 
 died nth September, 1661. 
 
82 
 
 GALLERY II. 
 
 * \ ^ f -jf g..i 
 
 104. 
 
 THE COUNTESS OF 
 CLANBRASIL. 
 
 By SIR ANTHONY VAN DYCK. Canvas, 83 x 49^ 
 inches. Lent by the EARL OF DENBIGH. 
 Painted 1636. 
 
 A NNE CAREY, daughter of Henry, Earl of 
 ** Monmouth, married (1) James Hamilton, 
 and (2) Sir Robert Maxwell, Bart., afterwards 
 Earl of Clanbrasil. 
 
 Full-length figure, standing in a landscape, 
 facing the left but turning her glance toward the 
 spectator. Light blue dress; low-cut bodice; 
 and pearl ornaments. Both hands are engaged 
 in holding a long cloak. 
 
 IO5. 
 
 DOROTHY PERCY, COUNTESS 
 OF LEICESTER, AND HER 
 SISTER LUCY, COUNTESS 
 OF CARLISLE. 
 
 By ANTHONY VAN DYCK. Canvas 42 x 65 
 inches. Lent by CHARLES MORRISON, ESQ. 
 Formerly in the Penshurst Collection, after- 
 wards in the possession of Lady Yonge, 
 from whom it passed to Lord Walpole of 
 Strawberry Hill, and, later, to Earl Walde- 
 grave (Smith, Vol. , No. ). 
 
 FYOROTHY, daughter of Henry Percy, ninth 
 Earl of Northumberland, married Robert 
 Sidney, second Earl of Leicester. 
 
 Lucy, the youngest daughter, wife of the bril- 
 liant John Hay, first Earl of Carlisle, was one 
 of the best known ladies of Charles the First’s 
 
GALLERY II. 
 
 83 
 
 Court, and gained notoriety by her intrigues 
 with Strafford and Pym, and by her influence 
 in politics. 
 
 Two three-quarter length figures, seated, 
 looking towards the spectator; one, in white 
 with a pink scarf about her, is pointing with 
 her left hand at something in the background. 
 The other wears a rich red dress, roses in her 
 hair, and holds a sprig of orange in her hand. 
 Landscape and architectural background. 
 
 106. 
 
 CATHERINE CAVENDISH, 
 
 COUNTESS OF THANET, 
 AS A CHILD. 
 
 By JACOB HUYSMANS. Canvas, 471^ x 38 
 inches. Lent by the DUKE OF PORTLAND. 
 
 CATHERINE CAVENDISH was the fourth 
 ^ daughter of Henry, Duke of Newcastle, 
 and married Thomas Tufton, Earl of Thanet. 
 
 Full length, standing to the right, white silk 
 dress, faced with ermine, large jewel at shoulder 
 fastening a red silk ribbon, and a blue scarf 
 which passes over the shoulders. Headdress 
 of white ostrich feathers and strings of pearls. 
 Cupid with red wings, and carrying a crook, 
 and with an amber scarf around him, goes be- 
 fore her. 
 
 Jacob Huysmans was born at Antwerp in 1656, 
 and became a notable painter of portraits and his- 
 torical scenes, meeting with great encouragement 
 when he came to England in Charles IFs reign, when 
 the painting of several of the Court beauties fell to 
 his hand. His portrait, supposed to be of Lady 
 Byron, at Hampton Court, is of especial beauty. He 
 died in London in 1696. 
 
8 4 
 
 GALLERY II. 
 
 IO7. 
 
 LANDSCAPE AND FIGURES. 
 
 By DAVID TENIERS THE YOUNGER. Canvas 
 27 ]/ 2 x 40 inches. Lent by WILLIAM 
 HARVEY, ESQ. Formerly in the Collection 
 of Mr. J. C. Cankrein. 
 
 108. 
 
 FORDING THE STREAM. 
 
 By JAN SIBERECHTS. Canvas 32 x 38 inches. 
 Lent by M. ADOLPHE SCHLOSS, ESQ. 
 
 Jan Siberechts, son of a sculptor, was born at 
 Antwerp, in 1627. The Duke of Buckingham, travel- 
 ling through Flanders, met him, and carried him 
 back to England, where he was largely employed at 
 Cliefden. His style is that of Berghem, but of 
 greater force and harder line. He died in London 
 in 1703. 
 
 109. 
 
 PORTRAIT OF M, RICART, 
 
 A PROFESSOR OF THE 
 UNIVERSITY OF LOUVAIN, 
 AND MEDICAL ADVISER 
 TO THE ARMIES OF THE 
 KING OF SPAIN. 
 
 By FRANS POURBUS, THE YOUNGER. Panel 
 x inches. Lent by the TRUSTEES 
 OF THE MUSEE COMMUNAL, BRUGES. Signed 
 FRANCISCO POURBUS. 
 
 nr HIS portrait was presented to the Museum 
 at Bruges in 1904 by the Societe des Amis 
 des M usees de Bruges. 
 
GALLERY II. 
 
 35 
 
 I IO. 
 
 INTERIOR OF A MASSIVE 
 STONE BUILDING. THE 
 RELEASE OF ST. PETER. 
 
 By HENDRICK VAN STEENWYCK. Panel 8 x IO^ 
 inches. Lent by MR. DEPUTY C. T. HARRIS. 
 
 III. 
 
 AN OFFICER IN ARMOUR. 
 
 By GONZALES COQUES. Copper 6 y± x 5 JJ inches. 
 Lent by WILLIAM HARVEY, ESQ. Formerly 
 in the Collection of Mr. J. G. Uppleby. 
 
 I 12. 
 
 THE DUKE OF BUCKINGHAM, 
 AFTER HIS 
 ASSASSINATION BY 
 FELTON. 
 
 By ANTHONY VAN DYCK. Canvas, 25^ x 29^ 
 inches. Lent by the MARQUESS OF NORTH- 
 AMPTON. 
 
 n EORGE VILLIERS, first Duke of Bucking- 
 ham, K.G., was born at Brooksby in 
 Leicestershire, and he was the favourite of both 
 James I and Charles I. He filled many of the 
 highest offices at Court, and was the chief dis- 
 penser of royal patronage. He was assassinated 
 by Felton, at Portsmouth, August, 1628, being 
 then but thirty-six, and was buried in West- 
 minster Abbey. 
 
86 
 
 GALLERY II. 
 
 IX 3- 
 
 THE ALCHYMIST. 
 
 By DAVID TENIERS THE YOUNGER. Panel 15^ 
 x 24 inches. Lent by CHARLES MORRISON, 
 ESQ. 
 
 1 14. 
 
 INTERIOR OF A CHURCH. 
 
 By PETER NEEFS. Panel 12 x 18 ]/ 2 inches. 
 Lent by MRS. BISCHOFFSHEIM. 
 
 1 1 5 * 
 
 PORTRAIT OF A LADY IN A 
 BLUE SATIN DRESS. 
 
 By GONZALES COQUES. Copper 14 x inches. 
 Lent by WILLIAM HARVEY, ESQ. Formerly 
 in the Collection of Mr. W. Cooper-Cooper. 
 
 Gonzales Coques, or Coex, was born at Antwerp 
 in 1618. He received his education from Peter 
 Brueghel (the third painter of that name), and from 
 David Rychaert, whose daughter he married. He 
 entered the Guild of Painters in 1640-41, and twice 
 served as Dean. His first subjects were interiors, but 
 hearing of the reputation made by van Dyck in por- 
 traiture, he was inspired to distinguish himself in the 
 same way, though on a different scale. His success 
 was great, and his small heads were much esteemed. 
 He is sometimes called the “ Little van Dyck.” His 
 compositions are few in number, and it is probable 
 
GALLERY II. 
 
 87 
 
 that he was rich, and painted more for pleasure than 
 gain, though this is only supposition. He died at 
 Antwerp in 1684. 
 
 1 16. 
 
 ABRAHAM AND 
 
 MELCHISEDECH. 
 
 By PETER PAUL RUBENS. Panel, 26^ X 32%; 
 inches. Lent by the EARL OF NORTHBROOK. 
 Formerly in the Collections of M. Julienne, 
 Paris; Lord John Trevor’s widow; Lady 
 Stepney; the Hon. Lady Stuart; and Sir 
 Thomas Baring. Vide Smith’s “ Catalogue 
 Raisonne,” Vol. II, No. 641, in which it is 
 termed “ a finished study of superlative 
 excellence for the large picture in the col- 
 lection of Earl Grosvenor.” 
 
 COMPOSITION of twenty figures, in the 
 ** centre of which Abraham, bareheaded, in 
 armour, and wearing a crimson mantle, is ad- 
 vancing up a step to Melchisedech, who presents 
 him with two loaves. Melchisedech is in a 
 yellow robe with ermine, and sumptuous train 
 held by a page. Close to him are two persons 
 distributing bread to some soldiers. In the im- 
 mediate foreground, to the right, are two men 
 with jars of wine. Three cherubs are attaching 
 drapery to some pillars which support a cornice, 
 one end of the drapery hanging down on the 
 left and lying on the pavement across the front. 
 
88 
 
 GALLERY II. 
 
 117 . 
 
 THE PROCESSION OF THE 
 ORDER OF THE GARTER. 
 
 By ANTHONY VAN DYCK. Panel II X 5 IJ 4 
 inches. Painted 1639. Lent by the DUKE 
 OF RUTLAND, K.G. Formerly in the posses- 
 sion of King Charles I, Sir Peter Lely, 
 Lord Northington, and Sir Joshua Rey- 
 nolds. 
 
 IT was van Dyck himself who proposed to 
 * King Charles I, through his friend Sir 
 Kenelm Digby, to embellish the walls of the 
 Banqueting House at Whitehall with a series of 
 paintings illustrative of the history and pro- 
 cession of the Order of the Garter, but in con- 
 sequence of the political troubles which overtook 
 that monarch the commission was never actually 
 given, and the idea went no further than the 
 execution of the present sketch, which is in oils, 
 in umber, touched with white. The colonnade 
 background was designed, it is said, by Inigo 
 Jones, and the statues in the niches of the por- 
 tico were to have represented the Kings of Eng- 
 land. Charles I is naturally introduced as the 
 monarch, walking beneath the canopy, while 
 Queen Henrietta Maria is seen, with the ladies 
 of her court, in the upper gallery. The designs 
 would have included, beyond the one now ex- 
 hibited, the Coronation of the King, the Inaugu- 
 ration of the Order by Edward III, and the 
 Royal Banquet on St. George’s Day, and would 
 have been carried out in tapestry. The ceiling 
 had already been decorated by Rubens, in 1635, 
 with paintings on canvas, representing the 
 apotheosis of King James I. It is said that van 
 Dyck required 13,000 crowns for the designs 
 
GALLERY II. 
 
 89 
 
 alone, the whole expense of the completed 
 series being calculated at £80,000; and that 
 the painter was vexed at the refusal of the King 
 to carry out the scheme. 
 
 Engraved in facsimile in 1782 by Richard 
 Cooper. 
 
 1 18. 
 
 SKETCH FOR THE HALT 
 
 OF A HAWKING PARTY. 
 
 By SIR ANTHONY VAN DYCK. Panel 14 x 20 
 inches. Lent by CHARLES T. D. CREWS, ESQ. 
 Smith, Vol. Ill, No. 368. 
 
 II O. 
 
 THE HUSTLECAP. 
 
 By DAVID TENIERS THE YOUNGER. Panel, oval, 
 13 X 914 inches. Lent by WILLIAM HARVEY, 
 ESQ. Formerly in the Collection of the 
 Duchesse du Barri. Smith’s “ Catalogue 
 Raisonne,” Supplement, No. 138. 
 
 '"THREE men drinking are introduced, one of 
 A whom, an old man, seated, is shaking with 
 both hands the contents of his hat. The ex- 
 pression on his face excites the laughter of his 
 companion, on the far side of a tub table, who 
 sits with a jug in one hand and a pipe in the 
 other. The third person stands behind filling 
 his pipe. 
 
go 
 
 GALLERY II. 
 
 120 . 
 
 THE SMOKER ASLEEP. 
 
 By DAVID TENIERS THE YOUNGER. Panel, 
 12^2 x 9/4 inches. Lent by SIR CHARLES 
 TURNER, G.C.E.I. 
 
 12 I. 
 
 THE MADONNA AND CHILD. 
 
 By PETER PAUL RUBENS. Panel, 29 x 24^ 
 inches. Lent by J. HANSON WALKER, ESQ. 
 Formerly in the Collection of Mr. James 
 Fenton. 
 
 122 . 
 
 INTERIOR OF A STABLE. 
 
 By DAVID TENIERS THE YOUNGER. Panel 1 5 x 
 25 inches. Lent by CHARLES MORRISON, 
 ESQ. 
 
GALLERY III. 
 
 
 123. 
 
 MY HEART WEEPS OVER 
 THE PAST. 
 
 By FERNAND KHNOPFF. Paper 20 x 12 inches. 
 Lent by M. GEORGES HULIN. 
 
 Fernand Khnopff, living painter., was born at 
 Grernbergen, in 1858, and resides in Brussels. 
 
 124. 
 
 ISOLT, IN TRISTAN AND 
 ISOLT. A STUDY. 
 
 By FERNAND KHNOPFF. Paper 4x8^ inches. 
 Lent by THE ARTIST. 
 
 125. 
 
 STUDY FOR “LES CARESSES.” 
 
 By FERNAND KHNOPFF. Paper inches, 
 
 circular. Lent by THE ARTIST. 
 
 126. 
 
 THE BLUE WING. 
 
 By FERNAND KHNOPFF. Canvas 34^ x 11 
 inches. Wax and water-colour. Lent by 
 THE ARTIST. 
 
92 
 
 GALLERY III. 
 
 127. 
 
 INCENSE. 
 
 By FERNAND KHNOPFF. Canvas 33 1 / 2 x 19 }£ 
 inches. Crayon. Lent by THE ARTIST. 
 
 128. 
 
 THE SECRET. 
 
 By FERNAND KHNOPFF. Canvas 19 inches, cir- 
 cular. Wax and Water-colour. Lent by 
 THE ARTIST. 
 
 The picture below represents the place of the 
 secret. 
 
 129. 
 
 ART AND LIBERTY. 
 
 By LOUIS GALLIAT. Panel 10 x 7^ inches. 
 Painted 1849. Lent by M. CHARLES LEON 
 CARDON. 
 
 The larger version (56 x 42 inches) is in the 
 Royal Museum at Brussels. 
 
 130. 
 
 PORTRAIT OF SARAH 
 BERNHARDT. 
 
 By JAN VAN BEERS. Panel 15 x 11 inches. 
 Lent by the PRESIDENT AND COUNCIL OF 
 THE ROYAL MUSEUM, BRUSSELS. 
 
GALLERY III 
 
 93 
 
 I 3 I - 
 
 LANDSCAPE AND CATTLE. 
 
 By LOUIS ROBBE. Panel, 8 x ioj4 inches. 
 
 Lent by HERMANN STERNBERG, ESQ. 
 
 Louis Robbe, animal painter, was born at Cour- 
 trai, and died in Brussels in 1887, at the age of 
 eightv-one. He studied at the Academy at Courtrai ; 
 estabiished himself in Brussels in 1840. Examples 
 of his work are in the Brussels and other Belgian 
 Museums. Joseph Stevens was one of his pupils. 
 
 132. 
 
 ST. ANTHONY AND THE 
 QUEEN OF SHEBA. 
 
 By FERNAND KHNOPFF. Paper 3334 X 33 V 2 
 inches. Lent by THE ARTIST. 
 
 beautiful conception was inspired by 
 
 oustave Flaubert’s “ Salammbo.” Stand- 
 ing motionless, in an attitude to all appearance 
 defenceless, the saint encounters the dangerous 
 beauty of the queenly temptress. Not the shin- 
 ing garment which envelopes her form, nor the 
 glittering crown which denotes her queenship 
 can vie with her eyes, which gaze into those of 
 the saint with a seductive power which hitherto 
 has known naught but conquest. The drama 
 lies in the two pairs of eyes meeting in this 
 deep and profound solitude — a solitude indi- 
 cated by the intensity of the darkness which 
 surrounds them, from which, nevertheless, shine 
 out, here and there, the sparkle of precious 
 stones. 
 
 “ Veux-tu le bouclier de Dgran-ben-Dgran, celui 
 qui a bati les Pyramides? le voila. J’ai des tresors 
 
94 
 
 GALLERY III. 
 
 enfermes dans des galeries, ou l'on se perd comme 
 dans un bois. J’ai des palais d’ete au treillage de 
 roseaux, et des palais d’hiver en marbe noir. . . Oh ! 
 si tu voulais ! ” 
 
 I 33- 
 
 COAST SCENE. 
 
 By louis art an. Canvas io x 20 inches. Lent 
 Lent by MADAME Vve. J. CARDON. 
 
 !3 + - 
 
 COOUETTERIE. 
 
 By FLORENT WILLEMS. Canvas 1 8 x 15 inches. 
 Lent by the MUSEE COMMUNAL, BRUGES. 
 Painted 1854. Presented to the Museum at 
 Bruges in 1905, by the Societe des Amis 
 des Musees de Bruges. 
 
 Florent Willems, living painter, was born at 
 Liege, in 1823. Examples of his work are in the 
 Museums of Brussels, Antwerp, and Liege. 
 
 I 35- 
 
 LANDSCAPE. 
 
 By FRANCOIS LAMORINIERE. Panel, 1034 X 1234 
 inches. Lent by M. A. BEERNAERT. 
 
 136. 
 
 A SHEPHERDESS OF THE 
 TIME OF LOUIS XV. 
 
 By JAN VAN BEERS. Panel, 12 x 8^ inches. 
 Lent by M. H. SPIELMANN, ESQ. 
 
 Jan van Beers, living painter, was born at Ant- 
 werp in 1855. 
 
GALLERY III. 
 
 95 
 
 137 - 
 
 two DOGS. 
 
 By JOSEPH STEVENS. Canvas 22 y 2 x 28 inches, 
 by MADAME We. J. CARDON. 
 
 Joseph Stevens, animal painter, was born at 
 Brussels, and died there in 1892, at the age of 
 seventy-three. Pupil of Louis Robbe, influenced by 
 Descamps. Examples of his work are in the 
 Museums of Brussels, Antwerp, and Rouen. 
 
 138. 
 
 ST. LUKE. 
 
 By BARON HENRI leys. Panel \g )/ 2 x 8 y 2 
 inches. Lent by MADAME Vve. j. CARDON. 
 
 I ? Q 
 
 THE COLLECTOR OF 
 ENGRAVINGS. 
 
 By FLORENT WILLEMS. Canvas 24 x 20 
 inches. Lent by the PRESIDENT AND COUN- 
 CIL OF THE ROYAL MUSEUM, BRUSSELS. 
 
 J f . 
 
 I4O. 
 
 THE LESSON OF A FOOL. 
 CHILDHOOD OF 
 CHARLES V. 
 
 By WILLEM GEETS. Panel 29^ x 43 inches. 
 Lent by SIR JOHN HOLDER, BART. 
 
6 
 
 GALLERY III. 
 
 * s'- 
 
 I4OA. 
 
 INTERIOR OF THE CHURCH 
 OF ST. PIERRE, AT 
 LOUVAIN. 
 
 By ALFRED DELAUNOIS. Canvas X inches. 
 Lent by 
 
 Alfred Delaunois, living painter, was born at 
 Brussels in 1876, and now resides there. Examples 
 of his work are in the Brussels and other Belgian 
 Museums. 
 
 I4I. 
 
 THE BLACKSMITH. 
 
 By CONSTANTIN MEUNIER. Canvas 21 y 2 x 15 y 2 
 inches. Lent by MADAME We. MARLIER. 
 
 Constantin Meunier, painter and sculptor, was 
 born at Etterbeck-lez-Bruxelles, and died at Ixelles- 
 lez-Bruxelles in 1905, at the age of seventy-four. He 
 was a pupil of his brother, Jean Baptiste Meunier, 
 and of Navez and Fraikin. Examples of his work 
 are in the Museums of Brussels, Antwerp, and of 
 most of the European galleries. 
 
 142. 
 
 LIFE’S FRAILTY. 
 
 By THEOPHILE LYBAERT. Panel 44 x 21 ]/ 2 
 inches. Lent by THE ARTIST. Exhibited at 
 the Royal Academy, 1903. 
 
 Th£ophile Lybaert, living painter, was born at 
 Ghent in 1848, and at present resides there. Ex- 
 amples of his work are in the Brussels and other 
 Belgian Museums. 
 
GALLERY III. 
 
 97 
 
 I 43* 
 
 SUNDAY MORNING IN WINTER. 
 
 By FELIX DE VIGNE. Canvas 32 x 48 inches. 
 Painted i860. Lent by the PRESIDENT AND 
 DIRECTORATE OF THE ROYAL MUSEUM, 
 BRUSSELS. 
 
 Felix de Vigne was bom at Ghent, and died, in 
 1862, at the age of fifty-six. Examples of his work 
 are in the Museums of Brussels and Ghent. 
 
 143A. 
 
 THE SMITHY AT CHAMPIGNY. 
 
 By JOSEPH STEVENS. Canvas, x inches. 
 Lent by M. MARLIER. 
 
 * 44 - 
 
 THE FIRSTBORN. 
 
 By JOSEPH L. DYCKMANS. Canvas 20 x 15 inches. 
 Painted 1881. Lent by JAMES BIGGS, ESQ. 
 
 Joseph Laurent Dyckmans, genre painter, was 
 born at Lierre, and died at Antwerp, in 1888, at 
 the age of seventy-seven. Pupil of the Lierre 
 Academy, and of Baron Wappers at Antwerp. Pro- 
 fessor of the Antwerp Academy. He is represented 
 in the Antwerp Museum. His picture, “ The Blind 
 Beggar,” is well known in this country, and is in the 
 National Gallery of British Art. 
 
 D 
 
98 
 
 GALLERY III. 
 
 145 - 
 
 CHARITY. 
 
 By CHARLES DE GROUX. Canvas 26 X 20)4 
 inches. Lent by M. EMILE ROSSEL. 
 
 Charles de Groux, historical and genre painter, 
 was born at Comines, in France, and died at Brussels 
 in 1870, at the age of forty-five. Pupil of Fran5ois 
 Joseph Navez, and studied at Dusseldorf. Examples 
 of his work are in the Museums of Brussels and 
 Antwerp. 
 
 146. 
 
 STILL LIFE. 
 
 By LOUIS DUBOIS. Canvas 26 x 32 inches. 
 From the Collection of the late M. EUGENE 
 MARLIER. 
 
 Louis Dubois, painter of portraits, animals, land- 
 scape, and still-life, was born in Brussels, and died 
 there in 1880, at the age of fifty. Pupil of Couture 
 in Paris, and influenced by Gustave Courbet. One 
 of the founders of the Societe des Beaux Arts. He 
 is represented in the Brussels and other Belgian 
 Museums. 
 
 147. 
 
 A SNOW EFFECT. 
 
 By LOUIS ART AN. Canvas, 42 x 72 inches. 
 Lent by M. ANDRE TOISSAINT. 
 
 148. 
 
 SHEEP. 
 
 By EUGENE VERBOECKHOVEN. Canvas 20 X 28 
 inches. Lent by JOHN BRINTON, ESQ., J.P. 
 
GALLERY III. 
 
 99 
 
 149 . 
 
 THE JEWEL MERCHANT. 
 
 By JEAN BAPTISTE MADOU. Canvas, 20 X 24 
 inches. Lent by HERMANN STERNBERG, ESQ. 
 
 Jean Baptiste Madou, genre painter, water- 
 colour painter, and engraver ; was born at Brussels, 
 and died at St. Josseten-Noode-lez-Bruxelles, in 
 1877, at the age of eighty-one. He studied at the 
 Brussels Academy, and with P. S. Frangois. He 
 was President of the Belgian Society of Water- 
 Colours, and examples of his work are in the 
 Museums of Brussels and Antwerp. 
 
 150. 
 
 THE KISSED HAND. 
 
 By FLORENT WILLEMS. Panel, 36^ X 29 
 inches. Lent by MADAME Vve. j. CARDON. 
 
 I 5 I - 
 
 LN THE BARGE. 
 
 By CHARLES MERTENS. Panel, 14 x 18 inches. 
 Lent by THE ARTIST. 
 
 152. 
 
 THE INTRUDER. 
 
 By JOSEPH STEVENS. Canvas 26 x 31 inches. 
 Lent by M. ALBERT SARENS. 
 
 I 53- 
 
 UNE AME EXPANSIVE. 
 
 By JEAN BAPTISTE MADOU. Panel, 10 X 14 
 inches. Lent by MADAME Vve. J. CARDON. 
 
 d 2 
 
IOO 
 
 GALLERY III. 
 
 I 54* 
 
 THE EVENING OF LIFE. 
 
 By THEOPHILE LYBAERT. Panel 44 x 22 inches. 
 Lent by the EARL OF CARYSFORT, K.P. Ex- 
 hibited at the Royal Academy, 1901. 
 
 r 55- 
 
 TWILIGHT. 
 
 By CHARLES mertens. Panel 10 x 15 inches. 
 Lent by THE ARTIST. 
 
 156- 
 
 AFTER THE WEDDING. 
 
 By WILLEM LINNIG, JUN. Panel 29 x 43 
 inches. Lent by M. ALBERT PASSEN- 
 BRONDER. 
 
 Willem Linnig, Jun., was born at Antwerp, and 
 died there in 1890, at the age of 41. Pupil of his 
 father, Willem Linnig, Sen., and of the Antwerp 
 Academy. Professor at the School of Fine Arts at 
 Weimar. 
 
 x 57- 
 
 THE TRICKSTER. 
 
 By WILLEM LINNIG, JUN. Panel i8j£ x 26 
 inches. Lent by M. ALBERT PASSF.N- 
 BRONDER. 
 
GALLERY III. 
 
 IOI 
 
 / 
 
 158. 
 
 THE SOOTHSAYER. 
 
 By WILLEM LINNIG, JUN. Panel 41 X 51 
 inches. Lent by M. ALBERT PASSEN- 
 BRONDER. 
 
 159 - 
 
 THE TEMPTATION OF ST. 
 ANTHONY. 
 
 By WILLEM LINNIG, JUN. Panel 29 x 24 
 inches. Lent by M. ALBERT PASSEN- 
 BRONDER. 
 
 l6o. 
 
 RABELAIS. 
 
 By WILLEM LINNIG, JUN. Panel i8j£ x 26 
 inches. Lent by M. ALBERT PASSEN- 
 BRONDER. 
 
 l6l. 
 
 MARTIN LUTHER READING 
 THE BIBLE TO HIS 
 COMPANIONS. 
 
 By BARON HENRI LEYS. Canvas 28 X 4.2 inches. 
 Lent by SIR CUTHBERT QUILTER, BART. 
 
102 
 
 GALLERY III. 
 
 162. 
 
 THE DECLARATION. 
 
 By BARON HENRI LEYS. Panel 20 j / 2 x 1 $% 
 inches. Lent by MADAME Vve. J. CARDON. 
 
 Baron Henri Leys, historical painter, was born 
 at Antwerp, and died there in 1869 at the age of 
 fifty-four. Pupil of Baron Gustave Wappers. 
 Henri de Braekeleer, his nephew, studied under him. 
 Decorative paintings by him are in the Hotel de 
 Ville, Antwerp, and examples of his work are in the 
 Museums of Brussels, Antwerp, Bruges, and Lierre. 
 
 i 6 3 - 4 - 
 
 TWO ETCHINGS. 
 
 By W. LINNIG, JUN. 
 
 165. 
 
 HJALMAR. 
 
 By CHARLES DOUDELET. Paper, 19^ X 23^ 
 inches. Lent by M. ANDRE TOUS SAINT. 
 
 Charles Doudelet was born at Lille, of Belgian 
 parents, in 1861, and has studied in no school. 
 
 166. 
 
 TWO PEN AND INK DRAWINGS. 
 
 By W. LINNIG, JUN. 
 
 167. 
 
 SEVEN ETCHINGS. 
 
 By W. LINNIG, JUN. 
 
GALLERY IV 
 
 CO 
 
 168. 
 
 THE MILL AT BEVERLOO. 
 
 By THEODORE FOURMOIS. Canvas, 32 x 45 
 inches. Lent by M. DU TOICT. 
 
 Theodore Fournois, landscape painter, was born 
 at Presles, Hainault, and died in Brussels in 1871, 
 at the age of fifty -seven. Examples of his work are 
 in the Museums of Brussels and Antwerp. 
 
 169. 
 
 AMID THE ROSES. 
 
 By LEON FREDERIC. Canvas, 40 x 26 inches. 
 Lent by M. GEORGES HULIN. 
 
 Leon Frederic, living painter, was born at Brus- 
 sels in 1856. Examples of his work are in the 
 Brussels and other Belgian Museums. 
 
 170. 
 
 THE RED COW. 
 
 By HIPPOLYTE BOULENGER. Panel, 16^ X 24 
 inches. Lent by M. VAN DEN NEST. 
 Hippolyte Boulenger was born at Tournai in 
 1837, and died at Brussels at the age of thirty- 
 seven. He was a student of the Brussels Academy. 
 Decorative painting occupied him at first, but he 
 ultimately became devoted to landscape, both in oil 
 and water-colour. He was the chief of the. “ Ter- 
 vueren ” School. Examples of his work are in the 
 Brussels and other Belgian Museums. 
 
104 
 
 GALLERY IV. 
 
 171. 
 
 ROSES. 
 
 By HUBERT BELLIS. Canvas, 24 x 20 inches. 
 Lent by M. LE. DR. HICGUET. 
 
 Hubert Bellis, painter of flowers and still life, 
 was born at Brussels, and died at Schaerbeek-lez- 
 Bruxelles in 1885, at the age of fifty-four. Pupil 
 of the Brussels Academy. Examples of his work 
 are in the Museums of Brussels and Liege. 
 
 172. 
 
 A FLOCK OF SHEEP ON THE 
 BANKS OF THE ESCAUT. 
 
 By EUGENE VERBOECKKOVEN. Canvas, 63^ X 
 113^ inches. Painted 1874. Lent by 
 ERNEST W. BEARD, ESQ. 
 
 Eugene Verboeckhoven, animal and landscape 
 painter, was born at Warneton, and died at Brussels 
 in 1881, at the age of eighty-two. He studied with 
 Voituron at Ghent. Director-General of the Brussels 
 Museums in 1830. Examples of his work are in the 
 Museums of Brussels, Antwerp, and Liege. 
 
 I 73* 
 
 THE RETURN FROM THE 
 TIGER-HUNT. 
 
 By JEAN robie. Panel 28 x 41 inches. Painted 
 1853. Lent by the PRESIDENT AND DIREC- 
 TORATE OF THE ROYAL MUSEUM, BRUSSELS 
 
 Jean Baptiste Robie, who excelled in the paint- 
 ing of flowers and fruit, was born at Brussels in 
 1821. Examples of his work are in the Ghent and 
 other Belgian Museums. 
 
GALLERY IV. 
 
 105 
 
 ^ 74 - 
 
 PORTRAIT OF MONS. J. C. 
 
 By LIEVIN DE WINNE. Canvas 32 x 27 inches. 
 Lent by MADAME we. J. CARDON. 
 
 175 - 
 
 homage RENDERED TO THE 
 INFANT CHARLES THE 
 FIFTH. 
 
 By ALBERT DE VRIENDT. Canvas 75 x i\g% 
 inches. Lent by the PRESIDENT AND DIREC- 
 TORATE OF THE BRUSSELS MUSEUM. 
 
 ^HARLES was born at Ghent in February, 
 ^ 1 500, and baptised in the Cathedral 
 
 Church of St. Bavon at Ghent. The picture 
 exhibits, with great faithfulness, the local 
 types of the people, more particularly on the 
 right, where a group of the City’s Municipal 
 authorities have entered with costly gifts. He 
 succeeded the profligate Philip the Fair in 1506, 
 and became Charles II of Holland, and, later, 
 Charles V, King of Spain, Sicily, and Jeru- 
 salem, Emperor of Germany, Dominator in 
 Asia and Africa, and autocrat of half the world. 
 He was destined to bring terror and misfortune 
 to the Netherlands. He endeavoured to force 
 into discordant union two nations separated by 
 geography, history, customs, and laws. The 
 union of no two countries could be less likely 
 to prove advantageous or agreeable than that 
 of Spain and the Netherlands. He was forty 
 years of age when he inflicted on the city of 
 Ghent that tremendous punishment for its re- 
 sistance to the grant of a subsidy he required, 
 
io 6 . 
 
 GALLERY IV. 
 
 and which, as Motley writes, “ nearly crushed 
 the life out of it for ever.” In return for their 
 wasted treasure and constant obedience, he put 
 into operation in the Netherlands the Edict of 
 Worms and introduced the terrible papal Inqui- 
 sition. For this his name deserves to be handed 
 down to eternal infamy, not only in the Nether- 
 lands, but in every land where political or reli- 
 gious freedom is cherished. To eradicate these 
 institutions, after they had been further fos- 
 tered by his successor, Philip II, was the work 
 of an eighty years’ war. He abdicated in 
 favour of his son Philip in 1555, but in his re- 
 tirement his thoughts were never diverted from 
 politics. He sternly rebuked himself for having 
 omitted to put Martin Luther to death at the 
 time when he had him in his power, and was 
 continually issuing fierce instructions to his son 
 to hasten the execution of all heretics, and to 
 more widely employ the awful functions of the 
 Inquisition. He died in September, 1558. 
 
 Albert de Vriendt, historical painter, was born 
 at Ghent, and died at Antwerp in 1900, at the age of 
 fifty-seven. Professor of the Higher Institute at 
 Antwerp, and Director of the Antwerp Academy. 
 His mural paintings adorn the Palais de Justice 
 of Furnes, the Christus Kirche at Antwerp, and the 
 Hotel de Ville at Bruges. The Museums of Brus- 
 sels, Antwerp, Liege, and Mons possess examples of 
 his work. 
 
 176. 
 
 A CALM. 
 
 By PAUL jean CLAYS. Canvas, 28 x 40 inches. 
 
 Lent by MRS. WOOSNAM. 
 
 Paul Jean Clays, marine painter, was born at 
 Bruges, and died, in 1900, at the age of eightv-one. 
 
GALLERY IV. 
 
 107 
 
 Pupil of Theodore Gudin in Paris. His works are 
 in the Museums of Brussels, Antwerp, Bruges, 
 Ghent, and Liege. 
 
 177. 
 
 LE MAT DE COCAGNE. 
 
 By LOUIS ARTAN. Canvas, 40^ x 34^ inches. 
 Lent by M. ANDRE TOIS SAINT. 
 
 (For Note of the painter’s life see No. 82.) 
 
 178. 
 
 A MARTYR OF THE 
 
 SIXTEENTH CENTURY. 
 
 By PROFESSOR WILLEM GEETS. Canvas, 71 X 
 102 inches. Painted 1883. Lent by the 
 CORPORATION OF BIRMINGHAM, to whom it 
 was presented by the Right Hon. William 
 Kenrick, P.C. 
 
 IN the registry of the Cathedral at Ghent it 
 * is recorded that, in 1526, Charles V being 
 then on the throne (see Nos. and ), a 
 girl named Jeannette de Santhove was buried 
 alive at Malines. She was brought from her 
 native village of Santhove, about twelve miles 
 from Antwerp, to the City of Malines, to be 
 tried for her Lutheran principles. She received 
 her cruel sentence unmoved, and is now being 
 taken to the spot where it is to be carried out. 
 Inflexible in her belief, she turns steadfastly 
 away from the exhortations of the priest who 
 walks beside her. The melancholy chanting of 
 those who follow her has no more effect in 
 shaking her than the terrible individuals who 
 precede her, one of whom has an axe to open 
 
io8 
 
 GALLERY IV. 
 
 the ground and a cord with which to tightly 
 bind the frail limbs, while another carries a 
 spade for the digging of the grave. The stout 
 figure in red is the officer who has the victim in 
 charge, and the cord around her neck is attached 
 to his wrist. 
 
 1 79 - 
 
 THE MADNESS OF HUGO 
 VANDER GOES. 
 
 180. 
 
 THE BRIDGE OF LOVE. 
 
 By ADOLPHE DILLENS. Panel, 32 x 25^ 
 
 inches. Lent by MADAME Vve. J. CARDON. 
 
 Adolphe Dillens, genre painter, was born at 
 Ghent, and died at Ixelles-lez-Bruxelles in 1877, at 
 the age of fifty-three. He studied under his father, 
 H. Dilleus, and examples of his work are in the 
 Afuseums of Brussels and Courtrai. 
 
 181. 
 
 PASTURAGE IN SHADOW. 
 
 By FRANCOIS DE LAMORINIERE. Pane], 52 X 
 42 inches. Lent by MADAME ALBERT 
 THYS. 
 
 Francois de Lamoriniere, landscape painter, 
 living, was born at Antwerp in 1828. Studied with 
 Jacques Jacobs, and at the Antwerp Academy. 
 Examples of his work ?re in the Museums of Brus- 
 sels, Antwerp, and Liege. 
 
 By EMILE WANTERS. Canvas 24 x 36 inches* 
 Lent by M. PHILIPPSON. 
 
GALLERY IV. 
 
 109 
 
 182. 
 
 PORTRAIT OF EMILE SACRL, 
 PAINTER. 
 
 By ALFRED CLUYSENAAR. Canvas 39 X 31 
 inches. From the Collection of the late 
 M. EUGENE MARLIER. 
 
 Alfred Cluysenaar, portrait, historical, and 
 genre painter, was born at Brussels and died at St. 
 Gilles-lez-Bruxelles in 1902; at the age of sixty-five. 
 Pupil of Navez in Brussels, and of Leon Cogniet 
 in Paris. Professor at the Higher Institute of Fine 
 Arts at Antwerp, and Director of the School of De- 
 sign at St. Gilles. His decorative painting is seen 
 in the Ghent University, and in the Hotel de Ville 
 at Brussels. He is also represented by pictures in 
 the Brussels and other Belgian Museums. 
 
 183. 
 
 WITHIN THE WALLS OF 
 ANTWERP IN 1530. 
 
 By CHARLES BOOM. Canvas 56 x 94 inches. 
 Lent by the PRESIDENT AND DIRECTORATE 
 OF THE ANTWERP MUSEUM. 
 
 184. 
 
 THE VISITOR. 
 
 By JAMES ENSOR. Canvas, 43 x 53 inches. 
 Lent by THE ARTIST. 
 
GALLERY IV. 
 
 IIO 
 
 185. 
 
 ROSITA. 
 
 By edouard agneessens. Canvas 20 X 1 6 
 inches. Lent by M. LUCIEN SOLVAY. 
 
 186. 
 
 AT THE THEATRE. 
 
 By EDOUARD AGNEESSENS. Canvas, 18 X 15 
 inches. Lent by MDLLE. AGNEESSENS. 
 
 187. 
 
 THE BRUSSELS GUILD OF 
 MARKSMEN PAYING THE 
 LAST HONOURS TO 
 COUNTS EGMONT AND 
 HORN. 
 
 By LOUIS GALLAIT. Canvas 50 x 70 inches. 
 Lent by MESSRS. LEFEVRE. Formerly in 
 the Collection of M. Eugene Gambart. A 
 larger version is in the possession of the 
 City of Tournai, and a smaller one in the 
 Antwerp Museum. 
 
 I AMORAL, Count of Egmont, and Philip 
 ^ Montmorency, Count of Horn, were be- 
 headed at Brussels on the 5th June, 1568, by 
 order of the Duke of Alva, Governor-General 
 of the Netherlands, and under a warrant signed 
 by Philip II of Spain. They were both pro- 
 minent historical figures in the stormiest times 
 the Netherlands have ever seen. Both had been 
 loyal servants of Philip, and Egmont had 
 proved himself a brilliant soldier in times of 
 
GALLERY IV. 
 
 1 1 1 
 
 stress and difficulty, but both became victims 
 to the barbarous tyranny and jealousy of Alva. 
 
 Egmont, as J. L. Motley says, was the flower 
 of Flemish chivalry, a lineal descendant of 
 ancient Frisian kings, distinguished for his 
 bravery in many fields, and the hero in particu- 
 lar of two remarkable victories for Philip, which 
 made the name of Egmont “ like the sound of 
 a trumpet throughout the whole country.” He 
 was tall, always magnificent in costume, with 
 dark flowing hair, slight moustache, and fea- 
 tures of almost feminine delicacy. The Count 
 of Horn was of bold, sullen face, with fan- 
 shaped beard ; brave, honest, discontented, and 
 quarrelsome. 
 
 From the graves of these illustrious victims, 
 around whom are grouped in the picture those 
 who loved and revered them, sprang a more 
 intense hatred for the Duke of Alva than had 
 before existed, and a greater abhorrence of the 
 cruelty and enormities of his rule, which was 
 destined, alas, to continue for yet another five 
 years, when (1573) Philip recalled him to 
 Madrid. 
 
 Egmont was only forty-six at the date of his 
 execution. 
 
 Louis Gallait, historical and portrait painter, was 
 born at Tournai, and died at Brussels in 1887, at the 
 age of seventy seven. Pupil of D’Hennequin and of 
 the Tournai Academy, of which he was later the 
 Director. He was also painter to the King of the 
 Belgians. Examples of his work are in the Museums 
 of Brussels, Antwerp, Tournai, Liege, and Ghent. 
 
12 
 
 GALLERY IV. 
 
 188. 
 
 MY STUDIO ON THE PENNE. 
 
 By LOUIS ARTAN. Canvas 59 x 1 00 inches. 
 Lent by M. AMBROISE DELACRE. 
 
 Louis Artan, marine painter, was born at the 
 Hague, and died at Nieuport in 1890, at the age of 
 fifty-three. He studied first with H. Marcette at 
 Spa, and then with Louis Dubois at Brussels. He 
 was one of the founders of the Societe des Beaux 
 Arts. Examples of his work are in the Museums of 
 Brussels and Antwerp. 
 
 189. 
 
 A YOUNG WOMAN WITH A 
 FAN. 
 
 By EMILE SACRE. Canvas 22 ]/ 2 x i8j^ inches. 
 Lent by M. AUGUSTE MAQUET. 
 
 Emile Sacre was a genre and portrait painter, and 
 died £t Brussels in 1882, at the age of thirty-eight. 
 He was a pupil of Alfred Chuysenaar, and is repre- 
 sented in the Brussels and other Belgian Museums. 
 (See No. 89.) 
 
 190. 
 
 PORTRAIT OF A CHILD. 
 
 By CONSTANTIN MEUNIER. Canvas 20 x 16 
 inches. Lent by M. VAN DEN NEST. 
 
GALLERY IV. 
 
 3 
 
 191. 
 
 THE RETURN OF THE 
 MENDICANTS. 
 
 By JOSEPH THEODORE COOSEMANS. Canvas, 
 48 x 79 inches. Lent by M. E. VERLANT. 
 
 Joseph Coosemans, landscape painter, was born 
 at Brussels, and died there in 1904, at the age of 
 seventy-six. Pupil of Boulanger, and one of the 
 members of the School of Teroneren. He is repre- 
 sented in the Museums of Brussels, Antwerp, Ghent, 
 Bruges, Liege, and Louvain. 
 
 192. 
 
 THE SUN IN JUNE. 
 
 By EMILE CLAUS. Canvas, 53 x 56 inches. 
 Lent by THE ARTIST. 
 
 193 - 
 
 portrait OF M. ISIDORE 
 VERHEYDEN, LANDSCAPE 
 PAINTER. 
 
 By EDOUARD AGNEESSENS. Canvas 39 x 43 
 inches. Lent by the PRESIDENT AND DIREC- 
 TORATE OF THE* BRUSSELS MUSEUM. 
 
 Edouard Agneessens, portrait painter, was born 
 in Brussels, and died there in 1885, at the age of 
 forty-three. He studied at the Brussels Academy 
 and with Jean Portaels. Examples of his work figure 
 in the Brussels Museum and in the Museums of Ant- 
 werp, Ghent, and Courtrai. 
 
GALLERY IV. 
 
 1 14 
 
 194 - 
 
 LA FAUNESSE. 
 
 By CAMILLE VAN CAMP. Canvas, 41 y 2 x 75 
 inches. Lent by the BURGOMASTER AND 
 ALDERMEN OF NAMUR. 
 
 Camille van Camp was bom at Tongres, and 
 died at Montreux, in Switzerland, in 1891, at the 
 age of fifty-seven. Examples of his work are in the 
 Brussels and other Belgian Museums. 
 
 i95- 
 
 THE PROMENADE ON THE 
 WALLS. 
 
 By BARON HENRI LEYS. Canvas, 32 x 51 inches. 
 Lent by H.M. THE KING OF THE BELGIANS. 
 Formerly in the Collection of the Duke of 
 Brabant. 
 
 196. 
 
 THE PORTRESS. 
 
 By HENRI DE BRAEKELEER. Panel 41^ X 31 
 inches. Lent by MADAME Vve. COUTEAUX. 
 
 197. 
 
 LA MAISON HYDRAULIQUE, 
 ANVERS. 
 
 By HENRI DE BRAEKELEER. Canvas 32^ x 26 
 inches. From the Collection of the late 
 M. EUGENE MARLIER. 
 
 Henri de Braekeleer, genre painter and painter 
 of interiors, was born at Antwerp, and died there in 
 1888, at the age of forty-eight. He was the son of 
 
GALLERY IV. 
 
 5 
 
 the painter Ferdinand de Braekeleer, and a pupil 
 of Baron Leys. Examples of his work are in the 
 Museums of Brussels and Antwerp. 
 
 198. 
 
 PROPERTIES OF THE STUDIO. 
 
 By HENRI DE BRAEKELEER. Canvas, 15 X 21 
 inches. Lent by M. GEORGES LEQUIME. 
 
 1 99 - 
 
 hall OF THE BREWERS’ 
 HOUSE, ANTWERP. 
 
 By Henri Braekeller. Panel 14 x 12 
 inches. From the Collection of the late 
 M. EUGENE MARLIER. 
 
 200 . 
 
 A GIRL READING. 
 
 By HENRI DE BRAEKELEER. Canvas 30 X 24^ 
 inches. Lent by M. VAN DEN NEST. 
 
 201 . 
 
 ANTWERP. 
 
 By HENRI DE BRAEKELEER. Canvas, 35.x 27 
 inches. Lent by H.M. THE KING OF THE 
 BELGIANS. 
 
GALLERY IV. 
 
 1 1 6 
 
 202 . 
 
 PORTRAIT OF M. VINCOTTE. 
 
 By JACQUES DE LALAING. Canvas 89 x 62 
 inches. Lent by M. VINCOTTE. 
 
 Count Jacques de Lalaing, living painter, was 
 bom in London in 1858. Examples of his work are 
 in the Museums of Brussels and Ghent. 
 
 203. 
 
 THE VISIT. 
 
 By ALFRED STEVENS. Canvas 29 x 24 inches. 
 Lent by MADAME Vve. J. CARDON. 
 
 Alfred Stevens, genre painter, was born at 
 Brussels in 1823, and still lives in Paris. Pupil of 
 Francis Joseph Navez and of Roqueplan, in Paris. 
 Examples of his work are in the Museums of Brus- 
 sels and Antwerp. 
 
 204. 
 
 L’ACCOUCHEE. 
 
 By ALFRED STEVENS. Panel 17^ x 22 inches. 
 Lent by MADAME A. DE BAUER. 
 
 205. 
 
 THE LADY IN GREY. 
 
 By ALFRED STEVENS. Canvas 20 y 2 x 16 inches. 
 Lent by M. GEORGES LEQUIME. 
 
 206. 
 
 FEDORA. 
 
 By ALFRED STEVENS. Canvas 45 x 34 inches. 
 Lent by M. ALBERT SARENS. 
 
GALLERY IV. 
 
 II 7 
 
 207. 
 
 A YOUNG GIRL READING. 
 
 By ALFRED STEVENS. Canvas 1 8 34 x 15 inches. 
 Lent by PRINCE CHARLES DE LIGNE. 
 
 208. 
 
 By VICTOR GILSOUL. Canvas x inches. 
 Lent by the ARTIST. 
 
 Victor Gilsoul, living painter, was born at Brus- 
 sels, in 1867, and now resides there. Examples of 
 his work are in the Museum of Brussels and other 
 Belgian galleries. 
 
 209. 
 
 LEOPOLD I, KING OF THE 
 BELGIANS. 
 
 By LIEVIN DE WINNE. Panel 14 x 10 inches. 
 Lent by MADAME Vve. J. CARDON. 
 
 Lievin de Winne, portrait painter, was born at 
 Ghent, and died at Brussels in 1880, at the age of 
 fifty -nine. Examples of his work are in the museums 
 of Brussels and Ghent, and other Belgian galleries. 
 
 2 10 . 
 
 THE MODEL. 
 
 By ALFRED STEVENS. Canvas 29 x 21 inches. 
 From the Collection of the late M. EUGENE 
 MARLIER. 
 
1 18 
 
 GALLERY IV. 
 
 2 II. 
 
 ARCHERY. 
 
 By BARON HENRI LEYS. Canvas, 24 x 32 inches. 
 Lent by MISS PHILIPSON. 
 
 212 . 
 
 TWO HORSES IN A PASTURAGE. 
 
 By ALFRED VERWEE. Panel 20)4 X 15 y 2 inches. 
 Lent by MADAME Vve. CARDON. 
 
 Alfred Verwee, animal and landscape painter, 
 was born at Brussels, and died at Schaerbeek-lez- 
 Bruxelles in 1895, at the age of fifty-seven. Pupil 
 of his father and a follower of Verboeekhoven. 
 Examples of his work are in the Museums of Brus- 
 sels, Antwerp, and Liege. 
 
 213. 
 
 INDIA IN PARIS. 
 
 By ALFRED STEVENS. Canvas, 32^ x 22 inches. 
 Lent by M. SCHLEISINGER. 
 
 214. 
 
 THE INUNDATION. 
 
 By EMILE CLAUS. Canvas, 20 x 38 inches. 
 Lent from the collection of the late 
 EUGENE MARLIER. 
 
GALLERY IV. 
 
 1 19 
 
 215. 
 
 LES 6TANGS DU MOULIN GRIS 
 A LA HULPE. 
 
 By HIPPOLYTE BOULENGER. Canvas, 45 x 66 
 inches. Lent by MADAME VAN CAMP. 
 
 216. 
 
 THE DEFENCE. THE BURGO- 
 MASTER, VAN URSELE, 
 GIVING UP TO THE 
 ALDERMAN, VAN SPANGEN, 
 THE COMMAND OF THE 
 GARDE BOURGEOISE, IN 
 i54i- 
 
 By BARON HENRI LEYS. Canvas, x inches. 
 
 Lent by MADAME Vve. COUTEAUX. 
 
 nr HE incident depicted is intended to show 
 * the right of the Burgomasters to call out 
 the civic guard when they deemed it necessary. 
 
 In 1542 Francis I of France, and Charles V 
 were again at war, and attacks were directed 
 at Charles’ Netherlandish frontiers. Martin 
 van Rossem, with a motley force, harried Bra- 
 bant, and arrived eventually at the walls of 
 Antwerp. The scene in the picture is the Grand 
 Place of that city, and Lancelot van Ursele, 
 the Burgomaster, in view of the danger in which 
 the city stands, is addressing the armed guilds 
 and exhorting them to a vigorous defence. 
 Charles V had authorised the Sheriff, van 
 Spangen, to take command of this force, and, 
 by so doing, the city was saved the horrors of 
 an assault. 
 
120 
 
 GALLERY IV. 
 
 217 
 
 A NEWFOUNDLAND DOG. 
 
 By EUGENE VERBOECKHOVEN. Canvas $o }4 x 
 75 inches. Lent by E. VERBOECKHOVEN, 
 ESQ. 
 
 2l8 
 
 ANIMALS RESTING. 
 
 By ALFRED VERWEE. Canvas, 50 x 67 *4 inches. 
 Lent by M. P. DU TOICT. 
 
Index of Owners 
 
 H.M. THE KING OF THE BELGIANS, 
 
 AGNEESSENS, MDLLE., 
 
 ANDRIS, MADAME EDOUARD, 
 
 ANTWERP, MUSEUM, 
 
 ASCH, WM., ESQ., 
 
 BATH, CORPORATION OF, 
 
 BATTERSEA, LORD, 91. 
 
 BAUER, MADAME DE, 
 
 BEARD, ERNEST, ESQ., 
 
 BEERNAERT, M. A., 
 
 BIGGS, J. ESQ., 
 
 BIRMINGHAM, CORPORATION OF, 
 
 BISCHOFFSHEIM, MRS., 1 1 4. 
 
 BISSET, MAJOR L. ELRINGTON, 84. 
 
 BOSCH, SENOR D. PABLO, 
 
 BRAUN, M. E., 
 
 BRINTON, JOHN, ESQ., J.P., 
 
 BROCKLEBANK, RALPH, ESQ., 
 
 BROWN, ALFRED, ESQ., 4. 
 
 BRUGES, MUSiE COMMUNAL, IO9. 
 
 BRUSSELS, ROYAL MUSEUM, 
 
 CAMP, MADAME C. VAN, 
 
 CARDON, M. CHAS. LEON, 
 
 CARDON, MADAME We. J., 
 
 CARVALLO, M., 
 
122 
 
 
 CARYSFORT, EARL OF, 
 
 CHAMBERLIN, W. B., ESQ., 
 
 CLARKE, MRS. STEPHENSON, 
 
 COBHAM, VISCOUNT, 83. 
 
 COOK, SIR FREDK., BART., I. 
 
 COUTEAUX, MADAME We., 
 
 CREWS, C. T. D., ESQ., IO3, 1 1 8. 
 
 DARNLEY, EARL OF, 89. 
 
 DELACRE, M. AMBROISE, 
 
 DENBIGH, EARL OF, IO4. 
 
 DEVONSHIRE, DUKE OF, K.G., 88. 
 
 DONALDSON, SIR GEO., 98, IOI. 
 
 DRAX, W. E. S. ERLE, ESQ., 
 
 DREYFUS, M. GUSTAVE, 
 
 FIFE, DUKE OF, 
 
 FLEISCHMANN, F., ESQ., 92. 
 
 FORESTER, LORD, 102 . 
 
 GHENT, MUSEUM, 
 
 GILSOUL, VICTOR, ESQ., 
 
 GLASGOW, CORPORATION OF 
 
 HARRIS, C. T., ESQ., DEPUTY, 1 10 . 
 
 HARVEY, WM., ESQ., 93, 107 , III, 1 1 5, 1 1 9. 
 HELLEPUTTE, M. GEORGES, 
 
 HERMANNSTADT, GYMNASE, 2 . 
 
 HICQUET, M. LE DR., 
 
 HOLMES, SIR R., 
 
 HOWARD, H. C., 
 
 HOWE, EARL, 87, 96, 100. 
 
 HULIN, M. GEORGES, 
 
 HYLTON, LORD, 90. 
 
 v. 
 
123 
 
 KHNOPFF, M. FERNAND, 
 
 LEFEVRE, F. H. & CO., 
 
 LEGUIME, M. GEORGES, 
 
 LEMAIRE, M. G., 
 
 LIGNE, PRINCE CHAS. DE, 
 
 LYBAERT, M. TH^OPHILE, 
 
 MANN, JAMES, ESQ., 
 
 MAQUET, M. AUGUSTE, 
 
 MARLIER, M. EUGENE, 
 
 MARLIER, MADAME, 
 
 MARLIER, M., 
 
 MORRISON, MRS. ALFRED, 99 . 
 
 MORRISON, CHAS., ESQ., IO 5 , 1 1 3 , 122. 
 
 NAMUR, BURGOMASTER OF, 
 
 NARDUS, M. L., 
 
 NEST, M. VAN DEN 
 NORMANTON, EARL OF, 94 . 
 NORTHAMPTON, MARQUIS OF, 1 12. 
 NORTHBROOK, EARL OF, 1 1 6 . 
 
 PASSENBRONDER, M. ALBERT, 
 
 PENRHYN, LORD, 
 
 PHILIPSON, MISS, 
 
 PORTLAND, DUKE OF, I 06 . 
 
 POWIS, EARL OF, 
 
 PRETYMAN, CAPT., 
 
 QUILTER, SIR CUTHBERT, BART., 
 
 RIKOFF, M. J., ESQ., 
 
 ROME, W., ESQ., F.S.A., 95 . 
 
124 
 
 ROSSEL, M. EMILE, 
 
 RUTLAND, DUKE OF, K.G., 1 1 7 . 
 
 SARENS, M. ALBERT, 
 
 SCHLEISINGER, M., 
 
 SOLVAY, M. LUCIEN, 
 
 SPIELMANN, M. H., ESQ., 
 
 STERNBERG, HERMANN, ESQ., 
 
 STOOP, MRS. FRANK, 
 
 SCHLOSS, M. ADOLPHE, 82 , I 08 . 
 
 THYS, MADAME ALBERT, 
 
 TOICT, M. P. DU, 
 
 TOUSSAINT, M. ANDRE, 
 
 TURNER, SIR CHAS., G.C.I.E., 97 , 120. 
 
 VAN GELDER, M. MICHEL, 
 VERBOECKHOVEN, M. E., 
 
 VERLANT, M., 
 
 VERULAM, EARL OF, 
 
 VINCOTTE, M. 
 
 WALKER, J. HANSON, ESQ., 1 21. 
 WANTAGE, LADY, 85 . 
 
 WASSERMANN, DR. MAX, 
 
 WATNEY, VERNON, ESQ., 8 1, 86 . 
 WELD-BLUNDELL, C., ESQ., 3 . 
 
 WEMYSS, EARL OF, 
 
 WERNHER, SIR JULIUS, BART., 
 WESTMINSTER, DUKE OF, 
 
 WOOSNAM, MRS. 
 
Index of Artists 
 
 AGNEESSENS, EDOUARD, 
 ARTAN, LOUIS, 
 
 BELLIS, HUBERT, 
 
 BLES, HERRI DE, 
 
 BOOM, CHARLES, 
 
 BOSCH, JEROME, 
 
 BOULENGER, HIPPOLYTE, 
 BOUTS, ALBERT, 
 
 BOUTS, DIERIC, 
 
 BRAEKELEER, HENRI DE, 
 
 CAMP, C. VAN, 
 
 CLAUS, EMILE, 
 
 CLAYS, PAUL JEAN, 
 
 CLEVE, JOAS VAN, 
 CLUYSENAAR, ALFRED, 
 COOSEMANS, JOSEPH, 
 
 COQUES, GONZALES, III, 1 1 5 . 
 COURTENS, FRANZ, 
 
 COXCIEN, MICHIEL VAN, 
 CRISTUS, PETRUS, 
 
 DAVID, GERARD, 
 
 DE HEERE, LUCAS, 
 
 DELAUNOIS, ALFRED, 
 
 DELVIN, JEAN, 
 
 DE VIGNE, FELIX, 
 
DE VRIENDT, ALBERT, 
 DILLENS, ADOLPHE, 
 
 DOUDELET, CHAS., 
 
 DUBOIS, LOUIS, 
 
 DYCKMANS, JOSEPH, 
 
 ENSOR, JAMES, 
 
 EYCK, HUBERT VAN, 
 
 EYCK, JOHN VAN, 
 
 FLEMISH SCHOOL, 
 
 FOURMOIS, THEODORE, 
 FREDERIC, L&ON, 
 
 FYT, JAN, 98, IO3. 
 
 GALL AIT, LOUIS, 
 
 GEETS, WILLEM, 
 
 GILSOUL, VICTOR, 
 
 GOES, HUGO VAN DER, 
 GOSSAERT, JAN (MABUSE), 
 GROUX, CHAS DE, 
 
 HALS, FRANS, 8l, 86, 96. 
 HEMMESSEN, JAN VAN, 
 HUYSMANS, JACOB, I06. 
 
 ISENBRANT, ADRIAN, 
 
 JORDAENS, JACOB, 88, 92, 98. 
 
 KHNOPFF, FERNAND, 
 
 LALAING, CTE. JACQUES DE, 
 LAMORINIERE, FRANCOIS DE, 
 LEYS, BARON HENRI, 
 
127 
 
 LINNIG, W., JUNR., 
 
 LOMBARD, LAMBERT, 
 
 LYBAERT, TH&DPHILE, 
 
 MABUSE (see GOSSAERT JAN.) 
 
 MADOU, JEAN BAPTISTE, 
 
 MATSYS, QUENTIN, 
 
 MEMLING, HANS, 
 
 MERTENS, CHARLES, 
 
 MEUNIER, CONSTANTIN, 
 
 NEEFS, PETER, IOO, 1 1 4. 
 
 ORLEY, BERNARD VAN, 
 
 PATINER, JOACHIM, 
 
 POURBUS, FRANS, 99, IO9. 
 
 POURBUS, PETER, 
 
 ROBBE, LOUIS, 
 
 ROBIE, JEAN, 
 
 RUBENS, PETER PAUL, 82, 89, 93, 94, IOI, 1 1 6, 1 2 1. 
 
 SACRE, EMILE, 
 
 SNYDERS, FRANS, 95. 
 
 STEEN WYCK, H., IIO. 
 
 STEVENS, ALFRED, 
 
 STEVENS, JOSEPH, 108. 
 
 TENIERS, DAVID, 102. 
 
 TENIERS, DAVID, THE YOUNGER, 87, 97, IOO, I07, 
 
 1 1 3, 1 19, 120, 122. 
 
 VAN BEERS, JAN, 
 
 VANDYCK, ANTHONY, 83, 84, 85, 90, 91, IO4, I05, 
 1 12, 1 1 7, Il8. 
 
VERBOECKHOVEN, EUGENE, 
 VERWEE, ALFRED, 
 
 WAUTERS, EMILE, 
 
 WEYDEN, ROGER VAN DER, 8. 
 WILLEMS, FLORENT, 
 
 WINNE, LIEVIN DE, 
 
CENTER 
 
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