Digitized by the Internet Archive in 2014 https://archive.org/details/descriptivecatalOOwaag 1 DESCRIPTIVE CATALOGUE OF % Collection of 2&2jantme, earlg Jttaltan— (Kermatt— ano jHemtsf) pictures, BELONGING TO HIS SERENE HIGHNESS PRINCE LOUIS D'OTTINGEN WALLERSTEIN. Bmtlburj' & Evans, Printers, Whitefriars. DESCRIPTIVE CATALOGUE OF A COLLECTION OF ANCIENT GREEK, ITALIAN, GERMAN, FLEMISH, AND DUTCH PICTURES. NOW AT KENSINGTON PALACE. This Collection belongs to his Serene Highness Prince Louis of Ottingen Wallerstein, who is willing to dispose of it. As it is the only one of its kind now existing, besides the Boisseree Gallery at Munich, and of the highest importance as regards the History and Illustration of Ancient Art, His Royal Highness Prince Albert has induced the owner of the collection to send it to England, in order that it may be viewed by the English public, and to give the country an opportunity of obtaining it. LONDON : BRADBURY A SD EVANS, PRINTERS, WHITEFRTAR3. When, at the close of the eighteenth and beginning of the nineteenth century, a spirit of innovation threatened, in its first outbreak, to destroy not only customs and institutions, but also the monuments of Science and Art, some influential persons united to save what could be saved from utter destruction. Among those who so exerted themselves was Prince Louis of Ottin- gen Wallerstein, who already possessed a collection of Antique Paintings which had been for centuries in his family, and which the convulsions of the times enabled him to enrich by many recent acquisitions. He arranged his collection in four classes, — I. Paintings of the Byzantine School, comprising the productions of Eastern Art between the tenth and the thirteenth century. This part of the Gallery was intended to represent that style which was adopted by the Christian Artists in the East, after the time of Constantine the Great, and which, in consequence of the frequent intercourse between the East and the West, under Charlemagne and his successors, through presents made by the Greek Emperors to the Carlovingian Kings, and by the Crusades and the Pilgrimages in the eleventh and twelfth centuries, exercised so marked an influence on the Fine Arts of the West. To this class belong the pictures numbered from 1 to 9 a . II. Early Italian Paintings, illustrating, by some eminent and characteristic specimens, the first steps of Art in Italy. To this class belong the pictures numbered from 10 to 25. a 2 4 III. A collection of the productions of early German Art, compris- ing the principal masters of the Schools of Suabia, Franconia, Saxony, and Upper Germany. This portion of the collection has passed into the possession of the King of Bavaria who, by the acquisition of the celebrated Boisseree Gallery, had already completed his collection of the other ancient Schools. This School is, however, represented by a few specimens found under the numbers 27 to 43. IV. A collection of paintings of the ancient Rhenish, Flemish, and Dutch Schools, comprehending the remainder of the collection from numbers 44 to 101, with the above exceptions.* * The author of this Catalogue is not responsible for the names of the Artists, which are those inserted in the old German Catalogue, from ancient and authentic documents. CATALOGUE OF PICTURES. N.B. — In the following Catalogue the Pictures are numbered according to the antiquity of the Schools, and the numbers correspond with those placed on the Pictures, without any reference to the order in which they are now hung. 1— Masters of the Byzantine School. Nos. 1 to 9, & 26. PAINTER UNKNOWN (as is usual with the pictures of the Byzantine School.) l.-THE SUDARIUM WITH THE LEGEND OF KING AB- GARUS. The centre of the picture, inclosed by a large band of gilt metal, represents the face of our Saviour on a napkin ; it is of a brownish hue; the hair, parted in the middle, falls on each side. The features are regular and handsome, the eye-brows slightly arched ; and the beard, which is also parted, is, like the rest of the picture, most delicately finished. Around this are ten small compositions relating to the legend of King Abgarus of Edessa ; the descriptions in the spaces between are in Greek. 1 . King Abgarus, being sick in bed, sends his portrait to Christ. 2. Christ receives the king's messenger. 3. Christ washes his face in the water presented by the messenger. 4. Christ delivers to the messenger a letter, and the napkin upon which has been left the impression of his face. 5. The messenger carries the miraculous napkin to the king. 6 6. The messenger being shipwrecked, swims for his life, holding the napkin and the letter above the water. 7. The portrait is fastened to a column, a bishop pours oil into a cup ; flames issue from it, which destroy many of the Persians. 8. The bishop orders a potter to conceal the napkin. 9. The bishop astonished at the re-appearance of the napkin. 10. King Abgarus breaks his idol and fastens the miraculous likeness to the gates of Edessa. Besides the inscriptions underneath these compartments, there are many words in very small Greek characters on the paintings themselves ; and words of mystic meaning on the napkin. The characters of the inscriptions are as early as the tenth century, and the execution shows a rare degree of artistic skill. On cedar. Size, including the metal band, 1 foot 3^ inches by 1 foot If inches. THE DEATH OF THE VIRGIN. Small Full-length Figures. On a gold ground, like all the other pictures of this School. The Virgin lies extended on a richly adorned couch, surrounded by the Twelve Apostles ; Christ soars upwards, bearing her soul in the form of an infant in swaddling bands. He is surrounded with golden rays, and above his head is a red seraph. On either side of him are two Angels and two Saints in Greek episcopal robes, with their names : two of them hold open books, with Greek inscriptions. Beyond these four Saints, on each side, stands a female figure without either glory or name. In the foreground the Archangel St. Michael bends forward to strike off with his sword the hands of the High Priest Adonijah, who is on the point of profaning the bier of the Virgin. Every Apostle has his name inscribed within his nimbus, and over the High Priest is his name, also in Greek. The whole group is sepa- rated from the back-ground by a blue arch, probably intended to represent the river Jordan ; many buildings are seen beyond it, which, in that case, would signify the New Jerusalem, the future home of the blessed. On wood, with a metal band of 1^ inch size : llf inches by 10 J inches. This picture was brought by a Crusader, Count Helfenstein, from the East , and was preserved in the treasury of a Sovereign German Abbey until its secularisation. 7 //S 3.— THE VIRGIN, AS QUEEN OF HEAVEN. Small Full-length Figures. The Virgin, in red drapery ornamented with gold, wearing a crown, and with a sceptre in her right hand, is seated on a throne ; the Infant Christ rests upon her left arm; he raises his hand in benediction ; two archangels, one carrying globe and sceptre, stand near him. With the usual inscriptions. On wood. Size : 4^ inches by 2| inches. //JT 4. — CHRIST ENTHRONED. Full-length Figures. Christ, seated on a red throne, blesses the Universe ; the Gospel in his left hand is open at the words : "I am the light of the world; he that follows me shall not walk in darkness." The Virgin and St. John the Baptist stand on each side in attitudes of supplication. On cedar. Size : 9 inches by 7i inches. 5. — VIRGIN AND CHILD. More than Half-length. y /lyr- The Virgin, painted in a very deep tone of colour, in a dark -red mantle, her face inclined to the left, sustains the Infant Christ, who raises his right hand in benediction, holding in the left a roll of parchment. The beautiful expression in these two heads is very striking. On wood. Size : 1 foot 2| inches by 1 1 inches. 6. — VIRGIN AND CHILD. Rather more than Half-length. The Virgin, painted in a deep tone of colour, with a serious expression, inclines her head to the right.* She is in dark * Right and left mean always to the right and left of the spectator, unless otherwise distinguished. 8 drapery, which falls from her head ; a golden star on her shoulder, and a ring on the fore-finger of her right hand; the Infant Saviour (in purple with a red mantle) raises his right hand in benediction, holding in his left that of his mother. On wood. Size : 1 ft. 94 inches by 1 ft. 3 inches. —VIRGIN AND CHILD. More than Half-length. The Virgin tenderly presses to her bosom the Infant Saviour, who leans his right cheek against that of his mother, caressing her with his left hand. The child has very little drapery. Above, the usual Greek abbreviations. This picture, also, is very peculiar in its technical treatment ; it is very round and soft, and deeply toned in the flesh tints. On copper. Size : 1 foot ^ inch by 9^ inches. —THE CLOISTERS OF SOLOWETZK, ON THE WHITE SEA. In the centre of the picture stands a group of ecclesiastical buildings, with many spires and cupolas, erected on the declivity of a mountain. The entrance in front is by golden gates ; quite in the foreground are aquatic birds and fish, sporting in the water. At the top of the picture is placed this inscription : " The cloister of the holy and venerable fathers, Zosima and Sabatheus, the performers of miracles at Solowetzk." In the centre niche of the principal tower, these two saints are represented in adoration before the head of Christ ; to the left, in a smaller niche, stands the half-length image of the Virgin, and the Infant Saviour, placed above the sepulchre of some saints ; on the right is an image of St. Nicholas ; behind the central group, two monks are seen ringing the bells of the Convent. On wood. Size : 1 1 inches by 9 inches. —THE NATIVITY. Very small Full-length Figures. In the centre, the Infant Christ is seen lying in the manger : 9 near to him, is seated the Virgin Mary, the ass and ox stand by ; a glory of angels bend over the group. To the left, the Magi are seen following the star, and, to the right, the angel appears to the shepherds. To the right, in the lower part, St. Joseph is explaining to two elders the mystery of the Nativity ; and, on the left, two women prepare to bathe the child. In the corner, to the right, is an explanatory inscription, in Greek, on a shield. Other inscriptions are at the top of the picture. This highly-finished picture dates as early as the tenth century. On cedar. Size : 9% inches by 5| inches. 9 a . (26.)— VIRGIN AND CHILD. y, Half-length Figures. yy- The Virgin, in a red mantle descending from her head, and adorned with gold stars, holds the Infant Christ in her left arm. Christ, dressed in a red and gold toga, blesses with his right, and has a roll of parchment in his left ; the back-ground is gilt. On wood. Size : 1 1 inches by 8^ inches. II— Early Italian Masters. Enabling us to compare the Rhenish and Flemish Schools of that period, with the contemporary Schools beyond the Alps. NOS. 10 TO 25 ALL PAINTED IN DISTEMPER. EARLY SIENNESE SCHOOL. 10.— VIRGIN AND CHILD. The Virgin, attired in a pale blue mantle, which descends from her head, holds the Infant Christ, who, richly robed in gold brocade, has a bulfinch in his left hand ; on each side a saint without any distinguishing attribute, (the saint on the right being evidently St. Bernardino,) and a glory of six angels crowned with myrtle or olive. 10 Within the nimbus of the Virgin is inscribed, " Ave (Maria,) gratise plena, dominus (tecum)/ 5 On wood. Size : 1 foot 10 inches by 1 foot 3 inches. FLORENTINE SCHOOL. MASTER UNKNOWN. Nos. 11 to 14. SUBJECTS FROM THE LEGEND OF ST. MARGARET. Full-length Figures. 1 1 . At the command of Olibrius two soldiers arrest St. Margaret while tending her flock : the Governor and his suite are seen in the distance. 12. St. Margaret is tied to a tree and scourged. 13. In a landscape, St. Margaret issues from the body of the dragon, which she has overcome by her prayers and the sign of the Cross. 14. St. Margaret about to be beheaded in the presence of Olibrius ; an angel descends with the crown of martyrdom. On wood. Size : of Nos. 11 & 12, 1 foot by 10 inches ; of Nos. 13 & 14, 1 foot 1 inch by 10 inches. These pictures have been, since the fourteenth century, on the altar of the private oratory of the Abbesses of St. Margaret at Eichstadt. Nos. 15 to 23. JUSTUS OF PADUA. — An early Italian master, about whom we have not been able to find any information, and who has in some respects a style peculiarly his own, though allied to that of the Florentine School of the period. Small Triptych on wood, in distemper. 15. — In the Central Compartment, Coronation of the Virgin. Full-length Figures. Christ, on a Gothic throne, attired in a rose-coloured tunic and blue mantle, with crown and sceptre, places a crown on the head of his mother, who is seated beside him, with a charming expression of meekness. Her raiment is white, embroidered all over with suns and moons, the former red with golden rays, the latter blue 11 with coloured rays. At the foot of the throne stand six Saints; on the right, St. Paul, St. John the Baptist, and St. Peter; on the left, St. Margaret, St. Barbara, and St. Catherine : all have their attributes. Above, on each side of the throne, six other saints, some in religious habits ; two angels with musical instru- ments, and one blue cherub and red seraph in adoration. Size : 1 foot 5£ inches by 81 inches ; each wing 1 foot 6 inches by 4| inches. 16 and 17. — The Left Wing, The Annunciation. On the right, the Virgin, kneeling before her oratory, turns with an expression of surprise : here her drapery is of the usual colours. On the left, the Angel Gabriel kneeling, presents the Lily. 18. — Lower Compartment of the Left Wing. The Nativity. A young woman in a red dress receives the new-born Infant from the Virgin, who is sitting in the stable. In the foreground St. Joseph sleeping, and another female attendant kneels before a tub ready to receive the Child for the bath. In the background the Angel appears to the Shepherds watching their flocks by night. Three Angels are chanting the " Gloria in excelsis." 19, — The Right Wing, Lower Compartment. The Crucifixion. Christ on the Cross; at his feet the Virgin, supported by two Female Saints; the Magdalene kneels, embracing the Cross; and St. John, a figure of peculiar elegance, stands by with an ex- pression of deep affliction. Four Angels hover round the Cross. In the spandrils are four Prophets. Executed in Graffito or gilt glass. 20 and 21. — Upper Compartments of the Outside, To the left, the Expulsion of Joachim from the Temple; to the right, the Angel appears to Joachim, and foretels the birth of the Virgin. 12 22. — Lower Compartment to the Left. The meeting of Joachim and Anna at the Beautiful Gate. A Shepherd and two Female attendants. Lower still, is the Presentation of the Virgin in the Temple. 23. — Lower Compartment to the Right, The Birth of the Virgin. St. Anna in bed attended by three women ; two others prepare the Child for the bath. Beneath this. — The Marriage of the Virgin. An admirable production, in conception and execution, and most delicately finished. The date 1367 is on the pedestal, and on the back is inscribed " Justus pinxit in Archa." BERNARDINO BETTT, called Pinturicchio, born 1454, died 1513. 24. — VIRGIN AND CHILD. The Infant Christ stands within an arch of a window, upon a carpet; he raises his hand in benediction; the Virgin stands beside him holding him with her left hand, having in her right a portion of the light transparent drapery of the child; round his neck is a rich chain and medallion. In the background is a land- scape, the lights on the trees being gilt. On wood. Size : 1 foot 10 inches, by 1 foot 3^ inches. RAPHAEL SANZIO D'URBINO, born 1483, died 1520. 25. — VIRGIN AND CHILD. The Virgin nearly en face, attired in red with a blue mantle, holds the Divine Child in her arms ; on her head she wears a greenish drapery which does not entirely conceal her fair hair. The Infant Christ, very slightly draped, raises his right hand. Round this group are a glory of stars, and eight Cherubim with many-coloured wings, each having six, two red, two green, and two white. This picture, though evidently a juvenile production, exhibits nevertheless so much genius and feeling, that it is not improbably an early work of the great pupil of Pietro Perugino, in whose spirit the whole is conceived and executed. 26.— Vid. page 9 a . Ill— Masters of the Early German Schools. COMPRISING THOSE OF SUABIA, FRANCONIA, AND UPPER GERMANY. Nos. 27 to 43. MASTER UNKNOWN. 27. — THE HOLY FAMILY. Full-length Figures. f/^/O In a room ornamented with polychrome classic architecture, having a double window in the background, sits the Virgin, work- ing on a hand-loom; opposite to her, St. Joseph is sitting with the sleeping Infant Christ on his knees. The Infant has a gilt robe; St. Joseph is dressed in blue, with a red mantle over his shoulders; his head is covered with a cowl, and has no nimbus. This delicate painting has a border of flowers, like the missal- paintings. Its master belongs to the School of Upper Germany. On fine linen. Size 1 foot 4^ inches by 1 foot. MASTER UNKNOWN. 28, 29, 30.— THE ADORiVTION OF THE MAGI, BETWEEN ROCKS. Triptych. Full-length Figures. The Infant, dressed in a red robe, sits in the lap of his mother, playing with the presents offered by the Magi, one of whom, covered with a royal mantle, is prostrated before Christ; he is ¥4$ 14 followed by a page, holding his crown, while the other two kings, dressed in green, with short red mantles, are pointing to the star that guided them. There is no Moor among them. Behind the rocks three Angels are seen, of which one is speaking to a shepherd. Above this is the Descent from the Cross. Joseph of Arima- thea sustains the body of Christ, Mary kisses the right hand of the Saviour, and St. John the left, while Mary Magdalene supports his feet, out of which a kneeling Saint draws the nails. Behind the Virgin some Saints are standing, and the top of the Cross is sur- rounded by four small Angels. The Left Wing, Upper Compartment. The Archangel Gabriel; below this, the Nativity. The Ox and Ass, standing above the manger, are licking the Child. The Bight Wing, Upper Compartment. The Virgin, on her knees, receiving the Message; below this, Christ and the Apostles on the Mount of Olives ; lower down the young Christ in the Temple, disputing with the Doctors. The out sides of the two wings have, on 36, St. Christopher in the Sea, with the Infant Christ on his shoulders; and, 37, Mary in a white robe and veil dressed like a nun, with crown and glory. The Infant Christ sitting and blessing, surrounded by an almond- shaped blue glory, appears as if within the bosom of the Virgin, unsupported by her hands, which extend her drapery in protection over several small figures kneeling on both sides at her feet. On wood. Size : centre piece, 1 foot 7 inches by 9^ inches ; each wing : 1 foot 7 inches by 3| inches. MASTER UNKNOWN. —THE DEATH OF THE VIRGIN. Full-length Figures. Within a spacious room, supported by columns, lies the Virgin on a bed covered with a rich tapestry ; she is reading from a book, which one of the Apostles is holding before her. The Apostles surround the deathbed, some occupied in prayer, others in performing the last ceremonies, all the figures expressing pro- found grief. Two windows open towards a landscape ; before these windows, on the left, a table is placed, with bread, linen, and vessels. 15 On the foot of the couch the date 1317 is written, but there is every reason to believe that the real date is 1417, a numeral C being effaced. This is a work of a German artist, probably from the Upper Rhine; and, although somewhat clumsily expressed, is yet full of sentiment. On wood. Size : 1 foot 7 inches by 10^ inches. MASTER UNKNOWN. 32. — VIRGIN AND CHILD. Half-length. Surrounded by a series of small compositions. The Virgin is attired in the usual colours, with a white veil and jewelled crown ; the Infant Christ rests in her arms, dressed in violet with golden stars. He holds in his left hand a golden apple, and in the right a bullfinch. On the raised border of this picture are eight coloured composi- tions, representing scenes from the Life and Passion of Jesus Christ. Between these are half-length figures of the Twelve Apostles stamped upon the gilt frame, in a manner not unlike the " opus mallei" in appearance. Each Apostle has his name inscribed. The coloured compositions represent — 1. The Annunciation. 2. The Visitation. 3. The Nativity. 4. The Circumcision. 5. The Adoration of the Magi. 6. The Crucifixion. 7. The Resurrection. 8. The Pentecost. The smaller figures are, however, of a later date than that assigned to the picture, and many of them are beautiful. This picture is said to have been presented in the year 1327, by a certain Count Dillingen, to the Chapter of Marie Madlingen, where it was kept until 1802. On wood. Size : 1 foot 1 1 £ inches by 1 foot 7£ inches. #40 16 MASTER UNKNOWN. 33. — THE HOLY TRINITY. Full-length Figures. The First Person of the Trinity as an aged man, crowned and attired in red drapery, and the Third Person, under the form of a much younger man, in white raiment with wings coloured red and blue, both seated on a rich Gothic throne, support the lifeless body of Christ, who rests with his feet on a globe. The representation of the Holy Ghost as a man in sacerdotal garments, with coloured wings, is very rare in Christian Art. This beautiful picture has been attributed to Hubert Van Eyck, but appears to belong rather to an early master of Upper Germany. On wood. Size : 1 foot 1^ inches by 10 inches. HEINRICH ALDEGREVER, born at Soest 1502, died 1562 ; pupil of Albert Diirer, and one of the best engravers of his time. 34.— VIRGIN AND CHILD IN A GARDEN. Full-length Figures. f /^/ The Virgin, in rich red drapery, bordered with gold and pearls, < is seated under a tree in the middle of a landscape ; her head is encircled by a tiara of pearls ; in her right hand she holds a nosegay of heart' s-ease, and supports the Infant Christ with her left, who, sitting upon her knees, holds a small golden globe with a peculiar star attached to it. To the left of the Virgin is an earthen vase containing pink flowers, and a number of flowers, painted with great care, bloom round her feet. The flesh-tints of this picture are somewhat pale, but very soft and transparent. The whole composition is full of poetry and grace. On wood. Size : 2 feet by 1 foot 8 inches. 17 THE SAME. 35. — THE MARTYRDOM OF ST. URSULA AND HER COM- PANIONS. Full-length Figures. St. Ursula richly attired, with long flowing hair, is in the act of leaving the boat ; two barbarians bend their bows and prepare to kill her. In the boat which she has just quitted, are several of her followers, St. Cyriacus the bishop, two friars, two virgins, and four sailors. The saint meets her fate standing, with her hands folded in prayer ; many of her virgins lie massacred upon the shore, and the pagan soldiery prepare to destroy those who are in the vessels. Within a window is seen a representation of the betrothal of St. Ursula with the Prince of England. This somewhat modern-looking picture is full of merits. The expression in the heads is very beautiful, the drawing good, and the colouring rich and sparkling. On wood. Size : 2 ft. 3| inches by 1 ft. 7 inches. MASTER UNKNOWN. 36. — CRUCIFIXION. Full-length Figures. This small picture represents the Saviour on the cross. On the left, Mary Magdalene and St. John, with two other women, support the fainting figure of the Virgin. On the right, the Centurion, and three other soldiers, one holding a shield, with the initials S.P.Q.R. In the back-ground is a landscape, with castles near the sea. The rest of the back-ground is gilt. The costume and execution remind us strongly of the School of Suabia. On wood. Size : 7 inches by 7 inches. MASTER UNKNOWN. Early School of Suabia. 37.— THE INFANT CHRIST LEARNING TO WALK. j£ V> Full-length Figures. The Virgin is seated under the arches of a large Gothic church, 18 with an altar and the sacred vessels in the choir. She offers a pear to the Infant Saviour, who, led by an angel in white raiment, endeavours to reach his mother ; the wings of the angel are of peacock's plumes. Two angels with coloured wings look down from the triforium to the left of the altar. This picture is full of sentiment, and executed with great skill. It is particularly important as a good example of the Suabian School. On wood. Size : 1 foot 10J inches by 1 foot 6 inches. Portrait of a young man with short fair hair, surmounted by a black cap. His dress is black, over which he has a brown cloak, with black velvet facings. In his left hand he holds a red car- nation, and his right rests on the parapet before him, which is covered with red tapestry. The back-ground is a landscape, with the effect of sunset — the sky being gilt close to the horizon. On the parapet, to the right, is the monogram M. and O. with the date 1530. M. This portrait has been attributed to Martin Schaffner. lbOd0 - On wood. Size : 1 foot 9± inches by 1 foot 7 J inches. C. J. BEHEM. 1642. 43.— THE FALL OF MAN. Full-length Figures. if SO Our First Parents are seen conversing beneath the Tree of Know- ledge. Adam, seated on a bank, receives the forbidden fruit from the hand of Eve ; she stands before him, pointing with her right hand to the Tempter, who is seen among the boughs of the tree. Several animals are assembled round them. On the right, above the heads of two sheep, the name of the artist, with the date 1642, are inscribed. On wood. Size : \\\ inches, by 9\ inches. 21 IV.— The Rhenish, Flemish, and Dutch Schools. Nos. 44 to 101. MASTERS OF THE RHENISH AND FLEMISH SCHOOLS, Who were influenced by the Byzantine Art, and who lived and worked previous to the time of Wilhelm of Cologne, and the Brothers Van Eych. Nos. 44 to 50. 44. — VIRGIN AND CHILD. More than Half-length Figures, on a golden ground. The Virgin, with the Infant Christ in her arms, is attired in a blue robe and a red mantle falling from her head. The Child, clad in similar colours, holds the golden globe in his left hand, and^gives with his right the blessing ; in the upper corners, two kneeling angels are seen, one of which holds a chalice, and the other, the instruments of the Passion. The usual Greek abbreviations surmount the whole. On wood. Size : 1 foot 9^ inches by 1 foot 3 inches. 46, 47.— A TRIPTYCH. Full-length Figures. Upon a Gothic throne the Virgin is seated, pressing the Infant with tenderness to her cheek ; the latter holds a bulfinch in his right hand ; on each side of the throne stands a saint with the palm of martyrdom. The left wing represents the archangel Gabriel, and lower down, the Nativity. The right wing has the Virgin receiving the heavenly message, and lower down, the Crucifixion, with the Virgin and St. John. On wood. Size : the centre picture, 1 foot 1\ inches by 1\ inches. The wings, 1 foot 5 inches by 4£ inches. 45, /2f 22 UNKNOWN MASTER of the School of Cologne, and early imitator of the Italians of the fourteenth century. 48 to 49. — THE ANNUNCIATION. Full-length Figures. 31. The archangel Gabriel, arrayed in white, lined with red, kneels to deliver the divine message. 32. The Virgin receives the angelic salutation seated. These two pictures were in an ancient church near Andernach, since the fourteenth century. On wood. Size : 1 foot 6 inches by 8 inches. MASTER UNKNOWN. 50.— VIRGIN AND CHILD. Half-length Figures. The Virgin seen in front, attired in a blue mantle ornamented with gold ; she offers her bosom to the Divine Infant, who turns from her towards the spectator. A Gothic frame surrounds the whole, within which is an inscription beginning, " Ave, regina ccelorum," &c. ; highly finished in every part, and painted in a style which recalls the early Lombard School in point of type. On fine linen. Size : 1 foot 2^ inches by 10^ inches. Master Wilhelm of Cologne, the Van Eycks, and their immediate followers. Nos. 51 to 63. WILHELM VON COELN, OR WILLIAM OF COLOGNE, the Chief Master of the School of Cologne ; flourished about 1370—1380. 51.— ST. CATHARINE OF ALEXANDRIA, ST. MATTHEW, AND ST. JOHN, THE EVANGELISTS. Full-length Figures. •v < J The three saints stand together as patrons. In the centre is St. Catharine crowned, having in her right hand the sword of 23 martyrdom, and at her feet the broken wheel. To her right stands St. Matthew, as an aged man with white hair and long beard, apparently in meditation, holding in one hand an open book and in the other the stylus. His attendant angel, in a flowing white robe and blue stole and wings, looks out from behind him. On the left of St. Catharine is St. John, in white, his mantle lined with pale violet and confined by a leathern girdle, from which are suspended his ink-horn and pen-case. In his left hand he holds the chalice, from which issues the serpent ; with his right he appears to exorcise the cup. The eagle, the attribute of St. John, is at his feet. This picture, an extraordinary production for so early a period, is distinguished by the grandeur of the character, and by the softness, harmony, and splendour of the colouring. On a gold back-ground. Size : 2 feet 3 inches by 1 foot 1 1 inches. HUBERT VAN EYCK born at Alten-Eyck 1366, died 1426. 52.— ECCE HOMO. f/2V A head of Christ seen in front ; the expression is calm and dignified ; the long black hair, parted in the middle of the fore- head, falls on both shoulders ; a portion of the red robe is seen with a golden band round the neck, studded with pearl and pre- cious stones; the glory is gilt in the early manner, forming a cross. The back-ground is green. On wood. Size : 1 foot by 7| inches. JAN VAN EYCK, born about 1390, died 1445, according to many others, 1472 ; he was the first who painted figures in oil in a finished style. 53.— VIRGIN AND CHILD. Half-length. The Virgin, seen in front, wears a blue tunic, enriched with pearls and precious stones, and a crimson mantle. She supports with both hands the Infant Christ upon a white cushion placed on a parapet ; her expression is full of repose. The Child raises his right hand in benediction, resting his left on the hand of his 320- 24 mother. The Virgin alone has the nimbus. A rich curtain of gold brocade, edged with green silk, forms the back-ground. The finish of this picture, and the vivid truth in the flesh-tints, are marvellous. On wood. Size : 1 foot 4 inches by 1 1 inches. MARGARET VAN EYCK, sister of the former two. — VIRGIN AND CHILD. More than Half-length. The Virgin, sitting before a green tapestry worked in gold, supports the Infant Christ on her clasped hands. Her sweet and modest face is seen in front, and she wears a blue robe with a red mantle over it ; her hair is of a light golden brown. The Child plays with an apple, which he holds up in his left hand. On wood. Size : 8 inches by 6 inches. HUGO VAN DER GOES, flourished about 1460. " .~-A PIETA. Full-length Figures, Leaning against a projecting rock, the Virgin supports the lifeless body of her Son upon her knees. She wears a white veil; her eyes are filled with tears ; at her feet are a scull and the crown of thorns. In the distance is seen a portion of the city of Jerusalem. On wood. Size : 11 inches by 8£ inches. ROGIER VAN BRUGES, flourished about 1440. 6.— DEPOSITION FROM THE CROSS. Figures more than Half-length. Joseph of Arimathea sustains the body of Christ, which has just been taken down from the cross ; the Virgin embraces the lifeless form with the deepest affliction. This picture is a master- piece of truthful expression and execution, and merits great attention ; the drawing is correct ; and the colouring good. Size : 2 feet 63 inches, by I foot 8 inches. 25 THE SAME. 57, 58.— TWO HALF-LENGTHS OF THE SAVIOUR AND THE VIRGIN. ECCE HOMO. The Saviour after the flagellation, crowned with thorns, and / /y^" wearing the royal robe. The eyes, red with weeping, have an expression of intense suffering. The clasped hands, and the lips partly unclosed, indicate that he is praying. On wood, gilt ground. Size : 1 foot 2 J inches by 1 1 inches. MATER DOLOROSA. The Virgin, in a violet robe, with a blue mantle descending from her forehead, and the white veil fastened under her chin, wears an expression of the most profound grief ; tears drop from her eyes, which are heavy and red with weeping; her hands are joined. On wood, gilt ground. Size : 1 foot 2| inches by 1 1 inches. HANS HEMELING. (MEMELINCK). Flourished about 1480. 59._PORTRAIT OF AN ECCLESIASTIC. Half-length. Supposed to be the portrait of Van der Rust, the Carmelite who received the painter as a wounded soldier after the battle of Nancy, the same for whom Hemeling painted the exquisite shrine of St. Ursula in the church of St. John at Bruges. He is repre- '£TZF~~ sen ^ e( ^ standing between two Gothic pilasters, with joined hands; his head and eyes slightly raised towards the left. His manly and intelligent countenance expresses fervent prayer. In the back- ground are buildings. This most exquisite production cannot be praised too highly. The face and hands are nature itself, and in point of technical skill it is perfect. On wood. Size: 1 foot 3 J inches by lOf inches. 26 MASTER UNKNOWN. 60.— MADONNA AND CHILD, IN A LANDSCAPE. Full-length Figures. In the midst of a richly-varied landscape, the Virgin is seated under a chestnut-tree. The Infant Christ is in her lap, and she offers him a chestnut. She is attired in a blue mantle; her sleeves are red, lined with yellow; her flowing golden hair is covered with a thin veil. The Child has no drapery whatever, and turns away from its mother's bosom towards the spectator. In the back- ground are rich woods and a fortified town, and mountains sur- rounding a lake, which is covered with ships. To the right, St. John the Baptist is seen carrying a lanthorn, and his lamb with the cross and banner; on the left are two knights on horseback. The execution and finish of the landscape, the tree, and the plants in the foreground are quite exquisite. On wood. Size, Diameter : 2 feet 8 inches. Ft ///fir MASTER UNKNOWN. Supposed to belong to the last period ofH. Hemelinck. The monograms found on the picture do not, however, express his name. 61, 62, 63.— CORONATION OF THE VIRGIN. Triptych. Full-length Figures. This triptych represents the Coronation of the Virgin, surrounded by the usual beatified personages, but arranged in a style peculiarly German, part being placed on each side, and many in front of the picture, these latter being of larger proportions, and only half-length. The Virgin, with an expression of elevated humility, attired in simple blue drapery, kneels with folded hands before a semi- circular throne, on which are seated the Father and Son, and between them, with outspread wings touching their mouths, the Holy Ghost in the form of a Dove. The Creator, a majestic figure, wearing the triple tiara, raises his right hand in the act of bene- diction; his left holds the sceptre. Christ, with an expression of suffering in his face, holds in his left hand a cross of crystal. The Father and Son sustain between them the crown they are about to 27 place on the head of the Virgin. Both are clad in violet-coloured robes with red mantles. The golden throne, semicircular in form, sparkles with precious stones; the back is covered with green tapestry, having a rich pattern in gold; the arched picture is bordered above by a glory of seraphim, their hair, faces, plumage, &c, of a glowing red. In the lower part are seen half-length figures of Saints and Christian "Warriors, all with folded hands; to the right, St. Anthony the Hermit, with white hair and beard, and his blue cross upon his gown ; near him stands St. Paul the Hermit, with his long grisly hair and beard; he wears a garment made of green leaves sewn together, and has a rosary in his hand. Above these two is placed St. Philip the Apostle, with a cross in his arms, which are folded on his breast. Near these are St. Placidus the Benedictine, pierced by an arrow, and St. Andrew, with his name and transverse cross embroidered on his dress. Four knights, crowned with laurel, and having coats of mail beneath their splendid attire, would seem, from their great individuality in countenance and costume, to be portraits, and possibly represent the donors of the altar-piece, or the four great warrior-saints St. Adrian, St. George, St. Sebastian, and St. Maurice. The one in black bears the name " Adrianus;" another, in white, has a red cross on a white field, as the clasp of his girdle; a third in green, has a coat of arms, a shield with nine golden balls on a red ground; the fourth is in crimson, with crosses embroidered in gold; close to him and to the extreme left, is a personage attired in scarlet, with a black cap, and having a small golden surgical instrument (a spatula) suspended from his shoulder. This may probably represent St. Cosmo, the physician. Left Wing. At the top of the picture is a glory of red seraphim in adoration ; the group of saints also adoring are mostly distin- guished by their respective attributes. Beginning from the right of this compartment, St. Luke, supposed to be the portrait of Hemelinck, the arms of that painter being suspended from the neck of the small emblematical ox attached to the green drapery round the shoulders of St. Luke. Next to him St. James Major, with the Pilgrim's hat and shell, then St. Clara of Assisi, with the crozier ; St. Paul the Apostle, with the sword ; St. Hippolytus, with his name inscribed on his collar — "Ipolite;" St. Laurence, in the Dalmatica; St. Peter the Martyr, with the knife in his head; St. Benedict; St. Romualdus ; St. Ives; St. Catherine of Siena, in the Dominican habit, crowned 28 with thorns; St. Dorothea, with a rose; St. Mary of Egypt, with her three loaves, and long flowing hair; St. Margaret, (her attribute, the dragon, being introduced as a golden ornament attached to her girdle) ; St. Apollonia, with a golden tooth in her necklace; Mary Magdalene, with her vase; and close to her, Martha, wearing a hood. In the lower part are six saints half-length, among whom are the three kings crowned; one a Moor as usual. A figure in a blue mantle, with the ducal crown, is supposed to be the portrait of Philip the Good; he is in a full suit of armour; on his right hip is a mono- gram of a trefoil surmounted by a crown, and on the hilt of his sword are the letters P and B. A fifth personage, wearing a scarlet dress lined with fur and a velvet cap trimmed with gold, may repre- sent St. Damian; the last is crowned with laurel — no other attribute. Right Wing, Here also is a glory of Cherubim at the top of the picture. The saints in this compartment, beginning from the extreme right, are St. John the Baptist; St. Bruno, in the Carthusian habit; St. Dominic, with the star on his breast; St. Francis, with the stigmata; the Bishop St. Levin, with his tongue; St. Stephen, with the stone on his head (corresponding in position with St. Laurence in the Left Wing) ; St. Peter the Apostle, as Pope (corresponding with the St. Paul in the Left Wing) ; the four Latin Doctors : St. Gregory, with the dove ; St. Jerome, as Cardinal; St. Augustine with the heart; and St. Ambrose: St. Barbara, her name being worked in the border of her dress, and having her attribute, the tower, as a small golden ornament; St. Catherine, crowned, with her wheel as an ornament suspended from her necklace; St. Ursula, with the arrow; St. Agnes, her lamb at her feet, wearing the crown and holding a ring in her hand; St. Lucia, with eyes embroidered on her turban; and a saint in a nun's dress holding a palm, the head of a fish appearing near her feet. In the lower portion are five personages: 1. St, Louis, King of France; 2. St. Christopher, with his palm-tree, and crowned with laurel; 3. St. Edward the Confessor, with the ring and a letter ; and two others. This picture is most important as a document in the history of Art in the middle ages, and not devoid of interest on account of the portraits and the costume. On wood. Size : principal picture, 3 feet 5 inches by 2 feet 2 inches ; each wing, 3 feet b\ inches by 1 1 inches. 29 Some Dutch Masters and the followers of the style of Van Eyck, of the Sixteenth Century. Nos. 64 to 101. ISRAEL VON MECKENEN (MECHELN), born 1440, died 1503. — THE PRESENTATION IN THE TEMPLE. Full-length Figures. The Virgin presents the Infant Christ to the High Priest, who stands before a Gothic altar ornamented with bas-reliefs repre- senting the Death of Abel, the Sacrifice of Abraham, and the Derision of Noah. Behind the Virgin stands St. Joseph holding a torch and searching his pocket for the money-offering. On the same side are a youth and three women, the youngest of whom, richly attired, carries two turtle-doves : on the other side of the altar are three men and three women; the man nearest the altar appears, from his rich dress, to be a personage of distinction; he wears a blue cap on his head ; an elderly woman, perhaps St. Anna, with a torch in her hand, is speaking to him; on this side also the youngest of the women holds a dove. The back-ground is gilt, which adds effect to the clearness and brilliancy of the colouring ; and the whole strongly reminds us of the best productions of the Van Eycks. There is much beauty and earnestness in the heads, and the drapery is flowing and graceful. On wood. Size : 3 feet 7 inches by^2 feet 9£ inches. The Companion to this picture, representing the Marriage of the Virgin, exists in the Royal Gallery at Munich. THE SAME. —PORTRAIT OF A LADY, OF THE MAIDEN NAME OF HOFERIN. (The name being inscribed at the top of the picture). Her head is turned to the right, and she wears a peculiar white head-dress, such as was worn in the fifteenth century. The painter has whimsically introduced a fly upon the cap, which is admirably painted ; she holds a sprig of Forget-me-not in her left hand, On wood. Size.: 1 foot 9 inches, by 1 foot 3^ inches. 30 CORNELIUS ENGELBRECHTSEN, born at Leyden 1 168, died 1533. The master of Lucas van Leyden. C6. THE VIRGIN AND CHILD IN A GARDEN. Full-length Figures. The Virgin is seated at the foot of a tree, in a beautiful though somewhat fantastical landscape. She is clad entirely in a robe of bluish white, and offers her bosom to the Divine Infant, who rests on her knees upon a linen cloth. This picture has all the finish of a miniature. The forms are full and rounded; and much taste is displayed in the composition. On wood. Size : 1 foot \\ inch by 10^ inches. LUCAS VAN LEYDEN, (LUCAS DAMETSZ), born 1494, died 1538. 7.— ST. PETER AND ST. DOROTHEA. Full-length Figures. St. Peter and St. Dorothea stand in front of a magnificent curtain of green and gold tapestry, which is drawn before a column, and over the top of which is seen a distant landscape. St. Peter has the Gospel and the silver and gold keys in his right hand, and in his left he holds a pair of spectacles and sustains his red mantle. His beard and hair are short, grey, and curling, and his face is square and broad, according to the usual type. He appears advancing forward in conversation with St. Dorothea, who stands on his left side ; she is attired in an ample white robe lined with red and gold brocade over a dress of crimson and gold brocade ; her long fair hair, confined by a small garland of flowers, falls over her shoulders. In her right hand she holds a red carnation, and the basket, shaped like a vase, which she has in her left, contains a variety of flowers. This painting is remarkable for its great technical skill, and the perfection of the materials. The three companion-pictures to this precious work of Art are now in the Pinacoteca at Munich. On wood. Size: 4 feet 2 inches by 2 feet 4£ inches. 31 fsz> QUINTIN MATSYS (or MESSYS), called the Blacksmith of Antwerp, born 1450, died 1529. MU' H^7J> 68. — HOLY FAMILY, WITH ANGELS. More than Half-length Figures. The Virgin is seated upon a throne with a purple back and a red canopy; she holds in her arms the Divine Child, who appears to have dropped asleep. St. Joseph, bald-headed and with a blue cowl to his black dress, approaches respectfully from the left, with a car- nation in his hand. Three angels stand to the right, singing from a choral-book. To the left, on a table, is a plate with fruit. Landscape back- ground. On wood. Size: 1 foot 11 inches by 1 foot 7 inches. THE SAME. 69. — JUDITH. Figures rather more than Half-length. Judith comes out of a tent, holding in her right hand the sword ; with her left she deposits the head of Holofernes in a basket, presented by her nurse. On the blade of the sword is inscribed " Judit." In the back- ground to the right is seen Bethulia. The name of the artist was probably upon the painted label, but it has now entirely disappeared. Painted on wood. Size : 2 ft. 8f inches by 1 ft. 11^ inches. BERNARD VAN ORLEY (BAREND VAN BRUSSELS), born about 1490, died 1560 ; was a pupil of Raphael's, and had to superintend the execution in tapestry of Raphael's cartoons. 70.— PORTRAIT OF A FEMALE. A young female of considerable beauty, and of a most brilliant 7*^?/) complexion, looks modestly down, turned towards the left ; she is dressed in a blue robe, trimmed with fur ; a transparent veil is /to. 32 interwoven in her fair tresses, and fastened on the forehead by a small gold brooch. The back-ground is a piece of rich green tapestry, with gold fringes. This exquisite head appears to be part of a large picture. On wood. Size : 1 0 inches by 7 inches. JAN VAN MABUSE (Gossaert), born at Maubeuge towards the close of the fifteenth century, and the year of his death has been stated to be 1532 and 1562 ; he was in England in the time of Henry VIII. — MOUNT CALVARY. Full-length Figures. In the centre of a varied landscape rises the cross, with the dead Saviour. Three angels in long sacerdotal robes hover around, and collect the blood in chalices. At the foot of the cross is Mary Magdalene embracing it. To the left stands the Virgin ; her face, which is turned to the spectator, expresses suffering and resignation. On the same side the favourite disciple appears to address a fervent prayer to his master. On the right hand there are two warriors in conversation, one of whom apparently represents Longinus the peni- tent centurion. In the background the Jews are seen returning to Jerusalem. On wood. Size : 3 feet 1^ inches, by 2 feet 2^ inches. THE SAME. —THE MAGDALENE. Figures more than Half-length. She stands under an ornamented arch, gorgeously attired in white silk with a greenish pattern, blue sleeves, and a red mantle falling from her shoulders ; her long fair hair bound up in tresses is crowned with a peculiar kind of diadem, adorned with eagles' heads : this, together with her chain, brooch and girdle, is of gold elegantly wrought. Her face is seen in front. In her left hand she holds a golden vase (upon which is engraven the death of Abel), and she raises the lid with her right. An illuminated book lies open on the balustrade before her. In the distance on the right is a hermitage 33 or sanctuary built into the rock, with bridge and staples ; on the left is the sea. The powerful colouring, the high finish of every part, and the beauty of the saint, render this picture one of the best specimens of the artist. On wood. Size : 1 foot 8J inches, by I foot 2 inches. THE SAME. CHRIST AND MARY MAGDALENE. " Lord, if thou hadst been here, my brother had not died." Full-lengtJi Figures. The Saviour is about to enter the gates of Bethany ; he is attired in an ample blue robe, and with his right hand blesses the Magdalene, who kneels at his' feet. She is in white, with a white veil, and is enveloped in a rich blue mantle. Two other women, one of them with folded hands, stand in contemplation ; a third, apparently Martha, turns away her head to wipe the tears from her eyes. St. Peter and another Apostle are leaving the spot ; St. Peter looks back. In the distance are seen several Pharisees standing in a landscape, in the back-ground a town. On wood. Size : 2 feet 6 inches by 2 feet 6 inches. JAN VAN SCHOREEL, born 1495, died 1569. 74.—THE HOLY FAMILY NEAR THE FOUNTAIN. Full-length Figures. On the margin of a fountain (still existing at Brussels), the Virgin is seated, with the Divine Child on her lap ; who, turning from her, plays with some fruit presented by St. Joseph. The Virgin is most beautiful, and the expression of her countenance, as she looks on the Infant Christ, is full of sweetness and tenderness. The back-ground is extremely rich ; to the left the Ass is seen, browsing near a water-mill. In the middle distance is Jerusalem, with walls, and a bridge connecting several towers ; at the foot of C ////V 34 these the procession of the Magi is advancing : the extreme distance is bounded by blue mountains. This charming picture is full of Italian feeling ; the representa- tion of Jerusalem may be considered as tolerably correct, for the painter made many studies of the city when there on a pilgrimage. On wood. Size : 2 feet 8^ inches, by 2 feet 1 inch. JOACHIM PATENIER, born at Dinant about 14.90 ; the year of his death not known. 75. — ST. JOHN IN THE ISLAND OF PATMOS. Full-length Figure. The Evangelist in a red robe and mantle, sits at the foot of a young tree, upon a rock which projects into the sea. He is busied writing. The emblematical eagle at his side holds the ink-stand in his beak ; a small monster of a hideous form and colour endeavours to annoy the bird with a stick. The vision in the Apocalypse, of the woman crowned with seven stars and the seven-headed dragon, is seen in the sky. The sea fills the middle distance ; and beyond, in the background, is seen a mountainous country, with fortified castles and towers. On wood. Size : 1 foot 2^ inches, by 9^ inches. THE SAME. 76. — ST. CHRISTOPHER. Full-length Figures. St. Christopher is seen crossing the sea with the Infant Saviour on his shoulders; the latter in black, with a red mantle, raises his right hand in benediction, and grasps the hair of St. Christopher with the left. On the right, the Hermit with his staff and rosary. The scene is a landscape of great beauty, bordered on one side with castellated mountains, towns, and a village ; on the other side, by a small church among rocks and trees. In the middle is the sea, with ships. This picture, remarkable for its general beauty, is still more in- teresting as illustrating the first step towards the more modern tendency of the Flemish School, to which J ohan van Eyck gave the 35 first impulse, and which reached its zenith about the middle of the seventeenth century. Nothing can surpass the finish of the accessories; lineal and aerial perspective are fully understood, the chiaroscuro is perfect; but the human figure is almost a secondary consideration. On wood. Size: 1 foot 10 inches by 10 inches. THE SAME. 77.— THE CRUCIFIXION. Full-length Fig ares. In the midst of a beautiful and extensive landscape rises a high cross, to which the Saviour is nailed. The Magdalene kneels at the foot of the cross, embracing it, and looking up with an expres- sion of the most passionate grief. Opposite to her stands St. John, also looking up to the cross, with clasped hands. The Virgin, who stands to the left of the cross, wears an aspect of calm resignation ; she raises her right hand as if reproaching the want of faith in the two V other Maries who are wringing their hands in an agony of grief. The back-ground is an exquisite landscape, with Jerusalem in the distance ; the crowd on foot and horseback are returning thither after the Crucifixion ; while on the left, Joseph of Arimathea and Nicodemus, accompanied by a man with a ladder, advance at the foot of a castle. Contrary to the usual custom, the Virgin is here entirely robed in rich drapery of a bright blue. This picture, in composition, execution, and finish, displays extra- ordinary genius and skill. On wood. Size : 2 feet 11^ inches, by 1 foot 11 inches. DIERICK STUERBOUT, flourished about 1468. 78. — VIRGIN AND CHILD, WITH TWO SAINTS. (V v,7 Full-length Figures. NV&^JjZ ^ Hw^> Wad^l /The Virgin is seated in the front of the picture, between St. Catharine and St. Barbara ; the Madonna, in a blue robe and red mantle, holds the Child on her knees, who stretches out his hand 36 to take a pear presented to him by St. Catharine ; this saint, sitting on the left of the Virgin, is richly attired in gold brocade and ermine ; she has an illuminated book upon her knee. The sword and broken wheel are near her, in allusion to her martyrdom. On the right St. Barbara, in white and red, with a head-dress resembling a diadem, is reading attentively in a book. Behind St. Barbara, is a Gothic castle with a moat ; to the left is a verdant landscape. On wood. Size : 1 foot 8 inches, by 1 foot 2§ inches. ROGIER VAN DER WEYDE (Rogier van Brussels) nourished 1500, died 1529. 79.— VIRGIN OF THE ROSARY. Half-length. The Virgin, attired in light blue, with sleeves of crimson and gold brocade, holds the Infant Saviour reverently and carefully upon her knees. He is playing with a rosary of red beads with golden links. In the countenance of the Virgin, the virginal and maternal feeling is beautifully expressed. On wood. Size : 1 foot 2^ inches by 10£ inches. JAN VAN HEEMSEN, born about 1500 at Antwerp. 80. — THE ADORATION OF THE MAGI. Figures nearly Full-length. The Infant Christ, with scarcely any drapery, kneels upon the lap of his mother ; the elder of the kings, richly attired in blue and gold brocade, bends reverently before the Child and offers a golden chalice, the cover of which he holds in his left hand. Behind him stands the second king in purple and ermine ; he also holds a vase in his right hand, and in the left a sceptre. A landscape and figures in the back-ground. On wood. Size : 3 feet 2£ inches by 2 feet 2£ inches. 37 THE SAME. The monogram of the painter, HH, and the date 1554, are inscribed on the top of a pillar. 81, 82,83.— THE ADORATION OF THE MAGI. Triptych. Full-length Figures. The Infant Saviour, sitting in the lap of his mother, dips both hands into a vase full of gold pieces, offered by one of the Magi, who is kneeling before him. The other two kings, one of whom is, as usual, a Moor, are about to present their offerings ; to the left is Joseph looking on. In the back-ground are cottages and rural scenery, with two men walking. On wood. Size : 2 feet 10 inches by 1 foot 10 inches. The wings, 2 feet 10 inches by 10 inches. The wing on the left represents the Nativity ; the Virgin kneels in adoration of the new-born infant ; three shepherds appear above, and St. Joseph approaches with a lighted torch. In the back- ground, to the left is the interior of a farm strongly illuminated by the announcing angel. The wing on the right represents the repose of the Holy Family on their way to Egypt. On the right hand St. Joseph is seen gathering fruit from a tree. Here also the scenery is rural, with soldiers who appear to be inquiring their way of some peasants engaged in reaping. MARTIN VAN HEMSKERK, (VAN VEEN), born 1498, died 1574. 84.— THE ADORATION OF THE INFANT CHRIST. Full-length Figures. The Child is lying in a cradle on a rich drapery of light blue linen; the Virgin and St. Joseph kneel to the left in front of a building. On the right three angels with coloured wings, and sacerdotal garments, hover round the cradle. Two shepherds kneel respectfully at a little distance. In the back-ground are several buildings, and beyond these is the appearance of the angel to the shepherds. On wood. Size : 3 feet 9 inches by 2 feet 2 inches. 38 ANTONIS MORO (MOOR), born 1519, died 1575. 85.— PORTRAIT OF COSMO I., GRAND DUKE OF TUSCANY. The head, having a very dignified air, is slightly turned towards the left; the purple dress is trimmed with fur and embroidered with gold lace ; a white collar with a dark pattern on it is turned over the dress close round the neck. This fine manly portrait is most highly finished. On wood. Size: 8 inches by 6^ inches. 86, 87, 88. Triptych. HERRI DE BLES or HENRIJCK. Called « Civetta," from the small owl he introduced as a monogram in his paintings. He flourished about 1510. THE ADORATION OF THE MAGI. /V^nA^JK^ x Full-length Figures. In the porch of an extensive Gothic building, partly in ruins, the Virgin is seated with the Infant Saviour on her knees ; the ✓ Magi offer gifts. One kneels before the Child, his hat and sceptre '/ (' lie on the ground beside him, the other two kings approach ; the Moor is clad in splendid armour. The attendants of the three kings are seen in the back-ground with their horses. There is an inscription on the sword of the kneeling Magi, not distinct enough to be intelligible. Left Wing. The donor of the picture kneels before his oratory, upon which is an open book ; near him stands his patron saint, a bishop with a book in his hand ; behind the donor kneel his two sons, and behind the bishop kneels a man holding a garden hoe. In the distance the Magi are seen passing over a bridge. Bight Wing. The wife of the donor, in a long blue robe, with a white cap and ruff, is on her knees before an oratory ; a young girl kneels at her side, and behind her stands her patron, St. James Major, as pilgrim. /is 39 In the back-ground a landscape with a river and shipping, evidently the arrival of the three kings. Painted on wood. Size of centre picture, 3 feet 5 inches by 2 feet 3 inches ; each wing, 3 feet 5 inches by 1 foot. THE SAME. 89.— PORTRAIT OF A YOUNG MAN. Half-length. A young man with fair hair falling round his neck, with a white cap on his head, and wrapped in a brown cloak, trimmed ^ J2£/ w ^ ^ ur * ^ e turns to the left, and holds a rosary in his right hand. Above is Anno D. n. i., 1509; and an owl, towards which another bird is flying. On wood. Size : 1 foot 8 inches by 1 foot 2 inches. ARNOULDT BOGHAERT, nourished at the beginning of the seventeenth century. 90. — THE CIRCUMCISION. Full- length Figures. Four priests are engaged in the operation ; the Infant Christ is placed in a basin upon the knees of one of them. Behind, in an opening, the Virgin and St. Joseph, and still farther off are two other figures; to the left is a king upon his knees, supposed to be a Philip of Spain. The arms of Spain are above, in the centre of the picture ; and other heraldic bearings are on the right and left ; one corner is filled by an ape holding an apple. This ex-voto picture has two inscriptions : — 1st. Round the picture, on the painted frame, "Was Arrnoudt Boghaert te lef fynche," &c, &c. 2nd. On the picture itself, " O Jesu duer tbloet," &c, &c. On wood. Size : 2 feet 4^ inches by 2 feet 4 inches. 40 MICHAEL COXIS (COXCIE) ; bom 1497, died 1592. He was, together with Bernard von Orley, commissioned to superintend the execution in tapestry of Raphael's Cartoons, now at Hampton Court. 91, 92, 93. Triptych. THE DEPOSITION FROM THE CROSS. Full-length Figures. The body of the Saviour, taken down from the cross, is extended in the foreground; St. Joseph of Arimathea sustains the shroud. *y/y/ The Virgin, weeping, holds the right hand of her divine Son, and St. John seeks to comfort her. On the other side is Mary Mag- dalene, whose attitude expresses profound grief. In the back- ground is Mount Calvary, where the two thieves are seen still suspended on their crosses. Landscape very rich. On wood. Size : the centre picture, 2 feet 10^ inches by 1 foot 10j inches ; each wing, 2 feet 5 inches by 9 inches. Left Wing. St. Joseph of Arimathea, and St. Nicodemus, RETURNING TO JERUSALEM ; The former carrying the vase of balsam, the latter the crown of thorns, and a white cloth, both very richly attired. They appear in earnest conversation. The city of Jerusalem is in the back-ground. Right Wing. St. Mary Magdalene, and St. Mary Cleophas in Conversation. The Magdalene holds the vase in her left hand, and raises the lid with her right. She is richly attired in blue, with a red mantle. 4& MASTER UNKNOWN. Early Flemish School, 94. — ST. FRANCIS RECEIVING THE STIGMATA. Full-length Figures. In the centre of a richly varied landscape, St. Francis, kneeling, receives the stigmata from the w r inged crucifix ; his countenance expresses a painful transport ; his hands are raised ; behind him 41 is a monk, sleeping. In the back-ground, to the left, St. Francis preaches to birds and other animals in presence of three monks ; further back a shepherd restores his flock to life by the means of holy water. Tn the distance, near a bridge with towers, a group of people witness, with surprise, St. Francis caressed by a wolf. On the right, the landscape is rocky and wild — a path winding through it ; on the summit of the mountain, St. Francis assists a poor traveller ; lower down, the saint is kneeling before a rock from which, apparently at his prayer, a stream of water gushes forth ; a peasant drinks eagerly; a monk with a mule stands by. On wood : Size : 1 foot 3 inches by 10 J inches. MASTER UNKNOWN. 95.— ADORATION OF THE MAGI. Full-length Figures. ( tc )^ Near the ruins of a large building in the early Italian style, enriched with various colours, sits the Virgin supporting the Child standing on her knees. The elder of the three kings, prostrate before the Infant Saviour, stretches his left hand towards him, while his right rests upon a golden vase. Another of the kings with / his two attendants, advances to offer his gifts ; he wears a turban, and has in his hands a sceptre and a golden vase. The third, who is a Moor, stands on the threshold of the edifice ; he also is accom- panied by two servants. Above the Infant Christ is seen St. Joseph leaning on his staff. A beautiful landscape, with the rest of the suite of the three kings, forms the background. On wood. Size : 1 foot 7 inches by 1 foot 3 inches. MASTER UNKNOWN. 96. — VIRGIN AND CHILD. Half-length Figures, The Virgin, wearing an ample blue mantle, offers her breast to the 62 42 Infant Jesus, who rests upon a dark crimson velvet cushion covered with linen ; to the right on a table near the cushion lies an apple. On wood. Size : 1 1 inches by 8^ inches. MASTER UNKNOWN. 97. — THE CRUCIFIXION. Full-length Figures. In the foreground of a landscape with many towers and castles, over which the deepest darkness is fast spreading, rises the solitary cross with the dying Saviour. On the right is the drooping figure of the Virgin, supported by St. John; she raises her eyes and hands towards her son. The Magdalene kneels on the other side, near her a soldier and a centurion with a coat of mail and a sword — he presses his right hand to his heart (apparently St. Longinus.) The previous scene of the procession to Mount Calvary is seen approaching in the distance. These small figures are executed with great skill. The colouring is powerful, and much taste is shown in the arrangement of the draperies. On wood. Size : 2 feet 4 inches by 1 foot 8 inches. MASTER UNKNOWN. 98. — THE DEAD CHRIST LAMENTED BY TWO FEMALE SAINTS, APPARENTLY MARTHA AND MARY. The inanimate body of Christ lies upon the grassy earth, extended on a white cloth ; one of the women, wearing a turban, kneels in prayer near the head of the Saviour ; the other, in a violet robe, covers the wounds with balsam ; in the centre of the foreground stands the vase of precious ointment. This picture displays the influence of Italian Art ; in fact, it can hardly be taken for a Flemish production. On wood. Size : 1 foot by 6£ inches. 43 MASTER UNKNOWN. Marked A.T. 1501. 99. — THE TREACHERY OF JUDAS. Full-length Figures. Judas betrays his Master with a kiss. Christ is surrounded by a troop of soldiers armed with pikes, halberts, and swords, and bearing lights and torches ; one of them, having a sword at his side, lays his hands on Christ. To the left St. Peter raises his sword to strike off the ear of the high priest's servant. At the bottom, to the right, the monogram of the artist, and the date 1501, are visible. On wood. Size : 1 foot 9 inches by 1 foot. MASTER UNKNOWN. 100.— THE ARCHANGEL GABRIEL. Full-length Figures. At the entrance of a portico, opening on a rich landscape, the archangel Gabriel, habited as a priest, moves solemnly towards the apartment of the Virgin; an angel, in the dress of an acolyte, bears up his train. The Latin inscription, "Ave Maria," &c, f< which waves round his golden wand, shows the object of his mission ; an oratory, covered with red velvet, and a vase with lilies and roses, indicate the abode of the Virgin. In the back- ground, several angels are occupied in reading some prophecies from a scroll. The glory round the head of the Archangel is peculiar, having the colours of the rainbow. Painted on wood. Size : 2 feet 4 inches by 1 foot 8£ inches. 44 MASTER UNKNOWN. .—A GIRL WRITING. Half-length Figure. The girl, in a close-fitting corset of scarlet velvet, edged with fur, and embroidered gauze sleeves, wearing on her head a black cap, turned up with white, sits before a table covered with blue tapestry ; near her right hand are the inkstand and pen-holder. On wood. Size : 1 1 inches by 9 inches. THE END. LONDON : BRADBURY AND EVANS, PRINTERS, WHITE* RIARS S~ - 30 6 ~ 20 y ~ 60