Digitized by the Internet Arcliive in 2014 https://archive.org/cletails/descriptivecatalOOwaag_0 DESCRIPTIVE CATALOGUE ^ GColkction of 33B?antme, mrlj) Etalian, CErcrman, antr Jflemfej^ t BELONGING TO HIS EOYAL HIGHNESS PKINCE ALBEET, KG., ETC., ETC._, ETC. DE. G. F. WAAGEN, LONDON, 1864. DESCRIPTIVE CATALOGUE A COLLECTION OP BYZANTINE, EARLY ITALIAN, GERMAN, AND ELEMTSH PICTURES, BELONGING TO HIS ROYAL HIGHNESS PEINCE ALBEET, K.G., ETC., ETC., ETC. BY DR. a. F. WAAGEN. LONDON, 18.54. London: prjnted by woodfait /vn kinder, AxVGKL tOb'KT, SKINNKR STIIKKT. CATALOGUE OF PICTURES. N.R— In the following Catalogue the Pictures are arranged chronologically. I.— Byzantine School. The study of Byzantine miniatures in manuscripts dating from the 6th to the 16th century has convinced me that Byzantine pictures on wood previous to the 13th century are very rarely found, and that the majority of such specimens belong to the 15th, 16th, and 17th centuries. As it is known that the Greek painters, from the time of the war of the Iconoclasts, have, in every respect, been restricted to the mere repetition of prescribed subjects, the student must not be misled as to period by an appearance of antiquity All cer- tainty of date, as regards such pictures on wood, can only be traced by the forms of various accessories, and by a comparison of the technical process with that of authenticated miniatures of an ascertained period. ^ -o 1 — THE DEATH OF THE VIRGIN. 9 ^ ^ /S'ma/? Full-length Figures. On a gold ground, like all the other pictures of this School. The body of the Virgin is extended on a richly-adorned couch, surrounded by the Twelve Apostles ; Christ soars upwards, bear- ing her soul in the form of an infant in swaddling bands. He is surrounded with golden rays, and above his head is a seraph. B 2 BYZANTINE SCHOOL. On either side of him are two Angels and two Saints in Greek episcopal robes, with their names ; two of them holding open books, with Greek inscriptions. Beyond these four Saints, on each side, stands a female figm^e 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. Each Apostle has his name inscribed within his nimbus, and over the High Priest is his name, also in Greek. The whole group is separated from the back-ground by a blue arch; several buildings are seen beyond, by which Jerusalem is intended. On wood, with a gilt border of inch. Size : 11 1 inches by 10| inches. Judging from the 'very long proportions, the dark tone of the flesh, the style of the garments, and the dry execution of the very inexpressive faces, this may be assigned to a very moderate painter of the 13th century. 2.— CHEIST ENTHRONED. ^ ^ ^ ^ Full-length Figures. Christ, seated on a red throne, is blessing 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 7 J inches. A rude repetition of a better original, which, judging by the treatment, may be assigned to the 1 5th century. jg /p 3.— VIRGIN AND CHILD. kA/^ (c6^ . More than Half-length Figures. The Virgin, painted in a very deep tone of colour, in a dark- red mantle, and 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. Gold ground. The colour is beginning to flake off. On wood. Size : 1 foot 2| inches by 11 inches. * By the terras right and left are meant the right and left of the spectator. BYZANTINE SCHOOL. 3 The pleasing expression, the fullness of the forms, and the superior drawing and action of the hands, show this to have been executed about the 15th century, by a Byzantine painter under the influence of Italian art, — a circumstance v/hich often occurs. ■THE SUDAKIUM, WITH THE LEGEND OF KING ABGAEUS. The centre of the picture, inclosed by a broad gilt border, represents the face of our Saviour on a napkin ; it is painted in a brownish tone ; the hair, parted in the middle, and falling on each side. The features are regular and handsome, the eyebrows 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 inscriptions in the spaces between are in Greek. 1. King Abgarus, sick in bed, sending his portrait to Christ. 2. Christ receiving the king's messenger. 3. Christ washing his face in the water presented by the messenger. 4. Christ delivering to the messenger a letter, and the napkin upon which the impression of his face has been left. 5. The messenger carrying the miraculous napkin to the king. 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 ordering 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 portrait to the gates of Edessa. Besides the inscriptions underneath these compartments, there are many words in small Greek characters on the paint- ings themselves ; and also on the napkin. On cedar. Size/ including a gilt border, 1 foot 3^ inches by 1 foot If inch. B 2 BYZANTINE SCHOOL. This picture is very remarkable, as the only complete repre- sentation of the Legend of King Abgarus of Edessa, by which a different origin is assigned to the story of the Sudarium or " vera Icon " to that current among the western nations as the Legend of St. Veronica. The interesting and animated motives prove this to be a repetition of a good early original, while the repetition itself, judging from the fused execution of the flesh, the thinness of the hair, and the taste of the ornaments above the upper and lower inscription, can hardly be ascribed to an earlier period than 1550. The early character of the letters proves nothing, as letters of the same form occur in Byzantine pictures bearing inscribed dates of the 1 7th century. An example of this kind inscribed Emanuel Tzane and 1640 is in the Berlin Museum (No. 1056). According to Lanzi, this was a Greek priest who lived in Venice, and he mentions several pictures by him similarly inscribed. —VIEGIN AND CHILD. Half-length Figures. The Virgin, in a red mantle descending from her head, and adorned with two gSld stars, holds the Infant Christ in her left arm; who, dressed in a red and gold toga, blesses with his right hand, and has a roll of parchment in his left ; the back- ground is gold. The colour is beginning to flake off. On wood. Size : 11 inches by 84 inches. A dry and tame performance of very late date, as may be concluded from the style of pattern in the glories, and the manner in which they are painted in. brown lake on the gold ground. — VTEGIN AND CHILD. More than Half-length Figures, on a gold ground. The Virgin, with the Infant Christ in her arms, is attired in a blue robe with a red mantle falling from her head. The Child, clad in similar colours, holds the golden globe in his left hand, and gives the benediction with his right ; in the upper BYZANTINE SCHOOL. 5 corners two kneeling Angels are seen, one of whom holds a chalice, and the other, the instruments of the Passion. The usual Greek abhreviations surmount the whole. On wood. Size : 1 foot 94 inches by 1 foot 3 inches. A late and spiritless imitation of an earlier picture. ■THE NATIVITY. Very small Full-length Figures. In the centre, the Infant Christ is seen lying in the manger : next him is seated the Virgin Mary, the ass and ox stand near ; a glory of six angels bends over the group. On the left the Kings are seen following the star, and, on the right, the angel appears to the shepherds. On the right, in the lower part, is St. Joseph explaining to tw^o 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. On cedar. Size : 9S inches by inches. The conception of this picture indicates a very early and good original. The actions of the kings, who are calUng each other's attention to the star, are particularly excellent. The figures in the clouds and the two old men with Joseph are new to me, nor can I account for them. The tame execution cor- responds technically, in many respects, with the above-men- tioned picture by Emanuel Tzane, in the Berlin Museum, and probably belongs also to the 17th century. VIEGIN AND CHILD. Bather more than Half-length Figures. The Virgin, painted in a deep tone of colour, with a serious ex- pression, inclines her head to the right. She is dressed in dark drapery, which falls from her head ; with 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 foot 9| inches by 1 foot 3 inches. A very rude work of late date. The gold ground has been renewed. 6 EARLY RUSSIAN SCHOOL. II.— Early Hussian School. ;5 -p 9.— THE MONASTEEY OF SOLOWETZK, ON THE WHITE Jr^ioot^ SEA. A group of ecclesiastical buildings, with spires and cupolas, erected on the declivity of a mountain, occupies the centre of the picture. 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 this inscription : The monastery 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 adora- tion before the head of Christ ; on the left, in a smaller niche, stands the half-length image of the Virgin with the Infant Saviour, placed above the sepulchre of two saints ; on the right is an image of St. Nicholas ; behind the central group are two monks ringing the bells of the monastery. On wood. Size : 11 inches by 9 inches. A Kussian picture of unusually good style of heads, especially that of the Virgin; and, judging from the character of the writing, about the 14th century. It is particularly interesting on account of the richness of the architecture. B> P 10.— THE VIEGIN, AS QUEEN OF HEAVEN. ( OO^ : Small Full-length Figures, The Virgin crowned, in red drapery ornamented with gold, 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. At the sides, as appears from the letters P and M, are the figures of the Archangels Kaphael and Michael — the first holding the globe in his left hand, and the sceptre in his right, — the latter, the sceptre in hisdeft hand; with the usual inscriptions. On wood. Size : 4^ inches by 2| inches. An unmeaning performance, and, judging from the orna- ments on the throne, evidently executed by a very late Kussian painter. ITALIAN SCHOOL. 7 III— Italian School The Florentine School. — THE ADOEATION OF THE KINGS, between rocks. Triptych. Full-length Figures. The Infant, dressed in a red robe, is seated in the lap of his mother, playing with the presents offered by the Kings, one of whom, covered with a royal mantle, and followed by a page, bearing his crown, is prostrated before him. The second king is pointing to the star that guided them, and the third points to his own head. Both of these are dressed in green, with short red mantles. There is no Moorish king among them. Behind the rocks are seen three Angels, one of whom is speak- ing to a shepherd. Above this is the Descent from the Cross. Joseph of Arima- thea sustains the body of Christ, the Virgin kisses the right hand of the Saviour, and St. John the left, while Mary Mag- dalen supports his feet, out of w^hich a kneeling Saint draws the nails. Behind the Virgin are the other Marys standing, and the top of the Cross is surrounded by four small Angels. The Left Wing, Upper Compartment. The Archangel Gabriel; below this the Kesurrection of our Saviour, and lower still 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 Divine Message; below this, Christ and the Apostles on the Mount of Olives ; lower down the youthful Christ in the Temple, disputing with the Doctors. On the outsides of the two wings are St. Christopher in the Sea, with the Infant Christ on his shoulders ; and the Virgin, in a white robe and veil, dressed like a nun, wdth crown and glory. The Infant Christ seated, in the act of benediction, and 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. 8 ITALIAN SCHOOL. Of good motives, and full forms, admirable in style of drapery and powerful in colour. The treatment, however, espe- cially of the heads, is somewhat rude. The outsides of the wings or doors have much suffered. jg 12.— THE ANNUNCIATION. ^ ^ i 000. Full-length Figures. I ■ ijij^^ Archangel Gabriel, dressed in white, lined with red, delivers the Divine message kneeling. The Virgin receives the angelic salutation seated; gold ground. These two pictures came from an ancient church near Andernach, v;here they had been preserved since the fourteenth century. On wood. Size : 1 foot 6 inches by 8 inches. Of moderate artistic merit, but the Angel in every respect is more successful than the Virgin. JUSTUS OF PADUA. 13.— SMALL TKIPTYCH on wood, in tempera. 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 with his right hand a crown on the head of his mother, who is seated beside him with an expression of great meekness. In his left hand is a sceptre. Her raiment is white, embroidered all over with suns and moons, the former red, with golden rays, the latter *jfO^' blue, 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, are six other Saints, some in religious habits, two Angels with musical instruments, and a Cherub and Seraph in adoration. Size : 1 foot 54 inches by 8^ inches ; each wing 1 foot 6 inches by 4^ inches. ITALIAN SCHOOL. 9 The Left Wing, The Annunciation. On the right, the Virgin, kneeUng before her faldstool, turns with an expression of surprise: here her drapery is of the usual colours. On the left, the Angel Gabriel kneeling, pre- sents the lily. Lower Compartment of the Left Wing. The Nativity. A young woman in a rose-coloured dress receives the new- born Infant from the Virgin, w?io is sitting in the stable. In the fore-ground is St. Joseph sleeping, and another female attendant kneeling before a tub ready to receive the Child for the bath. In the back-ground is the Angel appearing to the Shepherds who are watching their flocks by night. Three Angels are chanting the " Gloria in excelsis." The Right Wing, Lower Compartment. The Ceucifixion. Christ on the Cross ; at his feet the Virgin, supported by two Female Saints'; the Magdalen kneels, embracing the Cross; and St. John, a figure of peculiar elegance, stands by with an expression of affliction. Four Angels hover round the Cross. In the spandrils are four Prophets. Executed in sgraffito on gilt glass, the gilt surface being innermost. Upper Compartments of the Outside. On the left, the Expulsion of Joachim from the Temple ; on the right, the Angel appearing to Joachim, and foretelling the birth of the Virgin. 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, 10 ITALIAN SCHOOL. 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. Beyieath this. The Marriage of the Virgin. The shies throughout golden. 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." The word "Archa" most probably means Arqua, famous as Petrarch's dwelling-place. This picture is the only example I know which exhibits this admirable master as a tempera painter. In point of composi- tion, beauty and truth of some highly dramatic motives, noble style of drapery, and delicate completion, he represents the highest artistic development of his time. In all these respects, too, he shows so close an affinity with Taddeo Gaddi, Giotto's principal scholar — witness the frescoes by Taddeo in the Baroncelli and Bandini Chapels in the Church of S. Croce, at Florence, — as to induce the belief of his having been a scholar of that master.* Only in his pale flesh tones do we remark a decided difference. He is particularly important in the history of art as assisting to throw light on Aldighiero da Zevio and Jacobo d'Avanzo, the admirable Paduan painters, whose frescoes have been illustrated in a work by Ernst Forster. * This conclusion gains in probability from a notice by Zani reporting him to be a Florentine by birth, and a son of Gio. Menabuoi, and that he re- ceived the name of Padovano, merely from his long residence in Padua. (See "Menabuoi," Zani's Encyclopedia, parte 1'^% vol.xiii.; also the "Annotazioni" in the same vol., p. 470, No. 45.) Yasari attributes to him all the frescoes in the chapel of St. John the Baptist, in the chapel of St. Luke, in the church of St. Antonio, and also those in the chapel degli Eremitani, all in Padua. See the Florence edition of 1832-38, part 1, p. 429. ITALIAN SCHOOL. 11 — VIEGIN AND CHILD. More than Half-length Figures. The Virgin pressing the Infant Saviour to her bosom, who leans his right cheek against that of his mother, and caresses her with his right hand. On copper. Size : 1 foot J inch by 9i inches. A very late imitation of an original picture of the school of Giotto. This school is evident in the form of the head and the long, half-closed eyes, while the lateness of the imitation is appa- rent from the pleasing character of the expression, the style of the careful modelling, from the circumstance that the pattern of the glories are painted upon the gold, and not indented in the gesso ground (as in all the pictures of the 14th century), and, lastly, from the fact of its being executed in copper ; a material which, as far as my experience goes, was not adopted till the middle of the 16th century. The Latin inscriptions throughout, for instance, the M. R. (Maria Eegina), prove it to be the work of an Italian painter. The Sienese School, about 1300-1330. —A TRIPTYCH. Full-length Figures. Upon a Gothic throne is the Virgin seated, pressing the Infant with tenderness to her cheek ; the latter holds a bullfinch 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 represents the Annunciation, and lower down, the Crucifixion, with the Virgin and St. John. The throat of the Virgin and the body of the Child have been overcleaned; the other portions are more dirty than injured. On wood. Size : the centre picture, 1 foot 2 J inches by 7^ inches. The wings, 1 foot 5 inches by 4| inches. The very mediocre artist who executed this picture, shows in the conception of the Saviour with sunken head and 12 ITALIAN SCHOOL. swayed figure, that Byzantine influence which continued so long in the Sienese school. The elongated eyes, on the other hand, display the influence of Giotto. • SA^^O DI PIETRO, flourished at Siena in the first half of the 15th century. J3 .-p 16.— VIKGIN AND CHILD. I ^yl/*? toil. 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 bullfinch in his left hand ; on each side is , a Saint without any distinguishing attribute, (the Saint on the right being evidently S. Bernardino,) and a glory of six Angels crowned with myrtle or olive. Gold ground. In tempera. Within the nimbus of the Virgin is inscribed, "Ave (Maria,) gratiae plena, dominus (tecum);" unfortunately so much obli- terated that the under painting in terra verde is visible through- out. On wood. Size : 1 foot 10 inches by 1 foot 3 inches. A picture attractive in motive, and pleasing in the heads of the Child and the Angels. The works of this generally-speaking mediocre master are rightly cited as specimens of the decline : of the Sienese school, which, having attained great excellence in the ] 3th and 14th centuries, was outstripped by the Florentine school in the 15th; a circumstance which agrees also with the decline of the political importance of Siena at that time. Umbrian School, and School of Eomagna. NICCOLO ALUNNO, flourished 1458-1500. 17._VIIIGIN AND CHILD. The Virgin, seen nearly in front, 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. Bound this group are a glory of stars, and eight Cherubim with many-coloured wings, each having six, two red, two green, and two white. In some of the Angels' heads the green colour of the under painting is visible. Niccolo Alunno, an excellent master of the Umbrian school, ITALIAN SCHOOL. 13 was first suggested by Kumohr as the probable teacher of Pietro Perugino. Judging from a small dated and inscribed picture on the High Altar of the Church of La Bastia (a small place not far from Assisi), with which it corresponds, I consider this picture to be by the hand of the master named above. The head of the Virgin especially is very noble. M. Hartzen, however, is inclined to attribute this picture to Pinturicchio. BERNAEDIKO BETTI, called Pinturicchio, born 1454, died 1513. 18.— VIRGIN AND CHILD. cr^rfilX The Infant Christ standing within an arch of a window, upon a carpet, raises his right 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 back-ground is a landscape, the lights on the trees being gilt. The flesh tones have become very flat and pale by over cleaning. On wood. Size : 1 foot 10 inches by 1 foot 3^ inches. Of the earliest and best time of the master; beautiful in composition and delicate and noble in feeling. MARCO PALMEZZANO DA FORLI, flourished 1503, still living 1537. B^V 19.- JUDITH. (O IT> Figures rather more than Half-length. Judith is seen coming out of a tent, holding in her right hand the sword ; with her left she deposits the head of Holo- !^ femes in a basket which is presented by her attendant. On the blade of the sword is inscribed "Judit." In the back-ground on 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 J inches. This is decidedly the work of this secondary master of the school of Komagna, who, though somewhat dry, was careful in execution. 14 GERMAN SCHOOL. Late Floeentine School. ANGELO BEONZINO, bom 1501, died 1570 ; scholar of Pontormo. 20._PORTKAIT OF COSMO I., GRAND DUKE OF TUS- CANY. The head is slightly turned towards the left with a very dignified air; the crimson dress is trimmed with fur and em- 36.— DEPOSITION FEOM THE CROSS. fV 43.— GEEMAN SCHOOL OF THE 16tH AND IYtH CENTURIES. 29 church, 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. On wood. Size : 1 foot 101 inches by 1 foot 6 inches. The mildness in the head of the Virgin, the original motive, which is very animated in the Child, the tender colour of the flesh, and the careful execution, render this picture very attractive. The four principal pictures by this rare master, representing events from the Life of the Virgin, are in the Munich Gallery. Upper German School, about 1550. B.F 44.— SUBJECTS FKOM THE LEGEND OF ST. MARGAEET. FulUength Figures. 1. At the command of Olibrius two soldiers arrest St. Mar- garet while tending her flock : the Governor and his suite are seen in the distance. 2. St. Margaret is tied to a tree and scourged. 3. 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. 4. St. Margaret about to be beheaded in the presence of Olibrius ; an angel descends with the crown of martyrdom. The gold draperies have been much injured. On wood. Size : of Nos. 1 & 2, 1 foot by 10 inches; of Nos. 3 & 4, 1 foot 1 inch by 10 inches. The mixture of a very early, and of a decidedly modern charac- ter — the first seen in the use of gold in the draperies, the latter in the true perspective gradations of the landscape, and the pleasing character of the heads, — decidedly proves these works to be the copies from early originals, perhaps formerly, as stated in the original catalogue, in the Convent of Eichstadt, and executed by a native Eichstadt master, who, in the delicate tones of the flesh and in the expression of the heads, shows the decided influence of Martin Schafner of Ulm. 30 GERMAN SCHOOL OF THE 16tH AND 17tH CENTURIES. MASTER UNKNOWN, with a monogram composed of M and 0, and the date 1530. 3V .45.— APOETEAIT. IVt5^. ; Half-length. Portrait of a young man with short light hair, surmounted by a black hat. His dress is black, with a brown cloak with black velvet facings. In his left hand is a red carnation, 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 golden close to the horizon. On the parapet, to the right, is a monogram of M and O, with the date 1530. M. At the lower corners the wood is splitting, and the colour beginning to flake off. On wood. Size : 1 foot 9 J inches by 1 foot 7^ inches. This delicate picture, which has, however, suffered in the flesh tones, has many of the characteristics of Martin Schafner. I could not succeed, however, in making out the meaning of the monogram. School of Cologne. A COLOGNE MASTEK, supposed to be of the name of Cristoph, flourished 1510-30. 46.— ST. PETER AND ST. DOEOTHEA. Full-length Figures. /ffV ) ^^^^^ I^c>rothea are standing before a magnificent curtain of green and gold tapestry, which is drawn before a co- lumn, and over the top of which is seen a distant rocky landscape with some buildings. 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. GEBMAN SCHOOL OF THE 16tH AND ITtH CENTUEIES. 31 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, principally roses, her attributes. The three companion-pictures to this work of Art are nov) in the A cademy at Munich. On wood. Size : 4 feet 2 inches by 2 feet 4J inches. The name of Lucas van Leyden, given originally by the Boisse- rees' to the painter of this picture, is quite arbitrary ; inasmuch as it agrees in no respect either with the numerous engravings, nor yet with the rare paintings by that master. Almost all the pictures known of the painter before us were formerly in churches in Cologne, so that he may be assumed to have belonged to that city. The name of Cristoph is said to have been connected with one of the pictures, whence the name now given to all. I am convinced that he must have formed himself upon Quentin Matsys, whom he quite equals in minute and masterly detail of execution, though he falls far short of him in feeling for beauty and refinement, as seen in his monotonous female heads, and in his ugly hands. MASTER UNKNOWN. Inscribed G. B. 16th century. —THE NATIVITY. Full-length Figures. Under a porch in the early Italian style, lies the new-born Infant, surrounded by a glory or nimbus ; four angels kneel around him, two playing upon musical instruments. The Virgin and St. Joseph are also kneeling in adoration ; the latter dressed in red, holding in his right hand a lanthorn, and in the other his cap ; two angels in long violet robes hover above this group, bearing between them a scroll, with the inscription " Gloria in excelsis Deo." The heads of an ox and an ass appear in the centre of the picture above the cradle. In the distance is a rocky country and the sea. In the left corner, at the foot of the picture, is the monogram G. B. On wood. Size : 1 foot IJ inches by 11 1 inches. A picture of moderate merit, in some respects recalling the Netherlandish painter Bartholomew de Bruyn, resident in Cologne before and about the middle of the 16th century. The 3^ NETHERLANDISH SCHOOL OF THE 16tH CENTURY. head of the Virgm, however, is pleasing, the colouring powerful, and the execution careful. C. J. BEHEM. 1642. jg.p 48.— THE FALL OF MAN. kM^,(^%^ Full-length Figures. Our First Parents are seen conversing beneath the Tree of Knowledge. 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, is inscribed. On wood. Size : 11\ inches by inches. This entirely unknown master evidently formed his figures on the model of Eothenhammer, and his landscapes and animals from Eoland Savery. In colouring, however, he is feebler than either. VII.—Netherlandish School of the 16th Century. With a monogram formed with the letters 'K, and the date 1501. IS .P, 49.— THE TEEACHERY OF JUDAS. ( eXS Full-length Figures. Judas betraying 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, with a sword at his side, lays hands on Christ. On the left is St. Peter raising 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. Various pictures by this master, under the erroneous name of Jan van der Meere, are in the Museum at Antwerp. He appears to be a somewhat feeble imitator of the Van Eyck school, for the faces are monotonous and tame, the flesh-tones leathern, and the other colours crude and heavy. NETHERLANDISH SCHOOL OF THE 16tH CENTURY. 33 B P 50.— VIRGIN AND CHILD. ^ f^^C^ Half-length Figures. The Virgin, wearing an ample blue mantle, offers her breast to the 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 : 11 inches by 8 J inches. Little attractive in the character of the face, feeble in draw- ing, pale, although transparent, in the flesh-tones. Otherwise careful in execution. JAN SWART of Groningen, called VREDEMANN, flourished before and after 1520. -B.-P. 51.— ADOEATION OF THE KINGS. "^^^^iO FuU-length Figures. Near the ruins of a large building in the early Italian style, em-iched with various colours, sits the Virgin supporting the Child, who is 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 Moorish King stands on the threshold of the edifice; he also is accompanied by two attendants. Above the Infant Christ is seen St. Joseph leaning on his staff. A landscape, with the rest of the suife of the three kings, forms the back-ground. On wood. Size : 1 foot 7 inches by 1 foot 3 inches. Executed with great care and precision, in the cool tones, hard outlines, and gaudy colouring of the master. 52.-.VIEGIN AND CHILD IN A GARDEN. ,^>^S'r^ 66.— VIEGIN AND CHILD, WITH TWO SAINTS. ^9lD$l Full-length Figures. The Virgin, in a blue robe and red mantle, holds the Child on her knees, who stretches out his hand to take a pear pre- ' sented to him by St. Catharine ; this saint, who is seated on the left of the Virgin, is richly attired in gold brocade and ermine, and has an illuminated book upon her knee. The sw^ord and broken wheel are near her, in allusion to her martyrdom. On the right is St. Barbara, in white and red, with a head-dress resembling a diadem; she is reading a book. Behind St. Barbara is a Gothic castle with a moat ; on the left is a verdant landscape. The heads of the Virgin and of St. Barbara are somewhat injured. On wood. Size : 1 foot 8 inches by 1 foot 2| inches. A careful picture of the earlier time of the master, the head of the Child especially pretty. JOACHIM PATENTER of Dinant, flourished 1515-1535. ^xl-c^ 57.— THE MAGDALEN. ^ /^I^ Pigure more than Half-length. ^^r^'^""^!^ She stands under an ornamented arch, gorgeously attired in ^ Iff^ (U^^sLx^ white silk with a greenish pattern, blue sleeves, and a red 5 mantle falling from her shoulders ; her long fair hair, bound up JiCelvx- '^v.-^-'i^'^^S^ in tresses, is crowned with a peculiar kind of diadem, adorned ^Ji/*? ^^^^ 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 engraved the death of Abel), with her right she raises the lid. An illuminated book lies open on the balustrade before her. In the distance on the right is a hermitage or sanctuary built in the rock, with a bridge ; on the left is the sea. On wood. Size : 1 foot 8| inches by 1 foot 2 inches. Particularly pleasing in the forms and careful in the execu- tion. The heavy flesh-tones show his later time. NETHERLANDISH SCHOOL OF THE 16tH CENTURY. 37 THE SAME. ^J^^ 58.— ST. CHRISTOPHER (7 t Full-length Figures. St. Christopher is seen crossing the sea with the Infant 9lKjt ^-.^oije . Saviour on his shoulders ; the latter in black, with a red X mantle, raises his right hand in benediction, and grasps the hair of St. Christopher with the left. On the right is the yt^t Hermit with his staff and rosary. The scene is a landscape of ^ tCtf^^^^^^ great beauty; with castellated mountains, towns, and a village on one side; on the other, a small church among rocks and trees. In the centre is the sea, with ships. On wood. Size : 1 foot 10 inches by 10 inches. Of the middle time of the master ; in some parts the land- scape has suffered. THE SAME. ^^^,1^ 59.-~ST. JOHN IN THE ISLAND OF PATMOS. ^ Full-length Figure. Evangelist, in a red robe and mantle, is seated at the ^ g ^ foot of a young tree, upon a r(S)ck which projects into the sea. ^ K^iL^^ »g writing. The eagle at his side holds the ink-stand in his beak; a small monster of hideous form and colour ^u^-^^^^^^^U^^jlO endeavours to annoy the bird with a stick. The vision in y /-y the Apocalypse, of the woman crowned with seven stars, and the seven-headed dragon, is seen in the sky. A lake occupies the middle distance ; and beyond, in the back-ground, is seen a mountainous country with fortified castles and towers. On wood. Size : 1 foot 2^ inches by 9 J inches. A picture of the later time of the master, feeble in character, drawing, and colour, though interesting in the details. 38 NETHEELANDISH SCHOOL OF THE 16tH CENTUEY. THE SAME. -THE CRUCIFIXION. Full-length Figures. The scene is placed in a beautiful and extensive landscape. The Magdalen kneels at the foot of the cross, embracing it, and looking up with an expression of passionate grief. Oppo- site to her stands St. John, also looking up to the cross, with clasped hands. The Virgin, who is on the left, wears an aspect of calm resignation; she raises her right hand as if reproaching the want of faith in the two other Marys, 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. On wood. Size : 2 feet 11 J inches by 1 foot 11 inches. The fine feeling in the soft folds of the Virgin's drapery, and other figures, show that this was painted under Italian in- fluence, in the latest time of the master, of which it is by far the finest specimen I know. He appears here to great advan- tage as the earliest Netherlandish landscape painter. The group of trees in the centre announces, in point of chiaroscuro and truth, the coming of Ruysdael. JAN VAN HEEMSEN, born at Antwerp about 1500. The monogram of the painter, HH, and the date, 1534, are inscribed on the top of a pillar. 3 p GL— THE ADOEATION OF THE KINGS. Tkiptych. (ViT Full-length Figures. The Infant Saviour, seated in the lap of his mother, dips both hands into a vase full of gold pieces, offered by one of the kings, who is kneeling before him. The other two kings, one of whom is, as usual, a Moor, are about to present their NETHERLANDISH SCHOOL OF THE 16tH CENTURY. 39 offerings ; on the left is Joseph looking on. In the back- ground are cottages and rural scenery, with two men walking. 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-house, 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. On wood. Size : 2 feet 10 inches by 1 foot 10 inches. The wings, 2 feet 10 inches by 10 inches. The master here appears in all his rude tastelessness. The Child on the right wing — the Flight into Egypt — is quite re- pulsive. The contrast between the pale flesh-tones of the Virgin and Child, with the hard red colours of the men, is very disagreeable, and the effect, consequently, gaudy and heavy. The outlines are hard. THE SAME. —THE ADORATION OF THE KINGS. 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. Of noble character of heads, considering the master, but, as usual with him, hard in the outlines, and heavy and gaudy in the colouring. The execution careful. 40 NETHERLANDISH SCHOOL OF THE 16tH CENTUEY. ; _p,-p 63.— THE MAETYRDOM OF ST. URSULA AND HER COM- JVIWbU 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 j ' 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 are preparing to destroy those who are in the vessels. Within a window is seen a repre- sentation of the betrothal of St. Ursula with the Prince of I England. On wood. Size : 2 feet 3| inches by 1 foot 7 inches. Crowded in the composition, and awkward in the motives ; the heads monotonous, though occasionally of good expression ; the colouring somewhat heavy, and the execution very careful. JAK MABUSE. /P^ri-^ 64.— A GIRL WRITING. \ IS f^'i O The girl, in a close-fitting corset of scarlet velvet, edged with / CU.^^^^, and embroidered gauze sleeves, wearing on her head a black e-^^4rf~- ^^^^ white, sits before a table covered with blue tapestry ; near her right hand are the inkstand and pen-holder, /f^v^-v, ,pj^^ ground is green. f f6^^6* ' I wood. Size : 11 inches by 9 inches. Very attractive for the naive feeling and admirable foreshort- ening of the inclined head. The hands have the short and thick fingers peculiar to Mabuse in his portraits — for instance, the children of Henry the Seventh at Hampton Court. NETHERLANDISH SCHOOL OF THE 16tH CENTURY. 41 THE SAME. 65.— MADONNA AND CHILD, in a Landscape. Full-length Figures. . y^lxx^ In the midst of a richly-varied landscape, is the Virgin seated under a chestnut-tree. The Infant Christ is in her lap, and she /r^c ^^'^"^•^^^^ffers him a chestnut. She is attired in a blue mantle ; the /^c^/- ^--^^^^leeves are red, lined with yellow; her flowing golden hair is covered with a thin veil. The Child is quite undraped, and turns away from its mother's breast towards the spectator. In the back-ground are rich woods and a fortified town, and moun- tains surrounding a lake which is covered with ships. On the right, St. John the Baptist is seen carrying a lanthorn, and the lamb with the cross and banner; on the left are two knights on horseback. On wood. Size, diameter : 2 feet 8 inches. The head of the Virgin is very noble, the landscape of highly careful execution. The cold tone in the whole picture bespeaks the later time of the master. JAN MOSTAERT p], bom 1474, died 1555 or 56. Scholar of Jacob Janssen of Haarlem. JP .1^ 66.— A PIETA. /Vi S^- Full-length Figures. Leaning against a projecting rock, is the Virgin supporting the lifeless body of her Son upon her knees. She wears d white veil ; her eyes are filled with tears ; at her feet are a scull and a crown of thorns. In the distance is seen a portion of the city of Jerusalem. On wood. Size : 11 inches by 8| inches. The whole style of art here shows a later period than Hugo van der Goes, to whom this picture was formerly attributed, and approaches more to the character of Jan Mostaert, who longest retained the feeling of the Van Eyck school. The head of the Virgin is noble in the expression, that of the Christ less agree- able and not true, from the stiff manner in which it stands erect and unsupported. The execution is very carefuL 42 NETHEELANDISH SCHOOL OF THE 1 6tH CENTUKY. A Painter showing affinity to MOSTAERT, but feebler. ^,T>, 67.— THE VIEGIN OF THE ROSAEY. ^ ^ Half-length Figures. The Virgin, attired in light blue, with sleeves of crimson and gold brocade, holds the Infant reverently and carefully upon her knees. He is playing with a rosary of red beads with golden links. On wood. Size : 1 foot 24 inches by 10 J inches. Pleasing, and of careful execution, but feebly drawn in the body of the Child, which is much retouched. HERRI DE BLES, called CIYETTA, still living, 1550. 68.~MOUNT OALYAEY. Full-length Figures. In the centre of a varied landscape is the cross, with the ' ^ dead Saviour. Three angels, in long sacerdotal garments, n^^Jjl^^sisu^ hover around, and collect the blood in chalices. Below is the Magdalen embracing the cross. To the left stands the Virgin; her face, which is turned to the spectator, expresses y {6. suffering and resignation. On the same side, St. John appears to address a fervent prayer to his master. On the right hand are two warriors in conversation, one of whom apparently represents Longinus the penitent centurion. In the back- ground the Jews are seen returning to Jerusalem. On wood. Size : 3 feet li inches by 2 feet 2| inches.' Unusually noble in the heads, rich in detail, and careful in execution. The pervading heavy and grey tone bespeaks the middle time of the master. THE SAME. /p>. 69.— THE ADOEATION OF THE KINGS. Teiptych. In the porch of an extensive Gothic building, partly in ruins, NETHEBLANDISH SCHOOL OF THE 16tH CENTURY. 43 is the Virgin seated with the Infant Saviour on her knees ; the Kings offer gifts. One kneels before the Child, his hat and sceptre lie on the ground beside him, the other two kings are approaching; the Moorish king is clad in splendid armour. The attendants are seen in the back-ground with their horses. Left Wing. The donor of the picture kneeling before a fald-stool, 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 Kings are seen passing over a bridge. JRiglit Wing. The wife of the donor, in a long blue robe, with a white cap and ruff, is on her knees before a fald-stool; a young girl kneels at her side, and behind her stands her patron, St. James the Greater, as a pilgrim. In the back-ground is a landscape with a river and shipping, betokening 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. Well composed and carefully executed, but rather feeble in drawing and tame in the expression of the heads. The middle time of the master. THE SAME. JB.-p 70. -THE DEPOSITION FROM THE CEOSS. Tkiptych Full-length Figures. The body of the Saviour, taken down from the cross, is extended in the foreground ; St. Joseph of Arimathea sustains the cloth. The Virgin, weeping, holds the right hand of her divine Son, while St. John seeks to comfort her. On the other side is the Magdalen, 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 10^ inches; each wing, 2 feet 5 inches by 9 inches. 44 NETHEELANDISH SCHOOL OF THE 1 6tH CENTUKY. Left Wing. St. Joseph of Arimathea, and St. Nicodemus, return- ing TO Jerusalem ; The former carrying a vase, the latter the crown of thorns, and a white cloth, both very richly attired. They appear in earnest conversation. Jerusalem is in the back-ground. Bight Wing. St. Mary Magdalen, and St. Mary Cleophas, in Conversation. The Magdalen holds the vase in her left hand, and raises the lid with her right. She is richly attired in blue, with a red mantle. Of the painter's latest time, as proved by the overlong pro- portions, the mannered motives, and the pale flesh-tones. The wings are, however, admirable for the master. A FOLLOWER OF QUENTIN MATSYS. :CP. 71.— HOLY FAMILY, WITH ANGELS. (Cb^. 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 is sleeping. St. Joseph, bald-headed and with a blue cowl to his black dress, approaches respectfully from the left, with a carnation in his hand. Three angels stand to tlie 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. Monotonous and tasteless in the heads, and feeble in draw- ing, though emulating his original in softness and transparency of the flesh, in harmonious colouring, and in skilful treat- - ment. J3 .V 72.— JAN MATSYS fj^"^ iol^ 0 Flourished about 1540-1563. Scholar of his father, Quentin Matsys. The Virgin, in a blue dress and vermilion mantle, is holding NETHEELANDISH SCHOOL OF THE 16tH CENTUBY. 45 the Child, who is playing with a rosary of crystal beads, on her lap. Behind a parapet is J oseph reading a scroll of paper. In the fore-ground a dish with fruits and a table. Back-ground landscape. The portrait-like conception of the Virgin is but little at- tractive, the flesh-tones^ are pale, the colouring gaudy, but the technical process solid. —THE DEAD CHRIST LAMENTED BY TWO FEMALE SAINTS, apparently Martha and Mary. The 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, is anointing the wounds ; in the centre of the fore-ground stands the vase of ointment. This picture displays the influejice of Italian Art. On wood. Size : 1 foot by 6J inches. Of inferior character ; the feeling in the female heads is more attractive. —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.," on a band, which waves round his golden wand, shows the object of his mission ; a fald-stool, covered with red velvet, and a vase with lilies and roses, indicate the abode of the Virgin. In the back-ground are several angels occupied in reading pro- phecies 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 83 inches. This picture is an example of the long continuance of the reli- gious style of the Van Eyck school, contemporaneously with the miitation of the Italian school, and the rise of subject painting. NETHEELANDISH SCHOOL OF THE 16tH CENTURY. The feeling is, it is true, much enfeebled, and a master of the ear- lier time would never have given the train of the Archangel to be held by another angel. Except the flesh-tones also, the colours are gaudy. The execution is, however, careful. The picture is probably by one of the brothers Claissen of Bruges, who per- severed in this tendency till towards the end of the 16th cen- tury. NETHEELANDISH PAINTER, flourished about 1558. —THE CIECUMCISION. 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, are the Virgin and St. Joseph, and still further off two other figures ; on the left is Arnold Boghaert, crowned, as King of the Khetoricians, and kneeling. The arms of SjDain are above, in the centre of the picture ; and other heraldic bearings, probably the arms of Boghaert, are on the right and left ; one corner is occupied by a monkey holding an apple. This votive picture has two inscriptions. On wood. Size : 2 feet 4^ inches by 2 feet 4 inches. This picture, which is the powerfully coloured work of a very able artist, appears, judging from inscriptions, to have been presented by Boghaert (who was elected king of that school of poets which arose in the Netherlands, under the name of Rhetoricians, in the middle ages), to some public building in which, up to a late period, they held their trials of skill. The date 1558 may be traced in the red letters of the outer inscrip- tion in a chronogram. The King of Spain here represented is Philip the Second, who in that year married Elizabeth, daughter of Henry the Second of France. On the picture : — " 0 Jesu duer t' bloet ghesturt in hu besnindighe gheft Boghaert vruchten eewich ghe v' blidinghe;" which means, " Oh Jesus ! may the blood of thy circumcision give Boghaert the fruit of eternal life." Round the picture are the words, " Was Arnoudt Bo- ghaert te lef fynghe cuenink van rhetorike do' en phis cue- nink in spaingien huvede met de dochtere von frankericke NETHERLANDISH SCHOOL OF THE 16tH CENTURY. 47 which means, "In 1558 Arnold Boghaert lived as King of the Rhetoricians, when Philip King of Spain married the daughter of France." LUCAS GASSEL. (I) :S,1> 76.— ST. FEANCIS EECEIVING THE STIGMATA. ^ lost Full-length Figures, In the centre of a richly varied landscape is St. Francis, kneeling, and receiving the stigmata from the winged crucifix ; his countenance expresses a painful transport ; his hands are raised ; hehind him is a monk, sleeping. In the back-ground, to the left, is St. Francis preaching to birds and other animals, in presence of three monks ; further back, a shepherd restoring his flock to life by the means of holy water. In the distance, near a bridge with towers, is a group of people, who 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 is St. Francis assisting 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. The back-ground is partly obliterated. On wood. Size : 1 foot 3 inches by 10| inches. Of the various painters who, towards the middle of the 16th century, followed in the steps of Patenier, and united landscape with biblical or legendary scenes, this picture most recalls Lucas Gassel. The lay brother is the most successful of the figures ; the head of the saint is feeble. The careful execution of the landscape shows the importance attached to it. Netheelandish School, under Italian influence. h JP 77.— THE CKUCIFIXION. Full-length Figures. In the fore-ground of a landscape with several towers and castles, over which darkness is fast spreading, rises the solitary NETHERLANDISH SCHOOL OF THE 16tH CENTURY. 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 Magdalen kneels on the other side, near her a soldier and a centurion (apparently St. Longinus) with a coat of mail and a sword ; he presses his right hand to his heart. The previous scene of the procession to Mount Calvary is seen 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. A picture of very moderate merit, though powerful in the flesh-tones. THE END. Woodfall and Kinder, Printers, Angel Court, Skinner Street, London* ADDENDA. MATHCEUS GRUNENWALD, of Asschaffenburg. 78._A GRAND ALTAR-PIECE, In the centre the Virgin, in a green and bhie drapery, standing on the moon, and offering grapes to the infant, whom she holds in her arms, while angels above are crown- ing her : St. Catharine and St. Barbara standing at the sides : on the inside of the wings are St. Ambrose, in robes, and St. George, in armour, standing on the dragon : and on the outside, St. George, St. Clement, and the person for whom the altar was painted. This JiigTily im^oTtant and interesting examjple of the early German School^ is in most perfect preservation. Bought by His Eoyal Highness the Prince at Lord Orford's sale, July, 1856. LATTANZIO GAMBAEA. 79.— FRESCO PAINTINGS FROM THE PALAZZO SACHETTI AT BRESCIA. Lattanzio Gambara was born in Brescia in 1541. His father, a tailor, being obliged to leave his native city to go to Cremona, had great difficulty in supporting his family, so that Lattanzio was compelled to work at the same trade. His genius however could not be restrained, and he fre- quently employed himself in drawing, which produced quarrels between him and his father. At length, Antonio Campi a painter of Cremona, observing the boy's talent took him into his service^ and at the age of 18 placed him in the academy of Girolamo Romano (Romanino) who gave him his daughter in marriage. Such was his progress, that he soon excelled both his instructors in the grandeur of his compositions and the beauty of his colouring, which last came very near that of Pordenone. His attitudes are uncommonly animated, his foreshortening is admirable, and the relief of his figures perfectly captivating. At Brescia are some fine fresco paintings by Gambara, particularly in the cloisters of the Benedictine convent, the subjects of which are " Moses and the brazen serpent," " Cain and Abel," Samson and Dalilah," " Judith and Holofernes," Jael and Sisera," and a " Descent from the Cross." But the most laboured of his works are in the Duomo of Parma, representing subjects from the history of Christ. Of his oil pictures the best are the " Birth of the Virgin " at Brescia, and a Pieta " at Cremona. He was killed at the age of 32, by a fall from a ladder in 1574. f i I j / ST ?