From the library of 
 Frank Simpson 
 
Digitized by tlie Internet Arcliive 
 in 2014 
 
 littps://archive.org/details/exliibitionofpictOOnewg 
 
Exhibition of Pictures 
 
 BY MASTERS OF THE 
 
 Flemish and British Schools 
 
 INCLUDING 
 
 A SELECTION FROM THE WORKS 
 
 OF 
 
 SIR PETER PAUL RUBENS 
 
 THE NEW GALLERY 
 
 REGENT STREET 
 1 899 — 1900 
 
RICHARD CLAY AND SONS, LIMITED, 
 LONDON AND BUNGAY. 
 
 THE J. PAUL GETTY MUSEUM LIBRARY 
 
THE NEW GALLERY 
 
 directors* 
 
 C. E. HALLE. I J. W. COMYNS CARR. 
 
 Consulting 
 
 SIR.L. ALMA-TADEMA, RA. 
 E. ONSLOW FORD, R.A. 
 ALFRED GILBERT, R.A. 
 H. A. GRUEBER, F.S.A. 
 W. HOLMAN HUNT, R.W.S. 
 J. W. NORTH, A.R.A. 
 
 Committee* 
 
 ALFRED PARSONS, A.R.A. 
 
 C. H. READ, F.S.A. 
 
 SIR W. B. RICHMOND, K.C.B., R.A. 
 
 E. R. ROBSON, F.S.A. 
 
 ISIDORE SPIELMANN, F.S.A. 
 
 G. F. WATTS, R.A. 
 
 Hrcbitect 
 
 E. R. ROBSON, F.S.A 
 
 Secretary* 
 
 LEONARD C. LINDSAY, F.S.A. 
 
 Hssistant Secretari^* 
 
 MISS THOMA.S. 
 
! 
 
 Hrranoement of tbe Eybibition^ 
 
 WEST ROOM. 
 
 Pictures of the Early Flemish School, and Antique and 
 Mediaeval Objects of Art. 
 
 NORTH ROOM. 
 
 Pictures and Drawings by Sir Peter Paul Rubens, Etc. 
 
 SOUTH ROOM. 
 
 Pictures of the British School. 
 
 CENTRAL HALL. 
 
 Embroidery and Needlework. 
 
 BALCONY. 
 
 Pictures of the Early Flemish School. 
 
PREFATORY NOTE. 
 
 The third centenary of the birth of Anthony Van Dyck having fallen in 
 the year 1899, the event was celebrated at Antwerp by a general exhibition 
 of that artist's works, and a similar collection has been formed by the Royal 
 Academy for exhibition this winter at Burlington House. The Directors of 
 the New Gallery consider this an opportune occasion to complete the repre- 
 sentation of the Flemish School by bringing together examples of the Early 
 or Gothic School, and also of Van Dyck's illustrious predecessor and master, 
 Peter Paul Rubens. 
 
 As a supplement to the exhibitions of the two great artists, Rubens and 
 Van Dyck, to whom the art of portrait and landscape painting in this country 
 owes so much, a small collection has been formed of pictures of the British 
 School. 
 
 The Directors and Secretary of the New Gallery wish to tender their most 
 grateful thanks to the owners of pictures here and in Belgium, who have 
 so kindly assisted them in carrying out their scheme and enabled them to 
 offer so many choice works in illustration of the schools they have desired to 
 represent this winter. They also wish to convey their thanks to Mr. W. H. 
 Weale for his introductory notes on the Flemish School of Painting, and to 
 him and Sir Charles Robinson and Mr. Herbert Cook for the assistance they 
 have given in forming the Collection. 
 
 As on previous occasions, the historical notes and descriptions of the 
 pictures in the Catalogue are compiled by Mr. Herbert Grueber, to whom 
 the Directors again wish to convey their most sincere thanks. 
 
vi 
 
 PREFATORT NOTE. 
 
 Whilst the Exhibition was in course of arrangement the sad news of 
 the death of the Duke of Westminster was announced. The Directors 
 wish to record the deep sense of sorrow they feel at the loss of one who 
 not only invariably placed his valuable collection of pictures at their 
 disposal, but was also a kind friend to the New Gallery in many other 
 ways. 
 
 Leonard C. Lindsay, 
 Secretary. 
 
EARLY ART IN THE NETHERLANDS 
 
 Art in the Low Countries — that is, in the present kingdoms of the Netherlands 
 and Belgium and the adjacent districts of France which formerly formed part of 
 the counties of Flanders and Hainault — was in the seventh and eighth centuries 
 practised with success in several great monasteries, such as those at Coeln^ Echter- 
 nach, Stavelot, Fosses, Lobbes, Tournay and Ghent, all of which were real centres 
 of civilization and culture. Two manuscript Gospel books on vellum, of the 
 seventh century, adorned with illuminations and miniatures which show a con- 
 siderable amount of skill, are preserved in the church of Maaseyck. They were 
 executed by two sainted sisters, Harlindis and Relindis, abbesses of Aldeneyck. It 
 was, however, Charles the Great who gave the first great impulse to art. He 
 gathered about him artists from Constantinople, Italy and England, to adorn his 
 palaces at Nijmwegen and at Aachen, established a school of art which was at- 
 tached to his court, and in 807 not only issued a decree that all churches should 
 be adorned with paintings, but appointed inspectors to see that his orders were 
 carried out. Monastic chronicles of the tenth, eleventh and twelfth centuries 
 record the execution of many mural paintings ; one of these, representing a 
 miracle of Saint Martin of Tours, was still to be seen in the seventeenth century 
 in the church bearing his name at Liege. The emperors Otho 11. and Otho 
 III. (972-1002) employed at their court several Byzantine artists ; one of these 
 named John adorned the Carlovingian church at Aachen and the choir of the 
 abbey of S. James at Liege with mural paintings. All these have disappeared, but 
 a strong Byzantine influence is evident in many works of art which have escaped 
 destruction ; some of these, such as the ivory panels at Liege and Tongres, and the 
 rock-crystal intaglio of King Lothair, now in the British Museum, may not have 
 
viii 
 
 EJRLT ART IN THE NETHERLANDS. 
 
 been executed in the Low Countries, but others, as, for instance, the enamelled 
 plaques on the shrine of Saint Mark at Huy, the ivory diptych of Genoels Elderen 
 now in the Museum at Brussels, and the Gospels of Stavelot in the Royal Library 
 at Brussels, were certainly executed in the country. A large number of other 
 illuminated manuscripts enable us to trace the gradual development of local pic- 
 torial art -y one good example, a Bible in two large folio volumes, written, illumi- 
 nated, adorned with miniatures, and bound by two monks of the abbey of Stavelot, 
 Goderan and Ernest, occupied their working hours during four years and was 
 completed in 1097. It is now in the British Museum (Add. MSS. 28106 and 
 28107). Numerous other illuminated manuscripts executed in the monasteries of 
 the Netherlands are still preserved in public and private libraries and in the 
 churches of Belgium. Many more have been destroyed since the middle of the 
 sixteenth century. 
 
 Up to the end of the twelfth century Art in the Low Countries was almost 
 ■entirely ^ under the control of the monastic orders. The abbeys, and even many 
 i)f the priories, had around them a large number of dependents who worked for 
 and under the direction of the monks, who always had two schools ; one in which 
 they trained their own novices in the Arts and Sciences, the other in which they 
 instructed their dependents in every craft. There is documentary evidence to 
 show that these dependents living under the protection of the abbot were to be 
 counted by hundreds, and sometimes even by thousands. They formed com- 
 munities working, not only for the monks, but also, under strict regulations, for 
 outsiders. Towards the end of the twelfth century a great change took place — a 
 change brought about by the development of the towns. As soon as a town 
 -grew to any size the inhabitants engaged in any particular craft, or in two or 
 more connected crafts, joined themselves into associations to protect their common 
 interests. These associations, once formed, gradually developed, and when the 
 commonalty obtained from the sovereign a charter of incorporation, they, in their 
 turn, got one from the municipality. The first thing a newly-incorporated 
 municipality did was to build a belfry and then a town hall ; other public buildings 
 soon had to be added j and as the inhabitants grew in wealth they replaced their 
 
 ^ At Maastricht, Lidge, Utrecht, and Tournai the cathedral chapters no doubt exercised 
 a similar influence. 
 
EARLY ART IN THE NETHERLANDS. 
 
 ix 
 
 wooden houses by more durable constructions in brick or stone. Art craftsmen 
 soon found that to be able to work in peace it was no longer necessary to remain 
 under the shadow of the abbeys, and numbers of them removed into the towns. 
 There they quickly discovered that their position as independent craftsmen was 
 anything but stable, and that to succeed they must unite with one or other of the 
 existing industrial corporations. So in many towns the masons and sculptors joined 
 that of the carpenters ; the painters and glass-painters that of the saddlers and 
 glaziers. All these corporations, primarily formed to protect and further the 
 temporal interests of their members, had also a religious side, the members 
 being bound to join and subscribe to the guild in honour of the saint chosen 
 as patron of the corporation. During the thirteenth century some few monasteries, 
 such as the Cistercian abbey of the Dunes near Furnes, and the Benedictine abbey 
 of S. Hubert in the Ardennes, still kept a body of art craftsmen about them, but 
 these gradually diminished in number, and from the close of the century the arts 
 only flourished and progressed in the towns in which those who practised them 
 formed part of a chartered corporation. No man practising a craft already in the 
 possession of a chartered corporation could work for pay in a town unless he were 
 a burgher by birth or by purchase, and a member of that corporation. As such 
 he obtained a recognised position, but was also subject to strictly enforced 
 regulations. Painters neither looked on themselves nor were considered by the 
 public as superior to other craftsmen. It was not until art began to decay that 
 they gave themselves superior airs. During the great ages they were paid for their 
 work Hke other craftsmen ; it had to be good, honest work executed with good 
 materials — the officers of the corporation saw to that — and it was each man's aim 
 to make his work as beautiful as he could. The old warning. Caveat emptor^ as 
 regards the works executed by members of the chartered art corporations, 
 became obsolete, and attention to it only again became necessary when sculptors 
 and painters emancipated themselves from all control save that of the law courts, 
 quite incompetent to deal with such matters. The corporation took care to 
 secure the proper training of its members. A lad had to be bound apprentice for 
 a term of years to a master painter, who became responsible for his technical 
 education, and for his attention to his religious duties. The boy lived with his 
 master, served him and had to obey him j the master in return had to give him 
 
X 
 
 EJRLY ART IN THE NETHERLANDS. 
 
 thorough instruction in all matters relating to his craft : how to prepare his panel 
 or canvas, how to prepare and lay on the gesso ground, how to mix his colours 
 and make his varnishes. His apprenticeship terminated, the youth became a 
 journeyman, and could work for pay under any master he chose, either in his own 
 town or elsewhere ; after a time he would present himself before the appointed 
 officers of the corporation for admission to the rank of master painter. He was 
 required to give satisfactory evidence of his technical knowledge and to execute 
 a picture. He had next to take an oath to obey the laws of the corporation, and 
 to promise that his work should be good and honest work in the sight of God. 
 Then upon payment of certain fees, which varied in amount according to whether 
 he were the son of a master painter or of an outsider, he became a full member of 
 the corporation with a right to vote at the annual election of its officers, but 
 though a free master, he remained all his life under the supervision of the inspectors 
 of the corporation, who could at any time enter his shop and seize any materials 
 that were bad, such as panels with knots in them and gold, silver, azure, or 
 sinople of inferior quality ; these were confiscated and destroyed, and their owner 
 fined. Again, if any dispute arose between a painter and his employer, the officers 
 of the corporation were called in to settle it, to appraise the value of the work 
 and, in case of a previous contract, to state whether the agreement had been 
 honestly fulfilled, and whether the work delivered was executed according to 
 contract. The painter of any scamped or dishonest work would be brought before 
 the magistrates and severely punished. If, on the other hand, the work was 
 found to be better than that contracted for, the complaining purchaser had to 
 pay the difference between the price agreed upon and the real value, as also 
 all the costs of the expert witnesses, &c. The art corporations grew in power 
 during the fourteenth century, but did not attain their full importance until 
 towards the middle of the fifteenth. At that time delegates from all the chartered 
 corporations of painters throughout the Low Countries met every third year in one or 
 other town, where they spent several days in discussing matters of common interest 
 and in communicating to one another the discovery of improvements in technical 
 methods. These periodical reunions fully explain the remarkable uniformity in 
 the processes employed throughout the Low Countries and prove that until the 
 middle of the sixteenth century there was really only one school, the old and 
 
EARLY ART IN THE NETHERLANDS. 
 
 xi 
 
 proper name of which is the Early Netherlandish, and not the Early Flemish 
 school, for so far as our present knowledge goes, Flanders during the whole of the 
 fifteenth century gave birth to very few painters of any great merit, and the most 
 distinguished of these were sons of Dutchmen. 
 
 I will now endeavour to give, in the limited space at my disposal, a brief sketch 
 of the history of the Netherlandish school from the commencement of the thir- 
 teenth century. At the very beginning of that glorious epoch Wolfram von 
 Eschenbach, in a poem which was written before 1215, mentions Maastricht and 
 Coeln as the two cities in which the art of painting had risen to distinction. We have 
 documentary evidence of the execution of many fine mural paintings during this 
 and the two following centuries; others have been brought to light in recent years. 
 The earhest known portable paintings are those adorning the wooden shrine of 
 Saint Odilia, one of the companions of Saint Ursula, which was painted in 1292 at 
 Huy or at Liege, and discovered by me in October 1863.^ These represent a 
 series of scenes in her life, painted on plain red or green backgrounds ; the compo- 
 sitions are simple and tell their story well ; the drawing is good ; the figures are, 
 however, somewhat short, a feature which is also a marked characteristic of 
 painters of the Mosan country in later times. The next pictures in point of date 
 that have come down to us are : i. a panel representing Henry von Rhijn, arch- 
 deacon of Utrecht (died 1360) kneeling at the feet of Christ on the Cross, the 
 Blessed Virgin and S. John, on a ground of gold burnished and tooled ; the portrait 
 is wanting in individual character and the modelling of the figures weak (now in the 
 Museum at Antwerp). 2. A Calvary picture with SS. Barbara and Katherine, 
 painted c. 1390, for the Corporation of Tanners of Bruges, now in the cathedral ; 
 this, also on a tooled gold background, is a better picture ; the figure of the Blessed 
 Virgin, who is supported by two holy women, is very noble, and the heads of 
 several of the figures are animated. 3. The shutters of a carved altar reredos 
 executed for the Charterhouse of Dijon by Melchior Broederlam of Ipres, the 
 official painter of Philip, Duke of Burgundy, from 1382 to 1401. The subjects 
 represented are the Annunciation, Visitation, Presentation, and Flight into Egypt, 
 treated in a very different manner to the foregoing, the figures being individualised 
 
 ^ An excellent illustrated description of these, by Mr. J. Helbig, will be found in " Le 
 Beffroi," vol. ii, pp. 31 — 37, Bruges, 1864. 
 
xii 
 
 EARLY art: in THE NETHERLANDS. 
 
 and showing a delicate feeling for beauty, the colouring clear and intense ; build- 
 ings, castle-crowned rocks and trees of conventional character are introduced, but 
 the sky is replaced by a gold ground.^ 
 
 The fifteenth century witnessed an immense development in Netherlandish 
 pictorial art ; this was owing to the discovery of the Van Eycks, natives of 
 Maaseyck, a small town on the River Maas, below Maastricht. The best au- 
 thorities are generally agreed that Hubert van Eyck was born about 1370, and 
 John about 1390, and that their discovery of a new process of painting in oil was 
 made before 14 15. Of course, oil painting had long been in use, certainly from 
 the twelfth century, as Theophilus describes the process, but only in an unde- 
 veloped form, and for inferior purposes. No doubt slight improvements were 
 made, and it is quite possible that a partial use of oil was made in some panel pic- 
 tures, such as those by Broederlam at Dijon. But any way, the simplification and 
 perfecting of the process was due to the Van Eycks. Their discovery brought 
 about a great change. Hitherto, Painting had been subservient to Architecture, 
 but now it began to be independent. Instead of being confined to the ornamenta- 
 tion of the surface of walls, its aim would be to create illusion and by the perfect- 
 ing of linear and aerial perspective to make the spectator forget the existence 
 of a flat surface. It thus became a direct imitator, or by idealisation a rival 
 of nature. 
 
 It is not known where or from whom the Van Eycks learnt their art, possibly 
 at Coeln. Several pictures by Hubert are mentioned in contemporary documents, 
 but the only example which can be ascribed to him, and that only in part, is the 
 celebrated altar-piece of the Adoration of the Lamb. It is not even known when 
 Hubert went to Ghent, probably not before 1420 ; ^ he certainly settled there in or 
 
 ^ Now in the Museum at Dijon. Outline sketches of these will be found in Waagen, 
 " Handbook of Painting," part i, p. 39, London, i860 ; and in Crowe and Cavalcaselle, 
 " The Early Flemish Painters," 2nd edition, p. 24, London, 1872. 
 
 2 The so-called Register of the Corporation of Painters and Sculptors of Ghent and the 
 Rhymed Biography of Netherlandish Painters, attributed to Luke de Heere, published with 
 annotations by Mr. E. de Busscher in a volume entitled " Recherches sur les Peintres 
 Gantois," the documents relating to the Van Eycks said to have been discovered by 
 Mr. Van Kirckhoff at Antwerp, and by Mr. Schellinck at Ghent, the authenticity of which I 
 
EARLY ART IN THE NETHERLANDS 
 
 xiii 
 
 before 1424, and died there on the 1 8th of September, 1426, leaving the altar-piece 
 unfinished. 
 
 Of the earlier years of John van Eyck's life we have no record. A signed 
 picture, dated 30 October, 142 1, representing the enthronement of S. Thomas of 
 Canterbury, and said to have been given to Henry VI. by his uncle, the Duke of 
 Bedford, is the earliest piece of evidence yet discovered.^ 
 
 His first known patron was John of Bavaria, who took him into his service as 
 painter and chamberlain, probably in 1420 or 142 1. He was employed at the 
 Hague in the decoration of his palace from 24 October, 1422, to 11 September, 
 1424. In 1425 he was at Bruges and entered the service of Philip, Duke of 
 Burgundy, on the 19th of May. In August he removed to Lille. In 1426 he 
 was sent on two secret missions by the Duke. In 1428 he was sent in the suite 
 of John, lord of Roubaix, to Portugal to paint the portrait of the Infanta Isabel. 
 They started from Bruges on the 19th of October, put in at Sandwich on the next 
 day, sailed thence on the 13th of November, put in at Falmouth on the 25th, set 
 sail again on December 2nd, and arrived at Lisbon on the i8th. After a short 
 stay they rode to Arrayollos, and thence on the I2th of January to Aviz. On the 
 morrow they were received at Court. John van Eyck painted the portrait of the 
 princess, which towards the middle of February was sent to Duke Philip, together 
 with the preliminaries of a marriage treaty. While waiting for the Duke's reply 
 they went first on a pilgrimage to the shrine of S. James at Compostella, then 
 visited John II., king of Castile, the Duke of Arjona in Andalusia, and Mahomet, 
 the Moorish king of Granada. They then returned through Andalusia to Lisbon. 
 Philip's consent having arrived, they went on June 4th to the court at Cintra. 
 The marriage by proxy was celebrated in July. On the 8th of October the 
 Portuguese fleet, with the bridal party, set sail. They encountered bad weather, 
 were compelled to put in at different harbours, and only reached Sluus on 
 Christmas Day.^ 
 
 was the first to question {^^ Notes sur Jean van Eyck," 1861, p. 34 ; "Z^ Beffroi^^ vol. ii. 
 pp. 207, 208, 212 and 213, Bruges, 1864), are now proved to be impudent forgeries. 
 ^ Now at Chatsworth ; unfortunately almost entirely overpainted. 
 
 2 The account of the voyage, written in French by a member of the mission, from which 
 these notes are taken, will be found in Gachard, ''''Collection de documents inedits^^ vol. ii. 
 pp. 63-91, Brussels, 1834. 
 
xiv 
 
 EARLY ART IN THE NETHERLANDS. 
 
 There can be little doubt that during his sojourn at the Hague, Van Eyck 
 must have exercised a considerable influence on the painters of Haarlem and other 
 neighbouring tow^ns, and during his travels in the Peninsula the new method of 
 painting will have become widely known. Doubtless, too, he may have presented 
 specimens of his art to, or received commissions from, some of the sovereigns whose 
 courts he visited. 
 
 John van Eyck, never at a higher level as regards conception and choice of 
 types than when working under the influence of Hubert, became more realistic 
 after 1432, the saints in his pictures and even the figures of the Infant Christ and 
 His Virgin Mother being only too faithful portraits of ill-chosen models. As a 
 realistic portrait painter he has never been surpassed, while his landscape back- 
 grounds with their wonderfully delicate modulations of atmosphere long remained 
 unequalled. Above all he was remarkable for the consummate skill with which 
 he reproduced the most minute details, for the care displayed- by him in the choice 
 of materials and the excellence of his methods of execution. Our National 
 Gallery contains three of his masterpieces. 
 
 The only master known to have been trained by him is Peter Christus, a native 
 of Baerle, near Tilburg, in North Brabant, who settled in Bruges, and died there 
 in 1470. His earliest work is a portrait of Edward Grimston in the possession of 
 Lord Verulam ; his best work the Saints Eligius and Godeberta, 1449, in the 
 Oppenheim Collection at Coeln, both signed. 
 
 I will now endeavour to show where the principal masters of the school whose 
 works have come down to us were born and received their art training. The 
 painters of Haarlem early rose to eminence ; they were especially distinguished for 
 their landscape backgrounds, and for the skilful rendering of draperies. The earliest 
 of these, Albert Van Ouwater, was still living in 1467 ; the ^Berlin Museum 
 possesses the only known picture proved to be by him, the Raising of Lazarus. 
 By his pupil, Gerard of Saint John, who died at the age of twenty-eight, we have 
 two pictures, one representing the dead Christ on the lap of His Mother, with 
 other figures around ; the other, scenes from the legend of Saint John the Baptist. 
 Dirk Bouts, who settled in Louvain before 1449, was the son of a Haarlem painter 
 of the same name, and no doubt learnt his craft in that city. His principal works 
 executed for the Town-hall and the church of Louvain are now partly in the 
 
EARLY ART IN THE NETHERLANDS. 
 
 XV 
 
 latter, partly in the museums of Brussels, Munich, and Berlin. Our National 
 Gallery possesses his portrait painted in 1462. 
 
 Ghent is generally said to have given birth to Hugh van der Goes, but the 
 documents alleged to prove this are now known to be modern forgeries. In all 
 probability he was a native of Ter Goes, in Zealand, who settled in Ghent about 
 1465, and resided there and at Bruges until 1476, when, following the example of 
 his brother, he entered the monastery of the Austin Canons at Roodenclooster in 
 Brabant as a lay brother ; he died there in 1482. The only work by him, the 
 authenticity of which is established, is the altar-piece executed for Thomas Portunari, 
 the agent of the Medici at Bruges, and given by him to the Hospital of Santa Maria 
 Nuova at Florence. As a composition it is rather weak, but the portraits of the 
 donors and their children are excellent, full of individual character ; these and the 
 figures of the shepherds are evidently true to nature. He was certainly influenced 
 by John van Eyck in a greater degree than any other master of the school.^ 
 
 Tournai, a cathedral town, in which the arts had flourished from an early date, 
 was the native place of a painter who exercised an even wider influence than 
 Van Eyck, Roger de la Pasture, better known as Van der Weyden, the exact 
 Flemish equivalent of his family name. He had been for more than five years the 
 pupil of Robert Campin when he was admitted as master into the Guild of Saint 
 Luke on ist August, 1432. He removed to Brussels in or before 1435, and was 
 appointed painter in ordinary of that town in 1436. In 1449 he went on a 
 pilgrimage to Rome, and, amongst other cities, visited Ferrara. He died in 
 Brussels in 1464. He was evidently a far more religious man than Van Eyck. 
 His figures are less naturalistic and the arrangement of them more dramatic. He 
 put more animation into them, and apparently was always striving to express the 
 tenderness, the compassion, the grief which he himself felt when meditating on the 
 subjects he was representing. Of the numerous paintings of very different kinds 
 of workmanship attributed to him, many must be by other artists. The following, 
 however, are of undoubted authenticity. A triptych, formerly in the Charter- 
 house of Miraflores, near Burgos ; the altar-piece of the Church of Middelburg, 
 
 ^ For the altar of the Portunari family, in the Church of Saint James, at Bruges, he 
 painted a large picture of the Taking down from the Cross, which has been lost sight of 
 since 1783. 
 
xvi 
 
 EARLY ART IN THE NETHERLANDS 
 
 near Bruges, painted for Peter Bladelin, both now at Berlin ; a Madonna, with 
 SS. Peter and John, Cosmas and Damian, painted for Cosmo dei Medici, now at 
 Frankfort ; the Descent from the Cross, formerly in the Chapel of Our Lady 
 without the walls of Louvain, now at Madrid ; and the life-size figures of Christ 
 on the Cross, with the Blessed Virgin and S. John, painted for the Charterhouse 
 at Scheut, near Brussels, now in the Escurial. 
 
 Germany gave birth to another master who has attained world-wide celebrity, 
 Hans Memlinc, who derived his name either from the village of Miimling, near 
 AschafFenburg, or that of Memelinc, in North Holland. He was, however, born 
 in the diocese of Mentz, and learnt his art in that city or at Coeln. His appren- 
 ticeship being ended, he came to the Low Countries, and most probably worked 
 as a journeyman under Roger Van der Weyden. He settled finally at Bruges 
 some time before 1478, probably in 147 1, if not still earlier, and there died on the 
 iith of August, 1494. Memlinc was evidently a religious man like Van der 
 Weyden, but of a different type of character, humble and affectionate, a lover of 
 peace, of a poetical, and perhaps even of a sentimental turn of mind. His pictures 
 reflect this, being distinguished by their pure feeling, their grace of outline and 
 their harmony of colour. They may best be described as idylls. It is, however, 
 by the portraits they executed that the particular genius and the technical powers 
 of the different masters of the school can best be appraised, and if one were to 
 judge by the portraits Memlinc painted, one would conclude that his patrons 
 were almost exclusively pious, honest folk, which can hardly have been the case. 
 In a few instances, such as in the likenesses of the banker and burgomaster, 
 William Moreel, he has succeeded in conveying the idea of an able man with a 
 strong will, but he knew this man well. He was far more successful in his 
 portraiture of children, and was the first master of the school who could paint 
 a baby. 
 
 His authentic pictures are numerous ; his earliest work, a triptych now at 
 Chatsworth, painted for Sir John Donne, must have been executed between 1461 
 and July, 1469, probably at Bruges in 1468 ; the landscape in this picture bears 
 considerable resemblance to that in his portrait of the Italian medallist, Nicolas 
 Spinelli, painted in 1468, now in the Antwerp museum. An altar-piece now at 
 Turin, representing the incidents in the Passion of Our Lord in a number of little 
 
EJRir ARl IN THE NETHERLANDS, 
 
 xvii 
 
 pictures artificially separated from each other by buildings, walls, rocks or hillocks, 
 given to the Guild of Stationers at Bruges by the miniaturist William Vrelant and 
 his wife, was painted before 1478. A similarly treated and even finer picture 
 represents twenty-eight scenes in the life of Christ and the Blessed Virgin in all of 
 which, it seems to me, the painter, inspired by the contemplation of Christ as the 
 Light of the World, sought to express the revelation of the Divinity made through 
 the Incarnation. This was given to the Corporation of Tanners of Bruges, in 
 1480, and is now at Munich. In both of these the donors are represented kneeling 
 in the foreground. The well-known large altar-piece of S. John's Hospital, and 
 the triptych representing the Adoration of the Magi, the Nativity and Presentation 
 with the kneeling figure of Brother John Floreins, are dated 1479 ; the altar-piece 
 of the Moreel chantry in the church of S. James, 1484 ; the diptych with half- 
 length figures of the Blessed Virgin and Martin van Nieuwenhove, 1487 ; and 
 the shrine of S. Ursula finished in 1489 ; all still in Bruges. The Madonna 
 with kneeling figures of James Floreins, a merchant of Bruges, his wife and their 
 numerous children protected by their patron saints, painted before 1488 ; a 
 diptych, one panel of which represents the Madonna surrounded by six virgin 
 Saints ; the other, the donor John Du Celier protected by S. John Baptist, with 
 S. John's vision in the isle of Patmos and S. George slaying the dragon in the 
 background ; and two wings with SS. John Baptist and Mary Magdalene, all in 
 the Louvre, are also noteworthy. Our National Gallery possesses one small panel, 
 the Blessed Virgin and Child with the donor protected by S. George 3 this has 
 unfortunately been injured in part by rubbing. 
 
 Another artist of German origin who settled at s'Hertoghen Bossche, and is 
 generally known as Jerome Bosch (c. 1460 — 1516), and as the painter of fantastic 
 demoniacal scenes, was really a master of great power who followed the early 
 technical processes. His finest pictures are in the Prado Gallery at Madrid ; 
 there is also in the Museum at Bruges a delicately painted Adoration of the Magi 
 by him. 
 
 Oudewater in South Holland was the birth-place of Gerard, son of John David, 
 who probably learnt the art of painting either at Haarlem or from Dirk Bouts. 
 He came to Bruges at the end of 1483, or at the commencement of 1484, and 
 was admitted as master- painter into the Guild of S. Luke on the 14th of January. 
 
 B 
 
xviii 
 
 EARLY ART IN THE NETHERLANDS, 
 
 The Museum at Bruges possesses two panels representing the Judgment of Cam- 
 byses and the Flaying of the Unjust Judge, commenced in 1488 and terminated in 
 1498 ; and a triptych representing the Baptism of Christ, with the donor and his 
 first wife, their children and patron saints on the interior of the shutters, and his 
 second wife and her first-born daughter, protected by S. Mary Magdalene, kneeling 
 before Our Lady and Child on the interior ; the former painted before 1502, 
 the latter before 1508. David's masterpiece, however, now in the Museum at 
 Rouen, was presented by him in 1500 to the Carmelite nuns of Sion at Bruges. 
 It represents the Blessed Virgin and Child with two lovely angels, ten virgin 
 saints and the painter and his wife. Our National Gallery possesses two fine 
 works, painted about 1501, both formerly in the Cathedral at Bruges. The 
 two first mentioned panels bear the impress of his Dutch training ; the brilliant 
 colouring and the gloss and polish of his pictures remind one of Bouts. His 
 later pictures show the influence of Memlinc's softer and more delicate manner. 
 His saints are graceful and poetical, but often untrue to their character. His 
 Madonnas are of an intellectual and dignified type, but a little cold when com- 
 pared with those of Memlinc, whom, however, he surpassed in the representation 
 of the Holy Child. David was also an excellent miniaturist, and as such was 
 at the head of a school of miniature painters and illuminators which flourished 
 at Bruges ; his wife and daughter excelled in the same art. 
 
 The only painter who can be said with certainty to have been trained by 
 David is Adrian Isenbrant. We do not know where he served his apprenticeship 5 
 he came to Bruges as a journeyman. In 15 10 he purchased the right of citizen- 
 ship, and was admitted as free master into the Guild of S. Luke. He painted for 
 the Church of S. Basil at Bruges an altar-piece representing the Marriage Feast at 
 Cana, which was completed in 1523 or early in 1524. It is painted with great 
 body of colour ; the type of the figures and general arrangement of the composition 
 are very like David's work, but the sharp contrasts of brilliant colours in the 
 dresses exceed anything in his pictures. The portraits of the donor and his family 
 are excellent. 
 
 David's earlier pictures are remarkable for the beauty of their landscape back- 
 grounds, evidently careful studies of scenery in the district between the Meuse and 
 the Rhine. In these he was probably assisted by Joachim Patenir of Dinant, who 
 
EARLY ART IN THE NETHERLANDS. 
 
 xix 
 
 accompanied him to Antwerp in 15 15, when they were both made free of the 
 local guild as master painters. Patenir settled there, and during the remaining nine 
 years of his life painted a large number of landscapes, some of which are strikingly 
 like those in the backgrounds of David's pictures. The figures in these are often 
 the work of other artists. 
 
 Henry Bles, of Bouvignes — a town on the Meuse opposite Dinant — was also a 
 clever landscapist, but his colouring is cooler. He was in the habit of introducing 
 an owl amid the foliage in his pictures, and this procured him the nickname of 
 Civetta in Italy, where his paintings were greatly prized. 
 
 Louvain gave birth in 1466 to Quentin Metsys, who afterwards settled in 
 Antwerp, where he continued to reside until his death in 1530. His earlier 
 pictures are remarkable for the clearness of their colour, the delicacy of features, 
 and the skilful care with which they are finished. His two most important 
 works of this class are the altar-piece of the Joiners' Guild of Antwerp, now in 
 the Museum of that city, and the family of S. Anne, formerly in S. Peter's at 
 Louvain, now at Brussels. In our National Gallery are two fine heads of Christ 
 and the Blessed Virgin, of wonderfully delicate feeling and expression. Replicas 
 of these are in the Antwerp Museum. Metsys was the last of the old school 
 of religious painters at Antwerp. He is perhaps more widely known as the painter 
 of pictures representing money-changers, receivers of municipal taxes j by far the 
 greater number of these, however, are by his son, John Metsys, Marinus of 
 Remerswal, and Cornelius van der Capelle, who afterwards settled in Lyons and 
 was celebrated for his portraits. 
 
 Leyden was the birthplace of Cornelius Engelbrechtsen, 1468 — 1533, whose 
 only authentic picture is an altar-piece in the Town Hall of that city. His pupil, 
 Luke Huigensz, 1494 — 1533, was a talented artist who drew and engraved 
 admirably. His paintings are poor as compositions and wanting in religious feeling, 
 but his scenes from common life are evidently true to nature. 
 
 John Gossaert, a native of Maubeuge, was born about 1470. We do not 
 know where he learnt the technique of his art, but he unquestionably learnt 
 it thoroughly. His earlier pictures, apparently based on the study of Memlinc 
 and Gerard David's works, are remarkable for the warmth of their colour and 
 the skilful rendering of the minutest detail of costume, but they are wanting in 
 
 B 2 
 
XX 
 
 EJRir ART IN THE NETHERLANDS. 
 
 religious feeling. His principal work of this period is an Adoration of the Magi 
 in the possession of the Earl of Carlisle. He went to Italy in 15 12, and was 
 evidently so captivated by the Renascence that he threw off the traditions of 
 his native style. After that his pictures of religious subjects are only remarkable 
 for their masterly modelling and vigorous colouring, and for the richness of their 
 architectural accessories. On the other hand his portraits are very fine. 
 
 Another painter of the transition period is Bernard Van Orley, a native of 
 Brussels, 147 1 — 1541, who in Italy devoted himself to the study of Raphael. 
 His pictures are ably composed, and his figures show more feeling and taste than 
 those by Gossaert. The execution is remarkably careful. Our Lady of Dolours, 
 with portraits of donors on the shutters, is a fine work, as is also the History of 
 Job, both in the Museum at Brussels. 
 
 Two other masters who settled in Bruges, Lancelot Blondeel of Poperinghe, 
 1496 — 1561, and Peter Pourbus of Gouda (c. 15 10 — 1584), must also be 
 mentioned in this category. The former was the designer of the chimney-piece 
 in the Council Hall of the Liberty of Bruges, of which there is a cast at South 
 Kensington, and of many monuments in the Renascence style, and was a careful 
 painter of religious subjects, which he generally surrounded with rich architectural 
 work, executed in brown varnish on a gold ground. His best works are still at 
 Bruges; the finest, dated 1545, painted for the Corporation of Saddlers and 
 Painters, represents the Madonna with SS. Eligius and Luke. His son-in-law, 
 Peter Pourbus, had studied in Italy before settling in Bruges ; he was a man of 
 multifarious powers and prodigious activity. It is noteworthy that he was capti- 
 vated by the beauty of the old masters, and was never tired of gazing on the works 
 of Memlinc and David. There are some fifteenth century pictures in Bruges to 
 which he added wings ^that are not out of harmony with them. His picture of 
 Our Lady of Dolours in the Church of S. James, dated 1556, was evidently 
 inspired by an earlier painting in the Church of Our Lady. He was also very 
 successful as a portrait painter, a branch of the art which was carried on by his 
 son at Antwerp and by his grandson in France. 
 
 In no town did the traditions of the old school find followers longer than in 
 Bruges. Peter Claeis the elder was a painter and illuminator who settled in 
 Bruges early in the sixteenth century, and he seems to have worked under Gerard 
 
EARLY ART IN THE NETHERLANDS. 
 
 xxi 
 
 David ; his sons and grandsons followed in his footsteps ; the latest work of 
 one of the latter is an altar-piece painted for the Confraternity of Our Lady of 
 the Dry Tree in the Church of S. Walburg, ordered in 1606, but not completed 
 until 1620. 
 
 This sketch, necessarily brief and imperfect, has been written to give those 
 who have not studied the works of the Early School some idea of its rise and 
 of the different influences that shared in its development. Those who wish to 
 become better acquainted with its history would do well to read Crowe and 
 Cavalcaselle's "Early Flemish Painters," 2nd Edition, 1872, and Sir W. M. 
 Conway's "Early Flemish Artists," 1887. These are the latest English works 
 on the subject. Many monographs and notices have, however, appeared since 
 then in Germany, Holland, and Belgium, some of which throw fresh light on 
 the subject. 
 
 W. H. Weale. 
 
CATALOGUE 
 
 The works are catalogued under the names given to them by the Contributors. The Directors 
 
 cannot be responsible for the attributions. 
 The Numbers commence in the West Room, and continue from left to right. 
 Throughout the Catalogue, in describing the pictures^ the RIGHT and LEFT mean those of 
 
 the spectator facing the picture. 
 
 WEST ROOM. 
 
 WORKS OF THE EARL YlFLEMISH OR NETHERLANDISH SCHOOL. 
 1. The Virgin and Child and the Crucifixion. A Diptych. 
 
 One volet, showing the Virgin and Child enthroned ; the other, the Crucifixion, 
 against a background of gold, highly embossed. Panel (each), i6 x lo in. 
 
 Early School of^Cologne. Lent by Sir Charles Robinson. 
 
 2. The Virgin and Child Enthroned. 
 
 The Virgin crowned, seated facing, within a porch of Gothic style, and dressed in a blue 
 robe lined with fur, supports the Child with her right hand, and with her left offers 
 Him her breast ; His dress is red ; at the foot of the wall on either side of the porch ''W^ /' 
 
 are plants in flower. Panel, 5| x 4 in. From the collections of Frederick II. of Prussia, . _ "^^v 
 of Aders and Samuel Rogers. j 
 This picture has been ascribed to Van Eyck and to Memlinc. See Catalogue of the 
 Northbrook Collection, No. i. . / ^- 
 
 By RoGiER VAN DER Weyden. Lent by the Earl of Northbrook, K.C.I.E. 
 
 3. The Adoration of the Magi, the Virgin and Child and ^-^-O 
 
 the Descent of the Holy Ghost. A Triptych. i^L^ ^ 
 
 In the centre compartment before a lofty building is depicted the adoration of the 
 Magi ; on a balcony with steps leading to it are numerous figures, one holding a 
 banner ; the Star of Bethlehem is seen in the sky in the distance ; on the left panel, 
 the Virgin and Child in a mandorla ; beneath, a landscape ; on the right panel, the 
 Descent of the Holy Ghost ; the disciples are assembled in the upper room with the 
 Virgin seated in the foreground, reading. Panel, centre, 15 x 9} in. ; sides, 
 15 x 4j in. 
 
 Hitherto ascribed to Jan Gossaert, called Mabuse. 
 
 Lent by Sir Francis Cook, Bart. 
 
2 
 
 Exhibition of Pictures by Masters [west room. 
 
 4. The Crucifixion and the Entombment. 
 
 Christ on the cross, at the foot of which kneels St. Mary Magdalene ; her right arm 
 encircles the cross ; her left rests on a vase, near which is a skull ; on the left stand 
 the Virgin and St. John ; in the background is seen the entombment. Panel, 
 6| X 4i in. 
 
 By Pedro Campana. Lent by Sir Francis Cook, Bart. 
 
 5. The Conversion of St. Paul, and St. Catherine. A Diptych. 
 
 On the left panel St. Paul falling from his horse, which stumbles forwards, and looking 
 up at the Saviour who appears in the clouds ; on the ground lie his hat and a parch- 
 ment with seal ; on the right panel St. Catherine standing facing on the back of a 
 prostrate king, Maximin, who grasps his sceptre with his right hand ; the Saint 
 rests her left hand on her sword, and is attired in a dress with red skirt and pale 
 green bodice and blue sleeves ; on her head a crown ; at her feet is the broken 
 spiked wheel. The scenes are each depicted through an archway. Panel, 
 7^ X df\ in. each. 
 
 By Bernard van Orley. Lent by Sir Francis Cook, Bart. 
 
 6. The Virgin and Child. 
 
 Three-quarter length figure of the Virgin seated towards left, the Child on her knees ; 
 f her left arm rests' on a carved ledge, on which is a vase and before which is an apple ; 
 
 (y^-^ ^ with her right she supports the Child, Who holds cherries in each hand ; the Virgin is 
 
 robed in a red dress and blue, gold-lined mantle ; on her head a lilac velvet cap ; 
 i^'t.^^ ^ t-i^ curtain and architectural background; through a window on the left is seen a 
 
 * ,^>.^ landscape with reapers. Panel, 27^ x 20 in. 
 
 x^'^^^ By Jan Gossaert, called Mabuse. Lent by Sir Francis Cook, Bart. 
 
 ^ 7. The Virgin and Child and Angels. 
 
 / \ Within a chamber the Virgin is seated, facing, at the fireside ; she wears green dress 
 
 and red flowing mantle, and has white drapery on her head ; the Child, lying across 
 v-j^'* pjo I her knees, is looking up at His mother ; on the right are three angels chanting, and 
 
 j ' behind them a high canopied bed ; on the left is seen another angel approaching 
 
 through a doorway and bearing food for the Infant Jesus. Panel, 32^ x 21 j in. 
 
 Early Flemish School. Lent by Sir Francis Cook, Bart. 
 
 8. St. Catherine Disputing with the Philosophers. A Triptych. 
 
 In the centre within a portico, and in front of an alcove, before which hangs a 
 brown curtain, stands St. Catherine facing, reading from a book which she holds in her 
 left hand, her right resting on her sword ; she is crowned, and wears a pink dress 
 and blue mantle, and a brown girdle ; at her feet lies another book, partly open ; on 
 the right and left and through the portico are seen the sages and philosophers, 
 singly or in groups, mostly seated, consulting their books ; on the left panel are three 
 other sages consulting a book, which lies open on the knees of the central figure ; on 
 
WEST ROOM.] 
 
 of the Flemish and British Schools. 
 
 the right panel is the tyrant Maximin on his throne, his sceptre in his left hand, and 
 addressing a man who is seated near him, his hands crossed on his breast ; through 
 the pillars of the portico, in- each compartment, are seen the town of Alexandria 
 and the surrounding country ; the frieze of the portico is decorated with scenes 
 from the life of St. Catherine. Panel, centre, 43 x 33I in ; sides, 43 x 14^ in. 
 
 By Jan Gossaert, called Mabuse. Lent by Sir Francis Cook, Bart. 
 
 9. The Holy Women at the Sepulchre. 
 
 In the centre, the empty tomb of Christ, an angel in white robes seated on the 
 displaced lid ; on the left the three Marys, bearing boxes of ointment ; to the right 
 
 and in the foreground the s lipping g uards ; in the middle distance a green mound, 
 
 probably representmg the Mount of Olives, and a road, on which horsemen are 
 returning to Jerusalem ; right and left, cliffs of brown rock ; across the background 
 the houses and towers of Jerusalem, a conspicuous object in the midst being the 
 mosque of Omar, intended for the Temple ; in the foreground, plants. In the right- 
 hand corner is a coat of arms. Panel, 28^ x 34^ in. 
 
 The analogy is striking between some parts of this picture, especially the angel seated 
 on the tomb, and those parts of the Ghent altar-piece ( The Adoration of the Lamb^ in St. 
 Bavon), generally accepted as the work of Hubert van Eyck. 
 
 By Jan van Eyck. ^^^i^^-v-"'— -7 Lent by Sir Francis Cook, Bart. 
 
 10. The Virgin and Child and Angels. 
 
 Small three-quarter length figure of the Virgin, seated facing, in blue dress, red 
 
 mantle and white veil ; she holds in her arms the Infant Jesus, Who turning away 
 
 receives a bunch of grapes from an angel ; He is placing a grape in His mouth ; on 
 
 the right stands another angel playing on a lute ; before, on a parapet, are a book, 
 
 a vase with flowers, and an apple ; in the background, landscape. Panel, 
 i6jX II J in. 
 
 Attributed to Gheeraert David. Lent by Sir Francis Cook, Bart. 
 
 11. The Virgin and Child and Saints. 
 
 The Virgin holding the Child on her right arm, stands before an altar in a church ; 
 
 she offers Him an apple with her left hand ; above, an angel holding a crown. J^^^yK. t- 
 
 On the left of the altar are St. John and St. Peter, and on the right St. Dam ian and v^>w>>- "^'^ 
 
 St. Cosmas, one holding a spatula and a pot, the other a vial, his left han^ being ^^^^""""^ [ 
 
 placed on an open book. Panel, 18 x I2i in. . wi^.t/^'^^ 
 
 By RoGiER VAN DER Weyden. Lent by Sir Francis Cook, Bart. ; 
 
 12. Hercules and Omphale. 
 
 Two nude figures seated in an alcove of grey stone ; Hercules holds a spiked club ^ 
 in his right hand, and with his left embraces Omphale. Dated " 151^ " on a flag- /' / 
 stone to the left. Panel, \7.\ x io| in. i ' 
 
 By Jan Gossaert, called Mabuse. ' Lent by Sir Francis Cook, Bart. 
 
4 
 
 Exhibition of Pictures by Masters [west room. 
 
 13. The Selection of St. Joseph from among the Suitors for 
 
 THE Hand of the Virgin, and the Nativity. (In the 
 centre of the room.) 
 
 Two pictures painted on one panel : — 
 
 1. Within the Temple the High Priest standing before the altar ; before him, and 
 on the left of the altar, are the suitors holding their wands ; in the midst of them 
 is St. Joseph, whose wand has blossomed ; the High Priest grasps the robe ot 
 St. Joseph and draws attention to his rod ; in the foreground, a dog. 
 
 2. In the centre of the picture lies the Holy Child in a manger, around which kneel 
 three angels and the Virgin ; behind the Virgin stands St. Joseph with a lantern ; 
 above the group hovers another angel ; on the right, through an arch, is seen two 
 men, one of whom holds a lute and the other points to the Child ; and in the distance 
 
 _a ru ined house with fire and the shepherds watching their flocks ; above, on the arch, 
 IS seated an owl, said to be the private mark of the painter, by which he was known 
 as " Civetta." Panel, 53^ x 54J in. 
 The centrepiece of a triptych, painted back and front, of which the side volets are lost. 
 
 Probably by Herri de Bles (Civetta). Lent by Sir Francis Cook, Bart. 
 
 14. The Crucifixion and St. Jerome and St. Francis. A Triptych. 
 
 In the centre panel Christ crucified ; on the left of the Cross stands the Holy Virgin, 
 and on the right St. John ; on the right panel St. Jerome in prayer, and on the left 
 one St. Francis, who is receiving the stigmata. On the reverse of the panels, a 
 view of Jerusalem, with the Cross in the foreground. Panel, centre, lof x 7J in. ; 
 sides, \ \\ X 3|. 
 
 By Joachim Patinir. Lent by Alfred Stowe, Esq. 
 
 15. Scenes from the Passion. 
 
 The composition is divided into four square compartments by a painted framing of 
 Gothic architecture. 
 
 1. In the upper register, on the left, is the Garden of Gethsemane, with the sleeping 
 disciples, and Christ kneeling before a chalice, above which is a consecrated wafer ; 
 Judas and soldiers in the background. 
 
 2. Christ, falling under His cross, is struck by a soldier ; St. Veronica, kneeling 
 before Him, holds the veil on which is the impress of His face ; Simon of Gyrene 
 supports the cross ; in the background, the Holy Women, the two thieves, priests, 
 Jews, and others. 
 
 3. The Crucifixion ; on the left is the Virgin, and on the right, St. John ; the 
 Magdalene embraces the feet of Christ. 
 
 4. The Deposition ; the Virgin and St. John support the dead Christ ; the Mag- 
 dalene and holy women kneel behind ; in the background the tomb, with Joseph of 
 Arimathea and the disciples. Panel, \ \\ x 11 in. 
 
 From the Collection of Senor Benito Garriga of Madrid. 
 
 Early Flemish School. Lent by M. Leon de Somzee 
 
 7 
 
WEST ROOM.] of the Flemish and British Schools. 
 
 5 
 
 16. St. Engracia. Virgin and Martyr. 
 
 Full length figure of the Saint, standing towards left, in front of a throne, habited in 
 gold ermin-hned robe, over red velvet dress, and blue velvet mantle with richly 
 embroidered and jewelled edge ; jewelled head-dress surmounted by a crown ; around 
 her neck a gold linked chain ; in her right hand, she holds a palm, and in her left 
 a nail ; her left shoe is inscribed IREM NOV. Panel, 64 x 28^ in. From the Court of 
 Sarragossa. 
 
 St. Engracia, of Sarragossa, a Virgin, was martyred by being nailed to a post ; after 
 death she was crowned by an angel. 
 
 Early Flemish School. Lent by M. Leon de Somzee. 
 
 17. The Visitation and the Presentation in the Temple. 
 
 On two panels ; on the left panel is seen St. Elizabeth greeting the Virgin ; in the 
 background St. Joseph approaching, and buildings with landscape ; on the right 
 panel, the Virgin presenting the Child to Simeon in the Temple ; on her left St. 
 Joseph, and behind her St. Elizabeth and Saint Anne ; on the inside of the panels 
 are figures of St. Ildefonsus and St. Anthony of Padua. Panel, i8xi2|in. each. 
 From the Northwick Collection. ^ 
 
 Hugo VAN DER Goes. l-^^- r / Lent by Antony Gibbs, Esq. 
 
 / / f ^ \^ ^ 
 
 18. The Triumph of Death. 
 
 An allegorical scene ; on the left are Time and Fame fleeing ; and towards the centre 
 is Death, who is shooting an arrow at a crowd of men and women of all classes, 
 issuing through an archway of a city ; in the background another figure of Death is 
 shooting at animals and beasts ; above in the air are birds ; in the foreground are 
 books and implements of various kinds ; buildings seen in the background. Panel, 
 I9i X 26 in. 
 
 By David Vinckeboons. Lent by Hugh P. Lane, Esq, 
 
 19. Pilate Washing his Hands. 
 
 On the left Pilate, seated on a throne, around which are a crowd of Jews and soldiers, 
 is washing his hands in a golden basin ; besides this principal scene there are repre- 
 sentations in the background of the Ecce Homo., the Flagellation and the Crowning 
 with Thorns. Panel, 42 x 20 in. From the Roscoe Collection, \yaagen, iii., 
 
 By Michael Wohlgemuth. 
 
 Lent by the Trustees of the Royal Institution, Liverpool. 
 
 20. Head of Christ. 
 
 Head of Christ, facing in crimson robe, edged with jewels. Panel, arched top, 
 162^ X \o\ in. 
 
 By Jan van Eyck. Lent by M. Leon de Somzee. 
 
6 
 
 Exhibition of Pictures by Masters [west room. 
 
 21. The Virgin and Child and Saints. 
 
 In the centre the Virgin, draped in red, seated under a canopy, over which is a 
 trellised vine ; on her lap is the Infant Jesus, Who gives a ring to St. Catherine, seated 
 on the left ; behind her kneels the donor ; on the right is St. Barbara holding an 
 open book ; on either side of the Virgin is an angel ; landscape with architecture 
 in the background. Panel, 27 x 29 in. 
 The principal figures in this picture are the same as those in the great picture at St. 
 John's Hospital, Bruges. 
 
 By Hans Memlinc. Lent by G. F. Bodley, Esq., A.R.A. 
 
 22. The Descent from the Cross. A Triptych. 
 
 In the centre compartment the disciples taking down the body of the Christ from the 
 Cross, at the foot of which are grouped St. John, supporting the Blessed Virgin, and 
 the other Holy women : on the left panel is the donor with St. John, and on the right 
 panel the wife of the donor with her patron, St. Martha, with the dragon ; landscape 
 background with view of Jerusalem ; coats of arms in the right and left top corners. 
 Panel, arched tops, centre, 42 x 28 in., sides, 42 x 13 in. 
 
 Early Flemish School. Lent by John Hardman, Esq. 
 
 23. EccE Homo. 
 
 At the top of a flight of steps leading down from a narrow door, Christ stands facing 
 the spectator ; beside Him are two guards ; on the right, a window with three figures 
 looking out ; at the foot of the steps a crowd of ten persons ; others are standing 
 near the steps ; through a narrow archway on the left are two men conversing. 
 Panel, 20 x 14 in. 
 
 Early Flemish School Lent by Charles T. D. Crews, Esq. 
 
 24. The Beheading of St. John the Baptist. 
 
 In the centre of the picture stands the executioner, whose back is turned to the 
 spectator ; he is placing the decapitated head of St. John on a charger, held 
 by the daughter of Herodias, behind whom stands her mother ; at the feet of the 
 executioner lies the dead body of the Saint ; on the right are a high priest and a 
 man and a woman ; in the background is a high building, through the doorway of 
 which are seen Herod and others seated at a feast. Panel (arched), 45 J x 26^ in. 
 
 Early Flemish School. Lent by Sir Henry H. Howorth, K.C.I.E., M.P. 
 
 25. The Holy Family and Angels. 
 
 Within a chamber, the Virgin, seated under a canopy, supports the Infant Child on 
 her knee, and places her hand on her breast ; the Child raises His right hand in the 
 act of benediction, and holds the orb in His left ; near them stand two angels, one of 
 
WEST ROOM.] of the Flemish and British Schools. 
 
 7 
 
 whom holds a dish of fruit ; the other plays on a lute ; behind the group is St. 
 Joseph, his hat in his left hand ; in the foreground is a table, on which is a flute, and 
 on the wall at the back hangs an inscribed tablet ; through an opening on the right 
 is seen a landscape. Panel 22 x i6 in. 
 
 26. The Virgin and Child and Saints. A Triptych. 
 
 The Virgin in a blue dress, edged with gold lace, seated before a cloth of estate, within 
 a portico ; she holds the Child, Who lies on her lap and is turning with His right hand 
 the pages of a book, held by St, Barbara, in rich scarlet robe, and jewelled headdress ; 
 an ostrich feather in her right hand ; on the right is seated St. Dorothy in a green 
 robe, and having a flower in her right hand and a chaplet in her left ; a basket of 
 flowers at her feet ; t wo _angels on th e right and left hold a sword and a lily ; in 
 the background through tfie portico is seen a landscape with buildings ; on the left 
 panel kneels the donor with his patron, St. John, standing behind him ; and on the 
 right the wife of the donor with her patron, St. Catherine ; the two outside panels, 
 originally outside the triptych, represent the Annunciation. Panel, centre, 34 x 28in. ; 
 sides each, 34 x 12 in. 
 
 By Jacob Cornelissen. > Lent by M. Leon de Somz^e. 
 
 On the right stands St. Mary Magdalene in a richly embroidered red dress and green 
 mantle, holding in her left hand the vase, and extending her right to the donor, who 
 kneels at her side in prayer, and is robed in a brown velvet dress ; the jewelled head- 
 dress of the Saint has the sacred monogram I.H.S. ; red curtain background. 
 Panel, 21 x 14^ in. From the Ruston Collection. 
 By H. AND J. VAN Eyck. Lent by M. Li^ON de Somz^e. 
 
 28. The Adoration of the Magl A Triptych. 
 
 In the centre the Adoration of the Magi ; the Virgin, holding the Child on her knees, 
 is seated before a high arcade ; the Child is plunging His hand into a vase held by 
 one of the Magi ; another stands on the left holding a sceptre and a vase ; through the 
 arcade are seen a landscape and figures of soldiers and others ; on the left panel 
 is an Eastern King with offerings ; and on the right St. Joseph, in blue coat and 
 crimson mantle. Panel (arched top), centre 4o| x 26^ in. ; sides 40^ x lof in. 
 
 By Jan van Scorel. Lent by Sir Henry H. Howorth, K.C.I.E., M.P. 
 
 29. Portrait of a Man. 
 
 Bust, turned slightly to the left of a stout man dressed in black coat with tippet of 
 brown fur and black hat ; gold chain around his neck ; the figure is set against a 
 stone archway, through which the sky is seen ; the hands rest on a stone ledge to the 
 right. Panel (arched top), 24^ x 18^ in. 
 
 By Jan Gossaert, called Mabuse. Lent by Captain G. L. Holford, CLE. 
 
 Early Flemish School. 
 
 Lent by the LoRETO Convent, Manchester. 
 
 27. St. Mary Magdalene and the Donor. 
 
8 
 
 Exhibition of Pictures by Masters 
 
 [west room. 
 
 30. Mary Tudor, Queen of Louts XII. of France (1498-1533). 
 
 Daughter of Henry VII. ; married first (15 14) Louis XII. of France, who died three 
 months after the marriage, and secondly, in secret, Charles Brandon, Duke of 
 Suffolk. The ceremony was publicly repeated soon after at Calais, and finally with 
 the consent of Henry VIII. at Greenwich, May 13, 15 15. 
 
 Half-length figure, front, head turned slightly to left, in rich costume of gold 
 brocade, profusely ornamented with jewels and large pearls, necklace of pearls 
 with pendant ; bandeau of jewels on her head ; with both hands she holds a pot of 
 ointment, the emblem of St. Mary Magdalene, whom she is supposed to represent. 
 Panel (circular top), i6|x I2| in. 
 Early Flemish School. Lent by Wickham Flower, Esq. 
 
 31. The Piety of Raymond, Count of Toulouse. 
 
 Deeply touched with the sense of his Saviour's suffering, the Count of Toulouse felt 
 himself unworthy to enjoy the luxuries and honours of his high station ; stripping 
 himself, therefore, of his dignities, he proceeded to the Holy Land in the garb of the 
 humblest pilgrim. 
 
 In the picture before us the Count is represented taking off his shirt, which a servant 
 in a brown-furred coat receives, who at the same time is holding the black-furred coat 
 which his master has laid aside, and which is partly on the ground. His cap lies there 
 also. Next him stands the Bishop of Toulouse in his robes, wiping a tear from his 
 eye with his left hand, whilst with his right he partly covers the nakedness fof the 
 Count with his robe. Next behind him are two other men, who are expressing their 
 sympathy at the scene. On the left in the middle distance through a gate is seen a 
 man bringing the pilgrim's dress, a short hair garment. On the right the Count 
 appears dressed in it, beginning his journey, the pilgrim's staff in his left hand, his 
 eyes cast up in humble aspiration, and the right hand on his breast. In the back- 
 ground, which consists of buildings and a piece of landscape, he appears again 
 attacked and beaten by robbers. Panel, 44^ x 32! in. 
 
 By some this picture is believed to represent St. Francis of Assisi renouncing the 
 world for the cloister. 
 
 By John Gossaert called Mabuse. Lent by R. C. Sutton-Nelthorpe, Esq. 
 
 \^32. A Shrine or Reliquary of St. Nicholas of Myra and St. 
 \ Anthony of Padua. 
 
 The subjects of the panels at the sides of the Shrine are as follows : — 
 
 1. St. Nicholas restoring to life the dismembered children in the salt tub. 
 
 2. Birth of St. Nicholas, Bishop of Myra. 
 
 3. St. Nicholas bestowing the dowry on the three daughters of a nobleman ot 
 
 Panthera. 
 
 4. St. Anthony compelling a mule to kneel before the Holy Eucharist. 
 
 5. St. Anthony restoring to life a young child who was scalded to death, in the 
 
 presence of its parents. 
 
 6. St. Anthony preaching to the fishes. 
 
 On the ends of the shrine are figures in relief of St. Nicholas healing the 
 three dismembered children, and St. Anthony holding the Infant Jesus in 
 his arms. 
 
 From the collection of Cardinal Despuyg de Palma, Archbishop of Valencia. 
 By Gheereart David. Lent by M. L^:on de Somz^e. 
 
WEST ROOM.] of the Flemish and British Schools. 
 
 9 
 
 33. Margaret of York, Third Wife of Charles the Bold, 
 
 Duke of Burgundy (d. 1503). 
 
 Daughter of Richard Plantagenet, Duke of York, and sister of Edward IV. ; she was 
 married in 1468 to Charles the Bold, Duke of Burgundy : died at Mechlin. 
 Bust, life-size, turned to left ; square cut crimson dress, trimmed with black velvet ; 
 black head-dress ; around her neck a massive gold collar, ornamented with jewels, to 
 which is attached a gold-linked chain with pendant, which passes over her shoulders. 
 Panel, 18 x 13 in. 
 
 By Hugo van der Goes. Lent by the Society of Antiquaries. 
 
 34. Michele de France, Wife of Philip le Bon, Duke of Bur- 
 
 gundy AND Daughter of Charles VI. of France and 
 Isabella de Bavaria. (See No. 59.) 
 
 Small half-length figure to left ; arms folded ; in crimson and gold-embroidered 
 dress, lined with fur, high jewelled coif, with white veil. Panel, 13^ x 10^ in. 
 
 Early Flemish School. Lent by George Salting, Esq. 
 
 35. St. Catherine of Alexandria. 
 
 Small three-quarter length figure of the Saint standing to right, grasping the hilt of 
 her sword with her right hand, and holding in her left an open book, which she is 
 reading ; pale blue robe, pink mantle, gold chain, and head-dress surmounted by a 
 crown ; in the background on the right are a landscape and a castle on a hill. Above 
 on the left the Saint is seen kneeling before her wheel, her persecutors fleeing. Panel, 
 14^ X 10 in. 
 
 By Hans Memlinc. Lent by Charles Butler, Esq. 
 
 36. The Virgin and Child. 
 
 Small full-length figure of the Virgin, seated under a tree in a landscape, suckling the 
 Child, Who stands upon her lap encircled by her arms ; an open book lies on the 
 ground at her feet ; in the background, landscape with river and castle. Panel, 
 28 X 27 in. 
 
 By Jan Gossaert, called Mabuse. Lent by John G. Waller, Esq. 
 
 37. Patrick Adamson, afterwards Archbishop of St. Andrews (1536- 
 
 1592). 
 
 Born at Perth; was educated at St. Andrews; about 1569 became minister of 
 Paisley, and in 1576 was raised to the Archiepiscopal See of St. Andrews. He was 
 antagonistic towards the Presbyterians, with whom he had many contests regarding 
 the episcopacy. 
 
 Bust to left, under life size ; eyes turned to the spectator, black doublet, white ruff ; 
 inscribed above, "Pensoso D'avtrvi ^TATIS, 33 AN«, 1569." Panel, 17 x 12^ in. 
 By Sir Antonio More. Lent by Charles Butler, Esq. 
 
lO 
 
 Exhibition of Pictures by Masters 
 
 [west room. 
 
 38. Portrait of a Lady. 
 
 Half-length figure towards left, her hands crossed before her ; on a table lies an open 
 book ; she wears black dress with red cape lined with white, white shirt and white cap ; 
 gold necklet with pendant cross ; over her shoulders a massive gold chain attached to a 
 jewelled girdle. Panel, \']\ x iifin. 
 
 School of Jan van Eyck. Lent by Charles Butler, Esq. 
 
 39. The Virgin and Child and Angels. 
 
 Small full-length figure of the Virgin seated, facing, beneath an arch decorated with 
 figures ; she holds on her lap the Holy Child, who turning round, is receiving 
 an apple from a kneeling angel, holding in his left hand a lute ; in the back- 
 ground, through the columns of the arch, is a landscape with buildings, and a rivulet in 
 the foreground, near which stands an angel playing a lute. Panel, 25^ x 18 Jin. 
 
 By Hans Memlinc. Lent by the late Duke of Westminster, K.G. 
 
 40. Portrait of a Lady. 
 
 Small half-length figure turned to the left, chain of coral beads in her right 
 hand ; her left is also shown ; black dress trimmed with white, white chemisette and 
 cap. Panel, 14 J x loj in. 
 
 By Jacob Cornelissen. Lent by Charles T. D. Crews, Esq. 
 
 41. The Magdalene. 
 
 Full length figure of the Magdalene standing to left and holding the golden vase in 
 her hands ; brown square-cut dress, red sleeves and white cloak, embroidered at the 
 hem ; around her neck a gold chain. Panel, 2i| x 9I in. 
 
 By Hugo van der Goes. 
 
 Lent by the Trustees of the Royal Institution, Liverpool. 
 
 42. The Virgin and Child and Saints. 
 
 Small full-length figure of the Virgin, seated on a low wall of a garden near a river 
 and holding the Child on her lap ; with her left hand she is plucking a flower which 
 grows on the wall ; behind her in the garden are three female saints walking, and in 
 the background, city and river ; the First Person of the Trinity seen in the sky above. 
 Panel, 13^ x 94 in. 
 
 By DiERiCK Bouts. Lent by Mrs. Stephenson Clarke. 
 
 43. The Holy Family. 
 
 The Virgin seated before a table on which stands the Holy Child, His hands resting 
 on His mother's breast ; she supports the Child with her right hand, and with her 
 left offers Him a flower ; on the table, which is partly covered by a cloth, are a glass 
 
WEST ROOM.] of the Flemish and British Schools, 
 
 goblet containing wine, a cut orange, and a knife ; on the left St. Joseph, in a large 
 straw hat, is reading a book ; landscape seen behind him. Panel, 2of x 15 in. 
 A somewhat similar picture, without landscape background, is in the National Gallery. 
 It is lent by George Salting, Esq. 
 
 By The Master of "the Death of the Virgin" (in the Munich Gallery). 
 
 Lent by Frederick L. Cook, Esq., M.P. 
 
 44. Anne of Cleves, Queen of Henry VIII. (i5i5--i557). 
 
 Half-length figure, turned towards left, habited in rich Flemish costume of gold 
 tissue covered with jewellery, head-dress ornamented with pearls, and inscribed with 
 the motto " A bon fine " ; in her right hand she holds a red carnation. Painted on 
 vellum and strained on fine canvas, 15 x 14 in. 
 This portrait is supposed to have been executed by a Flemish painter a year or two 
 previous to Anne's marriage in 1 540. 
 
 Early Flemish School. Lent by Wickham Flower, Esq. 
 
 45. The Virgin and Child and Angels. 
 
 The Virgin, in white and blue robes, the Spanish colours for her dress, stands facing 
 within an apse, and holds the Infant Child to her breast ; on either side kneels an 
 angel, one playing on a lute, the other on a harp. Panel, 18 x 13I in. 
 This picture, which dates from about 1480- 1490, was acquired at Salamanca, and was 
 probably painted in that city. The architectural background represents the apse 
 of the Seo Viejo, or old cathedral at Salamanca. 
 
 By an Early Flemish Master working in Spain. 
 
 Lent by Sir Charles Robinson. 
 
 46. PORTRAIT OF A LADY. 
 
 Half-length figure slightly turned to left, her hands folded, dark dress with white 
 sleeves, and white and gold yoke ; yellow head-dress embroidered with jewels. 
 Panel, 8 x 6^ in. 
 
 By Cornelius de Lyons. Lent by George Salting, Esq. 
 
 47. Engelbert, Count of Nassau and Governor of Brabant 
 
 (d. 1504). 
 
 a staunch adherent of the Burgundian dynasty, he was taken prisoner at the Battle of 
 Nancy, where Charles the Bold perished ; subsequently distinguished himself in the 
 Battle of Guinegate ; died in 1504, and was interred at Breda, where there is a 
 magnificent monument to him and his wife, a Princess of Baden. 
 
 Small half-length figure to left, in black dress and cap, and wearing the Collar of 
 the Golden Fleece ; on his left hand is perched a hooded falcon ; his right resting on 
 the frame of the picture, which is inscribed in Lombardic characters, " Engelbert, 
 Count de Nassau," and dated above 1497. Panel, 13x9^ in. 
 
 Early Flemish School. Lent by Wickham Flower, Esq. 
 
 C 
 
12 
 
 Exhibition of Pictures by Masters 
 
 [west room. 
 
 48. The Virgin and Child. 
 
 ' In a Flemish interior the Virgin sits on a bench with the Child on her lap, and about 
 to give Him the breast. She wears a white robe, while the dark blue sleeves of her 
 
 vW^"^ dress show at the wrists. The Child is naked, but lies on a white cloth. The Virgin's 
 
 fj^^ head is relieved against a wickerwork roundel, which acts both as a fire-screen and a 
 
 \. ,_.---^Lw' halo. Her left elbow rests on a piece of furniture, in which is a chalice. On 
 
 li^ the left of the bench is an open book on a red cushion. In the background an 
 
 (T V _ open window affords a glimpse over the market-place of a town. Panel, 26 x 2o| in, 
 
 ^^^^^ ;By the Maitre de Flemalle? '"'Ux^--^ Lent by M. Leon de Somzi^e. 
 
 . ' 49. Christ and the Woman of Canaan. 
 
 Outside the walls of a city in a landscape with buildings and hills : Christ in the 
 centre in a blue robe, His right hand raised, is listening to the earnest appeal of the 
 Woman of Canaan, who kneels behind Him, her hands clasped in supplication : 
 behind her are her two attendants, one of whom is addressing St. Peter ; before our 
 Lord are two other disciples. Panel, 31 x 22 in. 
 This picture has formerly been identified as a " Noli Me tangere." 
 By Herri de Bles (Civetta). Lent by Charles Butler, Esq. 
 
 60. St. Leonard Releasing the Captives. 
 
 Full-length figure of the Saint, in black habit of the Benedictine Order, holding 
 book in left hand, and with his right liberating a captive, who issues from a 
 prison on the left ; another captive is seen at a window ; soldiers are falling from the 
 roof ; landscape background and golden sky. Panel, 6ox 27jin. 
 Early Flemish School. Lent by Lady Trevelyan. 
 
 ^^^^_j61. St. Victor with the Donor. 
 
 r^*'^ ^ Three-quarter length figure of the Saint to left in armour and red mantle ; in his right 
 
 * ^ fiv^'^' ' I ^ ^ hand he holds his banner and shield ; his left rests on the shoulder of the donor, M'ho in 
 
 ' . ^jC^ ' ecclesiastical robes kneels at his side in prayer ; distant landscape. Panel, 22 X iSJ m. 
 
 V ^ i" Hugo van der Goes. Lent by the Corporation of the City of Glasgow. 
 
 ^^^^^ ^2. St. Anne with the Virgin and Child, and St. Bernard and 
 
 ^^ ^vW- St. Anthony of Padua. An Altar-piece. 
 
 o'^i r ^ ^ the centre panel St. Anne seated on a throne and holding on her right knee the 
 
 \\ . Virgin, who is supporting the Child ; He turns the leaves of a book held by St. Anne ; 
 
 'j'^ ^ ,scr^ she wears a purple robe, long red mantle and white head-dress ; the Virgm is in a 
 
 \ lilac dress with a blue mantle ; on the base of the throne is a rich Eastern carpet ; on 
 
 " \ .J , the left panel stands St. Bernard in embroidered red chasuble, and wearing a jewelled 
 
 ."^ ^'"^^ mitre ; his right hand is in the act of benediction, and in the left he holds the pastoral 
 . , staff; on the right panel is St. Anthony of Padua in his friar's habit, the cross m his 
 
 ^ * • I j-ight hand, and on his left an open book on which the Child is seated ; in the back- 
 
 jA.'''^ ground of the panels are landscapes with a church and a castle. Panel, centre, 
 
 > v^./^ ^ 94 X 38 in. ; sides, 94 x 28 in. 
 
 ^ .U^' From the Collection of Cardinal Antonio Despuyg de Palma. 
 
 ^rjJ^'^ V ^ u By Gheeraert David. Lent byM. L^on de Somzi^e. 
 
WEST ROOM.] of the Flemish and British Schools. 
 
 13 
 
 63. St. Leonard Conducting Captives to a Monastery. 
 
 Full-length figures : the Saint habited as in No. 50, conducting three captives to his 
 monastery, at the doorway of which are other monks, waiting to receive them : land- 
 scape background and golden sky. Panel, 60 x 27^ in. 
 
 Early Flemish School. Lent by Lady Trevelyan. 
 
 54. The Virgin and Child Enthroned, and Angels. 7 
 
 Full-length figure of the Viigin, seated on a throne and holding the Child upon her lap j / 
 He stretches out His right hand to take a flower from an angel, who leans on the 
 left of the throne ; another angel on the right is reading a scroll ; the throne is ^ / 
 
 covered with an Eastern carpet. Panel, 27 x 20^ in. 
 
 By Hans Memlinc. Lent by Mrs. Stephenson Clarke. 
 
 55. The Call of St. Matthew. 
 
 On the left our Lo rd in grey, facing the spectator is turning to the right and address- 
 v^-^ ing St. Matthew, who is bending forward across the counter of his office, holding T ' 
 
 in his left hand a hat with brown scarf ; on the counter are a coffer, a dish ' /v-^- 
 
 ^ _ containing coins, a money-box, an inkstand and a pen, and some account-books, ^ 
 ^ < ^ one of which is open and shows entries ; on the left outside the office are St. Peter r j,^^ 
 j^^"^ and two other Apostles, and in the background two towers with a mountain in the ^ 
 '-''^ distance ; on the right are files of papers, and in the middle a tablet with scriptural .j — ^ 
 ^ references suspended by a ring. Panel, 27 x 33I in. See Catalogue of the North- ^ 
 brook Collection^ No 26. 
 
 By Jan van Hemessen. Lent by the Earl of Northbrook, K.C.LE. 
 
 56. The Virgin and Child. 
 
 Half-length figure of the Virgin seated facing, holding the Child in her arms ; His 
 lower limbs are wrapped in a white cloth ; she wears blue dress and red cloak, and 
 her head is bound with a black band ; on the left are a hunting scene and a pond with 
 swans and buildings ; on the right, a man coming down a road in a wood, and water 
 gushing from rocks ; in the centre background buildings and distant landscape. 
 Panel, 25^ x 19^ in. 
 
 Early Flemish School. Lent by Lady Trevelyan. 
 
 57. Philip le Bon, Duke of Burgundy (1396-1467) and his Third 
 
 Wife, Isabella of Portugal (i 397-1472). A Diptych, 
 (See No. 59.) 
 
 On the left panel half-length figure of Philip to right, wearing black cloak and black 
 hat with jewel, around his neck the Order of the Golden Fleece ; his right hand is^ 
 shown. On the right panel half-length figure of Isabella to left in low-cut crimson 
 velvet dress trimmed with ermine, and gold embroidered bodice, massive gold chain 
 around her neck ; high gold embroidered head-dress with veil ; her left hand is 
 shown. Panel (oval top), each 6| x 4| in. From the Magniac Collection.* 
 
 Early Flemish School. Lent by Wickham Flower, Esq. 
 
 C 2 
 
Exhibition of Pictures by Masters 
 
 [west room. 
 
 58. The Entombment. Part of a Triptych. 
 
 In the foreground Christ is being laid in the tomb ; St. Mary Magdalene kneels in 
 front, and around are grouped the Virgin, St. John, the holy women, and Joseph 
 of Arimathea : wooded and rocky background, through which flows a river ; a castle 
 on the right ; on the reverse is a figure of the Virgin, part of an Annunciation. 
 Panel, i2|x 5 in. 
 
 By Hans Memlinc. Lent by Sir Henry Thompson, Bart. 
 
 59. Philip le Bon, Duke of Burgundy (1396-1467). 
 
 Son of Jean "Sans-peur" and Margaret of Bavaria, succeeded to the Duchy of 
 Burgundy on the assassination of his father, supported the cause in France of 
 Henry V. of England, but afterwards allied himself to Charles VII., and assisted in 
 the expulsion of the English from France. He instituted the Order of the Golden 
 Fleece in honour of his third wife, Isabella of Portugal (see No. 57). He died at 
 Bruges, 15th July, 1467. 
 
 Small half-length figure to right ; hands folded, and holding paper ; black dress and 
 cap with jewel ; around his neck the Order of the Golden Fleece. Panel, 12 J x 8Jin 
 
 By RoGiER VAN DER Weyden. Lent by George Salting, Esq. 
 
 60. Charles V., the Emperor (15 16-1558). 
 
 The Emperor in rich'armour and plumed helmet, on a white charger, advancing to the 
 left, an arrow in his right hand and the reins of his horse in his left ; before him on 
 the ground lies a Moorish king clutching at a sceptre with his left hand, and raising 
 his right as if to implore the conqueror's mercy ; this group is within an archway ; in 
 the background a stone wall, on which grows a shrub. Panel, I4f X ii^ in. 
 Formerly attributed to Albert Diirer. See Catalogue of the ISiorthbrook Collection^ 
 
 61. The Virgin and Child Enthroned. 
 
 The Virgin in blue dress, seated facing, within a richly carved throne ; she sup- 
 ports on her knees the Child, Who looks down at a winged cherub standing on 
 the footpiece of the throne, offering Him some flowers ; in front of the cherub is 
 another playing on the clarionet ; opposite are four others playing and singing from 
 a book ; through the pillars of the throne on the left are seen an ox and an angel 
 kneeling before the Virgin, who stands in the doorway of a house ; through the 
 pillars on the right is a garden, in which are Joseph, holding a staff and alighted 
 candle, and farther off an angel and a swan ; beyond are buildings. Panel, 13^x9! in. 
 See Catalogue of the Northbrook Collection., No. 20. 
 
 By Jan Gossaert, called Maeuse. Lent by the Earl of Northbrook, K.C.I.E. 
 
 No. 27. 
 
 By Bernard van Orley. 
 
 Lent by the Earl of Northbrook, K.C.I.E. 
 
WEST ROOM.] of the Flemish and British Schools. 
 
 15 
 
 62. The Virgin and Child. 
 
 Under an arch small half-length figure of the Virgin, facing, supporting the Child 
 with both hands ; He holds a flower in His left hand, and grasps with His right 
 the white cloth on which He reclines ; the Virgin wears blue robe, red mantle, and 
 white head-dress, her head bound with jewelled band ; on a parapet in front is dis- 
 played an oriental carpet ; landscape background. Panel, 15 x 11^ in. 
 
 By DiERiCK Bouts. Lent by the Earl of Northbrook, K.C.I.E. 
 
 63. The Virgin and Child. 
 
 The Virgin in a pensive attitude, seated within a stone alcove, holds the Child with her 
 right arm, and rests her left on the ledge of the seat. The Child is caressing His 
 mother's chin with His right hand, and has His left arm around her neck. She wears 
 c pmson dres s, lilac mantle, which she holds with her left hand, and a green kerchief ' 
 across the "shoulders. The Child's lower limbs are wrapped in transparent muslin. _ 
 The floor is a rich tessellated pavement. Panel, 22| x 16^ in. /iI<-'i-.-.i^ 
 This picture, formerly ascribed to Hans Memlinc and to Jan Gossaert (Mabuse), is 
 probably by the Master of the Mater Dolorosa in the Church of Notre Dame at Bruges.. ^jC l^^/i ' 
 See Catalogue of the Northbrook Collectio7i^ No. 4. ' ^ 
 
 Early Flemish School. Lent by the Earl of Northbrook, K.C.I.E. "--^C ^ 
 
 64. EccE Homo. 
 
 In the foreground Christ is seen taking leave of His mother, who has fallen back 
 supported by one of the Marys, near whom stands another, whilst Mary Magdalene 
 kneels on the extreme left ; on the right are St. Peter, St John and two other 
 Apostles ; in the middle distance stands Pilate on a raised terrace and holding a 
 thorny wand he shows to the people Christ crowned with thorns and clad in a white 
 mantle, which two men hold up exposing to view His body torn with stripes ; below 
 are the shouting populace ; on the wall of Pilate's house are the words Ecce Homo i 
 in the background, buildings of a town and numerous figures, rocks and dark clouds. 
 Panel, 17^ x 13 in. 
 
 This picture has been ascribed to Cornelius Engelbrechsten and to Lucas van Leyden. 
 The background is almost exactly like an engraving by Lucas van Leyden, entitled, 
 "Ecce Homo," Bartsch^ viii. 378, No. 71 ; reproduced in the Berlin Reproductions. Vol. i.. 
 No. 18. The figures in the foreground are different. See Catalogue of the Northbrook 
 Collection^ No. 6. 
 
 Early Flemish School. Lent by the Earl of Northbrook, K.C.I.E. 
 
 65. The Virgin and Child. 
 
 Small full-length figure of the Virgin seated on a low wall, holding the Child upon her 
 lap ; with her right hand she plucks a flower, which grows on the wall beside her ; 
 behind her a cloth of estate ; distant landscape in the background. Panel, \o\ x 8| in„ 
 
 By Hugo van der Goes. Lent by Mrs. Stephenson Clarke. 
 
i6 
 
 Exhibition of Pictures by Masters 
 
 [west room. 
 
 66. Saints Cecilia, Margaret, Agatha and Dorothy. 
 
 The Saints are seated in a garden enclosed by a trellis-worked fence ; beyond which 
 are four houses ; the background is occupied by hills, with two castles in the 
 distance ; in the garden are a peacock, a peahen, and two parroquets. St. Cecilia, in 
 lilac dress, has an organ in her left hand, and a falcon on her right. St. Margaret, in 
 crimson dress, holds two white pinks, and is raising her right hand to make the sign 
 of the cross over the dragon which lies at her feet. St. Agatha, in scarlet dress, holds 
 up a pair of pincers with her breast. St Dorothy, in violet, has a sword in her right 
 hand and a flower in her left hand. Two panels (in one frame), i3j x 8| in. 
 Ascribed to Hans Memlinc and to Gerard van der Meire. From the De Merckem 
 Collection. See Catalogue of the Northbrook Collection^ No. 3. 
 
 Early Flemish School. Lent by the Earl of Northbrook, K.C.I.E. 
 
 67. The Virgin and Child, with Donors. 
 
 The Virgin seated on a raised dais under a canopy, covered with a cloth of estate, 
 offers her breast to the Child, Whom she supports with her left hand ; she wears blue 
 dress and red mantle, and white head-dress ; the Child is seated on a white cloth ; 
 on either side kneel the donor and his wife, behind whom are their children ; in the 
 background a high stone wall, on which are peacocks and peahen, and in the distance 
 trees ; the respective ages of the donor, his wife, and two of his children are painted 
 on the wall. Panel, 26 x 25 in. 
 
 By Jan Mostert. Lent by the Earl of Northbrook, K.C.I.E. 
 
 68. The Vision of St. Ildephonsus. 
 
 The Virgin appearing to St. Ildephonsus, Bishop of Toledo, after his refutation of 
 the heresy of Helvidius. The Saint kneels before an altar in a large church ; he is 
 looking up with outstretched hands at the Virgin, who appears on the left accom- 
 panied by three angels, and is about to vest him with a red chasuble ; behind the 
 Saint on the right kneel three monks, one holding an open book, the second looking 
 up at the vision, and the third absorbed in prayer ; in the background a procession of 
 monks chanting. Panel, isf x 13^ in. See Catalogue of the Northbrook Collection^ 
 No. 5. 
 
 Early Flemish School. Lent by the Earl of Northbrook, K.C.I.E. 
 
 69. The Virgin and Child. 
 
 Three-quarter length figure of the Virgin seated under a canopy, wearing dark blue 
 dress and crimson mantle ; hair long and falling over her shoulders ; a jewel, fastened 
 to a band, above her forehead. She supports with her right hand the Infant Saviour, 
 * I Who, seated on a linen cloth in her lap, takes from His mother a nosegay of red and 
 white pinks, and with His right caresses a parroquet. Panel, io| x 7^ in. 
 This panel is attributed to the year 14^7. See Catalogue of the Northbrook Collection^ 
 
 No. 25. 
 
 By Jan van Eyck. 
 
 Lent by the Earl of Northbrook, K.C.I.E. 
 
WEST ROOM.] 
 
 of the Flemish and British Schools, 
 
 17 
 
 70. EccE Homo. 
 
 Christ crowned with thorns seated within a building, His hands joined and His feet 
 crossed, white raiment over His knees ; in the background are three figures. 
 Signed, JOHANNES malbodivs invenit, and dated 1527. Panel, 9^x7^ in. 
 
 By Jan Gossaert, called Mabuse. Lent by Isaac Falcke, Esq. 
 
 71. The Virgin and Child. 
 
 Half-length figure of the Virgin, facing before a wall on which are plants, supporting 
 in her arms, on a white cloth, the Child, Who is feeding at her breast ; she wears 
 a blue robe with gold embroidered sleeves, and white head-dress with jewel in 
 centre. Panel, 20 x 15 in. From the Ruston Collection. 
 
 By Jan Gossaert, called Mabuse. Lent by the Earl of Northbrook, K.C.I.E. 
 
 72. The Virgin and Child. 
 
 Three-quarter length figure of the Virgin in blue dress, pale blue embroidered mantle 
 and fine cambric veil ; she supports with her right hand the Infant on a white cloth, 
 and holds with her left a book, the leaves of which He is turning ; on the left stands 
 a carved wooden aumbrye, with a latten candlestick on it ; green curtain back- 
 ground. Panel, 14^ x 9I in. 
 
 From the Weyer and Heath Collections. See Catalogue of the Northbrook Collection 
 No. 8. y^^, „.j^.^^, . _ '--i^^^ U-J- 
 
 Early Flemish School. Lent by the Earl of Northbrook!, K.C.I.E. 
 
 73. St. John in Patmos. 
 
 Small full-length figure of the Saint, facing, hands clasped, standing in a landscape ; 
 scarlet robe ; in the background a stag feeding, and buildings by the sea. Panel, 
 ioX4iin. ^ . 
 
 By Joachim Patinir. y;^ Y^^^' . ^ 'f' Lent by Martin Colnaghi, Esq. 
 
 74. St. Mary Magdalene Reading. 
 
 Small half-length figure of the Magdalene to left in red and black dress, holding an 
 illuminated missal in her hands ; on a table in front of her is a small vase ; around 
 her head is the nimbus. Panel, 17^^ x 14 in. 
 
 By Jan Mostert. Lent by Charles Butler, Esq. 
 
 75. The Holy Family. 
 
 The Virgin, in red and blue drapery, is seated beside a table with a green cover, and 
 supports the Child in her arms ; He is clothed in a transparent garment, and leaning 
 forward plays with a rosary strung over His shoulders ; on the table is a covered glass 
 goblet of wine, a folded napkin, a cut orange and a knife ; on the left St. Joseph, iji a 
 large straw hat, is reading a roll of manuscript ; landscape on the left. Panel, 
 285 X 21 in. For similar treatment of this subject see No. 43. 
 
 By The Master of " the Death of the Virgin " (in the Munich Gallery) 
 
 Lent by Captain G. L. Holford, CLE. 
 
 ^ 
 
i8 
 
 Exhibition of Pictm^es by Masters 
 
 [west room. 
 
 76. The Virgin and Child and St. Joseph. 
 
 Three-quarter length figure of the Virgin seated to right on a throne, and holding the 
 Child to her breast ; she wears blue dress and red mantle ; above, cherubim support- 
 ing a canopy ; on the right is seen St. Joseph gathering palm-fruit ; and in the back- 
 ground, landscape with buildings. Panel, 35 x 26^ in. Exhibited at Manchester in 
 1857, and at Leeds in 1868. From the Roscoe Collection. Waagen iii, p. 236. 
 By Bernard van Orley. 
 
 Lent by the Trustees of the Royal Institution, Liverpool. 
 
 77. The Virgin and Child. 
 
 Small full-length figures ; the Virgin, in blue dress and red mantle over her knees, 
 and white head-dress, seated facing under a tree and holding the Child on her knees ; 
 their right hands support a small globe, and in His left is a crown ; two angels above 
 hold a crown over the Virgin's head ; in the background, buildings and hills with 
 trees ; the Salutation is seen on the left, and the Annunciation on the right. Panel, 
 12^^ X in. From the Roscoe Collection. 
 Early Flemish School. 
 
 Lent by the Trustees of the Royal Institution, Liverpool. 
 
 78. MOSES AND THE BURNING BUSH AND GiDEON AND THE FLEECE. 
 
 Two volets of an altar-piece, joined to form a single panel ; on the left Moses kneeling 
 before the Burning Bush, above which appears the Creator ; on the right kneels 
 Gideon, the Fleece on the ground at his side ; above is an Angel ; in the background, 
 city and landscape. Panel, 29 x 15^ in. 
 
 By Dierick Bouts. Lent by Charles T. D. Crews, Esq. 
 
 79. Two Old Musicians. 
 
 An old man and a woman seated in a landscape ; the man is playing a lute, and the 
 woman a violin. Panel, 4J x 3J in. 
 
 ' By Lucas van Leyden. Lent by J. Fletcher Moulton, Esq., Q.C, M.P. 
 
 80. The Virgin and Child. 
 
 Small full-length figure of the Virgin enthroned under an elaborately carved canopy, 
 holding the Child on her lap ; buildings and landscape in the background. Panel, 
 iii X 7i in. (circular top). 
 By Jan Mostert. Lent by Charles Butler, Esq. 
 
 81. Christ Appearing to His Disciples after His Resurrection. 
 
 In the foreground on the right Christ stands on the shore of the Sea of Tiberias, and 
 holds up His right hand with a gesture of command to St. Peter, who has thrown 
 himself from his boat, and with clasped hands runs eagerly through the shallow water 
 to the bank ; the two central figures are separated by a tall acacia tree ; in the boat which 
 the Saint has quitted are the sons of Zebedee drawing in a net ; in the middle 
 
WEST ROOM.] of the Flemish and British Schools. 
 
 19 
 
 distance is another boat with three other disciples similarly engaged, and beyond a 
 rocky shore with many buildings ; on the right is a group of Christ and the disciples 
 taking food round a fire, and behind them a hill with a city. Panel, 12x18 in. 
 
 (See St, John, xxi.) 
 By Joachim Patinir. 
 
 Lent by Sir Kenneth Muir Mackenzie, K.C.B. 
 
 82. The Virgin and Child. 
 
 Full-length figure of the Virgin seated facing, under a canopy ; she holds the Infant 
 on her knees, and gives Him a flower with her left hand ; He is seated on a white 
 cloth and holds a parroquet with his right ; on a ledge in front are cherries, a cut 
 lemon, and a knife ; architectural frame and windows in the background. Panel, 
 
 3i| X 24 m. 
 By Jan van Eyck. 
 
 Lent by J. Fletcher Moulton, Esq., Q.C., M.P. 
 
 83. The Deposition. 
 
 At the foot of the Cross lies the dead body of the Christ, His head supported by St. 
 John ; at His feet kneels the Virgin, who is kissing His right hand ; at her side Mary 
 Magdalene, who supports her head with her left hand, and places her right on her 
 shoulder ; on the extreme left kneels the female donor, praying ; blue landscape in 
 the distance. Panel, 19^ x 18^ in. 
 
 By Lucas van Leyden. Lent by Ralph Brocklebank, Esq. 
 
 84. Adam and Eve. 
 
 Two full-length, life-size, nude figures ; Adam on the left, leaning against a tree, the 
 forefinger of his right hand is held to his lips ; his left arm is around Eve's shoulders; 
 her right hand is placed on his left shoulder ; in her left hand is the stalk with the ^ 
 fruit ; above them on a branch is a serpent, his head thrust between theirs ; in 
 the distance landscape with fountain. Panel, 65 x 43 in. 
 
 This picture has been in the Royal Collection since the time of Henry VI 1 1. ; but it 
 was temporarily disposed of during the Commonwealth. 
 
 F By Jan Gossaert, called M abuse. v-n o^a^'^^V^ 
 
 TenTby Her Majesty The Queen (Hampton Court). 
 
 85. The Virgin and Child in a Garden. 
 
 The Virgin, seated facing on a bench with tall upright back covered with a cloth of 
 estate, holds the Child on her knee with her right hand, and with her left supports 
 a book, the leaves of which He is turning ; the Virgin wears a flowing scarlet robe 
 with a border of gold and jewels ; a fillet confines her hair, and is fastened by a jewel 
 on the forehead ; in the foreground is a mass of flowers, amongst which is laid a 
 cushion of white and gold brocade, on which the Virgin's feet are supported ; on th^ 
 right and left is a landscape with water-mill and distant castle. Panel, 35^ x 30^ in. 
 Several repetitions of this " Virgin and Child " exist, but with different backgrounds. 
 The monogram of Albert Diirer with the date 15 13 on the left is a forgery. 
 
 School of Gheeraert David. Lent by the Earl of Crawford, K.T. 
 
20 
 
 Exhibition of Pictures by Masters [west room. 
 
 86. The Judgment of Solomon. 
 
 In the centre on a throne is seated Solomon, his sceptre in his right hand ; before 
 him are the two women, one kneeling, and between them on the base of the throne lies 
 the dead child ; on the left is a soldier drawing his sword about to divide the living 
 child ; around the throne are grouped attendants ; in the foreground a small dog, his 
 front feet resting on a bone. Panel (arched top), 225Xi5|in. From the Howard 
 Galton Collection. 
 
 By Lucas van Leyden. Lent by Sir William Farrer. 
 
 87. Christ and St. John Embracing. 
 
 Christ and St. John, as children, seated on a black velvet cushion under a highly 
 decorative portico, and embracing ; above,ta red canopy ; through the portico is seen 
 a landscape. Panel, 28^x21 J in. 
 
 By Bernard van Orley. Lent by Ralph Brocklebank, Esq. 
 
 88. The Annunciation. 
 
 On the right seated on the floor beside a canopied bed draped with scarlet the 
 Virgin reads from an illuminated book upon her knee ; the Archangel enters on the 
 left and advances towards her carrying in his hands a golden sceptre ; above them 
 hovers the holy dove ; on the tiled floor in the background are a lily in a blue 
 and white porcelain pot, and a seat with a scarlet cushion. Panel, circular, 8 in. 
 
 Early Flemish School. Lent by Sir Kenneth Muir Mackenzie, K.C.B. 
 
 89. Portrait of a Lady. 
 
 Small bust to left, in black dress, lace rufl" and cap ; a rustic scene in the background, 
 with two men engaged in a duel. Panel, io| x 8J in. From the Gibson-Craig 
 r^ijJ .-^ Collection, 
 i^,^^"^ Early Flemish School. Lent by Ralph Brocklebank, Esq. 
 
 00. Heads of Jews and a Soldier. 
 
 .1^ 
 
 1 Heads, facing, of a crowd of Jews and a soldier ; all shouting, some gesticulating. 
 
 Ji; Panel, 8| x 23 in. From the W. Graham Collection. 
 
 Probably a fragment of an " Ecce Homo," and representing a portion of the crowd. 
 
 ^ y^y QuiNTEN Matsys. Lent by Ralph Brocklebank, Esq. 
 
 91. Portrait of a Young Nobleman, and the Conversion of 
 St. Hubert. 
 
 Three-quarter length figure seated to left, his hands gloved and joined ; in red velvet 
 tunic and brown fur lined coat and black cap ; on the left is depicted a scene 
 
WEST ROOM.] of the Flemish and British Schools. 
 
 21 
 
 representing the conversion of St. Hubert ; city on wooded hill in the background. 
 Panel, 37^ x 29 in. Exhibited at Manchester in 1857 and at Leeds in 1868. From 
 the Roscoe Collection. Waagen, iii., p. 236. 
 
 By Lucas van Leyden. 
 
 Lent by the Trustees of the Royal Institution, Liverpool. 
 
 92. The Adoration of the Magi and St. Hubert and St. James 
 
 OF COMPOSTELLA. A Triptych. 
 
 In the centre panel is represented the Adoration of the Magi ; on the right volet 
 is St. Hubert holding his bow and arrows, and on the left volet St. James of 
 Compostella leaning on his stafif. Panel, centre, io| x 7^ in. ; sides, lof x 3 in. 
 
 By Jan Mostert. Lent by Messrs. P. and D. Colnaghi and Co. 
 
 93. The Madonna Praying. 
 
 Small half-length figure of the Virgin to left, her hands folded in prayer ; pink under- 
 dress, blue mantle, and white drapery over her head. Panel, 14^ x ni in. 
 By Justus van Cleef. Lent by the Trustees of the Bowes Museum. 
 
 94. The Virgin and Child. 
 
 Interior of a chamber, with a bed on the left ; the Virgin seated feeding the Child at 
 her breast. Whom she supports with her right arm ; she wears blue dress and crimson 
 mantle. Panel, 24 x 18 in. Exhibited at Manchester, 1857. From the Fuller- 
 Russell Collection. 
 
 By Quinten Matsys. Lent by Wickham Flower, Esq. 
 
 95. FiLIBERTA OF SAVOY, WIFE OF GlULIANO II. DE' MEDICI, DUKE 
 
 OF Nemours (1498-1524.) 
 
 Bust slightly turned to right, looking at the spectator ; hands crossed ; blue dress and 
 brown cloak ; white head-dress. Panel, 19I x 13^ in. 
 On the back of the panel is the stamp of Cardinal Sigismondo de' Medici. 
 
 Early Flemish School. Lent by Hugh P. Lane, Esq. 
 
 96. Adoration of the Magl .^.^^^^ ^ 
 
 The Virgin seated on the left with the Child in her lap ; in front of ihkm kneels an 
 a ged wise man in adoration ; behind are grouped two other magi, holding rich 
 gold vessels, and numerous figures in attitudes expressive of praise and worship ; on 
 a ledge in front, a sceptre and a gold vase, with cover ; in the distance are seen 
 some blue mountains ; half-length figures. Panel, 39 x 30^ in. 
 
 By Quinten Matsys. Lent by H. R. Hughes of Kinmel, Esq. 
 
22 
 
 Exhibition of Pictures by Masters [west room. 
 
 97. Mary Tudor, Duchess of Suffolk (1498-1583). See No. 30. 
 
 Half-length figure to the left, in black dress, with ermine sleeves and fur collar ; black 
 k cap ; round her neck black ribbon with pendant jewel ; jewelled waistband ; she 
 \ holds in her right hand a folded letter. Panel, 2\\ x i6^ in. 
 
 By Jan Gossaert, called Mabuse. Lent by the Earl Brownlow. 
 
 98. Portrait of a Man. 
 
 Small half-length figure turned to left, his left hand resting on a ledge before him ; 
 black dress edged with fur, white shirt and black cap. Panel, 12J x 10 in. 
 
 Early Flemish School. 
 
 99. Twelve Scenes of the Passion. (In Central Hall.) 
 
 (i) The Last Supper ; (2) The Agony in the Garden ; (3) The Betrayal ; (4) Ecce 
 Homo ; (5) Our Lord mocked ; (6) The Scourging ; (7) The Crowning with thorns ; 
 (8) St. Veronica presenting the Veil ; (9) The Crucifixion ; (10) The Entombment ; 
 (11) The Descent into Hades \ (12) The Resurrection. Panel, 6| x 3 J in. 
 
 By RoGiER van der Weyden. Lent by J. Fletcher Moulton, Esq., Q.C, M.P. 
 
NORTH ROOM.] of the Fle7nish and British Schools. 
 
 23 
 
 NORTH ROOM. 
 
 WORKS OF SIR PETER PAUL RUBENS, ETC. 
 
 Peter Paul Rubens was born at Siegen, in Westphalia, 28th June, 1577, on the 
 feast of St. Peter and St. Paul. His father, Jan Rubens, was an alderman of 
 Antwerp, but, on account of religious troubles, he removed with his family to Cologne. 
 On the death of her husband, in 1587, Rubens's mother, with her children, returned 
 to Antwerp. Here Rubens studied under Tobias Verhaagt, Adam van Noort, and 
 Otto van Veen, the latter being the most celebrated painter of his time at Antwerp. 
 In 1600 Rubens went to Italy and entered the service of Vincenzio Gonzaga, Duke of 
 Mantua, and in 1605 was sent on a mission by the Duke to Philip III. of Spain, and 
 whilst at Madrid he painted several portraits of the Spanish nobility. Rubens returned 
 to Antwerp in 1608, where he was induced to remain by the Archduke Albert, then 
 Governor of the Netherlands, and he was appointed court-painter to Albert and 
 Isabella in 1609. At the invitation of Marie de' Medici Rubens visited Paris in 1620, 
 and there received the commission for his celebrated series of pictures for the new 
 palace of the Luxembourg, commemorating the marriage of the princess with 
 Henry IV. of France. In 1628 Rubens was sent by the Infanta Isabella, widow of the 
 Archduke Albert, on a diplomatic mission to Philip IV. of Spain, and in the following 
 year he came on a similar mission to Charles I. of England, by whom he was knighted 
 in 1630. On his return to the Netherlands he settled at Antwerp, and later on at the 
 Chateau de Steen near Mechlin. His death took place on the 30th May, 1640, and 
 he was in the first place interred in the vault of the Fourment family ; but two years 
 afterwards the body was removed to a special chapel built out from the church of 
 St. Jacques at Antwerp. His last work was the altar-piece for the church of St. Peter 
 at Cologne, on which he expended an amount of care unusual with him. 
 
 103. Sir Peter Paul Rubens (i 577-1640). 
 
 Small half-length figure in chiaroscuro ; slightly turned to left, and looking at the 
 spectator ; his left arm rests on a ledge ; with right hand he raises his cloak. 
 Panel, 9^ x 7^ in. 
 
 By Sir Anthony van Dyck. Lent by G. E. Martin, Esq. 
 
 104. Portrait of a Lady. 
 
 Small half-length front, head turned to right ; yellow dress with jewel ; pearl neck- 
 lace : long brown hair. Panel, 9 x 7| in. 
 By ^.Gonzales Coques. Lent by Hugh P. Lane, Esq. 
 
24 
 
 Exhibition of Pictures by Masters [north room. 
 
 105. Daniel in the Den of Lions. 
 
 Finished sketch for the large picture (see No. 145). Panel 18 X 25 J in. 
 By Rubens. Lent by Sir William Farrer. 
 
 106. Princess Elizabeth, Daughter of James I. (1596-1662). 
 
 Married in 1613 Frederick, Elector Palatine, became for a short time Queen of 
 Bohemia, and after a life of many vicissitudes died in London in 1662. 
 Youthful three-quarter length figure turned slightly to right, looking at the spectator ; 
 red gold-embroidered dress, lace ruffs and cuffs ; coronet of pearls with aigrette on 
 her head and jewel above her forehead ; around her neck a chain with jewel pendant 
 and pearl ; earrings of pearls. Panel (oval), 25 x 19J in. 
 
 107. The Holy Family. 
 
 Three-quarter length figures ; the Virgin, in red dress and blue mantle, holding the 
 Infant Jesus, Who is seated on a white cushion on her lap ; she is looking down lovingly 
 at an angel who is presenting a basket of fruit to the Child ; on the right is St. Joseph 
 looking on ; behind the figures is a stone wall and a red curtain ; on the left a land- 
 scape with trees, the clouds illumined by the evening light. Canvas, 47 x 64 in. 
 
 By Rubens. ;,v^v^ ^ Lent by Charles Morrison, Esq. 
 
 108. Rome Triumphant. A Sketch. 
 
 Rome, seated on a throne beneath a canopy, is crowned by Victory ; near her stands 
 a man holding a standard ; on the right is a warrior, a man holding a horse and other 
 figures ; on the left are captives and a trophy ; before the throne are the wolf and 
 twins, bound captives, and two eagles. Panel, 19J x 25 in. From the Calonne 
 Collection. (Buchanan's Memoirs^ i., p. 244.) 
 
 By Rubens. Lent by Sir Francis Cook, Bart. 
 
 109. Nicolas Rockox. 
 
 Burgomaster of Antwerp and an intimate friend of Rubens. 
 Bust, life-size, to left ; black coat, white ruff. Panel, 24 x 19 in. 
 
 By Rubens. Lent by Sir Francis Cook, Bart. 
 
 110. The Flight into Egypt. 
 
 Small full-length figures ; the Virgin, with the Infant Saviour in her arms, is mounted 
 on an ass which is led by an angel ; another angel soars over their heads, bearing a 
 lighted torch ; St. Joseph follows behmd ; other angels are seen above ; the moon 
 shines through the trees of a wood through which they are passing. Panel, 19 x 25 in. 
 
 By Rubens. Lent by the Earl Brownlow. 
 
 Lent by George Johnstone, Esq., M.D. 
 
NORTH ROOM.] of the Flemish and British Schools, 
 
 111. Thetis Plunging Achilles into the River Styx. A Sketch. 
 
 The nymph, clothed in thin raiment round her loins, stands on the bank of the 
 stream and immerses the infant into its mystic waters ; Destiny, bearing a blazing 
 torch in her hand and with the distaff stuck in her girdle, stands at her side, viewing 
 the ceremony ; on each side are termini of Pluto and Proserpine, supporting a 
 cornice decorated with festoons ; in the background, the Styx with boats and rocks. 
 Panel, 15 x 12^ in. 
 
 This picture and Nos. 112 — 116 illustrating, in succession, the life and actions* of 
 Achilles, were painted by the artist for his royal patron, Charles I., as models to be 
 worked into tapestry. Engraved by Ertinger (1679) ^^^d by B. Baron (1724). Smith, 
 Cat.Rais., ii. p. 250. Exhibited at Manchester, 1857. 
 
 By Rubens. Lent by the Right Hon. A. H. Smith-Barry. 
 
 112. The Instruction of Achilles. A Sketch. 
 
 Achilles is mounted on the back of the centaur Cheiron, who, while he teaches him the 
 art of riding, is also inculcating other lessons of useful knowledge ; landscape back- 
 ground ; the termini at the sides represent Apollo and y^isculapius, who support a 
 cornice adorned with flowers. Panel, 15 x in. Smith, Cat. Rais.^ ii. p. 251. 
 See No. in. Exhibited at Manchester, 1857. 
 By Rubens. Lent by the Jlight Hon. A. H. Smith-Barry. 
 
 113. Thetis Receiving Arms from Vulcan for Achilles. A Sketch, 
 
 Thetis, accompanied by Cupid and a nymph, is stepping out of the sea and receives a. ^ ^ 
 shield from the hands of Vulcan ; a Cyclops is seen bringing forward a cuirass in his 
 arms, and a Cupid is bearing off a helmet to a Triton ; the tools of Vulcan lie in the ^ < 
 foreground ; the termini at the sides represent Jupiter and Juno, supporting a cornice uy\,^c^ 
 ornamented with festoons of fruit and two Cupids. Panel, 15 x ly^ in. Smith, /' 
 Cat. Rais., u. p. 2^2. See No. in. Exhibited at Manchester, 1857. a.-^^ 
 By Rubens. Lent by the Right Hon. A. H. Smith-Barry. / 
 
 114. Achilles Vanquishing Hector. A Sketch. 
 
 The hero, clad in the armour made for him by Vulcan, is represented fighting with 
 Hector, whom he has pierced in the neck with his spear ; the Trojan chief sinks on his 
 hand and knee to the ground ; Achilles is accompanied by Pallas ; the walls of 
 Troy, with numerous warriors on the battlements, and the flying enemy, appear in the 
 distance ; at the sides are termini of Mars and Hercules, supporting a cornice enriched 
 with festoons of fruit and two Cupids. Panel, 15 x 15^ in. Smith, Cat. Rais.y 
 ii. p. 252. See No. 11 1. Exhibited at Manchester, 1857. 
 
 By Rubens. Lent by the Right Hon. A. H. Smith-Barry. 
 
26 
 
 Exhibition of Pictures by Masters 
 
 [north room. 
 
 115. The Anger of Achilles against Agamemnon. A Sketch. 
 
 Achilles, in anger, stands on the right, and is in the act of drawing his sword to 
 revenge the loss of his captive, Briseis ; but is prevented by Pallas, who cautions him 
 to forbear ; Agamemnon, also enraged, is attempting to rise from his throne to 
 encounter the hero, but is restrained by Nestor ; other Greeks are present ; the 
 termini at the sides represent Envy and Passion, who support a cornice decorated 
 with festoons of fruit and Cupids. Panel, 15 x 13I in. Smith, Cat. Rats., ii. p. 351. 
 See No. in. Exhibited at Manchester, 1857. 
 
 By Rubens. Lent by the Right Hon. A. H. Smith-Barry. 
 
 116. The Death of Achilles. A Sketch. 
 
 The hero, wounded in the heel by an arrow from the bow of Paris, is sinking at the 
 ^-"""^^ side of the altar at which he was espousing Polyxena ; he is supported by one of his 
 attendants, who, as well as the high priest and a second attendant at the altar, are in 
 an attitude of alarm ; Paris, accompanied by Apollo, is seen at the entrance of the 
 / ^ temple ; in front a fox devouring an eagle, emblematic of cunning overcoming valour; 
 
 _ at the sides are termini of Venus and Apollo, supporting a cornice decorated with 
 
 festoons of fruit and two Cupids. Panel, 15X15J. Smith, C<3;/. p. 253. See 
 No. III. Exhibited at Manchester, 1857. 
 
 By Rubens. Lent by the Right Hon. A. H. Smith-Barry. 
 
 117. The Wild Boar Hunt. 
 
 Landscape ; in the foreground on the right are men on horseback and dogs pursuing 
 a wild boar, which rushes towards a man holding a spear, who stands behind a fallen 
 dead tree ; two other figures with spears stand on either side of the tree ; on the left 
 is a man blowing a horn, and another holding a dog ; further in the background are 
 seen youths and dogs pursuing another boar. Canvas, 62^ x 80 in. 
 
 By Rubens. Lent by Sir Charles Robinson. 
 
 118. The Wild Boar Hunt. A Sketch. 
 
 To left of the composition, Diana, having discharged her arrow at the boar, is leaping 
 over a fallen tree, surrounded by her dogs ; in the centre is the boar brought to bay, 
 whilst on the right a man attacks it with a spear ; in the background are horsemen 
 and a nymph blowing a horn. Panel, 9 x 20 in. 
 
 By Rubens. Lent by Sir Francis Cook, Bart. 
 
 119. Death of Hippolytus. A Sketch. 
 
 ^^^^'v- In the foreground the body of Hippolytus, who has fallen out of his chariot ; the 
 ^y-^ f affrighted horses are dashing against one another ; on the left are a sea monster and 
 
 a triton. Panel, 20X 25 in. Smith, Cat. Rais.^ Vol. ii., p. 178. 
 
 By Rubens, Lent by the Earl Brownlow. 
 
NORTH ROOM.] of the Flemish and British Schools. 
 
 27 
 
 120. Venus and Adonis. 
 
 In a wooded landscape at the foot of a large tree, Venus, reclining, is supported by 
 Adonis ; on the left is Cupid with arrow and quiver, and on the right two dogs ; 
 at the feet of Venus lies a horn and a quiver hangs on the tree. Panel, 162 x 2S in. 
 By Rubens. Lent by Sir William Farrer. 
 
 121. The Triumphal Procession of Henri IV. after the Battle 
 
 OF IVRY. A Sketch. 
 
 The king is represented standing in a gorgeous car, embossed with ornan^ents in 
 gold ; he holds an olive-branch in his hand, and is clad in splendid armour, with a 
 grey mantle over his shoulders ; Victory attends him, and is placing a wreath on his 
 uncovered head ; the four white horses which are attached to the car are led by 
 females, and guided by Minerva ; numerous soldiers with banners, trophies, and 
 instruments of music accompany the car, which is followed by a train of captives ; 
 the victorious troops who lead the van are entering the gates of a city ; the victor 
 is hailed by -men and women with their children, some of whom are seated. 
 Canvas, i8| x 32^ in. A sketch for the large picture in the Florence Gallery. See 
 Smith, Cat. Rais., vol. ii., p. 260. 
 
 By Rubens. Lent by the Earl of Darnley.. 
 
 122. The Family of Rubens. 
 
 A company of ladies and gentlemen, in which the painter has introduced portraits 
 of himself, his family and others, assembled in a flower garden ; most of them are 
 seated in the parterre near the entrance to a chateau, and are engaged in conversation 
 and music : amorini hover around, in the branches overhead and on the edge of a 
 fountain, on which is perched a peacock. Panel, 49 x 67 in. 
 This picture is better known under the title of " The Garden of Love." There appears 
 
 to be several versions of it, which differ somewhat in their composition. See Smithy 
 
 Cat. Rats., ii., pp. 86, 132 and 166. 
 
 By Rubens. Lent by the Duke of Leeds. 
 
 123. The Four Evangelists. A Sketch. 
 
 The four Evangelists, attended by their various attributes, are seen setting lorth on 
 the divine behest to preach the Gospel. Foremost are St. Matthew and St. Luke ; 
 St. Mark follows, carrying an open book, to a page of which an angel, flying by his 
 side, is pointing ; St. John follows behind ; architectural frame, with festoons of 
 flowers and fruit and cherubim. Panel, 25 x 26 in. 
 
 A sketch for the large picture in the possession of the Duke of Westminster. See 
 Waagen, vol. iv. p. 109. 
 
 By Rubens. Lent by Charles Morrison, EsQ' 
 
 D 
 
28 
 
 Exhibition of Pictures by Masters 
 
 [north room. 
 
 124. St. Ildefonsus Receiving the Chasuble. A Sketch. 
 
 Within a sacred edifice, the Virgin, seated, is giving the chasuble to St. Ildefonsus, 
 who kneels before her and kisses the robe ; the Virgin is surrounded by four female 
 saints ; in the wings kneel the Infanta Isabella and her husband, the Archduke Albert 
 of Austria ; behind them stand their patron saints. Panel, i6 x 25^ in. 
 A sketch for the splendid altarpiece formerly in a church near Brussels, now in Vienna. 
 See Smith, Cat. Rais.^ vol. ii., p. 91. 
 
 By Rubens. Lent by G. E. Martin, Esq. 
 
 125. Jan van Scorel, Painter (1495-1562). 
 
 So-called from his birthplace, Schoorl, near Alkmaar ; studied under various masters in 
 his own country, of whom Mabuse was one ; afterwards visited Venice and Jerusalem, 
 whence he returned by Rhodes to Rome ; made by Pope Adrian VI. Keeper of the 
 Art Collections of the Vatican ; after the Pope's death he returned to his native 
 country and settled at Utrecht, where he died. 
 
 Bust, facing, in brown fur-lined coat, black cap, small white ruff. Panel (circular), 
 22i in. 
 
 By Sir Antonio More. '^"^ Lent by the Society of Antiquaries. 
 
 126. A Landscape. 
 
 In the foreground are peasants returning from the harvest ; beyond is seen a waggon, 
 drawn by two horses, descending a hill ; on the right, a hill with windmills ; in the 
 distance are a village and a chateau, the landscape stretching far back to the sea. 
 Panel, 14 x 28 in. 
 
 This picture is etched in Young's " Grosvenor Gallery," where it is stated to have been 
 r)ainted by Rubens before he went to Italy, and when he was only eighteen or twenty 
 years of age. Smithy Cat. Rais.^ ii., p. 250. 
 
 By Rubens. Lent by the late Duke of Westminster, K.G. 
 
 127. The Conversion of St. Paul. A Sketch. 
 
 Landscape ; in the foreground St. Paul thrown from his horse lies on the ground, and 
 is supported by a soldier ; others, on horseback, and on foot, are in attitudes of alarm ; 
 above, in the clouds, the figure of the Saviour. Panel, 17 x io| in. 
 
 By Rubens. Lent by the late Duke of W^estminster, K.G. 
 
 128. Portrait of the Artist's Brother, Philip. 
 
 Three-quarter length figure, seated to right, his right hand on his hip ; left resting 
 on his knee ; black dress, white ruff and cuffs ; crimson curtain behind ; on right 
 landscape. Panel, 43 x 34 in. 
 
 By Rubens. Lent by Sir Francis Cook, Bart. 
 
NORTH ROOM.] of the Fleinish and British Schools. 
 
 29 
 
 129. Diana and her Nymphs Reposing after the Chase. ^ ^ , 
 
 Diana and two nymphs, naked,^are reposing on a bank after the fatigues of the chase ; 
 the goddess redines on her back against a tree, and one of the nymphs, from whom 
 a satyr is drawing off a white covering, is recumbent at her side ; the remaining 
 nymph is more retired on the right ; in the background are seen other satyrs, and 
 in the foreground the spoils of the chase and a sleeping dog. Canvas, 84 x 12 1 in. 
 Painted about 1616 ; it belonged to the Duke of Buckingham, at whose death it was 
 probably bought by Charles I. See Smith, Cat. Rats., vol. ii. p. 238. 
 
 By Rubens and Snyders. Lent by Her Majesty the Queen (Hampton Court). 
 
 130. Portrait of a Lady (Sister of the Painter's Wife). 
 
 Three-quarter-length figure, standing to left, looking towards the spectator ; hands 
 folded ; black satin dress, pearl necklace and earrings, jewelled chain and pendant V /t^ , 
 with pearl drop on her dress; curtain and sky background. Inscribed "Virgo - ' 
 Brabantina." Canvas, 42 x 31 in. • ''^^ ^ ^ 
 
 By Rubens. Lent by Charles Butler, Esq. / 
 
 131. Orpheus and Eurydice. A Sketch. 
 
 The scene represents a view of the infernal regions ; Pluto grasping his trident and 
 seated on his throne, with Proserpine habited in black by his side ; the dog Cerberus 
 lies at their feet ; on the opposite side are Orpheus and Eurydice ; the former, 
 with his lyre, is retiring cautiously from the presence of the deities, followed by 
 Eurydice, who is naked all but the loins, has long dark hair floating on her shoulders ; 
 the portal of the gloomy regions stands open before them, and beyond is seen the 
 river Styx. Panel, 11 x I2f in. Smith, Cat. Razs., ii. p. 136. 
 
 By Rubens. Lent by Messrs. P. and D. Colnaghi and Co. 
 
 132. The Waggon. A Landscape. 'v-^.^,.^^ k^.^^ i. . ^. 
 
 View in a woody country, crossed by a stream ; on the right going down a steep bank 
 
 to the water is a waggon drawn by two horses, one of which is ridden by the driver ; / ' 
 
 on the other side of the stream are clumps of trees ; setting sun. Panel, 19^ x 215^ in. y'^-^^c 
 From the Reinagle, Mulgrave, Camden, and Rogers Collections. See Catalogue of the 
 
 Northbrook Collection., No. 88. Smith, Cat. Razs., vol. ix. p. 331. - 
 
 By Rubens. Lent by the Earl of Northbrook, K.C.I.E. 
 
 133. Thomas Howard, Earl of Arundel, K.G. (1586-1646). \ "^/^ 
 
 Son of Philip, Earl of Arundel, married Aletheia, daughter of the seventh Earl of \ "^"^ 
 Shrewsbury ; was the first collector of works of Art in England ; the famous collection 1 ^ 7 \ 
 
 of inscriptions known as the Arundel marbles was brought to this country by him. ^a-^-/ 1 — ) 
 
 D 2 
 
30 
 
 Exhibition of Pictures by Masters [north room. 
 
 Half-length, life-size, figure to left ; hair and beard dark and bushy ; he is dressed 
 in a fur-lined mantle and a plain falling collar ; the George, attached to a ribbon, 
 is suspended in front. Canvas, 26J by 21 in. Engraved by Houbraken. Smith, 
 Cat. Rais.^ ii. p. 308. 
 
 By Rubens. Lent by the Earl of Carlisle. 
 
 134. The Rainbow. A Landscape. 
 
 A landscape, exhibiting a mountainous country, divided in the centre by a winding 
 river, crossed by a bridge, near which are several cottages ; a second bridge, formed 
 of planks, crosses the river near the front ; in the foreground are a flock of sheep and 
 several figures ; the latter consist of a shepherd seated at the foot of a tree on the 
 left, who appears to have just ceased playing his pipe, and is looking earnestly at a 
 beautiful rainbow, which crosses the heavens in the opposite side ; near him stands a 
 peasant, directing the attention of a woman to a couple who are reclining on the 
 ground together ; the appearance of a recent shower pervades the surrounding scene. 
 Canvas, 45J x 66J in. 
 
 Similar pictures are at the Hermitage, St. Petersburg, and at the Louvre. Smith, 
 Cat. Rais.y vol. i., p. 293, and vol. ii. p. 119. 
 
 By Rubens. Lent by Lord Windsor. 
 
 135. The Daughter of Herodias Receiving the Head of St. John 
 ^ ^ THE Baptist. 
 
 ^ Three-quarter length figures of the daughter of Herodias and an attendant, holding 
 
 ' \ ^ the charger on which the executioner has just placed the head of St. John. Canvas, 
 
 , x^'^ ^ 48 X 45 in. From the Orleans Collection. Smith, Cat. Rais., vol. ix. p. 308. 
 
 Rubens. Lent by the Earl of Carlisle. 
 
 136. Portrait of the Painter. 
 
 \ Flemish painter of portraits and conversations ; born at Antwerp in 16 14, studied 
 r y\ I under David Ryckaert, was official painter to the Count de Monterey, Governor-General 
 
 \ ^ I of the Low Countries, and was employed by Charles I., the Archduke Leopold, and 
 
 li 1 the Prince of Orange ; died in 1684. 
 
 Three-quarter length, life-size figure, front, head turned to right and looking upwards, 
 long brown hair, black coat and cloak, white cuffs and collar ; his left hand is placed 
 on his waist ; pillar to left. Canvas, 41^ x 33 J in. 
 
 By Gonzales Coques. Lent by H. L. Bischoffsheim, Esq. 
 
 137. A Landscape. 
 
 A landscape, with trees and rivulet on the left ; in the foreground a horse feeding; 
 moonlight scene. Panel, 25^ x 35 in. From the Dudley Collection. 
 
 By Rubens. Lent by Ludwig Mond, Esq. 
 
NORTH ROOM.] of the Flemish and British Schools. 
 
 31 
 
 138. Portrait of John de Witt (1625 — 1672). 
 
 Eminent Dutch statesman ; born at Dort, was pensionary of Holland ; in 1667 he 
 succeeded in carrying an edict for the abolition of the office of Stadtholder, which 
 proved his own ruin, when the Prince of Orange resumed the title in 1672 ; was 
 barbarously murdered, with his brother, Cornelius, by the populace. 
 Small three-quarter length figure, seated towards right, looking at the spectator, in 
 black cloak, lace collar ; right hand holding a scroll and resting on the back of a 
 chair ; landscape background. Canvas, 22^ x 17^ in. 
 
 By Gonzales Coques. Lent by G. E. Martin, Esq. 
 
 139. Figures and Dead Game. 
 
 A tall handsome woman, in red dress and blue petticoat, and carrying a basket of 
 fruit before her, is approaching from the left side, accompanied by a sportsman, who 
 with a hawk on his left hand, has thrust his arm under hers, and is helping himself 
 to some figs from the basket ; three dogs accompany him ; one of them is by the side of 
 the woman, the others are smelling the game, which, consisting of a wild boar, fawns, 
 hares, pheasants, and other birds, lie in ample abundance on the left of the picture. 
 Canvas, 80 x 88 in. 
 
 This picture, when in the collection of the Earl of Thanet, was engraved by R. Earlom, 
 under the title of " The Fig." It subsequently belonged to the Earl of Plymouth. Smith, 
 Cat. Rais. ii. p. 276. 
 
 By Rubens. Lent by Lord Windsor. 
 
 140. Portrait of the Wife and Son of John de Witt. (See 
 
 No. 138). 
 
 Small three-quarter length figure seated to left in a garden, in brown dress and black 
 mantle, large falling lace-collar and white cap ; her left hand holds on her knees a 
 basket, and her right is placed on some fruit on a ledge, behind which is her son, 
 who offers her an apple with his left hand ; he is dressed in black coat, white 
 falling collar, and black hat. Canvas, 22^ x 17^ in. 
 
 By Gonzales Coques. Lent by G. E. Martin, Esq. 
 
 141. Abraham and Melchisedek. 
 
 A composition of twenty figures ; in the centre Abraham, bare-headed, clad in armour 
 and crimson mantle, advances towards Melchisedek, who presents him with two 
 loaves ; Melchisedek wears a crown of olive, and a crimson mantle held by a page ; 
 behind him stands a man with a basket of bread on his back, and on his right are four 
 persons, two of whom are distributing bread to some soldiers ; beyond there are other 
 soldiers and a youth holding Abraham's horse ; in the immediate foreground are two 
 men with pots of wine ; the subject is enclosed within an architectural frame with 
 cherubs and drapery. Panel, 26j x 32I in. 
 
 From the Palazzo Nuovo, Julienne, Trevor, Nieuwenhuys, &c., and Barry Collections. 
 See Catalogue of the Northbrook Collection^ No. 87. " A finished study of superlative 
 excellence for the large picture in the collection of the Earl of Grosvenor." Smith, 
 Cat, Rais., ii. p. 184. 
 
 By Rubens. Lent by the Earl of Northbrook, K.C.LE. 
 
32 
 
 Exhibition of Pictures by Masters [north room. 
 
 142. The Dismissal of Hagar. 
 
 Scene before a house ; Abraham looks out from the door, whilst Sarah raising her 
 right hand dismisses Hagar ; at their feet a dog. Panel, 29 x 41 in. From the Agar 
 Collection. Smith, Cat. Rats., ii. p. 173. 
 
 By Rubens. Lent by the late Duke of Westminster, K.G. 
 
 143. The Wild Boar Hunt. 
 
 In a woody landscape a party consisting of huntsmen on foot and horseback accom- 
 panied by dogs, attacking a boar near the trunk of a fallen tree ; several of the dogs 
 have seized the animal, whose progress is opposed by men on foot armed with 
 lavelins and spears, and one with a horn ; on the right two other horsemen are 
 galloping up to the attack, and on the left is a boy holding two dogs in a leash ; 
 through an opening in the forest is seen another party in pursuit of wild boars. 
 Canvas, 54 x 66 in. 
 
 From the Nevel, King of Holland and Adrian Hope Collections. The original 
 sketch for this picture is in the Dresden Gallery. Smith, Cat. Rats., ii., p. 276. 
 
 By Rubens. Lent by the Corporation of the City of Glasgow. 
 
 144. Portrait of a Gentleman. 
 
 Half-length figure, slightly turned to right, head facing, in grey coat trimmed with 
 silver braid, crimson cloak and white cravat, long brown wig. Canvas, oval, 
 28 X 23 in. 
 
 By Sir Godfrey Kneller, Bart. Lent by Whitworth Wallis, Esq. 
 
 145. Daniel in the Den of Lions. 
 
 The prophet is represented seated on his red cloak, naked, in the middle of the den 
 his hands clasped, and his countenance directed upwards with an expression of earnest 
 prayer ; nine lions are prowling around him ; skull and bones in the foreground. 
 Canvas, 87 x 129 in. 
 
 Rubens, writing of this picture from Antwerp, 18th April, 1618, said, " Daniel amidst 
 many lions taken from the life - original, the whole by my hand." Engraved by Blooteling 
 Van der Leuw and Lamb, and in mezzotint by J. Ward. Included in the Catalogue of 
 Charles I., where it is stated that it was presented to that monarch by Lord Dorchester. 
 Smith, Cat. Rat's. ^ ii. p. 162. Waagen, iii., p. 294. 
 
 By Rubens. Lent by the Trustees of the late Duke of Hamilton. 
 
NORTH ROOM.] of the Flemish and British Schools. 
 
 33 
 
 DRAWINGS BY RUBENS. 
 LENT BY SIR CHARLES ROBINSON. 
 
 146. The Four Quarters of the Globe. Drawing for the large 
 
 picture at Vienna. 
 
 147. The Outskirts of a Ruined Flemish Chateau. Landscape 
 
 in colours. Early period. 
 
 148. The Defeat of Sennacherib. Finished study for a portion of 
 
 this composition. Chalk heightened with pen in bistre. 
 
 149. The Garden of Love. Finished drawing for the picture in the 
 
 Madrid Gallery. Bistre heightened with white. 
 
 150. The Garden of Love. Another finished drawing for the picture 
 
 in the Madrid Gallery. Bistre heightened with white. 
 
 161. A Female Saint Entombed by Angels. Black and red chalk 
 washed with bistre. For a picture of the Master's early period. 
 
 152. Peter and John at the Beautiful Gate. After Raffaelle's 
 
 Hampton Court Cartoon. Finished drawing in bistre heightened 
 with white. 
 
 153. The Outskirts of a Ruined Flemish Chateau. Landscape in 
 
 colours. Early period. Companion to No. 147. 
 
 154. The Triumph of C^sar. After Giulio Romano ; Mantuan period. 
 Highly finished drawing in bistre heightened with white. 
 
34 
 
 Exhibition of Pictures by Masters [north room. 
 
 156. The Infant Saviour and St. John with a Lamb. Black 
 chalk. Rubens's early period. 
 
 156. Study of a Man in a Voluminous Cloak. Black chalk. 
 
 157. Study of Female Figures for an Allegorical Subject. 
 
 chalk. 
 
 158. The Adoration of the Magi. Finished pen drawing in bistre. 
 
 159. The Vision of Ezekiel. After the picture by Raffaelle. Highly 
 
 finished drawing in red chalk. 
 
 160. Diana Surprised. Chalk drawing washed with India ink. 
 
 161. Seneca in the Bath. Finished pen drawing in bistre by Rubens 
 
 for the engraving by Cornelius Galle. 
 
 162. Seneca in the Bath. Engraving from the above by Cornelius 
 
 Galle. 
 
 163. Study for the Head of a Huntsman Blowing his Horn. 
 
 For the picture of the" Wild Boar Hunt " in the Collection of Sir 
 Charles Robinson (see Picture, No. 117). 
 
 164. The Archduke Albert, Governor of the Netherlands, on 
 
 Horseback. Finished drawing in chalk and water-colours. 
 
SOUTH ROOM.] of the Flemish and British Schools. 
 
 35 
 
 SOUTH ROOM. 
 
 PICTURES OF THE BRITISH SCHOOL. 
 170. Papirius Praetextatus and his Mother. 
 
 Papirius Praetextatus, entreated by his mother to disclose the secrets of the Senate, 
 tells her it had been debated whether it would be more useful to the Republic for the 
 husbands to have two wives or the wives to have two husbands. The day following 
 the Roman ladies went to the Senate House to request that the wives might have two 
 husbands each to the great surprise of the senators. Praetextatus, being present, 
 related the answers he had made his mother to avoid revealing the business of the 
 State, which ingenious artifice was highly applauded. 
 
 The mother of Papirius Praetextatus in white, gold embroidered robe and gold sash, is 
 seated in front of a large building, and is greeting her son, whose right hand she 
 clasps and places her left under his chin ; he wears a pale blue toga and red cloak, 
 and, raising his left hand, looks at his mother with a perplexed expression. Canvas 
 (circular), 24J in. 
 
 By Angelica Kauffman, R.A. Lent by Col. Sir Edmund Antrobus, Bart. 
 
 171. General James Wolfe (i 726-1 759). 
 
 Celebrated general ; born at Westerham in Kent, entered the army at an early age ; 
 distinguished himself at Dettingen, Fontenoy, Falkirk, Culloden and Minden ; 
 commanded in Canada and was killed at Quebec, Sept. 13th, 1759. 
 Half-length figure, life-size towards left, head facing, in dark Slue^ uniform with xed, 
 facings, white powdered wig ; his right hand is thrust into Tiis coat. Canvas, 
 29^ X 24^ in. 
 
 By Thomas Gainsborough, R.A. Lent by Messrs. P. and D. Colnaghi and Co. 
 
 172. Portrait of a Lady. 
 
 r . Three-quarter length figure, life-size, seated to left, in white dress and white headdress ; 
 right arm resting on chair ; hands crossed ; long brown hair falling over right shoulder. 
 Canvas, 28^ x 24 in. 
 
 By George Romney. Lent bv Lionel Phillips, Esq. 
 
36 
 
 Exhibition of Pictures by Masters [south room. 
 
 173. Elizabeth (Gunning) Duchess of Hamilton and Argyll 
 
 (1 734-1 790). 
 
 Younger daughter of John Gunning, of Castlecote, and sister of Maria, Countess of 
 Coventry, married first, James, sixth Duke of Hamilton, and secondly, John Campbell, 
 Marquess of Lorne, afterwards fifth Duke of Argyll. She was noted for her beauty, 
 and " even in advanced life and with very decayed health she was remarkably beautiful 
 and seemed composed of a finer clay than the rest of her sex." 
 
 Full length, life-size figure, leaning on a sculptured pedestal ; white dress, and red 
 mantle, lined with ermine ; landscape background with doves on the right and flowers 
 on left. Canvas, 94 x 58 in. 
 Painted in January, 1759. Exhibited at the Society of Arts in 1760, and at the Grosvenor 
 Gallery in 1884 
 
 By Sir Joshua Reynolds, P.R.A. 
 
 Lent by the Trustees of the late Duke of Hamilton. 
 
 174. Portrait of a Lady. 
 
 Half-length figure, to left, head looking at the spectator, white dress ; brown hair. 
 Canvas, 21 J x 17J in. 
 
 By John Hoppner, R.A. Lent by Lionel Phillips, Esq. 
 
 175. Mrs. Earle. 
 
 Three-quarter length life-size figure seated to left, looking at the spectator, hands 
 folded on her lap ; white dress and gold ribbon with pink rose at her waist ; landscape 
 background. Canvas, 29 x 24J in. ^ ' 
 
 By Sir Thomas Lawrence, P.R.A. ' ^ Lent by Lionel Earle, Esq. 
 
 176. Lady Holte, Wife of Sir Charles Holte, of Aston Hall. 
 
 Half-length life-size figure to left, head turned to the spectator, hands crossed ; black 
 dress, white fichu, and white cap. Canvas, 29 x 24J in. 
 
 By George Romney. Lent by the Corporation of the City of Birmingham. 
 
 177. A Landscape. 
 
 Hilly landscape ; in the foreground a piece of water and herdsmen taking cattle to 
 drink ; two cottages on the right ; a road on the left. Canvas, 24J x 29J in. 
 
 By John Constable, R.A. Lent by Lionel Phillips, Esq. 
 
 178. Portrait (!)f a Girl aniTI DofOt. 
 
 Three quarter-length figure seated, facing, in a landscape, nestling a dog in her 
 arms ; red and white dress ; brown hair with red ribbon. Canvas, 29^ x 24^ in. 
 
 By Sir Joshua Reynolds, P.R.A. Lent by Lionel Phillips, Esq. 
 
SOUTH ROOM.] of the Flemish and British Schools. 
 
 37 
 
 179. A Landscape with Lake Nemi. 
 
 View of the lake and the surrounding country ; in the foreground are two men, one 
 seated on a log, and a woman ; and before them a man in a boat ; a ruined temple 
 in the distance. Canvas, y. 22 in. 
 By Richard Wilson, R.A. Lent by Sir James D. Linton. 
 
 180. Eliza Farren, afterwards Countess of Derby (1759-1829). 
 
 Actress ; daughter of a surgeon at Cork ; appeared at the Haymarket Theatre in 
 
 1777 ; married, as his second wife, Edward, twelfth Earl of Derby, 1797. 
 
 Sketch of head, looking to right ; hair long and powdered. Canvas (oval), i8|x 15 in. 
 
 By Sir Thomas Lawrence, P.R.A. Lent by Wentworth Beaumont, Esq. 
 
 181. The Market Cart. 
 
 A landscape ; in the foreground is a market cart, drawn by three horses, which are 
 about to cross a rivulet, and the foremost of which is held by a youth ; in the cart are 
 two women with their children and a boy and a man, who is assisting another 
 woman to mount ; in the foreground are dogs and sheep. Canvas, 47 J x 58 in. 
 
 By Thomas Gainsborough, R.A. Lent by Lionel Phillips, Esq. 
 
 182. Madame Giovanna Bacelli (d. 1801). 
 
 Celebrated dancer ; appeared in London in 1779, ^^^^ was most popular for some 
 years. Walpole writes of h'er as dancing at Paris in 1788 with a blue bandeau on 
 her head, having on it the motto of the Garter. She died in Sackville Street, 
 Piccadilly, 7 May, 1801, generally respected for her benevolence. 
 Small, full-length figure turned to the right, dancing ; she looks at the spectator, and 
 holds a white scarf in both hands, the right being placed behind her back ; white 
 dress and hat, trimmed with blue ribbons. Canvas, 2i| x 15I in. 
 
 By Thomas Gainsborough, R.A. ^ Lent by Alfred Beit, Esq. 
 
 183. Head of a Boy. A Sketch. 
 
 Head of a boy in profile to right ; encircled by a band with a jewel in front. Canvas, 
 14I X 13 in. 
 
 By Sir Joshua Reynolds, P.R.A. Lent by Sir William Farrer. 
 
 184. Portrait of Master Hare. 
 
 Three-quarter length figure of a child seated to left m a landscape, right hand pointing 
 upwards ; white dress with lilac sash ; auburn hair. Canvas, 29 x 23^ in. 
 
 By^SiR Joshua Reynolds, P.R.A. 1.^2. Lent by Lionel Phillips, Esq. 
 
38 Exhibition of Pictures by Masters [south room. 
 
 185. Coast Scene. 
 
 In the foreground three men, launching a boat ; three fishing smacks on the right. 
 Canvas, 20 x 24 in. 
 
 By John Constable, R.A. Lent by Lionel Phillips, Esq. 
 
 186. Portrait of a Lady. 
 
 Half-length figure, life-size, front, head turned to left, white dress, lilac shawl falling 
 over her arms ; powdered hair ; landscape background. Canvas, 29 x 23J in. 
 
 By Richard Cosway, R.A. Lent by Lionel Phillips, Esq. 
 
 187. Sir John Stanley, ist Lord Stanley of Alderley (1766-1850). 
 
 Bust, life-size, to right, black coat, white collar and cravat, and wig. Canvas, 
 29J X 24^ in. 
 
 By John Hoppner, R.A. Lent by the Hon. Lyulph Stanley. 
 
 188. Jane Maxwell, Duchess of Gordon (d. 18 12). 
 
 ^ Daughter of Sir William Maxwell, married 8th October, 1767, Alexander, fourth Duke 
 — ^ of Gordon. 
 
 Three-quarter length figure, seated, facing, in a landscape, holding a dog on her lap ; 
 white d ress and fichu ; her hair bound with a green ribbon. Canvas, 35 J x 26| in. 
 
 ^J'/iBy George Romney. Lent by Col. Sir Edmund Antrobus, Bart. 
 
 189. Walton Bridges. 
 
 View of the Thames, with Walton Bridges ; in the foreground are men with sheep, 
 whilst others are placing some on boats. Canvas, 35 x 48 in. Painted for the Earl 
 of Essex. 
 
 By J. M. W. Turner, R.A. Lent by James Orrock, Esq. 
 
 190. Mrs. Nesbitt as "Circe." 
 
 I Mrs. Nesbitt was the mistress of Augustus John, third Earl of Bristol, who besides 
 leaving her a large estate, bequeathed to her half his personal property, which was 
 estimated at ^30,000. This portrait, which is considered one of Reynolds's master- 
 pieces as a subject portrait, was painted for Lord Bristol. It was presented by the 
 Marquess of Bristol to Sir John Stanley. 
 
 Three-quarter length figure seated to left, in the character of Circe ; white dress; she 
 holds in her right hand a wand ; at her side a panther and a white cat ; in the fore- 
 ground a goblet on a table ; in the background trees with monkey. Canvas, 49 x 39 in. 
 
 By Sir Joshua Reynolds, P.R.A. Lent by the Hon. Lyulph Stanley. 
 
SOUTH ROOM.] of the Flemish and British Schools, 
 
 59 
 
 191. Newark Abbey. » • 
 
 In the foreground is the River Wey, with a water-mill and barges and boat ; in one 
 of the former is seen a man seated at a fire, and in the latter a man washing 
 vegetables ; on the left trees ; distant view of the ruined Abbey. Canvas, 35 x 48 
 in. Painted for Lord de Tabley. 
 By J. M. W. Turner, R.A. Lent by James Orrock, Esq. 
 
 192. Lady Hamilton (i76i[.?]-i8i5). 
 
 Born in humble life ; noted for her beauty, and became a favourite model to Romney. 
 ^ She also sat to Reynolds, Hoppner and Lawrence. Married in 1791 Sir William 
 Hamilton, and was the object of Lord Nelson's passionate attachment. 
 ^ ^.j Three-quarter length figure seated to left, looking back over her left shoulder, her 
 v'^, head resting on her left hand ; white dress and cap, and coloured sash. Canvas, 
 29 X 24^ in. 
 
 By George Romney. Lent by Col. Sir Edmund Antrobus, Bart. 
 
 193. The Right Hon. Edmund Burke, M.P. (1729-1797). 
 
 Statesman, orator and writer ; born in Dublin, entered Parliament in 1765 as member 
 for Wendover, elected for Bristol in I774, and for Malton in 1787 ; he specially 
 distinguished himself by his speeches on the American question, on Catholic 
 Emancipation and in the prosecution of Warren Hastings. Died at Beaconsfield, 
 Julys, 1797. 
 
 Half-length figure, life-size, front, head turned to left ; in crimson cloak with fur collar, 
 brown waistcoat and white stock. Canvas, 30 x 24^ in. 
 
 By Sir Joshua Reynolds, P.R.A. Lent by Col. Sir Edmund Antrobus, Bart. 
 
 194. Charles Lennox, Fourth Duke of Richmond (1764-18 19). 
 
 Son of Lord George Henry Lennox, succeeded to the dukedom in 1806 ; was Lord 
 Lieutenant of Ireland, 1807-18 12 ; appointed Governor of Canada in 181 8, and died 
 there m 18 19. 
 
 Half-length life-size figure to left, head lookmg at the spectator, in military dress, Star 
 of the Bath. Canvas, 30 x 24^ in. 
 By John Hoppner, R.A. Lent by Messrs. P. and D. Colnaghi and Co. 
 
 195. Anne Luttrell, Duchess of Cumberland (d. 1803). 
 
 Elder daughter of Simon Luttrell, afterwards Earl of Carhampton ; married first 
 Christopher Horton, of Calton House, Derbyshire, and secondly Henry Frederick, 
 Duke of Cumberland, brother of George III. 
 
 Life-size to the waist, turned towards left, and looking to right ; arms crossed ; pink 
 low-cut dress, white fichu trimmed with pearls ; gauze scarf ; blue ribbon m her hair. 
 Canvas, 36 x 28 in. 
 
 By Thomas Gainsborough, R.A. Lent by Lord Wenlock. 
 
40 
 
 Exhibition of Pictures by Masters [south room. 
 
 196. Maria Walpole, Countess Waldegrave, and Duchess of 
 
 Gloucester (1737-1807). 
 
 Daughter of Sir Edward Walpole, K.B, ; married, first, James, second Earl 
 Waldegrave ; and, secondly, William Henry, Duke of Gloucester, son of Frederick, 
 Prince of Wales, by whom she was the mother of William Frederick, second Duke of 
 Gloucester, and Princesses Sophia and Caroline. 
 
 Three-quarter length figure to right, looking at the spectator ; her right hand holds 
 her train on her hip ; white gold embroidered dress ; on her head feathers and jewels ; 
 from her head depends a long veil, which passes over her left shoulder ; landscape 
 background. Canvas, 50 x 40 in. 
 
 By Thomas Gainsborough, R.A. Lent by Alfred Beit, Esq. 
 
 197. A Landscape. 
 
 On the left is a cottage, in front of which stand two boys leaning on a paling, one ot 
 whom points to a man with a gun in the distance and two dogs ; before the cottage 
 is another man, who holds a white horse by the bridle ; sea in the distance. Canvas, 
 275 X 35^ in. 
 
 By George Morland. Lent by Lionel Phillips, Esq. 
 
 198. Francesco Bartolozzi, R.A. (1725-1815). 
 
 Celebrated engraver ; born at Florence, came to England in 1764 ; was appointed 
 engraver to the King, and in 1768 was made a Royal Academician. In 1802, 
 Bartolozzi accepted the post of Director of the National Academy of Lisbon, where 
 ^ he died in 181 5. 
 
 Half-length life-size figure facing, head turned to left ; his arms resting on a table on 
 which are some papers ; crimso n velvet coat, trimmed with fur, pale grey waistcoat 
 and white stock. Canvas, 29I x 24J in. 
 
 By Sir Joshua Reynolds, P.R.A. Lent by the Earl of Morley. 
 
 . 1-^. The Rev. John H. Gray as a Youth aged 13. 
 
 Three-quarter length figure standing towards left, looking at the spectator, his right 
 hand resting on a stick, his left on his hip ; blue coat, grey waistcoat and trousers, 
 large white collar ; landscape background. Canvas, 50 x 40 in. 
 
 By Sir Henry Raeburn, P.R.S.A., R.A. 
 
 Lent by Major Charles Anstruther-Thomson. 
 
 200. Mrs. Rebecca Minet (1743-1819). 
 
 Wife of Daniel Minet (see No. 201) and daughter of Sturt (or Stert), lived after 
 
 her husband's death at Richmond, Surrey, where she died, 18 April, 18 19. Her name 
 has been added to her husband's in Bengeo (old) church. 
 
 Half-length, life-size figure, to left, in low-cut pink dress trimmed with strings of 
 pearls ; hair powdered, and entwined with pearls ; earrings of pearls. Canvas 
 (oval), 29 X 22^ in. 
 
 By Thomas Gainsborough, R.A. Lent by H. L. Bischoffsheim, Esq. 
 
SOUTH ROOM.] of the Flemish and British Schools. 
 
 41 
 
 201. Daniel Minet, F.R.S., F.S.A. (1729-1790). 
 
 Son of Daniel Minet and Anne Maria Atkyns ; was admitted to the Inner Temple, 
 (1759) ; Surveyor of H.M's Customs ; Fellow of the Royal Society (1767) and of the 
 Society of Antiquaries (1767) ; lived in Grosvenor Street and More Park, Herts ; and 
 was buried at Bengeo. In the old church there is a tablet to his memory bearing his 
 arms. He was grandson of Isaac Minet, a Huguenot refugee from Calais, who settled 
 at Dover. 
 
 Half-length life-size figure front, head looking to right ; brick-red coat and waistcoat, 
 lace ruff and stock, white wig ; hat under left arm. Canvas (oval), 285 x 23^ in. 
 
 By Thomas Gainsborough, R.A. Lent by William Minet, Esq. 
 
 202. Child with^a Dog. 
 
 Child kneeling, facing, her arms around [the neck of a dog ; white frock ; landscape 
 background. Canvas, 295 x 24^ in. 
 
 By John Hoppner, R.A. Lent by Charles Butler, Esq. 
 
 203. Mrs. De Bergh. 
 
 Half-length figure, seated, to left, and looking at the spectator ; her right arm rests on 
 a ledge ; her right hand holds her green girdle ; white dress ; pearls in her hair ; 
 foliage background with blue sky. Canvas, 29I x 24^ in. 
 
 By George Romney. Lent by George Donaldson, Esq. 
 
 204. Miss Larpent. 
 
 Full length life-size figure of a girl seated on a bank in a landscape ; she holds in 
 her arms a rabbit ; white dress over pink skirt, black cape lined with pink, white 
 cap and red shoes. Canvas, 50 x 40 in. 
 
 By George Romney. 
 
 Lent by the Misses de Hochepied Larpent. 
 
42 
 
 Exhibition of Pictures by Masters [west room. 
 
 CASE A. 
 
 IN WEST ROOM. 
 
 COLLECTION OF WORKS OF ART LENT BY SIR CHARLES 
 
 ROBINSON. 
 
 207. Drinking Horn, mounted in silver gilt, with a statuette of St. 
 
 Michael. Spanish or French work, second half of the fourteenth 
 century. Obtained from the Church del Carmen at Carrion de los 
 Condes, Spain. 
 
 208. Statuette of the Virgin and Child, silver gilt. French work, 
 
 circa 1350. Obtained from the Convent of Castejon de Monegros, 
 betwixt Huesca and Teruel, Spain. 
 
 209. St. Christopher, statuette in metal gilt repousse work, the face, 
 
 hands, and feet in silver. Spanish, second half of the fourteenth 
 century. 
 
 210. Incense Burner, bronze, damascened withgold and silver. Sara- 
 
 cenic work, thirteenth century. 
 
 211. Inkstand in Silver and Translucent Enamel. Hispano- 
 
 Moresco work, probably made at Granada, end of the fifteenth 
 century. 
 
 212. ROSEWATER Salver, silver gilt repousse work in high relief 
 
 embossed with figure subjects of Spanish Knights fighting with 
 Moorish Emirs. Spanish or Portuguese work, circa 1490. 
 
 213. Standing Censer, silver repousse work. Spanish, circa 1480. 
 
 214. Casket, silver repousse work. Italian, 1500-1 520. 
 
WEST ROOM.] of the Flemish and British Schools. 
 
 43 
 
 215. Ivory Casket, with lock and handles in gold, set with cabochon 
 
 sapphires. Portuguese-Indian work, made at Goa, to contain 
 chrismal phials, circa 1530. 
 
 216. Pyx, for the Reservation of the Blessed Sacrament, ivory 
 
 mounted, in metal gilt. North of France work, cuca 1250. 
 
 217. Sword "EstoquE," the hilt in copper, originally gilded, and inlaid 
 
 with silver. Italian, end of the fifteenth century. 
 
 218. Sword Anelace or Courte epee." French, a><:^ 1450. 
 
 219. Dagger, the hilt in steel, gilded and gold inlaid, the grip ivory 
 
 stained green. Italian, probably Milanese work, circa 1530. 
 
 220. Dagger " MiseriCORDE," the hilt in steel, originally gilt and 
 
 silvered, and enriched with translucent enamels, the blade 
 inscribed, " Salus per Christum." Spanish work, circa 1280 — 1300. 
 
 221. Dagger " Misericorde," with steel hilt, originally gilded, circa 
 
 1350— 1400. 
 
 222. Nautilus Shell Cup, mounted in silver gilt. Spanish work, circa 
 
 1500 — 1520. 
 
 CASE B. 
 
 IN WEST ROOM. 
 
 COLLECTION OF WORKS OF ART LENT BY SIR CHARLES 
 
 ROBINSON 
 
 223. Monstrance Reliquary, metal gilt, with crystal receptacle. Italian 
 
 circa 1450. From the Church of Santa Maria Maddalena at 
 Perugia. 
 
 224. Reliquary Cross, in silver gilt and gold, enriched with translucent 
 
 enamel and jewels. Made by order of Robert of Anjou, King of 
 Hungary, circa 1346, to contain a relic of the true cross. 
 
 E 
 
44 
 
 Exhibition of Pictures by Masters [west room. 
 
 225. Prayer Desk, in bronze gilt and steel. Spanish work, circa 1520. 
 
 Believed to be the work of the celebrated Spanish master, Becerril, 
 of Cuenca. Obtained from the owners of a private chapel in the 
 Cathedral of Valencia. 
 
 226. Manuscript Book, bound in velvet, with silver gilt mounting. The 
 
 book is the statutes of a guild or corporation at Toledo, circa 1560. 
 
 2 27. Bronze Group, Hercules and Cacus, by Giovanni de Bologna. 
 
 A reduction by the artist from the colossal marble group executed 
 for the Cardinal Duke of Lerma. 
 
 228. RosEWATER Ewer and Plateau, silver gilt, repousse work. 
 
 Spanish circa 1500 — 1520, recently obtained from an ancient 
 family in Toledo. 
 
 229. Candlestick, bronze inlaid with champleve enamel. Rhenish- 
 
 Byzantine work, circa 1150. 
 
 230. Italian Bronze Door-Knocker, circa 1560. 
 
 23 1 . Lucretia Killing Herself, alto-relievo in lead, originally painted, 
 
 Italian work, middle of the fifteenth century, ascribed to 
 Donatello. 
 
 232. Silver Salver with Repouss£ Ornamentation. Spanish- 
 
 American work, probably made at Lima, first half of the seven- 
 teenth century. 
 
 233. Incense Burner in the form of a Lion standing on a 
 
 Plateau. Silver repousse work, richly chased. Spanish-Colonial 
 work, probably made at Lima. First half of seventeenth century. 
 
 234. Archaic Greek Bronze Statuette of a Draped Female 
 
 Figure. 
 
 235. Antique Greek Bronze Statuette. A Winged Victory. 
 
 236. Antique Greek Bronze Statuette. Venus. 
 
WEST ROOM.] of the Flemish and British Schools, 
 
 45 
 
 237. Antique Greek Bronze Statuette. A Faun. 
 
 238. Antique Greek Bronze Statuette. Minerva. Found at 
 
 Aquileia, the Ancient Venice. 
 
 239. Antique Greek Bronze Statuette. A Girl. 
 
 240. Seventy-five Cameos, selected from a collection of antique Greek 
 
 and Roman gems. Card No. i contains seven cameos from the 
 Marlborough and Barberini collections, including (a) the 
 celebrated cameo engraved in the illustrated last century work 
 on the Marlborough gems, and (b) the Barberini Medusa. 
 
 E 2 
 
46 Exhibition of Pictures by Masters [central hall. 
 
 CENTRAL HALL. 
 
 CASE C. 
 
 EMBROIDERY. 
 
 241. An Italian Embroidered Cope. End of the fifteenth century. 
 
 Lent by Sir Charles Robinson. 
 
 CASE D. 
 
 242. Orphreys for a Cloth of Estate or Hangings of a Throne. 
 
 The arms and devices indicate it to have been that of the 
 Emperor Maximilian and his wife, Mary of Burgundy. End of 
 the fifteenth century. 
 
 Lent by Sir Charles Robinson. 
 
 CASE E. 
 
 243. Various Embroidered Orphreys of the Fourteenth and 
 Fifteenth Centuries. 
 
 Lent by Sir Charles Robinson. 
 
BALCONY.] 
 
 of the Flemish and British Schools. 
 
 47 
 
 BALCONY. 
 
 FLEMISH SCHOOL. 
 
 244. The Crucifixion and the Conversion of St. Longinus. 
 
 Longinus, the centurion, who pierced the side of the Saviour, seeing the wonders 
 and omens which accompanied His death, exclaimed, "Truly this Man was the Son 
 of God." Shortly after he had uttered these words he placed his hands stained with 
 the blood of our Lord, before his eyes, and immediately a great imperfection and 
 weakness in his sight, which had afflicted him for many years, were healed ; and he 
 turned away repentant and was shortly afterwards baptised. Jameson, Sacred and 
 Legendary Art., vol. ii., p. 788. 
 
 In the centre is Christ crucified ; on the left are the four Marys : and behind them 
 the centurion, St. Longinus, on horseback, raising his hands towards his face ; his 
 spear, with which he has pierced the Christ, is held by an attendant ; on the right are 
 two horsemen with attendants, and in the background a view of Jerusalem. Panel, 
 41 X 33 in. 
 
 Early Flemish School. Lent by Sir Henry H. Howorth, K.C.I.E, M.P. 
 
 245. St. Laurence showing the Treasures of the Church. 
 
 The prefect of Rome having been informed that St. Laurence had under his care the 
 treasures of the Church, consisting of money and gold and silver vessels, and had 
 hidden them away, commanded him to reveal where the treasures were concealed. 
 St. Laurence declined to reveal his charge, but three days afterwards gathered 
 together the sick and the poor to whom he had dispensed alms, and placing them 
 before the prefect, said, " Behold, here are the treasures of Christ's Church." 
 St. Laurence, standing at the entrance of a building, is showing to the prefect and 
 others the " treasures of Christ's Church " in the form of the poor and maimed of the 
 city ; in the background are houses. Canvas, 51 J x 35I in. 
 Said to be a wing of the lost altarpiece at Alkmaar. 
 Early Flemish School. Lent by Sir Henry H. Howorth, K.C.I.E., M.P. 
 
 246. Scenes from the Life of St. Mary Magdalene. The Saint 
 
 in Palestine. 
 
 This picture and No. 247 depict various scenes in the life of St. Mary Magdalene 
 The legend is, that Mary Magdalene, having inherited vast riches and possessions 
 from her father, Syrus, abandoned herself to luxurious pleasures ; but Martha, her 
 sister, who was a model of virtue and propriety, rebuked her for her wanton habits, 
 and at length persuaded her to listen to the exhortations of Jesus, through which 
 her heart was touched and converted. After the ascension of Christ, Lazarus, with 
 his sisters, Martha and Mary and others, was set adrift in a vessel without sails, oars 
 
48 
 
 Exhibition of Pictures by Masters [balcony. 
 
 or rudder : but guided by Providence they were safely landed in a harbour which 
 proved to be Marseilles. Here the people were pagans : but after a while they listened 
 to the eloquent preaching of Mary Magdalene and were converted and baptised. 
 Among the many miracles attributed to the Magdalene there is one which became 
 popular in art. A Prince of Provence arriving at Marseilles with his wife, and being 
 desirous of having a son, invoked the intercession of Mary Magdalene, by whose 
 persuasive eloquence he had been partly converted to Christianity, Mary promised 
 that his desire would be granted if he would be wholly converted and baptized. 
 Shortly afterwards on his journeying to Jerusalem with his wife a son was born to 
 the prince ; but the mother dying he landed on a rocky island and placing the dead 
 body in a cave, left the infant son beside her, after committing it to the care of the 
 Saint. On his return journey he touched at the island to weep over his wife's grave. 
 Now, wonderful to relate, the infant child had been preserved alive by the prayers of the 
 Magdalene, and was accustomed to run on the sands of the seashore to gather shells 
 and pebbles. When the child perceived the strangers he ran to hide himself under 
 the cloak which covered his dead mother, and the father and all who were with him 
 were filled with astonishment ; but their surprise was still greater when the woman 
 opened her eyes and stretched out her arms to her husband. Having offered up 
 thanks they all returned to Marseilles and received baptism from the hands of Mary 
 Magdalene. From that time all the people of Marseilles became Christians. See 
 Jameson, Sacred and Lej^e7zdary Art, Vol. i., pp. 346 and 376. 
 
 A cavalcade proceeding to the chase ; the figures are habited in costumes of the period 
 of the painting of the picture ; in the foreground Mary Magdalene seated on a white 
 horse with a falcon on her left wrist, wears a rich brown embroidered robe lined with 
 ( ermine, and red hat ; in the background she is seen with her sister Martha listening to 
 I Christ preaching ; behind are two disciples and three others ; in the distance a castle. 
 ^' Panel, 47J x 29I in. From the Ruston Collection. 
 ^ ] Attributed to Quinten Matsys. Lent by Messrs. P. and D. Colnaghi and Co. 
 
 /a47. Scenes from the Life of St. Mary Magdalene. The Saint 
 V IN Provence. (See No. 246.) 
 
 In the foreground Mary Magdalene, habited as in No. 246, but with white mantle and 
 head-dress, standing facing between two trees, her left hand resting on a cross-bar, 
 and preaching to assembled pagans ; in the background is depicted the miracle of 
 the mother and the child, a ship on the sea at the mouth of a harbour approaches the 
 shore, on which runs a naked child ; the dead mother lies within a cave ; on the right 
 a kneeling monk looking up at a vision. Panel, 47J x 295- in. From the Ruston 
 Collection. 
 
 -\M Attributed to Quinten Matsys. Lent by Messrs. P. and D. Colnaghi and Co. 
 248. The Deposition. 
 
 The dead body of the Saviour lying on the ground, supported in the arms of St. 
 John ; the Virgin with clasped hands kneels beside Him, and three other holy women 
 behind ; Joseph of Arimathea and another stand by ; landscape background, with 
 representations of Xh^ Asce?ision :indi ih^ Restirrectio?i. Panel, 41 x 20 in. From the 
 Roscoe Collection. Waagen, iii,, p. 235. 
 By Michael Wohlgemuth. 
 
 Lent bv the TRUSTEES OF the Royal Institution, Liverpool. 
 
BALCONY.] 
 
 of the Flemish and British Schools, 
 
 49 
 
 549. A Landscape^ 
 
 ' View of a wooded landscape, with many houses and city, and sea m the distance ; 
 in the centre of the picture is a wide road, along which are passing men and women 
 on foot, on mules and on horses. Panel, 26 J x 4 if in. 
 
 By Herri de Bles (Civetta). Lent by the Trustees of the Bowes Museum. 
 260. View from Richmond Hill. 
 
 On the right a terrace, amidst trees, commanding an expansive view of the valley of 
 the Thames. Canvas, 52 + 48^ in. 
 
 By Richard Wilson, R.A. Lent by Col. Sir Edmund Antrobus, Bart. 
 
 251. The Visitation. 
 
 By Joachim Patinir. In the National Gallery. 
 
 Lent by The Catholic Art Society. 
 
 262. The Flight into Egypt. 
 
 By Joachim Patinir. In the National Gallery. 
 
 Lent by The Catholic Art Society. 
 
 PHOTOGRAVURES 
 
 lent by the BERLIN PHOTOGRAPHIC SOCIETY. 
 
 253. Philip Lord Wharton. 
 
 By Van Uyck. 
 
 In the Hermitage, St. Petersburg. 
 
 254. Isabella Brandt. 
 By Van Dyck. 
 
 In the Hermitage, St. Petersburg. 
 
Exhibition of Pictures by Masters [balcony. 
 
 255. Sir Thomas Chaloner. 
 
 By Van Dyck. 
 
 In the Hermitage, St. Petersburg. 
 
 256. Georgiana Duchess of Devonshire and her Child. An 
 artist's proof engraving on Japanese paper. 
 By Reynolds. In the Chatsworth Collection. 
 
 257. Sir a. Van Dyck : as a Youth. 
 By Van Dyck. 
 
 In the Hermitage, St. Petersburg. 
 
 258. Susanna Fourment and Daughter Catherine. 
 
 By Van Dyck. 
 
 259. William Prince of Orange. 
 By Van Dyck. 
 
 260. Henrietta Maria 
 By Van Dyck. 
 
 261. Family Group. 
 
 By Van Dyck. 
 
 262. The Children of Charles I. 
 
 By Van Dyck. 
 
 263. Helen Fourment. 
 By Rubens. 
 
 264. The Children of Charles I. 
 
 By Van Dyck. 
 
 In the Hermitage, St. Petersburg. 
 
 In the Hermitage, St. Petersburg. 
 
 In the Dresden Gallery. 
 
 In the Hermitage, St. Petersburg. 
 
 In the Dresden Gallery. 
 
 In the Hermitage, St. Petersburg. 
 
 In the Dresden Gallery. 
 
BALCONY.] of the Flemish and British Schools. 
 
 51 
 
 265. Lazarus Maharkijus. 
 By Van Dyck. 
 
 266. Venus and Adonis. 
 By Rubens. 
 
 267. Charles I. 
 By Van Dyck. 
 
 In the Hermitage, St. Petersburg. 
 
 In the Hermitage. St. Petersburg. 
 
 In the Dresden Gallery. 
 
INDEX OF PAINTERS. 
 
 Bles, Herri de, called Civetta (c. 1480-1551), 13, 
 49, 249 
 
 Bouts, Dierick (d. 1475), 42, 62, 78 
 
 Campana, Pedro (i 503-1 570?), 4 
 
 Cleef, Justus van (c. 1 520-1 556), 93 
 
 Cologne, Early School of, i 
 
 Constable, John, R.A. (1776-1837), 177, 185 
 
 Coques, Gonzales (1618-1684), 104, 136, 138, 140 
 
 Cornelissen, Jacob (c. 1475-1553), 26, 40 
 
 Cosway, Richard, R.A. (1740-1821), 186 
 
 David, Gheeraert (c. 1483-1523), 10, 32, 52 
 David, Gheeraert, School of, 85 
 Death of the Virgin, Master of the, 43, 75 
 Dyck, Anthony van (i 599-1641), 103 
 
 Eyck, Hubert van (c, 1366-1426), 27 
 
 Eyck, Jan van (c. 1380-1440), 9, 20, 27, 69, 82 
 
 Eyck, Jan van, School of, 38 
 
 Flemalle, Maitre de, 48 
 
 Flemish School, Early, 7, 15, 16, 22, 23, 24, 25, 
 30, 34, 44, 45, 47, 50, 53, 56, 57, 63, 64, 66, 
 68, 72, 77, 88, 89, 95, 98, 244, 245 
 
 Gainsborough, Thomas, R.A, (i 727-1 788), 171, 
 
 181, 182, 195, 196, 200, 201 
 Goes, Hugo van der (c. 1405-1482), 17, 33, 41, 
 
 51, 65 
 
 Gossaert, Jan, called Mabuse (1470 ?-i 541), 3, 6, 
 8, 12, 29, 31, 36, 61, 70, 71, 84, 97 
 
 Hemessen, Jan Sanders van (painted 1519-1548), 55 
 Hoppner, John, R.A. (1758-1810), 174, 187, 194, 
 202 
 
 Kauffman, Angelica, R.A. (1741-1807), 170 
 Kneller, Sir Godfrey, Bart. (1646-1723), 144 
 
 Lawrence, Sir Thomas, P.R.A. (1769-1830), 175, 
 180 
 
 Leyden,^Lucas van (c. I494-I533)> 79> 83, 86, 91 
 Lyons, Cornelius de (dates not known), 46 
 Mabuse, see Gossaert, Jan. 
 Master, The, of the Death of the Virgin, 43, 75 
 Matsys, Quinten (c. 1466-1531), 90, 94, 96, 246, 
 247 
 
 Memlinc, Hans (c. 1430-1492), 21, 35, 39, 54, 
 58 
 
 More, Sir Antonio (1512-1582 ?) 37, 125 
 Morland, George (1763- 1804), 197 
 Mostert, Jan (c. 1474-1555), 67, 74, 80, 92 
 
 Orley, Bernard van (c. 1491-1542), 5, 60, 76, 87 
 
 Patinir, Joachim, (c. 1490-1524), 14, 73, 81 
 
 Raeburn, Sir Henry, R.A., P.R.S.A. (1756- 1823), 
 199 
 
 Reynolds, Sir Joshua, P.R.A. (1723-1792), 173, 
 
 178, 183, 184, 190, 193, 198 
 Romney, George (1734- 181 2), 172, 176, 188, 192, 
 
 203, 204 
 
 Rubens, Sir Peter Paul (1577-1640), 105, 107, 
 108, 109, no, III, 112, 113, 114, 115, 116, 
 117, 118, 119, 120, 121, 122, 123, 124, 126, 
 127, 128, 129, 130, 131, 132, 133, 134, 135, 
 
 137, 139, 141, 142, 143. 145 
 Rubens, Sir Peter Paul (1577- 1640), Drawings by, 
 146-164 
 
 Scorel, Jan van (i 495-1 562), 28 
 Snyders, Franz (i 579-1657), 129 
 
 Turner, J. M. W., R.A. (1775-1851), 189, 191 
 
 Vinckeboons, David (1578- 1629), 18 
 
 Weyden, Rogier van der (c. 1400-1464), 2, 11, 59, 
 99 
 
 Wilson, Richard, R.A. (1740- 1782), 179, 250 
 Wohlgemuth, Michael (1434-1519), 19, 248 
 
INDEX OF EXHIBITORS. 
 
 Her Majesty the Queen, 84, 129 
 
 Antiquaries, Society of, 33, 125 
 Antrobus, Col. Sir Edmund, Bart, 170, 188, 192, 
 I93> 250 
 
 Beaumont, Wentworth, Esq., 180 
 Beit, Alfred, Esq., 182, 196 
 Berlin Photographic Company, 253-257 
 Birmingham, Corporation of, 176 
 Bischoffsheim, H. L., Esq., 136, 20C^^ 
 Bodley, G. F., Esq., A.R.A., 21 
 Bowes Museum, Trustees of, 93, 249 
 Brocklebank, Ralph, Esq., 83, 87, 89, 90 
 Brownlow, Earl, 97, no, 119, 
 Butler, Charles, Esq., 35, 37, 38, 49, 74, 80, 130, 
 202 
 
 Carlisle, Earl of, 133, 135 
 Catholic Art Society, 251, 252 
 Clarke, Mrs. Stephenson, 42, 54, 65 
 Colnaghi, Martin, Esq., 73 
 
 Colnaghi and Co., Messrs. P. and D., 92, 131, 
 
 171, 194, 246, 247 
 Cook, Sir Francis, Bart, 3, 4, 5, 6, 7, 8, 9, 10, 
 
 II, 12, 13, 108, 109, 118, 128 
 Cook, Frederick L., Esq., M.P., 43 
 Crawford, Earl of, K.T., 85. 
 Crews, Charles, T. D., Esq., 23, 40, 78 
 
 Darnley, Earl of, 121 
 Donaldson, George, Esq., 203 
 
 Earle, Lionel, Esq., 175 
 
 Falcke, Isaac, Esq., 70 
 
 Farrer, Sir William, 86, 105, 120, 183 
 
 Flower, Wickham, Esq., 30, 44, 47, 57, 94 
 
 Gibbs, Antony, Esq., 17 
 Glasgow, Corporation of, 51, 143 
 
 Hamilton, Trustees of the late Duke of, 145, 173 
 Hardman, John, Esq., 22 
 Holford, Captain G. L., C.I.E., 29, 75 
 Howorth, Sir Henry H., K.C.I.E., M.P., 24, 
 
 28, 244, 245 
 Hughes, Hugh R., Esq., 96 
 
 Johnstone, George, Esq., M.D., 106 
 
 Lane, Hugh P., Esq., 18, 95, 104 
 Larpent, The Misses de Hochepied, 204 
 Leeds, Duke of, 122 
 Linton, Sir James, 179 
 
 Liverpool, Royal Institution of, 19, 41, 76, 77, 
 91, 248 
 
 Loreto Convent, The, Manchester, 25 
 
 Mackenzie, Sir Kenneth Muir, K.C.B., 81, 88 
 
 Martin, G. E., Esq., 103, 124, 138, 140 
 
 Minet, William, Esq., 201 
 
 Mond, Ludwig, Esq., 137 
 
 Morley, Earl of, 198 
 
 Morrison, Charles, Esq., 107, 123 
 
 Moulton, J. Fletcher, Esq., Q.C., M.P., 79, 82, 99 
 
 Northbrook, Earl of, 2, 55, 60, 61, 62, 63, 64, 66, 
 67, 68, 69, 71, 72, 132, 141 
 
 Orrock, James, Esq., 189, 191 
 
 Phillips, Lionel, Esq., 172, 174, 177, 178, 181, 
 184, 185, 186, 197 
 
 Robinson, Sir J. Charles, i, 45, 117, 146-164, 
 207-243 
 
 Salting, George, Esq., 34, 46, 59 
 Smith-Barry, Rt. Hon. A. H., in, 112, 113, 114, 
 115, 116 
 
 Somzee, M. Leon de, 15, 16, 20, 26, 27, 32, 48, 
 52 
 
 Stanley, Hon. Lyulph, 187, 190 
 Stowe, Alfred, Esq., 14 
 Sutton-Nelthorpe, R.C., Esq., 31 
 
 Thompson, Sir Henry, Bart., 58 
 Thomson, Major Anstruther, 199 
 Trevelyan, Lady, 50, 53, 56 
 
 Waller, J. G., Esq., 36 
 Wallis, Whit worth, Esq., 144 
 Wenlock, Lord, 195 
 
 Westminster, The late Duke of, K.G., 39, 126, 
 
 127, 142 
 Windsor, Lord, 134, 139 
 
 RICHARD CLAY AND SONS, LIMITED, LONDON AND BUNGAY. 
 
 ^ 33 . 13iii^'93