WESTERN GALLERYofART 
 
CATALOGUE 
 
 OF 
 
 REPRODUCTIONS OF WORKS OF ART 
 
 IN THE 
 
 WESTERN GALLERY OF ART 
 
 KANSAS CITY, MO. 
 PAINTINGS— SCULPTURE— PHOTOGRAPHS 
 
 ILLUSTRATED 
 
 F^IRST KDITION 
 189r 
 
 KANSAS CITY ART ASSOCIATION 
 
 KANSAS CITY, MO. I 
 LAWTON &. BURNAP, PRINTERS AND STATIONERS 
 
 1897 
 
The Kansas City Art Association was incorporated under the laws 
 of the State of Missouri, July, 1887; hav^ing as its object the promotion 
 of artistic education by means of exhibitions of pictures, lectures, 
 a school and a museum of fine arts. Its first collection was destroyed 
 by fire in January, 1893. 
 
THE PURPOSE OF THE WESTERN GALLERY OF ART* 
 
 HTHE PURPOSE which led to the establishment of The 
 * Western Gallery of Art, found its impulse in the 
 belief that a comprehension of the grandeur of the Old 
 Masters and an appreciation of the surpassing excellence of 
 their work, is the essential foundation of a discriminating 
 love for art. The works of the great masters of painting and 
 sculpture — the works which have endured in unquestioned 
 supremacy through centuries of high and well-endowed 
 endeavor — are priceless, and to all except the fortunate few, 
 inaccessible. Even the traveler can hope to see but few of 
 them, unless he undertakes an arduous and expensive pilgrim- 
 age ; for the world's great pictures are widely separated. 
 
 The aim of The Western Gallery op Art is to set forth 
 an adequate impression of the character and power of those 
 masterpieces ; and with that end in view, it has secured as its 
 first equipment, faithful copies of twenty great pictures, 
 painted with skill, appreciation and reverent patience, by men 
 who were themselves painters of distinction. The perfection 
 with which the character and quality of the drawing have 
 been reproduced, may be judged by comparing the painted 
 copies with photographs made directly from the originals. 
 The coloring has been reproduced with equal fidelity. The 
 pictures exhibited were not hastily executed to meet the 
 needs of the Gallery ; they were carefully selected under the 
 direction of artists and connoisseurs, as the best existing 
 copies of the originals to be found, in all Europe. The 
 reproduction of the Sistine Madonna, of Raphael, for example, 
 is celebrated as the best copy ever made of that painting. 
 That of the Madonna Enthroned, of Bellini, is itself more than 
 a century old. 
 
 Supplementing the twenty paintings are a collection of 
 casts from antique and renaissance sculpture, and some five 
 hundred photographs, of serviceable size and fine quality, of 
 pictures by old masters ; the collection being especially com- 
 plete in respect of Rembrandt, Velasquez, Botticelli and Leo- 
 nardo da Vinci, nearly all of whose important works are 
 included. 
 
 Since the passing of the mighty ones of art, genius has 
 arisen and found manifold expression in the field that they 
 illuminated, and there is no lack of modern achievements that 
 worthily interest the judicious. But the founders of The 
 Western Gallery of Art, believing that to know the Old 
 Masters is to possess the touchstone to enjoyment in the 
 fullest, and to intelligently and with appreciative selection, 
 know all art, including the worthy works of later days and the 
 untried offerings of contemporary painters, feel that they have 
 not erred in the plan upon which the Gallery has been inaug- 
 urated and upon which it may be further extended. 
 
This collection consists of twenty oil paintings, copies of 
 masterpieces by Raphael, AnHrea del Sarto, Giorgione, 
 Botticelli, Titian, Carlo Dolci, Fillippo Lippi, Fra Angelico, 
 Bellini, Rembrandt, Rubens, Van Dyck, Velasquez, Murillo, 
 Paul Veronese and Susterman. 
 
 These are the work of the best European copyists and 
 are from the gallery of L. Pisani, Florence. They are of the 
 same size as the originals and, with the exception of the 
 Sistine Madonna, are framed identically. Casts of sculpture 
 and five hundred framed photographs from the studios 
 of Braun & Co., of Paris, Alinari of Florence, and the " Libreria 
 Spithover," of Rome, complete the collection in its present 
 form. 
 
 Presented to the Kansas City Art Association, for the City, 
 by Mr. Wm. R. Nelson, in 1896, the essential conditions being 
 that all fees for admission shall be devoted to the purchase of 
 additions to the collection, and that the gallery shall be open 
 on Sundays. 
 
 Opened to the public February 23rd, 1897. 
 
CATALOGUE OF NUMBERS. 
 
 No. Page, 
 
 1 11 
 
 2 46 
 
 3 16 
 
 4 47 
 
 5 10 
 
 6. 36 
 
 7-8 27 
 
 9 32 
 
 10 12 
 
 11 49 
 
 12 30 
 
 13 50 
 
 14 15 
 
 15 32 
 
 16 41 
 
 17 71 
 
 18 65 
 
 19 43 
 
 20 46 
 
 50 83 
 
 51-52 82 
 
 53-56 81 
 
 57 80 
 
 58 77 
 
 59 81 
 
 60 83 
 
 61 78 
 
 62-63 81 
 
 64 82 
 
 65 83 
 
 66 81 
 
 67 83 
 
 68 81 
 
 69 82 
 
 70 81 
 
 71-72 83 
 
 73 77 
 
 74-76 83 
 
 77 81 
 
 78 82 
 150-166 .'.20-21 
 
 167 74 
 
 168-169 72 
 
 170 ..26 
 
 171 71 
 
 No. 
 
 
 Page. 
 
 
 
 
 17o 
 
 
 
 17 4: 
 
 
 A K 
 
 1 T ^ 
 
 X t «J 
 
 
 . . . . tto 
 
 1 TT- 
 
 -1 
 
 4.R 
 
 179 
 
 
 . ... 44 
 
 loU 
 
 
 •70 
 
 JL O X 
 
 
 4.1=; 
 
 A. 
 
 
 4-7 
 
 
 
 
 A O 
 
 
 
 lob 
 
 
 
 Jl(j t 
 
 
 fiQ 
 
 188- 
 
 -189 
 
 
 190- 
 
 -295 
 
 50-56 
 
 
 -o5o . 
 
 . DO-70 
 
 357 
 
 
 71 
 
 358 
 
 362 
 
 37 
 
 363 
 
 366 . 
 
 1 A 
 
 . ... 14 
 
 367 
 
 368 
 
 
 369 
 
 
 
 370-373 
 
 85 
 
 374 
 
 375 
 
 12 
 
 376 
 
 
 4^ 
 
 377 
 
 
 31 
 
 378 
 
 
 23 
 
 379 
 
 380 
 
 
 381 
 
 382 
 
 
 383 
 
 384 
 
 1 A 
 
 385 
 
 386 
 
 -l 1 
 
 387- 
 
 389 
 
 QQ 
 
 390 
 
 
 9 
 
 391 
 
 
 13 
 
 392 
 
 
 41 
 
 393 
 
 
 36 
 
 394 
 
 
 10 
 
 395 
 
 
 39 
 
 396 
 
 397 
 
 23 
 
 398 
 
 399 
 
 1 n 
 
 400 
 
 402 
 
 30 
 
 403 
 
 412 . 
 
 .27-29 
 
 413- 
 
 451 . 
 
 .16-19 
 
 452- 
 
 454 
 
 , ,, .20 
 
 455 
 
 
 , 42 
 
 456 
 
 460 
 
 ....33 
 
 No. Page. 
 461-463 . 24-25 
 
 464-465 75 
 
 466 72 
 
 467 75 
 
 468-469 74 
 
 470-472 73 
 
 473-475 34 
 
 476 25 
 
 477 41 
 
 478 42 
 
 479-487 76 
 
 488-490 39 
 
 491-496 ..37-38 
 
 497 43 
 
 498-524 ..34-36 
 
 525-554 25 
 
 555 85 
 
 556-557 30 
 
 558-559 70 
 
 560-566 57 
 
 567-569 46 
 
 570-573 47 
 
 574-608 ..62-63 
 
 609 58 
 
 610 64 
 
 611 ..47 
 
 612 64 
 
 613-6*7 ..60-61 
 
 628 59 
 
 629 58 
 
 630 48 
 
 631 61 
 
 632 64 
 
 633 45 
 
 634-636 48 
 
 637 64 
 
 638 63 
 
 639 57 
 
 640-641 59 
 
 642 49 
 
 643-644 58 
 
 645 45 
 
 646 61 
 
 647 59 
 
 648-651 ....61 
 
No. Page. 
 
 652-653 57 
 
 654 85 
 
 655-657 13 
 
 658 40 
 
 659 26 
 
 660 38 
 
 661-665 41 
 
 666 42 
 
 667 85 
 
 668 39 
 
 669-672 19 
 
 673 40 
 
 674-675 14 
 
 676 24 
 
 677 13 
 
 678-680 29 
 
 681 10 
 
 682 13 
 
 683-684 85 
 
 No. Page. 
 
 685 43 
 
 686-688 23 
 
 689 39 
 
 690-710.. 21-23 
 
 711-712 85 
 
 713 43 
 
 714 40 
 
 715 14 
 
 716. 43 
 
 717 85 
 
 718 43 
 
 719 38 
 
 720.. 43 
 
 721 42 
 
 722 9 
 
 723 85 
 
 724 73 
 
 725 74 
 
 726 71 
 
 No. Page. 
 
 727 74 
 
 728-730 73 
 
 731-734 72 
 
 735-736 . ...75 
 
 737 57 
 
 738 23 
 
 739 85 
 
 740 40 
 
 741-742 85 
 
 743 29 
 
 744-751 84 
 
 752 39-84 
 
 753 84 
 
 754 46 
 
 755 62 
 
 756 58 
 
 757 74 
 
 758 39 
 
 759 64 
 
 LIST OF ILLUSTRATIONS. 
 
 Head of Old Monk (Velasquez) Frontispiece 
 
 Bettveen Pages 
 
 Portrait of Philip IV ( Velasquez) 76-77 
 
 The Forge of Vulcan '{Velasquez) 52-53 
 
 Madonna (Frari) (Bellini) 12-13 
 
 Mona Lisa (da Vinci) 12-13 
 
 The Magnificat (Botticelli) 12-13 
 
 Allegory of Calumny (Botticelli) 44-45 
 
 Sis tine Madonna (Raphael) 20-21 
 
 Madonna della Sedia (Raphael) 20-21 
 
 Sacred and Profane Love (Titian) 44-45 
 
 Portrait of Unknown Man (Titian) 20-21 
 
 Madonna of the Harpies (Del Sarto) 28-29 
 
 The Concert (Giorgione) 28-29 
 
 Children of Charles I (Van Dyck) 28-29 
 
 Madonna of the Star (Fra Angelico) 36-37 
 
 Angel Gabriel (Carlo Dolci) 36-37 
 
 Madonna and Child (Filippo Lippi) 36-37 
 
 Marriage of St. Catherine (Paul Veronese) 44-45 
 
 Danae ( Correggio ) 52-53 
 
 The Havoc of War (Rubens) .52-53 
 
 The Tranquil Sea (Rembrandt) 60-61 
 
 Abraham at Table with the Angels (Rembrandt) 60-61 
 
 Portrait of Unknown Man (Rembrandt) 68-69 
 
 Madonna and Child (Murillo) 68-69 
 
 Portrait of Prince of Denmark . . . (Susterman) 76-77 
 
 Plates engraved by Teachenor-Bartberger Eng. Co., Kansas City. 
 
HEAD OF OLD MONK 
 
 IFJ.ASQVEZ,. 
 
CATALOGUE 
 
 ARRANGED CHRONOLOGICALLY AND ACCORDING TO SCHOOLS. 
 
 Italian School. 
 
 GIOTTO (1276-1336) 
 
 "This first of the great personalities in Florentine painting, 
 was renowned as architect and sculptor. With the simplest 
 means ; with almost rudimentary light and shade and func- 
 tional line, he contrives to render only those outlines and those 
 variations of light and shade that we must isolate for special 
 attention, to realize the whole." (Berenson.) 
 
 Photograph from Painting. 
 
 No. 390 Portrait of Dante. [Florence] 
 
 This portrait of his dearest friend, painted on the wall of 
 the palace of the Podesta at Florence, had been covered with 
 whitewash during a renovating of the building. It is one of 
 his most famous works and is full of wondrous power." 
 
 (Clement) 
 
 FABRIANO (Gentile) (1360-1440) 
 
 "A naive and spontaneous way of treating real life, a 
 joyous, noble spirit is expressed in his works. His color is 
 harmonious, but almost devoid of shadow." 
 
 Photograph from Drawing. 
 No. 722 Figure of a nude young man. 
 
 FRA ANGELICO(Giovanni Fiesole)(138M455) 
 
 " A celebrated painter of religious subjects and a Domini- 
 can monk of saintly life, which was reflected in his pictures. 
 His style was based on the traditions of Giotto's school, but 
 he has a keener feeling for nature. His knowledge of figure 
 
10 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 is inferior, but his drawing is remarkable for distinction and 
 sense of beauty ; it is rarely crude, and only stiff or awkward 
 where he attempts strong dramatic incidents. His color was 
 pure and tender. He was an innovator in the increased full- 
 ness and variety of expression in his heads." 
 
 Oil Painting. 
 
 No. 5 Madonna of the Star. (Copy) [Florence] 
 In a gilt tabernacle. 
 
 Photograph prom Painting. 
 No. 394 The Crowning of the Virgin. [Florence.] 
 
 MASACCIO (Tomaso Guidi) (1402-1429) 
 
 He surpassed all his predecessors in drawing and color- 
 ing and made advances in atmospheric perspective. His most 
 prominent device for giving roundness to his figures was a 
 somewhat mannered way of putting the high lights upon the 
 edges, but he led the way in representing the objects of nature 
 correctly and showed a degree of appreciation of nude form, 
 such as was, at that date, unexampled in painting. ^• 
 
 Photograph from Drawing. 
 No. 681. A Young Man Sitting, [Windsor] 
 
 LIPPI (Filippino) (141^-1505) 
 
 One of the greatest artists of his century; noted for his love 
 of ornamentation of every kind. He excelled in the fine 
 modeling of his figures, and was a worthy successor of Masaccio. 
 
 Photographs from Paintings. 
 No. 383 Vision of St. Bernard. [Florence] 
 No. 384 Virgin and Child with Angels. [Florence] 
 
 LIPPI (Fra Filippo) (1412-1469) 
 
 Follower of Masaccio, influenced by Fra Angelico. He 
 excelled in the dignity of his men, the sweetness of his women, 
 and the pleasing adaptation of the costume of the period. 
 
WESTERN GAIiliERY OF ART, KANSAS CITY, MO. 
 
 11 
 
 Oil Painting. 
 
 No. 1 Madonna and Child, (Copy) [Florence] 
 
 His finest easel picture, painted for the private Chapel of 
 the Medici. Two boy angels lift the Holy Child towards His 
 mother, who folds her hands in adoration. The background 
 is a window, through which is seen a crude landscape. 
 
 Photographs prom Paintings. 
 
 No. 385 The Virgin and the Infant Jesus, 
 
 [Florence] 
 
 No. 386 The Virgin adoring the Infant Jesus. 
 
 [Florence] 
 
 BELLINI (Gentile) (1421-1501) 
 
 One of the two brothers who laid the foundation of the 
 Venetian school, most of its great masters having been their 
 pupils. 
 
 Photograph from Painting. 
 
 No. 369 Procession in the Place of St, Mark, 
 
 [Venice] 
 
 The subject represents a procession in which the sacred 
 relic (a piece of the true cross) is being carried across the 
 piazzi. It presents a vivid picture of Venetian life, and is a 
 remarkable example of good arrangement, conveying the effect 
 of movement without confusion. Said to be the greatest 
 extant work of the Venetian school previous to Titian. 
 
 BELLINI (Giovanni) 1422-1616) 
 
 Founder of the Venetian School and instructor of Titian. 
 His culminating excellence lies in his power of combining 
 tones of deep, rich coloring, giving them a crystal clearness. 
 Bellini's pictures, before he learned to work in oil, were char- 
 acterized by elegance and sweetness, but dry and timid; those 
 of his later period added the brilliancy made possible through 
 the new medium. 
 
12 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 Oil Painting. 
 
 No. 10 Madonna Enthroned (Copy) [Venice] 
 
 (Th^s copy is on wood and over 100 years old.) 
 
 " A masterpiece of Bellini's best period, bearing the date 
 1488. It forms the altar-piece of the Sacristy of the Frari 
 Church and is composed of three panels, separated one from 
 another by the frame work. The central panel, representing 
 the Madonna and Child enthroned under a canopy, is higher 
 than the two side ones by some thirty inches. The side panels 
 represents four evangelists standing, two on each panel. The 
 beautiful Renaissance frame forms part of the picture and is 
 repeated in it. The picture is rich and mellow in coloring. 
 Above the Madonna is a dome filling the arch. This is heaven 
 opened, and is formed of golden clouds, parting to each side, 
 disclosing a glory of light and seeming to glow with a light of 
 it's own; an effect obtained, perhaps, by glazing upon a gold 
 ground. The drapery is of a rich, harmonious blue, the dark 
 folds of which are intensely deep. The underrobe is red, simi- 
 lar in tone to the background, but brighter. The background 
 behind the Madonna and below the warm marble cornice, is 
 of a deep, rich carmine, burning like a ruby. The throne is 
 of a reddish brown marble, glowing golden on the lighted side, 
 while the clouds and veins in the marble give added richness 
 of color. It is one of the greatest and most elegant emana- 
 tions of Bellini's art. The Virgin beautiful and pensive, the 
 Child buoyant and resolute, the singing angels pretty in their 
 crowns of leaves." (jL. Cole.) 
 
 Photographs from Paintings. 
 
 No. 374 Portrait of a Doge {Leonardo Loredano). 
 
 [London] 
 
 ^ *'It is a striking example of the skill with which Bellini 
 seized and embellished nature, reproducing the flexibility of 
 flesh in a soft and fused golden tone, and ventured at the same 
 time into every line of detail. 
 
 No. 375 Madonna Enthroned. [Venice] 
 
 Painted when Bellini was nearly eighty years old. The 
 Madonna and Child are seated on a bright canopied throne. 
 On one of the steps sits a lovely little angel, in dark green and 
 yellow robes, playing a viol. St. Lucia, at the right, shows an 
 exquisite face profile, quite individual and portrait like. She is 
 
MA D ONNA {FRA R I) - BE LL INI. 
 
MOXA LISA— LEONARDO DA VINCI. 
 
THE MA GNIFICA T—BO TTICELLI. 
 
WESTERN GAIiLERT OF ART, KANSAS CITY, MO. 
 
 13 
 
 dressed in a gray blue and red drapery. St. Catherine is 
 opposed to her formally in the composition and in the arrange- 
 ment of color, being a dark mass. SS. Peter and Jerome are 
 in similar manner opposed to each other ; the draperies of the 
 two are large and carefully composed and contrasted, St. 
 Peter's gathered upon his arm, like a toga, while the folds of 
 St. Jerome's fall from the waist in straight lines. {T, Cole.) 
 
 From Drawings. 
 
 No. 655 Portrait of a man, [Florence] 
 
 No. 656 Head of a man, [Florence] 
 
 No. 657 Head of a young hoy, [Venice] 
 
 MANTEGNA (Andrea) (1430-1506) 
 
 Adopted by Squar clone. ''Doubtless the greatest painter 
 of northern Italy in his day. His influence was through the 
 whole country. His works are full of meaning ; his inventive 
 power large. His foreshortening, perspective, chiaroscuro and 
 color were excellent, but his figures are too portrait like." He 
 was also a fine engraver. 
 
 Photograph from Drawing. 
 
 No. 682 Hercules between Virtue and Vice, 
 
 [London] 
 
 VERROCCHIO (Andrea) (1432-1488) 
 
 He was a goldsmith, sculptor, and worker in bronze, as 
 well as a painter, musician and mathematician, and strongly 
 influenced da Vinci. (See Sculptures Nos. 64 and 74.) 
 
 Photograph from Painting. 
 
 No. 391 The Baptism of Christ, ' [Florence] 
 
 noble work, though the faces are those of two 
 peasants." 
 
 From Drawing. 
 
 No. 677 Head of an angel. 
 
 [Florence] 
 
14 BEPBODtJCTIONS Ot WORKS OF ART IN THE 
 
 PERUGINO (Pietro Vannuci) (1440-1524) 
 
 After enjoying great fame and success, he had to make 
 way, in his old age, to younger men, and is now known chiefly as 
 the master of Raphael. He is not inferior to the best of the 
 Florentines in composition, and is even more concentrated m 
 aim and simpler than most of them. The type of face by 
 which he is known is the high forehead, delicate mouth, and 
 gentle expression." (W. <fc W.) 
 
 Photographs from Paintings. 
 
 No. 363 The Assumption. [Florence] 
 
 No. 364 The Crucifixion. [Florence] 
 
 No. 365 The Charge to Peter. [Rome] 
 
 No. 366 The Virgin and the Infant. [Paris] 
 
 Photograph from Drawings. 
 
 No* 674 Detail from the Entombment.'''^ 
 
 [Florence] 
 
 No. 675 Head of a woman. [Windsor] 
 
 LUINI (Bernardino) (Lovini) (1460-1530) 
 
 " One of da Vinci's most successful followers. His color- 
 ing was clear and warm and his figures beautiful." 
 
 Photograph from Drawing. 
 
 No. 715 Bust of a woman turned to right. 
 
 BOTTICELLI SANDRO (Alessandro Filipepi) 
 
 (1449-1510) 
 
 One of the most original and fascinating painters of the 
 school of Florence. He was a restless and wayward child, who 
 did not take kindly to any sort of schooling, and was placed 
 with a goldsmith named Botticelli, to learn the trade. Thus, 
 his first training, like that of many of the best artists of the 
 
WESTERN GALLERY OE ART, KANSAS CITY, MO. 15 
 
 time, was in metal working. He showed talent and fancy and 
 was presently transferred to the school of Lippo Lippi, then in 
 the height of his practice and reputation as a painter. All his 
 creations are colored with an expression of eager and wistful 
 melancholy, of which it is hard to penetrate the sense and 
 impossible to escape the spell. Their countenances are of a 
 kindred type and have upon them the pale cast of the same 
 nameless passion. He was an artist of immense invention and 
 industry, and in the early part of his career painted in oil and 
 tempera a vast number of pictures, both in the classical and 
 Christian vein. His dejected types have an infinite beauty of 
 their own, and though his figures are not designed with per- 
 fect science and have some tendency to attenuation and to 
 coarseness of the hands and feet, they are nevertheless drawn 
 with a determination and finish in the contours, and modeled 
 with a fullness and delicacy of relief which belong only to the 
 most accomplished art. Of all his school, Botticelli is the 
 richest and most fanciful colorist, often using gold to enrich 
 the lights on hair, tissues and foliage, with a very exquisite 
 effect. This may be the consequence of his early goldsmith's 
 work, as is, more certainly, his minute solicitude in all the 
 accessory details and ornaments of his compositions. The 
 patterned and embroidered dresses, the scarves and headgear 
 of his figures are often treated with an incomparable inven- 
 tion and delicacy. No artist has ever painted flowers with a 
 more inspired affection, especially roses, with which he 
 was wont to fill the backgrounds of his pictures. A large 
 number of his devotional pieces are in circular form. He is 
 superior in the touching and engaging character of the child- 
 ren who minister, in the form of angels, to his sacred person- 
 ages ; and designed choirs of angels with a variety of grouping 
 and a graceful fire of movement that was a new thing in his art. 
 In the Uffizi is an Adoration of the Magi, in which Botticelli 
 has introduced the portraits of Cosimo, Guiliano and Giovanni 
 di Medici (Photo. No. 445). By that house he, like all artists 
 of his time, was much befriended. 
 
 Oil Paintings. 
 
 No. 14 The Magnificat. (Copy) [Florence] 
 
 A circular picture representing the Madonna holding the 
 Child in her lap, and writing the Magnificat (The Hymn of 
 the Virgin — Luke i. 46); angels tender the inkstand and book, 
 two others support her crown, and even the Child does not sit 
 in her lap with unstudied grace, but gazes upward. 
 
16 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 No. 3 The Allegory of Calumny, (Copy) 
 
 [Florence] 
 
 On Boticelli's return from Rome, when he had been accused 
 of heresy, he painted this picture after Lucan's description of 
 that of Apeles (332 B. C.) It displays Botticelli's partiality 
 for rapid action and fluttering garments, delicate ornamen- 
 tation and lighting with gold. 
 
 Photographs from Paintings. 
 No. 413 The Assumption of the Virgin, [London] 
 
 No. 414 Giovanni Tornabuoni and the Three 
 Graces. [Paris] 
 
 (Fresco from the Villa Lemmi, near Florence.) 
 
 No. 415 Venus and Three Loves, [London] 
 
 No. 416 Moses Killing the Egyptian^ driving 
 away the Shepherds from the Fountain 
 and Adoring the Burning Bush, [Rome] 
 
 No. 417 Virgin^ Infant and St. John, [Frankfort] 
 
 No. 418 Virgin^ Infant and Saints. [Florence] 
 
 No. 419 Revolt of Kor ah: [Rome] 
 Death of the Sons of Korah and the Sons of Aaron. 
 No. 420 Lorenzo Alhizzi and the Liberal Arts, 
 
 [Paris] 
 
 (Fresco from Villa Lemmi, near Florence.) 
 
 No. 421 Holy family, [Florence] 
 
 No. 422 Virgin and child Jesus. [Florence] 
 
 No. 423 Virgin^ Infant and Saints. [Florence] 
 
 No. 424 Lucrezia Tornabuoni. [Frankfort] 
 
 Wife of Pierre de Medici and mother of Lawrence the 
 Magnificent. 
 
 No. 425 La Force {Strength) [Florence] 
 
WESTEBN GAIiliERY OP ART, KANSAS CITY, MO. 17 
 
 No. 426 Coronation of Virgin, [Florence] 
 
 No. 427 Calumny. (See copy in oil, No. 3) 
 
 [Florence] 
 
 No. 428 Madonna and Infant, [Paris] 
 
 No. 429 Angels — -Detail of The Magnificat, 
 
 [Florence] 
 
 No. 430 The Birth of Venus, [Florence] 
 
 No. 431 The Magnificat (See No. 14). [Paris] 
 
 No. 432 Fresco Villa Lemmi, (Detail.) [Paris] 
 
 No. 433' Adoration of the Kings, [Florence] 
 
 No. 434 Virgin^ Infant and St. John, [Dresden] 
 
 No. 435 The Archangels and Toiias, [Florence] 
 
 No. 436 Virgin, Child and Six Angels, 
 
 [Florence] 
 
 No. 437 Virgin, Infant, St, John and Angels. 
 
 [Rome] 
 
 No. 438 Annunciation of the Virgin. [Florence] 
 
 No. 439 Holy Family with Angels. [Florence] 
 
 No. 440 Virgin with Infant crowned ly Angels, 
 
 [Florence] 
 
 No. 441 Miracle of St. Zenobius, Bishop of 
 Florence, [Dresden] 
 
 No. 442 Venus. [Paris] 
 No. 443 Mars and Venus. [London] 
 
18 
 
 REPRODUCTIONS OF WORKS OF ART IN THB 
 
 No. 444 Realm of Venus (^Springtime) [Florence] 
 
 (10 ft. X 6 ft.) 
 
 Painted in tempera, the coloration of the "Allegory of 
 Spring" has a peculiarly delicate and opaline quality, 
 while the general aspect fascinates the eye by its 
 decorative richness. In the foreground, is a lawn of fresh 
 grass, bespangled with lilies, daisies, chrysanthemums, and 
 bells and flowerets of a thousand hues. The figures are 
 placed beneath a canopy formed by spreading fruit-laden 
 branches of trees, showing here and there between their 
 trunks and the interstices of the foliage, luminous patches of 
 pale blue sky. In this picture, the curtain of trees opens into 
 a sort of arch in the middle, and the space is filled by a 
 spreading myrtle tree that forms, as it were, an aureole for the 
 central figure of a pensive Venus, over whose head a golden 
 haired cupid poised in mid air, blindfolded and equipped with 
 a rose colored quiver, shoots an arrow, from the head of 
 which little flames spread in the form of a lily. Venus 
 wears a coif and a gown of pearly lavender tone, 
 embroidered with gold around the neck. Her golden hair 
 hangs over her shoulders in wavy tresses, and on her breast is 
 pinned a rich jewelled ornament. Over the gown is draped a 
 carmine red mantle, diapered with a gold design, lined with 
 amethyst and bordered with a fringe of pearls. Her sandals 
 are laced with golden strings. 
 
 On Venus' right hand the Three Graces, holding hands, 
 dance gravely with movements of winning harmony, each one 
 adorned with jewels and clad in transparent draperies, em- 
 broidered around the neck and fringed with pearls. 
 
 Next to the group of the Graces, is a blue-eyed Mercury, with 
 abundant brown hair, wearing a helmet of oxidized steel, a 
 mantle of raspberry red, a richly wrought dagger and shoulder 
 belt, russet gaiters turned down with blue, to which are 
 attached exquisite brown wings, picked out with gold. This 
 semi-nude figure is represented in the act of reaching an 
 apple with his caduceus. To the left of the group is a winged 
 male figure, evidently Zephyr, who, half floating in the air, 
 deposits on the ground a beautiful woman, perhaps symbol- 
 izing Flora. 
 
 No. 445 Adoration of the Magi. [St. Petersburg] 
 
 No. 446 Virgin and Six Angels. (Detail) 
 
 [Florence] 
 
WESTERN GALLERY OP ART, KANSAS OITY, MO. 
 
 19 
 
 No. 447 Birth of the Savior. [London] 
 
 No. 448 Virgin^ Infant and St. John. [Paris] 
 
 No. 449 Temptation of Christ. [Rome] 
 
 No. 450 Virgin and Six Angels. (Detail.) 
 
 [Florence] 
 
 No. 451 La Belle Simonette. [Florence] 
 
 GHIRLANDAJO (Domenico— Tomaso Bi- 
 
 gordi) (1449-1494) 
 
 He was chosen as the teacher of Michael Angelo, who was 
 apprenticed to him for three years. His genius lying largely 
 in the direction of portrait painting, he frequently caused his 
 contemporaries to figure as spectators of his sacred scenes. 
 Among portraits thus introduced was that of Amerigo Ves- 
 pucci, who was to give his name to a continent. In the 
 peculiar coloring used in fresco painting, Ghirlandajo excelled. 
 
 Photographs from Paintings. 
 
 No. 398 Adoration of the Shepherds. [Florence] 
 
 No. 399 Adoration of the Kings. [Florence] 
 
 One of his finest works, a delightful incident of which is 
 the presentation of two exquisitely natural little children by 
 the Baptist on one hand and the Evangelist on the other. 
 
 From Drawings. 
 
 No. 669 Study from Drapery. [Dresden] 
 
 No. 670 Head of young girl. [Florence] 
 
 No. 671 Studies — figure kneeling^ draped ; figure 
 sitting; and two anatomical studies. 
 
 [Florence] 
 
 No. 672 Bust of Woman. [London] 
 CARPACCIO (1450-1522) 
 
 A pupil of Gentile Bellini. A master of perspective and 
 a geometrical distributer of subject ; rough in touch, dusky 
 
20 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 and red in flesh tone, coarse and black in outline. What he 
 lacked in feeling for color, was compensated by the application 
 of scientific laws." 
 
 Photographs from Paintings. 
 
 No. 452 Eeception of the Ambassadors. [Venice] 
 
 One from his most important work, nine pictures represent- 
 ing the Legend of St. Ursula. The English ambassadors, who 
 come to ask the hand of St. Ursula, for the son of the king of 
 England, are received by King Maurus in the center. 
 
 No. 453 Cherub with Mandolin. [Venice] 
 
 Detail from Presentation of the Bambino (Infant)." 
 
 No. 454 Bt. Ursula Beceiving the Bridegroom. 
 
 [Venice] 
 
 VINCI (Leonardo da) 1452-1619) 
 
 Mathematician, mechanic, architect, chemist, engineer, 
 musician, poet and painter, he began much, but finished 
 comparatively little. In his works, he combined grandeur of 
 design and harmony of expression with minute finish. He 
 invented or discovered chiaroscuro. He founded at Milan, 
 the Lombard school of painting, distinguished by a graceful 
 style of drawing, sweetness of expression, and transparency of 
 light and shade. In 1480, he said, " I can do anything pos- 
 sible to a man, as well as any living artist either in sculpture 
 or painting." His genius reached its highest point in the 
 "Last Supper," which was painted on the wall of the dining 
 hall of a Dominican Convent in Milan. It is one of the twelve 
 "world pictures," and in spite of the humidity of the atmos- 
 phere, the perishable nature of da Vinci's colors, and the 
 stabling oi Napoleon's horses before it, enough still remains 
 to vindicate its right to its high rank. 
 
 Photographs from Paintings. 
 No. 150 Bortrait of a Lady. [St. Petersburg] 
 
 No. 151 The Virgin^ Infant Jesus and St. Anne. 
 
 [Paris] 
 
 No. 152 The Adoration of the Kings. [Florence] 
 
SIS 1 IX E MADL INN A —RA PHA EL. 
 
.'iU/)O.VA'A nh'J.LA sum A [OF THE CH AIR ,— RAPHAEL. 
 
/V 7 A'. / /'/' (^F I WA'Xf^ Jf \V .VA.y— TITIAN. 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 31 
 
 No. 153 Head of Medusa. [Florence] 
 
 No. 154 The Madonna of the Scales. [Paris] 
 
 No. 155 The Madonna of the EocJcs, [Paris] 
 
 No. 156 St. John the Baptist. [Paris] 
 
 No. 157 The Annunciatioji of the Virgin. 
 
 [Florence] 
 
 No. 158 Mona Lisa. [Paris] 
 
 The "subtle, shadowy, uncertain smile in the wonderful 
 'Mona Lisa,' upon which the master worked four years and 
 was unsatisfied." 
 
 No. 159 The Virgin and Child with St. John and 
 an Angel. [London] 
 
 No. 160 Saint Jerome. [Eome] 
 
 No. 161 Portrait of the Painter. [Florence] 
 
 No. 162 The Holy Family. [St. Petersburg] 
 
 No. 163 Portrait of a Lady. [Florence] 
 
 No. 164 Saint Marguerite. [Rome] 
 
 No. 165 The Madonna Litta. [St. Petersburg] 
 
 No. 166 Ilerodias^ Daughter with head of St. 
 
 John the Baptist. [Dresden] 
 
 From Drawings. 
 
 No. 690 Bust of young woman^ right profile. 
 
 [Windsor] 
 
 No. 691 Bust of woman^ right profile. (Copied 
 from drawing in the Louvre) [Florence] 
 
 No. 692 Portrait of woman.^ abundant hair^ turn- 
 ing to the left^ and striped dress. [Paris] 
 
32 BEPRODUCTIONS OF WORKS OF ART IN THE 
 
 No. 693 Bust of young man^ with abundant hair 
 covered by cap, [Milan] 
 
 No. 694 2he Visit of the Virgin to Elizabeth, {?) 
 
 [Vienna] 
 
 No. 695 Caricature, [Vienna] 
 
 No. 696 Study of right hand^ fingers bent, [Milan] 
 
 No. 697 Study of drapery of seated figure. 
 
 [Paris] 
 
 No. 698 Study of right hand of angel in the Ma- 
 donna of the Rocks, [Windsor] 
 
 No. 699 Head of woman,^ bending to the right, 
 
 [Florence] 
 
 No. 700 Figure naked and crouching, [Dresden] 
 
 No. 701 Bust of man^ left profile, [Florence] 
 
 No. 702 Head of woman,, turned to left, [Venice] 
 
 No. 703 Bust of woman ^ front view^ and arms 
 crossed. [Florence] 
 
 No. 704 Man,, back view. [Windsor] 
 
 No. 705 Head of woman, [Vienna] 
 
 No. 706 Head of child,, right side,, representing 
 Maximilian^ son of Lodovico il Moro, 
 
 [Milan] 
 
 No. 707 Head of woman^ profile and bending 
 to the left, [Florence] 
 
 No. 708 St, Anne. (Study for painting in the 
 Louvre) [Milan] 
 
 No. 709 Head of Monk, left side. [Vienna] 
 
WESTERN GAIiliERY OF ART, KANSAS CITY, MO. 
 
 23 
 
 No. 710 Head of Virgin, (Study for painting 
 in the Louvre) [Vienna] 
 
 CREDI (Lorenzo) (1453-1532) 
 
 "He painted only easel pictures, and carried his conscientious 
 care to over-smoothness of finish. The adoration of the infant 
 Christ by his mother was his favorite subject, and his char- 
 acteristic infant form was round and plump, the joints being 
 mere creases. He attains a fervor and warmth of feeling, 
 despite all his careful treatment of form, which give them a 
 peculiar charm. 
 
 Photographs from Paintings. 
 No. 396 Adoration of the Shepherds. [Florence] 
 No. 397 Virgin Adoring the Infant. [Florence] 
 No. 688 Madonna and Saints. [Paris] 
 
 From Drawings. 
 No. 686 Head of young girl^ almost full face. 
 
 [Vienna] 
 
 No. 687 Head of woman^ slightly turned to left. 
 
 [Paris] 
 
 CIMA (Giovanni Batista) (Conegliano) 
 
 (1460-1517) 
 
 As a painter in oil, he soon became one of the best of the 
 Bellinesque school. 
 
 Photograph from Drawing. 
 No. 738 Enthroned Virgin. [Paris] 
 
 ALBERTINELLI (Mariotto) (1467-1512) 
 
 A Florentine painter who imitated Bartolommeo. 
 
 Photograph from Painting. 
 
 No. 378 Visitation of the Virgin. [Florence] 
 
 His masterpiece ; a very simple picture with an architec- 
 tural background. Elizabeth greets Mary in the center, the 
 two figures being very graceful and fine in feeling. 
 
24 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 SESTO (Cesare) (Lovini) ( 1524) 
 
 A pupil of both da Vinci and Eaphael. 
 
 Photograph from Drawing. 
 No. 676 Study of hands and arm. [Venice] 
 
 MICHAEL ANGELO (Buonarotti) (1474-1564) 
 
 ''The man of four souls, great in poetry, in architecture, 
 in painting, and supremely great in sculpture." He was born 
 of noble parentage and lived in Florence and Rome. At the 
 age of twenty-four, he had attained fame through the Pieta, 
 ''the purest of all his statues" says Symonds. He had 
 already matured his "terrible manner." Called to Rome, 
 he began what he called the "tragedy of my life," the mau- 
 soleum of Pope Julius II. Of this work, magnificent in plan, 
 only three statues were completed, and only one perfectly 
 finished. The "Moses," the " Pieta " and the " Dawn " from 
 the Lorenzo tomb are perfectly finished ; "executed with the 
 highest polish it is possible for stone to take." In 1508, 
 Angelo began the decoration of the Sistine Chapel, which 
 exhibits every quality of his genius ; perfect marvels of the 
 human form, sublimity of design, profundity of imagination, 
 boldness of execution and astonishing skill in perspective. In 
 sculpture, the grand climax of his power was reached in the 
 Medician tomb in San Lorenzo, Florence. "Here is the 
 height of power and expression beyond which no mortal hand 
 could reach." When over seventy, Angelo was made the 
 architect of St. Peters, and swung its mighty dome in air. 
 
 Photographs from Paintings. 
 
 No. 381 Holy Family, (Ufizzi) [Florence] 
 
 (This is the only finished easel picture by Michael Angelo's 
 own hand.) 
 
 No. 382 Detail f rom ceiling of Sistine Chapel. 
 
 [Rome] 
 
 No. 461 Moses, (Marble) [Vincola] 
 
 ''In this famous colossal figure the sculptor has permitted 
 himself to be led altogether by his symbolic purpose, and has 
 sought out a moment which allowed the expression of a power- 
 ful energy. We have here, not the circumspect leader of 
 hosts, nor the wise law-giver, but the fiery zealot. 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 25 
 
 No. 462 The Last Judgment, [Rome] 
 
 Here is embodied the faith of the Christendom of Angelo's 
 time, concerning the final end of the world. His object was 
 to exhibit, in powerful relief, the misery and the odiousness of 
 sin, and to point to a hell within the breast, more terrible than 
 any combinations of outward torture. 
 
 • No. 463 The Fates. [Florence] 
 
 (Said to be only the design of the master.) 
 
 No. 476 Ceiling of Sistine Chapel, [Rome] 
 
 "The cycle of scriptural subjects which it includes forms 
 the most comprehensive, the most exquisitely combined, and 
 the most sublime of all his works," (Vasari 1.) Its length is 
 132 ft., its width, 44 ft., and its height, 68 ft. At the spring 
 of the vault all around the chapel are the majestic figures of 
 the sibyls and prophets. In the ceiling proper, the great story 
 of the creation, the primeval history of man, sin's entrance 
 into paradise, the curse and its awful consequences, are 
 placed vividly before us. 
 
 Nos. 525-26-27-28-29-30-32; 433-38-39-40 
 
 Details f rom the Sistine Chapel, [Rome] 
 From Drawings. 
 No. 534 Head of a Demon, (Study for the 
 ' ' Furies. ' ' ) [Florence] 
 
 Nos 535-36-37 Details from the Medici Toinb, 
 
 [Florence] 
 
 No. 541 Study of a young man, (For Persian 
 Sybil) [Vienna] 
 
 No. 542 Head of a woman, (Suppose to be Vit- 
 toria Colonna) [Windsor] 
 
 No. 543 Head of a man, [Paris] 
 
 Nos. 544-45-46-47-48-49-51-52-53-54 
 
 Details of Last Judgment, [Rome] 
 No. 550 Tomh of the Medici, (Adapted for a 
 frontispiece) [Florence] 
 
26 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 FRA BARTOLOMMEO (Baccio) (1475-1576) 
 
 The friend of Savanarola, and a monk of San Marco. His 
 principal works are devotional, but, with these limits, he is 
 admirable, and his groups are composed with a true sense of 
 beauty. He adopted oil instead of tempera. 
 
 Photograph from Painting. 
 No. 379 Enthroned Virgin. [Florence] 
 
 SODOMA (II Cavaliere) (Bazzi) (1477-1549) 
 
 ''Distinguished by parity of style and careful execu- 
 tion. His historical paintings abound in beauty of form, 
 color and countenance, but fail in that instinctive arrange- 
 ment of many details into one great whole, which constitutes 
 fine composition." (C2/C. 0/ P. and P.) 
 
 Photograph from Painting. 
 
 No. 170 St, Sebastian. [Florence] 
 
 "Almost in chiaroscuro, but a most glorious specimen of 
 the artist, and the finest rendering of this subject. At the 
 back of this picture is a beautiful Holy Family." (Hare.) 
 
 Photograph from Drawing. 
 
 No. 659 Laurel-crowned head of young man 
 
 [Florence] 
 
 TITIAN (Tiziano Vecelli) (1477-1576) 
 
 Born at Cadore in the Friulian Alps ; went early in life to 
 Venice, where he became the foremost painter of the Venetian 
 school ; studied under Bellini, but departed from the severe, 
 somewhat archaic manner of his master, and was affected to a 
 certain extent by the influence of his genial fellow pupil, 
 Giorgione. He was not a man of universal genius like da 
 Vinci or Michael Angelo ; his one great endowment was paint- 
 ing. In this art he is technically the greatest. As a draughts- 
 man of the human figure, he was good, and is said to have 
 studied anatomy deeply. In the use of color as applied to 
 draperies, he distanced all predecessors, working on the 
 principle that red comes forward to the eye, yellow retains the 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 27 
 
 rays of light, and blue assimilates to shadow. The glow of 
 late afternoon and early sundown was frequently employed in 
 his pictures. His later works show a bolder brush, and deal 
 with free, magnificent forms and with broad masses of color. 
 
 Oil Paintings. 
 No. 8. Sacred and Profane Love, (Copy) 
 
 [Rome] 
 
 " One of the earlier works of Titian; recognized at the time 
 as a masterpiece and marking a period in the growth of Vene- 
 tian art. A contrast is evidently intended between the beau- 
 tiful nude figure of Artless Love, sitting on the ledge of the 
 fountain, a crystal dish at her side symbolizing her thoughts, 
 while her left hand holds aloft the vase and emblematic in- 
 cense of love, and the fully dressed figure of Sated Love 
 who sits to the left, her back resolutely turned towards 
 Cupid, her face determined, haughty and serene. A plucked 
 rose fades unheeded by her side, and a lute lies silent under 
 her elbow. The background of this picture is very beautiful; 
 the balmy atmosphere of an autumnal evening broods over 
 the hills, and streaks of grey cloud alternate with bands of 
 light in a sunset sky. It is, perhaps, one of the most perfect 
 revelations of purely pictorial loveliness the world has seen." 
 
 (0. & C.) 
 
 No. 7 Portrait of an unknown man. (Copy) 
 
 [Florence] 
 
 Full face, left hand leaning on hip, right hand holding 
 gloves. Black vest and cloak, collar of gold. 
 
 Photographs from Paintings. 
 
 No. 403 The Assumption of the Virgin, [Venice] 
 
 A masterpiece of Titian's, executed during the period of 
 his greatest vigor. The magnificent form of the Madonna 
 floats in space, surrounded by a shining host of rejoicing 
 angels ; below are the Apostles gazing upward with passionate 
 longing, and seeming to be drawn after the transfigured 
 Madonna, who leaves them behind on the earth to mourn. 
 The story is told with free, bold touches, and with an over- 
 powering wealth of color. The only trace of violence of treat- 
 ment, is in the somewhat confused and altogether too stormy 
 group of Apostles. {W. <& W.) 
 
28 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 No. 404 Tke Pesaro Madonna, 
 
 [Venice] 
 
 "An altar piece representing the Madonna enthroned, sur- 
 rounded by Saints and by the Pesaro family. This work was 
 finished in 1526, after seven years of study upon it, and in this 
 Titian is generally considered as reaching the highest point of 
 his fame. In it he brought to perfection the best and finest of 
 all forms of presentation pictures; the noblest combination of 
 the homely and devotional, with palatial architecture the most 
 splendid and solemn. The Virgin sits on her throne bending 
 down in a graceful, kindly way and directs her glance to the 
 Pesari who kneel in the portico of the temple. The infant 
 Christ peeps from beneath the Virgin's veil at St. Francis. 
 To the left front of the throne sits St. Peter at a desk. In the 
 rear stands an armed knight with the standard of the church 
 unfurled, and a captive Turk bound by a rope symbolizing the 
 victory of the Pesari." (C. & C.) 
 
 No. 405 27ie Magdalene. [Florence] 
 
 A lovely, but not very penitent head; the tearful eyes raised 
 to heaven, a wealth of hair veiling her neck and bosom. Alto- 
 gether a beauty of such uncommon order as to deserve all the 
 praise which is given it. 
 
 No. 406 Veims of JJrMno. [Florence] 
 
 A noble portrait of Titian's middle period. Light and 
 shade are contrasted with great mastery; the touch is broad 
 and free, the hand admirably modelled. 
 
 Sometimes called the Duchess of Urbino. One of Titian's 
 likenesses in which every feature tells of high lineage, and 
 one so winning that it lurked in his memory, and passed as a 
 type into numerous canvases in which the painter tried to 
 realize an ideal of loveliness. 
 
 No. 409 Presentation of Mary in the Temple. 
 
 [Venice] 
 
 '*It was in the nature of Titian to represent this subject as 
 a domestic pageant of his own time, and seen in this light it is 
 surprisingly touching and beautiful. Venice is here substi- 
 tuted for Jerusalem, the country of Bethlehem transformed 
 
 No. 407 Man with a Glove. 
 
 [Paris] 
 
 No. 408 La Belle Donna. 
 
 [Florence] 
 
MADONNA OF THE HARPIES-DEL SANTO. 
 
I 
 
 I 
 
 ' THE COXCERT-CKyxCIOXE. 
 
/YVv"/A'.//7:s- OF CHI LP REX OF CHARLES I.— VAN DYCK. 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO, 
 
 into Cadore, and Pharisees replaced by Venetian senators. 
 Mary in a dress of celestial blue, ascends the steps of the 
 temple in a halo of radiance. At the top of the stairs, a High 
 Priest in J ewish garments regards the young girl with kindly 
 gravity. In the street before the temple, is a crowd of people, 
 such as might be seen any day in the public square of Venice. 
 In this gorgeous yet masculine and robust realism, Titian 
 shows his great originality, and claims to be the noblest repre- 
 sentative of the Venetian school of color. Titian inherits the 
 framework of this picture from Jacopo Bellini, and as was 
 usual with him, takes up and assimilates what his predecessors 
 have garnered." (C & C.) 
 
 No. 410 Venus Binding the Eyes of Love, [Rome] 
 
 **This subject is sometimes called the * Education of 
 Cupid.' The Queen of Love is seated in front of a gorgeous 
 red-brown drapery, her head is crowned with a diadem, her 
 luxurious hair falls in heavy locks on her neck. With both 
 hands she is binding the eyes of Eros. A girl with naked 
 throat and arms carries Cupid's quiver whilst a second holds 
 his bow." (C.cfcC.) 
 
 No. 411 Flora. [Florence] 
 
 Painted probably about 1520. The proportions and feat- 
 ures are of surpassing loveliness. Instead of the usual vivid 
 color and powerful effects of light and shade, we have here all 
 light, all softness, and a suffusion which is not without dazz- 
 ling brightness, though it is without strong contrasts. (C cfc C) 
 
 No. 412 Venus Reclining. [Florence] 
 
 No. 679 Cupid Crowning Venus. [Dresden] 
 
 Represents the Princess Eboli, the mistress of Philip II, 
 with the King. One of the most beautiful of Titian's many 
 Venuses. 
 
 No. 743 The Entombment. 
 
 [Paris] 
 
 From Drawings. 
 
 No. 678 Unfinished sketch for the Pesaro 
 Madonna. 
 
 [Vienna] 
 
 No. 680 Head of a young woman. [Florence] 
 
30 
 
 REPRODUCTIONS OP WORKS OF ART IN THE 
 
 GIORGIONE (Giorgio Barbarelli) (1478-1511) 
 
 Was regarded as one of the most important masters of the 
 16th century and belonged to the Venetian school. He was a 
 pupil of Bellini, whom he far surpassed in vigor and freedom, 
 and was the early intimate of Titian, to whom some of his 
 work has been attributed and vice versa. His early death 
 accounts for the limited number of his pictures. His color 
 glows with a light from within." Giorgione was the first of 
 the Venetians to give importance to landscapes. 
 
 ^ Oil Painting. 
 
 No. 12 The Concert. (Copy) [Florence] 
 
 A copy of one of the most celebrated of the pictures 
 ascribed to Giorgione. gem of the greatest charm of 
 
 feeling, unfortunately much repainted, but a masterpiece of 
 Venetian art." A golden glow, three individualized, dark- 
 robed figures in half length against it, two wonderful hands 
 playing on the harpsichord, make a picture whose lasting 
 charm can scarcely be explained. Some critics attribute the 
 picture to Titian. 
 
 Photographs from Paintings. 
 
 No. 401 Sleeping Venus. [Florence] 
 Formerly attributed to Titian. 
 
 No. 402 "Chevalier of Malta. [Florence] 
 A portrait generally admitted to be genuine. 
 
 No. 400 Concert Champetre. [Paris] 
 Considered one of his masterpieces. 
 
 Photographs from Drawings. 
 
 No. 556 Landscape. [Florence] 
 
 No. 557 A nude man. [Venice] 
 
 FALMA (Jacopo) (II Vecchio) (1480-1528) 
 
 In the small field which he cultivated, he was a fine com- 
 poser ; his drawing was quick and resolute. The type of fig- 
 ure to which he clung was full, ripe, and ennobled in the faces 
 by delicate chiseled features, but wanting in the perfect dig- 
 nity of carriage and mien familiar in Titian. 
 
WESTERN GALLERY OP ART, KANSAS CITY, MO. 31 
 PpOTOGRAPH FROM PaINTING. 
 
 No. 377 Santa Barbara, [Venice 
 
 The center from his master work — an altar piece in 
 Santa Maria Formosa, in Venice, in seven divisions. "This 
 Santa Barbara is magnificent, almost heroic, in treatment, and 
 glowing in color." As she was the patron saint of the army, 
 she stands on cannon, while her symbol, the tower, is seen in 
 the background. " Her tunic is a warm brown, the mantle of 
 crimson, and a white veil is twisted in her diadem and pale 
 golden hair ; the whole picture is one glow of color, life and 
 beauty." 
 
 RAPHAEL (Sanzio) (1483-1520) 
 
 Among all the painters of the world, none has been so 
 universally popular as Raphael, or has so steadily maintained 
 his pre-eminent reputation throughout the many changes in 
 taste which have taken place in the last three and a half 
 centuries. He has been called the ''King of Painters." 
 
 Raphael became the pupil of Perugino in 1499. As was the 
 case with every one with whom Raphael came in contact, the 
 Perugian master was fascinated by the charm of his manner, 
 and delighted by his precocious ability, and seems to have 
 devoted special pains to his artistic education. To describe 
 the various influences under which he came, and the many 
 sources from which he drank in stores of artistic knowledge, 
 would be to give a complete history of Italian art in the fif- 
 teenth century. With astonishing rapidity he shook off the 
 mannerisms of Perugino, and put one great artist after another 
 under contribution for some special power of drawing, beauty 
 of color, or grace of composition, in which each happened to 
 excel. 
 
 Among his contemporaries, it was especially Signorelli and 
 Michael Angelo who taught him the importance of precision 
 of line and the necessity of a thorough knowledge of the 
 human form. 
 
 Although Raphael was never married, no artist has so 
 glorified the happiness of the family life as he. Fifty Madon- 
 nas could be named, painted from his earliest youth to 
 the last days of his life, in which he treated this 
 favorite subject. But at the same time he so varied his con- 
 ception of a mother's love — the simplest and purest of all 
 human emotions — that his paintings of that subject illustrate 
 plainly in themselves the different stages of his own develop- 
 
30 
 
 RBPBODUCTIOKS OF WQUKS 01* ART IN THE 
 
 ment. The childlike diffidence of the Madonnas of his earlier 
 manner blooms out gradually into a gracefully developed 
 maidenhood, until they finally attain, in his ripest works, to 
 the expression of a grandly free, motherly dignity, which is 
 hallowed, however, by a mysterious charm of innocence and 
 purity. Thus, these pictures are the most humanly lovely 
 delineations of a simple, devout family life, and yet, without 
 the addition of halos and gold backgrounds, more divine 
 than all earlier Madonnas. 
 
 The number and extent of Raphael's works are marvel- 
 lous when the shortness of his life is remembered. He left 
 behind him two hundred and eighty-seven pictures, and 
 five hundred and seventy-six drawings and studies. 
 
 Oil Paintings. 
 
 No. 15 Sistine Madonna, (Copy) [Dresden] 
 
 This world renowned picture was painted in 1518 for the 
 Church of San Sisto, in Piacenza, and is at present the prized 
 masterpiece of the Dresden Gallery. The Madonna, a 
 heavenly apparition, borne upon clouds, encircled by a glory 
 of lovely angel-faces, with the Child in her arms, stands in the 
 upper part of the picture, while Saint Sixtus and Saint Bar- 
 bara kneel below. Two enchanting angel-boys, leaning on the 
 lower division of the picture, give the last touch of beauty to 
 this magnificent work — a rare example of Raphael's later 
 period, upon which every form of eulogy has been exhausted. 
 The Madonna's beauty is a human beauty, but the Child is 
 something more — the divine nature shines through and illum- 
 ines it. No sketch or drawing of it has ever been found and it 
 is believed that this great painter put it at once upon the 
 canvas, being almost inspired to the work. In the year 1753, 
 August III., the Elector of Saxony, bought it of the Monks of 
 Piacenza and paid nearly thirty thousand dollars for it. He 
 presented the Monastery with an old copy by Paris Nagari, 
 which still hangs in the place of the original. It was intended 
 for a procession standard, or drappellone, but the monks 
 used it as an altar piece. 
 
 No. 9 Madonna della Sedia {of the Chair). (Copy) 
 
 [Florence] 
 
 Legend of the picture — A holy hermit who dwelt beneath a 
 huge oak, which he loved, and which the woodmen had spared 
 at his request, was much loved by the peasants. His life was 
 saved during a flood, by the refuge afforded by the tree and by 
 Mary the daughter of a vine dresser, who often ministered to 
 
WESTERN GAIiliERY OP ART, KANSAS CITY, MO. 
 
 33 
 
 his comfort, and who brought him food and aid. He called 
 Mary and the Tree his two daughters and prayed that in some 
 way they might be blessed and distinguished together. Years 
 passed and the old oak had been cut down and made into wine 
 casks. Mary sat one day holding her youngest boy to her 
 breast and the other ran to her with a stick to which he had 
 fastened a cross. A young man came near. He had large, 
 dreamy eyes and a restless, weary look as he thought of a 
 lovely picture which was in his mind but not clear enough in 
 form to enable him to paint it. It was Raphael, and when his 
 glance fell upon the charming, living picture, he quickly 
 sketched upon the smooth cover of a wine cask, standing near, 
 the outlines of Mary and her boys, took the oaken cover with him 
 and rested not until he had painted the wonderful picture 
 known as the Madonna Delia Sedia. 
 
 Thus at length the prayer of Father Bernardo was answered 
 and his two daughters became famous together. 
 
 Photographs from Paintings. 
 
 No. 367 Pope Julius IL [Florence] 
 
 No. 368 Fresco, [Rome] 
 
 No. 456 Virgin of the Well. [Florence] 
 
 No. 457 Madonna of the Goldfinch, [Rome] 
 
 No. 458 Madonna of the Grand Duke, [Florence] 
 
 No. 459 The Transfiguration, [Rome] 
 
 (Size, 13 ft. 4 in. X 9 ft. 3 in. In two parts.) 
 1. Christ floating in a glory of light, with Moses on the 
 right and Elias on his left ; below, the summit of a mountain, 
 on which lie prostrate Peter, James and John, dazzled by the 
 light; SS. Julian and Lawrence kneeling. 2. The second 
 division of the picture was painted by Romano, after Raphael's 
 death, from the master's design. It is called The Demoniac 
 Boy." This picture hung over Raphael's body, as it lay in 
 state, and was carried to the Pantheon in the funeral proces- 
 sion. It was cleaned and restored by the French, when they 
 took it to Paris in 1797. 
 
 No. 460 Madonna di Foligno, ( Vierge au Dona- 
 taire,) [Rome] 
 
 (9 ft. 5 in. X 6 ft. 3 in.) 
 More complex than the " Sis tine," though the general dis- 
 position is similar. Beneath the Madonna, who is seated on 
 
34 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 clouds, is a city. On the right, below, St. Jerome presents 
 the donor, Conti, which gives the picture its original name. A 
 full length boy-angel, holding a tablet, stands in the ground- 
 center. The picture was painted on wood for a church in 
 Rome, but was removed by Anna Conti to a convent in Foligno, 
 from which the picture takes its present name. The French 
 carried it to Paris, where it was transferred to canvas. With 
 the other Italian pictures, it went back to Rome in 1815. 
 
 No. 473 School of Athens, [Fresco in Vatican] 
 
 The Triumph of Science ; companion to The Triumph of 
 Religion, in ''The Sacrament" (No. 475). In the center, 
 Plato, with Aristotle beside him, is expounding to disciples, 
 while Diogenes lies on the steps. At the right, below, Archi- 
 medes is teaching geometry, with Zoroaster and Ptolemy 
 standing by Raphael and Perugino. At the left, on the plat- 
 form, Socrates talks to Alcibiades, Xenophon and others ; 
 below, Pythogoras, wife, son and pupils. 
 
 No. 474 Mt, Parnassus, [Fresco in Vatican] 
 
 On the summit, Apollo sits playing on a violin, with his 
 eyes raised in poetic transport. Around him are grouped the 
 Muses ; at the left Homer, beween Dante and Virgil, is 
 reciting from the Iliad. Seated in the foreground to the left 
 and right respectively, are Sappho and Pindar. 
 
 No. 475 The Dispute of the Sacrament. 
 
 [Fresco in Vatican] 
 
 No. 498 Adam and Eve, [Fresco in Vatican] 
 
 No. 499 Liberation of Peter. [Fresco in Vatican] 
 
 No. 500 St. Oeorge and the Dragon, [Paris] 
 
 No. 501 Detail from ' ' School of Athens, ' ' 
 
 [Fresco in Vatican] 
 
 No. 502 Silvester I, [Fresco in Vatican] 
 
 No. 503 Dispute of the Sacrament, 
 
 [Fresco in Vatican] 
 
 No. 504 SyMl, [Fresco in Vatican] 
 
WESTERN GALIiERY OF ART, KANSAS CITY, MO. 35 
 
 No. 505 Justice. [Fresco in Vatican] 
 
 No. 506 March of Attila, [Fresco in Vatican] 
 
 Painted in allusion to the expulsion of the French from 
 Italy. Attila in his march on Rome, is met by SS. Peter and 
 Paul, patrons of Rome, who appear in the clouds, swords in 
 hand, and so terrify Attila, that he submits to the terms of 
 Leo I. 
 
 No. 507 Detail from the ' 'Burning of the Borgo, ' ' 
 
 [Fresco in Vatican] 
 
 No. 508 Victory of Leo IV. over the Saracens. 
 
 [Fresco in Vatican] 
 
 No. 509 Clement I. [Fresco in Vatican] 
 
 No. 510 Sybil. [Fresco in Vatican] 
 
 No. 511 Portrait of Balthazar Castiglione^ 
 
 a friend of Leo X and the author of the 
 ''Courtezan,'^ a hook for courtiers. 
 
 [Paris] 
 
 Photographs from Drawings. 
 
 No. 512 Samson and Lion. [Venice] 
 
 No. 513 Angel. [Florence] 
 
 No. 514 Minerva — Cupid. [Fresco in Vatican] 
 
 No. 515 Portrait of himself . [Oxford] 
 
 No. 516 Kneeling man. [Venice] 
 
 No. 517 Burning of the Borgo. (Detail.) 
 
 [Fresco in Vatican] 
 
 No. 518 Two nude men. [Venice] 
 
 No. 519 Headless draped figure. [Milan] 
 
 No. 520 Head. [Weimar] 
 
 No. 521 St. Michael and the Dragon. [Paris] 
 
36 
 
 REPRODUCTIONS OF WORKS OP ART IN THE 
 
 No. 522 Led(% and Swan. 
 No. 523 Marsyas and Apollo. 
 
 [Windsor] 
 [Venice] 
 
 Nx). 524 Virgin^ Infant.^ St. John and Mother. 
 
 [Paris] 
 
 PIOMBO (Sebastiano Luciani) (1485-1547) 
 
 Pupil of Bellini and Giorgione. Angelo hoped that Sebas- 
 tiano 's Venetian color and his own grand design united, might 
 outdo Raphael. This union gave to Sebastiano, after Raphael's 
 death, the name of being the best painter in Rome. 
 
 ''The Faultless Andrea" whose story seems rather a satire 
 on such an adjective, was the son of a Florentine tailor, Agnola 
 Vannucchi, and is called del Sarto in allusion to his father's 
 occupation. Apprenticed when but seven years old to a gold- 
 smith, he proved so stupid in chiseling and so expert in 
 drawing that he was transferred to the studio of a neighbor, in 
 whose service he had an opportunity to study the grand car- 
 toons of Michael Angelo and Leonardo da Vinci. Perhaps the 
 brilliant future predicted for him by the former might have 
 been fulfilled had he not married a lovely but unprincipled 
 woman, whose influence over him proved unfortunate. She 
 served as a model for all of his Madonnas. We see her in his 
 masterpiece, the Madonna of the Harpies, No. 6,who looks down 
 from her pedestal upon St. Francis and St. John, and in all of his 
 subsequent Virgins and Holy Families. In both his frescoes 
 and oil painting, his coloring is tender, transparent, and most 
 richly and luminously blended, his figures well developed and 
 graceful, though sometimes wanting in refinement, and he 
 himself just lacking enough nobleness of soul, and strength of 
 character to keep him hovering on the border-line of immortal 
 
 So called from the figures of harpies, which are decora- 
 tively introduced on the base of the column. The Virgin 
 
 Photograph from Painting. 
 No. 393 San Giovanni Chrysostom. 
 
 [Venice] 
 
 DEL SARTO (Andrea) (1487-1531) 
 
J/A/)(\ViV.i (W 7 HE S/'.IA' FRA AXGFJJCO. 
 
AXGEL CABRIEL^CARLO DOf.cr. 
 
MADONNA AND CHI Ln-FTLTPPO UPPL 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 37 
 
 stands upon the pedestal, holding the infant Christ in her 
 right hand, and a book, which she rests upon her knee, in the 
 left. Her robe is pink, the mantle blue, and over the head 
 and shoulders hangs a white veil. At her feet are two beauti- 
 ful angels, half in shadow. On the left is St. Francis, in a robe 
 of gray, holding a crucifix. On the right stands St. John the 
 Evangelist, in a gray tunic and red mantle, holding a book in 
 •his hand. The arrangement of the composition is striking and 
 picturesque, the coloring rich and pleasingly blended, with a 
 certain mistiness of outline which melts harmoniously into 
 shadow. 
 
 Photographs from Paintings. 
 
 No. 358 The Assumption of the Virgin. 
 
 [Florence] 
 
 This picture shows the great versatility of del Sarto. The 
 Virgin is raised toward heaven most gracefully, and there 
 is an atmosphere almost like Correggio's in the glory. 
 
 No. 359 Dispute Upon the Trinity, [Florence] 
 
 A picture without action, but of an imposing character. 
 
 No. 360 Last Supper. [Florence] 
 
 Few presentations of this subject, except, of course, Leon- 
 ardo da Vinci's, can compare with this in vividness of effects 
 and dramatic grouping." 
 
 No. 361 St. John the Baptist. [Florence] 
 
 No. 362 Repose in Egypt. {Madonna of the 
 Sack.) [Florence] 
 
 A fresco painted in 1525. Remarkable for the calm and 
 dignified composition. 
 
 Photographs from Drawings. 
 
 No. 491 Head of a girl. [Florence] 
 
 No. 492 Portrait of a woman. [Vienna] 
 
 No. 493 Holy Family. [Paris] 
 
 No. 494 Study of a hand. (For the Madonna of 
 the Harpies ; see No. 6.) [Florence] 
 
38 
 
 REPRODUCTIONS OP WORKS OF ART IN THE 
 
 No. 495 Birth of the Virgin. [Florence] 
 No. 496 Head of a child. [Florence] 
 
 ROMANO (Giulio Pippi) (1492-1546) 
 
 A favorite pupil of Raphael, but not a good painter. 
 Photograph from Drawing. 
 No. 721 Chimera. [Venice] 
 
 VAGA (Perino del) (1500-1507) 
 
 studied drawing under Ghirlandajo, and was a useful 
 assistant to Raphael. 
 
 Photograph from Drawing. 
 No. 660 The Entombment. [Paris] 
 
 CORREGIO (Antonio AUegri) (1494-1534) 
 
 **A11 that concerns his training is uncertain; there is no 
 clue to the formation of his totally new method of painting, 
 or to the characteristics of his style. These characteristics 
 are sweetness of expression and ineffable grace of pose ; light 
 in color, or a certain luminous quality which irradiates and 
 trans jfigures. In facility of handling, in absolute mastery 
 over the difficulties of foreshortening, in the management of 
 light and shade as distributed over vast spaces and affecting 
 multitudes of figures, this master had no rival." {Cyc. P. 
 <St P.) At the same time his sweetness sometimes cloys, and 
 his grace degenerates into affectation, so that later critics do 
 not rank him so high as do the earlier ones. 
 
 Photographs from Paintings. 
 No. 387 Danae. [Rome] 
 
 Love appearing to Danae in a shower of gold. 
 No. 388 Virgin Adoring Infant Jesus. [Florence] 
 No. 389 Adoration of the Shepherds. [Dresden] 
 
WESTERN GALLERY OP ART, KANSAS CITY, MO. 
 
 89 
 
 Photographs from Drawings. 
 
 No. 488 Adoration of the Shepherds. [Dresden] 
 
 No. 489 Nude man. [Vienna] 
 
 No. 490 Mercury^ Venus and Cupid. [Paris] 
 
 CELLINI (Benvenuto) (1500-1570) 
 
 A great Florentine metal worker, whose character and con- 
 sequent picturesque history are best accounted for by his 
 autobiography. He had commissions from numerous high 
 dignitaries, but as most of his work was in small articles of 
 precious metals, many of them have been lost. He both de- 
 signed and executed his bronzes, the most celebrated of which 
 is the " Perseus." 
 
 Photographs. 
 No. 668 Neptune^ Birth of Venus, Etc. 
 
 [Dresden] 
 
 No. 752 Bronze figure. [Florence] 
 
 BORDONE (Paris) 1500-1570) 
 
 His portraits are his best works. All his heads are fine." 
 Photographs from Paintings. 
 
 No. 395 The Fisherman presenting the ring of St. 
 
 Marie to the Doge. [Venice] 
 
 No. 758 Virtumnus and Pomona. [Paris] 
 PRIMATICCIO (Francesco) (1504-1570) 
 
 Worked for Francis I on the decorations of Fontainebleau. 
 He is said to have executed the first stucco work, and the first 
 frescos of any account in France. His pictures in oil are rare, 
 and none certain." (Ci/c. of P. <Sb P.) 
 
 Photograph from Red Chalk Drawing. 
 
 No. 689 Ulysses Bound to the Mast. [Vienna] 
 
40 
 
 REPRODUCTIONS Or WORKS OF ART IN THE 
 
 RICIARELLI (Volterra) (1509-1566) 
 
 The best pupil of Angelo.'' 
 
 Photograph from Drawing. 
 
 No. 658 Nude man hent low vnth head letween his 
 arms. 
 
 TINTORETTO (Jacopo Robusto) (1512-1594) 
 
 So called because he was the son of a silk dyer. Adopting 
 as his motto Titian's coloring and Angelo's drawing, he won a 
 reputation second to none in his time, but whether he ever 
 attained the high standing he set for himself, is a question on 
 which critics disagree. All, however, regard him as one of the 
 greatest masters. His religious pictures are often coarse, but 
 his mythological works are more in harmony with their sub- 
 jects. He was fond of the nude, and his female figures are 
 charming. His portraits are masterly, rich in color and life- 
 like. He painted so rapidly that he was called " II Furioso." 
 But though he produced a long list of works, many assigned 
 to him are not genuine. 
 
 Photograph from Drawing. 
 No. 673 Birth of Christ. [Vienna] 
 
 MORONI (Giovanni) (1525-1578) 
 
 " A pupil of Moretto. His portraits are better than his 
 masterpieces." {Cyc. of P. & P.) 
 
 Photograph from Drawing. 
 No. 714 Coronation of the Virgin. [Florence] 
 
 CAMBIASO (Luca) (1527-1585) 
 
 At the age of seventeen, was selected to paint the ceiling 
 of the great hall of the Piazza Doria. 
 
 Photograph from Drawing. 
 No. 560 Figure of woman^ draped. [Paris] 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 41 
 
 VERONESE (Paul Cagliari) (1530-1588) 
 
 Beyond his magnificent performances as a painter, the 
 known incidents in the life of Veronese are few. The first 
 things which we notice in his work are the palatial splendor, 
 grand architecture, stately vistas, personages of easy and 
 affable dignity in sumptuous costumes, crowded assemblies 
 and luxury of environment. By variety and opposition he pro- 
 duced most brilliant effects of color ; and yet his lines were 
 seldom bright. Of all Veronese's paintings, the one which 
 has obtained a world wide celebrity, is the vast "Marriage at 
 Cana," now in the Louvre. It contains about a hundred 
 figures and heads ; those in the foreground being larger than 
 life. 
 
 Oil Painting. 
 No. 16 Marriage of 8t, Catherine, (Copy) 
 
 [Florence] 
 
 St. Catherine renounces the world and enters into the 
 mystic marriage with the church ; here represented by the 
 infant Jesus. 
 
 Photographs from Paintings* 
 
 No. 392 Rape of Europa, [Venice] 
 
 No. 477 Christ in the House of Levi. [Venice] 
 
 From Drawings. 
 
 No. 661 Christ at Emmaus, [Dresden] 
 
 No. 662 Head of a negro, [Paris] 
 
 CARRACCI (Annibale) (1560-1609) 
 
 The most distinguished of his family. His pictures often 
 fail to please, but it is impossible not to recognize in them the 
 genius of a master. He excelled in small compositions of the 
 Madonna and Holy Families. 
 
 Photographs from Drawings. 
 No. 663 Satyr. [Paris] 
 No. 664 Study of nude man, [Paris] 
 
 No. 665 Boy's head. [Paris] 
 
42 
 
 BEPRODUCTIONS OF WORKS OF ART IN THE 
 
 RENI (Guido) (15Y6-1642) 
 
 A pupil of the school of the Carracci. His work grew so 
 excellent that he was feared by his teachers and was dismissed. 
 There is much grace and beauty in his work, but it lacks 
 vigor and strength. 
 
 No. 478 Aurora. [Rome] 
 
 Generally considered his masterpiece. It is in the garden- 
 house of the Rospigliosi palace. The sun god rides in his 
 chariot drawn over the sleeping world by two horses. Dawn flies 
 before him, and the hours walk on either side of the chariot, 
 clasping hands. The first hour is robed in delicate blue, and 
 points forward, while she looks back. The next is in subdued 
 red, while the third is clothed in a soft light green. The god's 
 robe is red, turning to reddish gray in the lining. The whole 
 well conveys the gentle breeze and dewy freshness of the 
 morning, and the awakening activities of the dawn. 
 
 DOMENICHINO (Zampieri) (1581-1641) 
 
 The most distinguished painter of the school of Carracci. 
 His originality was not large, but his expression and color 
 commanded admiration." His landscapes deserve attention, 
 even when only a background. They are grand and solemn, 
 and their coloring warm and rich. 
 
 Photograph from Painting. 
 No. 455. Communion of St. Jerome. [Rome] 
 
 His most noted work, considered by some to'be second only 
 to Raphael's " Transfiguration." (No. 459.) 
 
 Photographs from Drawings. 
 No. 666 Head of man with stylus. [Vienna] 
 No. 721 Burning of Martyr. [Vienna] 
 
 GUERCINO (Francisco Barbieri) (1591-1666) 
 
 Largely self taught. He is faithful to nature, and his 
 works are lifelike and brilliant in color, but sometimes very 
 heavy in the flesh shadows. 
 
western gallery of art, kansas city, mo. 43 
 Photograph. 
 
 No. 376 Sahit Petronilla, [Rome] 
 
 A famous work, in which the saint is being raised from her 
 tomb, to be shown to her betrothed. 
 
 SACCHI (Andrea) (1598-1661) 
 
 His color was good, and he practiced a simplicity of treat- 
 ment which is the mark of great artistic power. 
 
 Photograph. 
 
 No. 497 Name unknown. [Rome] 
 
 DOLCI (Carlo) (1616-1686) 
 
 School of Rosselli. He painted few historical pictures. 
 His best works are Madonnas and penitent saints. These he 
 painted with delicacy and grace. There is much sentiment in 
 them, which frequently becomes affectation. 
 
 Oil Painting. 
 
 No. 19 The Angel Gahriel. (Copy) [Florence] 
 
 Unknown Italian Artists 
 
 Photographs from Drawings. 
 No. 718 JBack view of nude man.^ 
 No. 716 Bust of woman^ side view. 
 No. 720 Head^ full front. 
 
 No. 685 Unknown Master. [Paris] 
 
 TURINI 
 
 No. 713 Photograph from Drawing. 
 
REPRODUCTIONS OF WORKS OF ART IN THB 
 
 Flemish School. 
 
 EYCK (Jan Van) (1390-1440) 
 
 '^Experimented in oils, resins, and other natural and 
 artificial mediums, and the result was his adoption of varnish 
 painting, which the experience of four hundred and fifty 
 years has proved to be wonderfully durable." Jan used an 
 oleo-resinous varnish and its immixture with the colors gives 
 ground for the supposition that it was nearly colorless. 
 While for a long time, probably tempera continued to 
 be used more or less with the varnish color, the fact 
 of the introduction of the latter to painters exerted a 
 vast influence on the art of painting. Fresco and 
 tempera were the only mediums before varnish paint was dis- 
 covered. The fresco painter was hurried by the fear that his 
 plaster wall would dry before his painting was finished; the 
 painter in tempera was a slave to the drying of a wash ; both 
 were hurried by their materials. But the oil painter has the 
 one inestimable comfort of never being hurried by his material. 
 
 *'The value of such a condition of things to the intellectual 
 and imaginative faculties is beyond all estimate. It has been 
 their emancipation from the tyranny of matter. The dis- 
 covery of the unctuous medium gave us a means of expression 
 which was not only far more powerful than any other of the 
 graphic arts, but also incomparably more fiexible and various 
 in its efficiency. The proof of this lies in the fact that all 
 civilized nations, though differing widely in their feelings 
 about nature and their tastes in art, find that oil painting best 
 expresses their own peculiar idiocy ncrasy. To realize the 
 effect which this discovery had on art criticism, we have only 
 to recall the wonderfully feeble state of such literature in 
 antiquity, when only definite form was understood, and nobody 
 knew anything about those visual effects on which the modern 
 art of painting is founded. (Condensed from Hammerton^s 
 " The Graphic Arts.'') 
 
 Photograph from Painting. 
 
 No. 179 Portrait of Benolfino of Lucca and his 
 wife, [London] 
 
 Van Eyck is seen at his best in portraits. He frequently 
 signed them on the frame and added the motto " As well as 
 I can." 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 45 
 
 MEMLING (Hans) (1425-1495) 
 
 No. 181 St. Ursula. [Bruges] 
 
 MATSYS (ftuentin) (Massys) (1460-1530) 
 
 "Matsys was among the last of the Gothic painters in 
 Flanders, and yet he and Mostert began the introduction of 
 Italian features in their paintings, and the example spread until 
 the indigenous Flemish art became a thing of the past." 
 (Van Dyke.) 
 
 Photograph from Painting. 
 No. 174 The Money Lenders. [Windsor] 
 
 BRUEGHELS ( ) 
 
 No. 645 From drawing. [Vienna] 
 
 HOEFNAGEL (George) (1545-1600) 
 
 Photograph from Drawing. 
 
 No. 633 Crucifixion. [Dresden] 
 Family of the donors at the cross. 
 
 RUBENS (Peter Paul) (1577-1640) 
 
 One of the most brilliant, accomplished and versatile 
 geniuses in the whole range of art. Keen delight in action 
 and a strong love for superabundant physical strength are the 
 elements of his style, with brilliant, fresh and splendidly 
 treated coloring, which seems sometimes quite beyond the 
 value of the subject. He was the founder of a large school, 
 and as he has left over two thousand pictures, many of them 
 must have been largely painted by his pupils. He considered 
 it unnecessary to do more than important parts of his later 
 pictures. 
 
46 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 Oil Painting. 
 
 No. 2 -Meleagre and Atalanta, (Copy) [Dresden] 
 
 Artemis having sent the Calydonian boar to ravage the 
 country, Meleagre, with his hunters, undertook to slay the 
 beast. Through the persuasions of Meleagre, his love, 
 Atalanta, was allowed to join the hunt. She wounded the 
 boar, which was then dispatched by Meleagre. In the picture, 
 he is represented as presenting the head to his mistress. "The 
 figure of Meleagre is well painted, but Atalanta, a corpulent 
 and nearly nude princess, is awkwardly posed. The flesh 
 tones are rendered with the painter's usual dexterity." 
 
 Photographs from Paintings. 
 
 No. 177 Descent from the Gross. [Antwerp] 
 
 No. 178 ^TJie Havoc of War. [Florence] 
 
 No. 754 Portrait of Helen Fourment. [Munich] 
 
 Life size, seated. Painted with marvelous skill and judi- 
 cious management of color. 
 
 From Drawings. 
 
 No. 567 Group of five women and five men. 
 
 [Vienna] 
 
 No. 568 Adoration of the Magi. [Paris] 
 
 No. 569 Bust of Helen Fourment., second wife of 
 the artist^ and f requently his m,odel, 
 
 [Florence] 
 
 SUSTERMAN (Justus) (1597-1681) 
 
 Born in Antwerp ; when quiie young he went to Florence 
 where he passed his life. He was an excellent draughtsman, 
 a fine color ist, free in his execution, and altogether realistic. 
 He painted portraits and historical and religious subjects. 
 
 Oil Painting. 
 
 No. 20 Portrait of the Prince of DenmarTc. 
 
 (Copy) [Florence] 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO, 
 
 47 
 
 MIEL (Jan) (1599-1664) 
 
 Photograph from Painting. 
 No. 186 Portrait of MieL 
 
 •VANDYCK (Antony) (1599-1641) 
 
 Was a pupil of Rubens ; spent several years in Italy, and 
 was strongly influenced by the Italian schools. He was made 
 court painter to Charles I. of England and remained in that 
 country for the rest of his life. His style assumed an inde- 
 pendent form, and that refinement which made him peculiarly 
 the painter of the upper classes. His work is distinguished by 
 incomparably clear, soft, and finely treated coloring. 
 
 Oil Painting. '""^Z't.'^^^ ^ 
 
 No. 4 Children of Charles I. (Copy) ^g Ftoronoa ] fi^tyt 
 Photographs from Paintings. (%n^6h„.^ rQe^^i^ 
 No. 182 The Repose in Egypt. [Florence] A;^;^ 
 
 No. 183 Portrait of Charles 1. [Paris] (7 
 
 Full length, standing ; horse at right. 
 
 From Drawings. 
 No. 570 Portrait of Artus Wolf (Bert, [Vienna] 
 No. 571 Two Heralds of the English. [Vienna] 
 
 No. 572 Figure of a woman^ with an enlarged 
 detail of the right hand, [Florence] 
 
 No. 573 Bust of an infant, [Paris] 
 
 SNYDERS (F.) (1579-1657) 
 No. 611 From drawing. 
 
 [Dresden] 
 
48 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 TENTERS (1610-1690) 
 
 Photographs from Paintings. 
 No. 176 The Village Fete. [Paris] 
 No. 176a Kitchen Interior, 
 
 HUYSMANS (Cornelis) (1648-1727) 
 
 No. 630 From drawing, [Dresden] 
 
 Dutch School. 
 
 VAN LEYDEN (Lucas) (U94-1533) 
 
 The leading artist of the early period. 
 No. 634 From drawing, [Dresden] 
 No. 635 From drawing, [Florence] 
 
 BEHAM (Hans Siebald) (1500-1550) 
 
 One of the best pupils of Durer. 
 No. 636 From drawing. [Vienna] 
 
 HALS (Franz) (1584-1666) 
 
 In giving the sense of life and personal physical presence, 
 he was unexcelled. What he saw he could portray with the 
 most telling reality. His brush was very broad in its sweep, 
 very sure, very true. As a painter pure and simple, he is 
 almost to be ranked beside Velasquez." {Van Dyke.) 
 
 Photograph from Painting. 
 
 No. 175 Reunion of the Corps of Archers of St. 
 
 Adrian. [Harlem] 
 g^^x — 
 
WESTERN GALIiERY OE ART, KANSAS CITY, MO. 
 
 49 
 
 RUISDAEL (Saloman van) (1600-1670) 
 
 In composition he was good, but his art had only a slight 
 basis upon reality, though it looked realistic at jSrst sight. 
 
 Photograph from Drawing. 
 
 No. 642 Landscape. [Vienna] 
 
 REMBRANDT VAN RYN (1607-1669) 
 
 Was born at Leyden and began the study of art in the 
 studio of Peter Lastman, who had acquired a taste for rather 
 artificial effects of light — a fact which was destined to lead 
 Rembrandt to the most finished development of his marvellous 
 chiaroscuro. A certain golden transparency pervades his 
 earlier works, which reflect his happy domestic life with his 
 lovely wife, Saskia van Ulenburg. After her death, and amid 
 his great financial embarrassments, Rembrandt's energy and 
 elasticity of temperament enabled him to produce his finest 
 works. In his earlier years, he devoted himself to a simple, un- 
 artificial presentation of nature. A deep and passionate 
 intensity of temperament impelled him to a new style, in 
 which figures were made use of only to solve problems of the 
 most daring kind. Bold, venturesome experiments with 
 fantastic and even gloomy effects of light predominate. His 
 biblical pictures portray scenes that suggest every day life. 
 There is no trace in these of the ideal sense of form that 
 marks the Italians, but masterful skill and strength, com- 
 pensate for the lack of beauty, by life-like individuality, 
 warmth of sentiment, and picturesque charm. In his later 
 portraits, he strives more and more after effect, by which his 
 figures appear bathed in a flood of artificial light. He works 
 in the strong shadows with a bolder and broader touch. In 
 his latest work, his clear tone is often quite lost in a gloomy 
 effect of brown and gray. He has been called the "Shakes- 
 peare of painters and the prince of etchers." The striking 
 lights and shades are seen in his etchings and engravings, as 
 well as in his paintings. His paintings number about six 
 hundred, and his engravings and etchings four hundred. 
 
 Oil Paintings. 
 No. 11 Portrait of an unknown man, (Copy) 
 
 tl/iUc^ [Florence] 
 
50 
 
 REPRODUCTIONS OF WORKS Or ART IN THE 
 
 No. 13 Portrait of himself and wife. (Copy) 
 
 [Dresden] 
 
 Photographs from Paintings. 
 No. 190 Supper at Emmaus. [Paris] 
 
 No. 191 The Parable of the Laborers in the 
 Vineyard. [Frankfort] 
 
 No. 192 The Bath. [Amsterdam] 
 
 No. \^^^ Portrait of Rembrandt (near 60 years 
 of age) [London] 
 
 No. 194 Danae. [St. Petersburg] 
 
 No. 195 Portrait of Rembrandt, [Paris] 
 
 No. 196 Venus and Cupid. [Paris] 
 
 No. 197 Portrait of a man. [London] 
 
 ^ No. 198 Flayed Ox. [Paris] 
 
 No. 199 Portrait of Rembrandt. [Paris] 
 
 No. 200 Portrait of a young man. 
 
 [St. Petersburg] 
 
 No. 201 Simeon in the Temple. [The Hague] 
 
 No. 202 Rembrandt^ s Mother (half length) 
 
 [St. Petersburg] 
 
 No. 203 Portrait of an Old Jew. [St. Petersburg] 
 
 No. 204 Woman taken in adultery. [London] 
 
 No. 205 Susanna at the bath. [The Hague] 
 
 No. 206 Portrait of William Barggraaf. 
 
 [Dresden] 
 
 No. 207 Portrait of an old man. [St. Petersburg] 
 
WESTERN G1.LI.ERY OF ART, KANSAS CITY, MO. 
 
 51 
 
 No. 208 Portrait of a woman, [St. Petersburg] 
 
 No. 209 Portrait of an old lady. [London] 
 
 No. 210 Portrait of a Burgomaster. [Antwerp] 
 
 No. 211 Portrait of Margaret ha Hendrihse von 
 Bilderdyk. [Frankfort] 
 
 No. 212 '^Portrait of Rembrandt, [Paris]^^^^^ 
 
 No. 213 Portrait of a RahU, [London] ^ ^ 
 
 No. 214 Portrait of a man, [Dresden] 
 
 No. 215 Portrait of a 7nan, [St. Petersburg] 
 
 No. 216 Portrait of an old man, \^t, V^t^rshviTg] 
 
 No 217^ Portrait of Elizabeth Jacohsdochter Bas, ^jblfO 
 
 [Amsterdam] A. / 
 
 No. 218 Wo7nan Bathing, [Paris] 
 
 No. 219 Partrait of an old Jew, [St. Petersburg] 
 
 No. 220 Portrait of an old man, [Paris] 
 
 No. 221 Remhrandfs Mother. [St. Petersburg] 
 
 No. 222 A RahU. [London] 
 
 No. 223 Woman Bathing, [Paris] 
 
 No. 224 Queen Artemisia receiving the cup con- 
 taining the ashes of her hushand, (Detail) 
 
 [Madrid] 
 
 No. 225 Lesson in Anatomy {Dr, Tulp), 
 
 ]The Hague] 
 
 This picture, painted for the Corporation of Surgeons at 
 Amsterdam, was kept there until 1828, when the company 
 resolved to dispose of it for a charitable institution supported 
 by them. There being some danger of its leaving the country 
 in case of a sale, his majesty, the king, in order to prevent 
 
53 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 this, became the purchaser for the sum of thirty-six thousand 
 five hundred florins. It presents Professor Tulp giving a 
 lecture on anatomy in the presence of seven medical men. 
 The subject is extended on a table in front, and the professor, 
 habited in a suit of black, relieved by a white pendant collar 
 and a large slouched hat, sits on the further side of it. He 
 appears to have been operating on the body and hand, as he 
 holds a surgical instrument and is addressing himself to his 
 auditors. On the right is a man with an oval countenance 
 and sandy beard, his left hand placed on his breast. Close to 
 the latter is a figure habited in a pink silk dress and repre- 
 sented in profile and leaning forward ; behind these stand 
 three men, one attired in dark gray figured silk dress ; one 
 remarkable for his animated countenance, holds a paper in his 
 hand on which is written the names of the several persons. 
 On the opposite side and front sit two men, one in a dark 
 brown vest and full plaited white ruff, has his hand on his 
 knee, while the other wears a gray dress and similar ruff, and 
 is seen in profile. The company are assembled in an arched 
 building, against the wall of which is attached a x^aper bear- 
 ing the name of the artist and date 1632. The excellent pro- 
 duction is finished throughout with the most elaborate care, 
 accompanied with admirable purity and freshness of color and 
 force of effect. 
 
 No. 226 Portrait of Remhrandt, [Vienna] 
 
 No. 227 The Sweeper, [St. Petersburg] 
 
 No. 228 Portrait of a lady holding a fan, 
 
 [London] 
 
 No. 229 Portrait of a young woman holding a 
 pink, [St. Petersburg] 
 
 No. 230 Portrait of a man. [Paris] 
 
 No. 231 Fragment of ^^Dr, Dayman^ s Anatomy 
 Lesson, " [Amsterdam] 
 
 No. 232 ^ The Betrothed Jeioess, [Amsterdam] 
 
 No. 233 Landscape with Tohias and the Angel. 
 
 [London] 
 
i 
 
 I 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 53 
 
 No. 234 Abraham at Table with the Angels. 
 
 [St. Petersburg] 
 
 No. 235 The Rabbi Manasseh Ben Israel. 
 
 [St. Petersburg] 
 
 •No. 236 Portrait of a Turk, [St. Petersburg] 
 
 No. 237 Portrait of Rembrandt. [Vienna] 
 
 No. 238 Portrait of the Calligrapher Willemszon 
 von Copenol. [St. Petersburg] 
 
 No. 239 Portrait of Rembrandt s Mother. 
 
 [St. Petersburg] 
 
 No. 240 Portrait of a man. [Dresden] 
 
 No. 241 ^Officers of the Guild of Cloth -Weavers, (f^. 
 
 (Staal Meesters) [Amsterdam] %^ fy 
 
 No words can describe, nor print convey, any impression of 
 this creation. It is one of Rembrandt's three masterpieces, 
 many critics even placing it above ''The Night Watch" and 
 " The Anatomy Lesson." The canvas is nine feet wide by six 
 high. Behind a table, which stands out covered with a rich 
 Persian rug, are grouped five middle-aged men. A figure, 
 probably an officer of the Guild, stands in the rear listening 
 with a half -smile to the dialogue. All these cloth merchants 
 are looking in the same direction, as if someone had just inter- 
 rupted the reading of a register of the Guild. They are dressed 
 alike, black puritan-shaped hats, and the same sombre-colored 
 coats ; the only bit of color amongst the five is a richly fringed 
 glove which the one seated on the right holds before him. But 
 around and about and upon them a golden glow of lambent 
 color is shed, which more than two centuries has hardly 
 dimmed. 
 
 No. 242 Portrait of a man. [London] 
 
 No. 243 Portrait of a woman. [London] 
 
 No. 244 Portrait of a man. [London] 
 
 No. 245 Abraham^ s Sacrifice. (Detail of 257) 
 
 [St. Petersburg] 
 
54 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 No. 246 Landscape. [Florence] 
 No. 247 Samson^ s Wedding. [Dresden] 
 No. 248 The Shipbuilder and his Wife. [London] 
 No. 249 Portrait of Bembrandt. [Dresden] 
 No. 250 The Nun and the Child. [St. Petersburg] 
 No. 251 Sashia^ Benibrandfs first wife. 
 
 [Dresden] 
 
 No. 252 Portrait of a young man. 
 
 [St. Petersburg] 
 
 No. 253 An Old Peasant Woman Weighing Gold. 
 
 [Dresden] 
 
 No. 254 Portrait of a woman. [St. Petersburg] 
 
 No. 255 Portrait of Bembrandt as an Officer. 
 
 [The Hague] 
 
 No. 256 The Adoration of the Magi. [London] 
 
 No. 257 Abraham^ s Sacrifice. [St. Petersburg] 
 
 No. 258 Portrait of a young warrior. 
 
 [St. Petersburg] 
 
 No. 259 Portrait of Bembrandt. [London] 
 
 No. 260 Portrait of an old man. [Dresden] 
 
 No. 261 Portrait of a woman. [Antwerp] 
 
 No. 262 The Carpenter^ s Houselwld. [London] 
 
 No. 263 Portrait of Bembrandt. [London] 
 
 No. 264 The Tranquil Sea. [Vienna] 
 
 No. 265 Portrait of an old ma7i. [Dresden] 
 
 No. 266 Beconciliation of Isaac and Jacob. 
 
 [St. Petersburg] 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 55 
 
 No. 267 The Burgomaster Pancras and his Wife, 
 
 [London] 
 
 No. 268 A Young Jewess, [St. Petersburg] 
 
 No. 269 Portrait of a woman, [Paris] 
 No. "ilQ ^Sortie of the Banning Cock Company. 
 
 (The Night Watch) [Amsterdam] 
 
 Painted in 1642. Twenty-nine life-sized civic guards are 
 introduced, issuing pell-mell from their club house. Such 
 guilds of arquebusiers had been painted admirably before, no- 
 tably by Frans Hals (No. 175), but Rembrandt determined to 
 throw life and animation into the scene. It is full of move- 
 ment, and one can almost hear the barking of the dog. The 
 dominant color is the citron-yellow uniform of the lieutenant 
 wearing a blue sash, while a Titian-like red dress of a mus- 
 keteer, the black velvet dress of the captain, and the varied 
 green of the girl and drummer all produce a rich and har- 
 monious effect. The background has become dark and heavy 
 by accident or neglect, and the scutcheon on which the names 
 are painted is scarcely to be seen. 
 
 No. 271 Descent from the Cross, [St. Petersburg] 
 
 No. 272 Portrait,, said to he the Countess of Des- 
 mond, [Windsor] 
 
 No. 273 Potijphar^s Wife Accusing Joseph, 
 
 [St. Petersburg] 
 
 No. 274 Portrait of a man, [St. Petersburg] 
 
 No. 275 Portrait of Remhrandfs Mother, 
 
 [St. Petersburg] 
 
 No. 276 The Entombment, [Dresden] 
 
 No. 277 Sashia^ Rembrandf s fir^t wife, 
 
 [Dresden] 
 
 No. 278 The Return of the Prodigal Son, 
 
 [St. Petersburg.] 
 
56 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 No. 279 The Incredulity of St. Thomas. 
 
 [St. Petersburg] 
 
 No. 280 Portrait of Remhrandt. [Florence] 
 
 No. 281 The Holy Family. [St. Petersburg] 
 
 No. 282 Sacrifice of Manoah and his Wife. 
 
 [Dresden] 
 
 No. 283 Diana and Endymion. [Vienna] 
 
 No. 284 Portrait of an old man. [St. Petersburg] 
 
 No. 285 Portrait of a merchant Jew. [London] 
 
 No. 286 Portrait of a man, [Paris] 
 
 No. 287 The Denial of St. Peter. [St. Petersburg] 
 
 No. 288 A Bittern Suspended by its feet. 
 
 [Dresden] 
 
 No. 289 Woman Bathing. [London] 
 
 No. 290 Joseph^ s Coat. [St. Petersburg] 
 
 No. 291 Portrait of Rembrandt. (Detail of paint- 
 ing No. 13) [Dresden] 
 
 No. 292 Noli me Tangera. [London] 
 
 No. 293 The Good Samaritan. [Paris] 
 
 " The helpless suffering of the wounded man ; the curiosity 
 of the boy on tiptoe ; the excited faces at the upper window, 
 are all conveyed with masterly skill." The handling is broad 
 and free, while the tones pass into a dull yellow and brown 
 with a marked prediliction for deep, rich red. 
 
 No. 294 The Angel Raphael leaving Tobias. 
 
 [Paris] 
 
 No. 295 The Adoration of the Shepherds. 
 
 [London] 
 
WESTERN GALLERY OP ART, KANSAS CITY, MO. 
 
 57 
 
 Photographs from Drawings and Etchings. 
 
 No. 560 TJie death of the Virgin. [Dresden] 
 
 No. 561 The descent from the cross, [Dresden] 
 
 No. 562 Study of lion, [Vienna] 
 
 No. 563 Christ presented to the people, [Dresden] 
 
 No. 564 Christ presented to the people, [Dresden] 
 
 No. 565 Study of a man, [Dresden] 
 
 No. 566 A man writing hy cdndle light, [Dresden] 
 
 BOL (H.) (1611-1680) 
 
 No. 639 From drawing. [Dresden] 
 
 FLINK (1615-1660) 
 
 Followed Rembrandt so closely that his work has passed 
 for that of the master. 
 
 Photograph from Painting. * 
 
 No. 737 Portrait of a young girl. [Paris] 
 
 TERBURG (G.) (1617-1681) 
 
 " A painter of interiors, conversation pictures and small 
 portraits. Though of diminutive scale, his work has the 
 largeness of view characteristic of genius, and the skilled 
 technic of a thorough artist. {Van Dyke.) 
 
 No. 652 From drawing, [Dresden] 
 
 No. 653 From drawi7Lg, 
 
 [Vienna] 
 
58 
 
 REPRODUCTIONS OF WORKS OT ART IN THE 
 
 TEMPLE (Abraham van den) (1622-1672) 
 
 Photograph from Painting. 
 
 No. 756 A iwhleman and his wife in their park. 
 
 [Berlin] 
 
 RUISDAEL (Jacob van) (1625-1682) 
 
 He is put down, with perhaps unnecessary emphasis, as the 
 greatest landscape painter of the Dutch school. His pictures 
 abound in mountains, heavy dark woods and rushing 
 torrents, and have considerable poetry in their composition, 
 gloomy skies and darkened lights. In color they are cold and 
 limited to a few tones. He was not appreciated in his own 
 time and died in an alms house. 
 
 Photograph from Painting. 
 
 No. 185 l^he Chase. [Dresden] 
 
 From Drawings. 
 No. 643 Landscape. [Paris] 
 No. 644 Old Mill. [Paris] 
 
 STEEN (Jan) (1626-1679) 
 
 *'He satirized his own time with little reserve. He was a 
 master of physiognomy, and at his best, his groups were well 
 composed ; his color was of good quality, and his brush was 
 as hmpid and graceful as though painting angels instead of 
 Dutch boors. He was really one of the fine brushmen of 
 Holland, a man greatly admired by Reynolds and many an 
 artist since." 
 
 No. 629 From drawing. [Dresden] 
 
 BAEN (Jan) 
 
 No. 609 From drawing. 
 
 [Dresden] 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 59 
 
 METSU (Gabriel) (1630-1667) 
 
 Belongs to the ''Little Dutchmen," so called because of 
 the small scale of their pictures and their genre subjects. 
 
 No. 640 I^rom drawing, [Vienna] 
 . No. 641 I^rom drawing. [Dresden] 
 
 VELDE (Adrian van de) (1635-1672) 
 
 No. 628 J^rom drawing, [Dresden] 
 
 VERELST (Peter) (1614-1668) 
 
 Photograph from Painting. 
 No. 187 Portrait of a lady, [Paris] 
 
 MIERIS (Willem) (1662-1747) 
 
 No. 647 Prom drawing. [Paris] 
 
 German School. 
 
 DURER or DUERER (Albert or Albrecht) 
 
 (1471-1528) 
 
 Was the son of a goldsmith, who designed that he should 
 follow the same occupation. He was a friend of Raphael's. 
 In 1508 he was appointed court painter to Maximilian I., and 
 was also patronized by Charles V. as court painter. Durer 
 surpassed all painters and engravers of Germany in exuber- 
 ance of imagination and in sublimity and correctness of design. 
 He was successful in history, portraits, and landscapes. Vasari 
 expresses the opinion that he would have equaled the great 
 masters of Italy if he had been a native of Tuscany and had 
 studied in Rome. Some critics regret the absence of the ideal 
 
 0 / /ln^l^/io ~^ 
 
60 
 
 REPRODUCTIONS Or WORKS OF ART IN THE 
 
 in his works. He is the reputed inventor of the art of etching 
 and the art of printing wood cuts in two colors. Among his 
 masterpieces in painting are a Crucifixion " (1511), '^Adam 
 and Eve," an Adoration of the Magi," and the best known 
 of all his paintings, ^' The Knight and Death." His engravings 
 (on copper) of Adam and Eve," The Knight and Death," 
 and ''The Revelation of St. John" (on wood) are very cele- 
 brated. 
 
 '' This artist," says Michiel, ''has become the symbol of 
 his epoch. An inexhaustible imagination, an intelligence 
 which could observe life in its most delicate shades, a profound 
 sentiment of grace, naivete, and sublimity, and an earnest 
 spirit joined to the courage required for protracted studies, 
 were the qualities which distinguished him." 
 
 Photographs from Paintings. 
 
 No. 184 Adoration of the Kings. [Florence] 
 
 No. 626 Portrait of Durer. [Munich] 
 
 Photographs from Drawings. 
 
 No. 613 [Vienna] 
 
 No. 614 [Paris] 
 
 No. 615 [Vienna] 
 
 No. 616 Nuremberg Place^ showing Durer'^s 
 
 house, [Vienna] 
 
 No. 617 Head of a negro. [Florence] 
 
 No. 618 [Vienna] 
 
 No. 619 [Vienna] 
 
 No. 620 [Vienna] 
 
 No. 621 View of the Port of Antwerp. [Vienna] 
 
 No. 622 [Vienna] 
 
 No. 623 Study for St. John. [Vienna] 
 
i 
 
-J 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 61 
 
 No. 624 The Virgin seated under a magnificent 
 portico^ holding the Infant upon her lap ; 
 at her feet little angels and two rabbits. 
 In the foreground^ St, Joseph, [Basle] 
 
 No. 625 [Florence] 
 
 No. 627 [Vienna] 
 
 CRANACH (Lucas) (1472-1553) 
 
 His work was rather strained in proportions, and not always 
 well drawn, but graceful even when not truthful. The lack of 
 aerial perspective and shadow masses, gave his work a queer 
 look, and he was never much of a brushman. His pictures 
 were typical of the time and country, and for that and their 
 strong individuality, they are ranked among the most inter- 
 esting paintings of the German school. 
 
 From Drawings. 
 No. 648 [Vienna] 
 
 No. 649 [Vienna] 
 
 No. 650 [Dresden] 
 
 No. 651 [Dresden] 
 
 GRUN (Hans) (Grien or Baldung) (1476-1545) 
 
 From Drawing. 
 No. 646 [Vienna] 
 
 DEUTSCH (Nicolaus) (1484-1530) 
 
 Photograph from Drawing. 
 No. 631 The Watchman, [Basle] 
 
 HOLBEIN (Hans) (The Younger) (1497-1554) 
 
 At an early age, he removed to Basle, where, after practising 
 his art for a time, he was recommended by Erasmus to the 
 
62 REPRODUCTIONS OF WORKS OP ART IN THE 
 
 English chancellor, Sir Thomas More. He was introduced to 
 King Henry VIII., who gave him abundant employment and 
 a large pension. He devoted himself, while in England, chiefly 
 to portrait painting, and his numerous productions in this 
 department are esteemed masterpieces. His drawings, upwards 
 of eighty in number, represent the principal personages of 
 Henry VIII. 's court. Among his greatest historical pictures 
 are the celebrated " Dance of Death," The Adoration of the 
 Shepherds and Kings," and a Last Supper." His works," 
 observes Cunningham, ''have sometimes an air of stiffness, 
 but they have always the look of truth and life. He painted 
 with great rapidity and ease, wrought with his left hand, and 
 dashed off a portrait at a few sittings." 
 
 Photographs from Paintings. 
 
 No. 188 Portrait of ErasmiLS, [Paris] 
 
 No. 189 Portrait of Ann of Cleves. [Paris] 
 No. 755 
 
 From Drawings. 
 
 No. 574 The Lady Barkley. [Windsor] 
 
 No. 575 [Basle] 
 
 No. 576 The Lady Audley. [Windsor] 
 
 No. 577 Southwell Knight. [Windsor] 
 
 No. 578 [Basle] 
 
 No. 579 [Windsor] 
 
 No. 580 [Basle] 
 
 No. 581 The Lady Henegham. [Windsor] 
 
 No. 582 Brooke., Lord Cohham. [Windsor] 
 
 No. 583 [Basle] 
 
 No. 584 Anna Bollein, Qmen. [Windsor] 
 
 No. 585 The Lady Eliot [Windsor] 
 
 No. 586 The Strange Knight. [Windsor] 
 
WESTERN GALLERY OF ART, KANSAS CITY, HO. 
 
 63 
 
 No. 587 [Dresden] 
 
 No. 588 [Basle] 
 
 No. 589 [Windsor] 
 
 No. 590 Tlie Duchess of Suffolh. [Windsor] 
 
 • No. 591 [Basle] 
 
 No. 592 [Windsor] 
 
 No. 593 [Basle] 
 
 No. 594 [Basle] 
 
 No. 595 [Basle] 
 
 No. 596 The Eliott Knight. [Windsor] 
 
 No. 597 [Basle] 
 
 No. 598 [Windsor] 
 
 No. 599 The Lady Mentas. [Windsor] 
 
 No. 600 [Basle] 
 
 No. 601 EdAvard, Prince of Wales. [Windsor] 
 
 No. 602 [Basle] 
 
 No. 603 [Windsor] 
 
 No. 604 [Basle] 
 No. 605 
 No. 606 
 
 No. 607 [Basle] 
 
 No. 608 [Basle] 
 
 FENEZ (Geo.) (1500-1550) 
 
 No. 638 From drawing. [Florence] 
 
64 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 ALDEGREVER (Heinrich) (1502-1558) 
 
 No. 637 From drawing. [Dresden] 
 
 MENGS (Anton Rafael) (1728-1779) 
 
 Ppotograph from Painting. 
 No. 759 Portrait of a lady , [Paris] 
 
 KLEUGEL (Johann C.) (1751-1824) 
 
 No. 612 From drawing. [Dresden] 
 
 REINHARD (Johann) (1761-1847) 
 
 No. 632 From drawing. [Dresden] 
 
 HERMAN (Karl) (1802-1880) 
 
 No. 610 From drawing. [Dresden] 
 
 Spanish School. 
 
 VELASftUEZ (Don Diego Rodriguez de 
 Silva y) (1599-1660) 
 
 Born at Saville of a noble family of Portuguese origin, he 
 early manifested the artistic talent and discovered that the 
 study of nature was the surest guide to perfection for an artist. 
 He painted pictures of the common life which he saw and 
 nothing of which he had not the model before him. He ad- 
 hered to color, form and outline of whatever he represented, 
 and acquired wonderful skill in taking likenesses. In 1622 he 
 went to Madrid and gained the position of court painter. The 
 service of Philip IV. gave Velasquez full opportunity to perfect 
 himself as a portrait painter, for the King was never weary of 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 65 
 
 multiplying pictures of himself, his Queens and children. 
 Equally strong in historical subjects, portraiture, genre and 
 landscape, he treats all with the composure of a great and 
 tranquil intelligence. Equally master of form, light, color and 
 perspective, his canvas everywhere shows the hand of a skilled 
 technician. One of the greatest exponents of the theory of 
 naturalism, he painted no more than he could see; and if 
 romance and heroic emotion lay far without his ken and beyond 
 his reach, he had such insight into the plain truths of things, 
 such an absolute command of means, as to rank him with the 
 kings of art. 
 
 Oil Painting. 
 
 No. 18 Portrait of Philip IV, (Copy) [Florence] 
 
 Photographs trom Paintings. 
 No. 296 Portrait of a/n old woman, [Madrid] 
 No. 297 Portrait of Philip IV,, King of Spain, 
 
 [Paris] 
 
 No. 298 Portrait of Infante Don Ferdinand of 
 Austria, [Madrid] 
 
 No. 299 Portrait of Infanta Maria Teresa of 
 Austria, [Madrid] 
 
 No. 300 Portrait of Buffoon of Philip IV, sur- 
 named Don Juan of Austria, [Madrid] 
 
 No. 301 Portrait of Dwarf of Philip IV., sur- 
 named Don Antonio Ingles, 
 
 No. 302 Portrait of Infanta Maria Margarita, 
 
 [Paris] 
 
 No. 303 St, Anthony, Abbot, Visiting St, Paul, 
 Hermit, [Madrid] 
 
 In a dreary solitude, three scenes are represented. On 
 the right, the stranger knocking at the door of the cell, which 
 the hermit has hollowed out of the rock ; in the center, the 
 two old men, engaged in holy conference, are receiving the 
 double allowance of bread brought by the raven ; on the left, 
 
66 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 St. Anthony is seen praying over the body of St. Paul, while I 
 two lions are digging with their claws the grave of the dead | 
 hermit. Excepting for the fact of there being several scenes j 
 in the same picture, which is no longer allowed, the original 
 painting might be considered a masterpiece. The landscape 
 is treated with great breadth and freedom. 
 
 No. 304 Portrait of Don Pedro Moscoso de Alta- 
 mira^ Dean of the Royal Chapel at 
 Toledo^ afterward Cardinal, [Paris] 
 
 No. 305 Portrait of a Sculptor. [Madrid] 
 
 No. 306 Portrait {equestrian) of Philip /F!, 
 King of Spain. (See No. 18) [Florence] 
 
 No. 307 Portrait of Donna Mariana of Austria. 
 
 [Madrid] 
 
 No. 308 Portrait of Don Antonio Alonzo Pi- 
 mental. [Madrid] 
 
 No. 309 Portrait of Conde Duque de Oliverez. 
 
 No. 310 Portrait (eq.) of Philip IV., King of 
 Spain. [Florence] 
 
 No. 311 Portrait of Philip IV., King of Spain 
 (in youth). [Madrid] 
 
 No. 312 Portrait of Philip IV., King of Spain 
 (in hunting costume). [Madrid] 
 
 No. 313 Portrait of a young woman. [Paris] 
 
 No. 314 The Idiot. ^'El Bobo de Coria.'' 
 
 [Madrid] 
 
 No. 315 Adoration of the Shepherds. [London] 
 
 No. 316 Portrait of Infante Don Balthazar 
 Carlos (at the age of six). [Madrid] 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 67 
 
 No. 317 Portrait (eq,) of Infante Don Balthazar 
 Carlos. [Madrid] 
 
 No. 318 Portrait of Donna Mariana of Austria, 
 
 [Madrid] 
 
 .No. Zl^ Portrait of Pope Innocent X. {J. B,(i%^ 
 Pamfili), 157Jf-1655. [Rome] ^ ^ 
 
 No. 320 Portrait of Conde^ Duque de OUverez, 
 
 [St. Petersburg] 
 
 No. 321 ^sop, (Full length) [Madrid] 
 
 No. 322 Portrait of the Artist (by himself). 
 
 [Rome] 
 
 No. 323 Portrait of Cardinal Caspar de Borja 
 [Borgia) . [Frankfort] 
 
 No. 324 Philip IV. at Prayer. [Madrid] 
 
 No. 325 Portrait (eq.) of Conde, Duque de 
 Oliverez. [Madrid] 
 
 No. 326 IleadofjEsop. (Detail of No. 321) 
 
 [Madrid] 
 
 No. 327 An Old Monk. (Attributed) 
 
 [St. Petersburg] 
 
 No. 328 Portrait of Infanta Maria Margarita 
 Theresa of Spain. [Frankfort] 
 
 No. 329 Menippus (a cynic philosopher). 
 
 [Madrid] 
 
 No. 330 Spanish Landscape. [The Hague] 
 
 No. 331 Menippus. (Detail of No. 329) 
 
 [Madrid] 
 
68 
 
 REPRODUCTIONS OP WORKS OF ART IN THE 
 
 No. 332 Portrait of Dwarf of Philijo IV.^ called 
 ''El Primoy [Madrid] 
 
 No. 333 The Coronation of the Virgin, [Madrid] 
 
 No. 334 Christ of the Column. [London] 
 
 No. 335 Portrait of Philip IV. [St. Petersburg] 
 
 No. 336 Portrait of a man. [Dresden] 
 
 No. 337 Portrait of Infante Don Balthazar 
 Carlos. [The Hague] 
 
 No. 338 Mars. [Madrid] 
 
 No. 339 Portrait of Infante Don Balthazar Car- 
 los^ son of Philip IV [Madrid] 
 
 No. 340 Portrait (eq.) of Donna Margarita of 
 Austria^ Queen of Philip III. [Madrid] 
 
 No. 341 Portrait of Dwarf surnamed Don Se- 
 bastian de Mora. [Madrid] 
 
 No. 342 Crucifixion. [Madrid] 
 
 Painted in 1639 for the Convent of San Placido. It has not 
 the dim landscape and lowering clouds usual in the treatment 
 of this subject, and the absolute blackness of the background 
 seems to intensify the light color of the figure, which is severely 
 simple and sculpturesque. 
 
 No. 343 Portrait of Buffoon of Philip IV. ^ sur- 
 named Pablellos de Valladolid. [Madrid] 
 
 No. 344 Portrait of Infante Don Carlos^ second 
 son of Philip III [Madrid] 
 
 No. 345 The Child of Vallecas. [Madrid] 
 
 No. 346 Dead Soldier. [London] 
 Kiiown by the name of * 'Orlando, Dead." (Attributed.) 
 
PORTRAIT OF UNKNOWN MAN— REMBRANDT. 
 
JL4/)().\\VA AND CHILP-MURIIJ.O. 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 69 
 
 No. 347 Portrait (eq.) of Queen Isabella de 
 Bourbon, [Madrid] 
 
 No. 348*""''^^ Maids of Honor {Les Maninas). ^ 
 
 [Madrid] 
 
 Representing the Infanta Margarita and her maids of honor 
 and dwarfs. In respect to aerial and linear perspective, 
 local color and animal and human life, it is considered almost 
 unrivaled. 
 
 No. 349 The Surrender of Breda. [Madrid] 
 
 Also known as "The Lances" from the line of soldiers with 
 uplifted pikes relieved against the sky, behind the Marquis of 
 Spinola, who, with graceful dignity, receives the keys from 
 Prince Justin of Nassau. 
 
 Remarkable alike for the feeling and expression of the 
 figures and for technical execution, with added interest from 
 having the portrait of the artist at the left. Was etched by 
 the French artist Laguillermie in 1875. 
 
 No. 350 The Meeting of Artists. [London] 
 
 Gives a most successful attempt at solving the crucial diffi- 
 culty of representing with equal honors, many persons on a 
 single canvas and has added interest from showing the por- 
 traits of Velasquez and Murillo at the left. 
 
 No. 3511/ The Tapestry Weavers {Las Rilanderas), 
 
 [Madrid] 
 
 A large composition in the original, showing the interior of 
 the royal manufactory dimly lighted, with a group of work- 
 women occupied with the various employments of their trade, 
 while, in the background, three ladies are regarding some com- 
 pleted tapestries hung for their inspection. " This picture has 
 all the marvelous blending of color of Velasquez's latest works, 
 a soft and rounded outline, great transparency of tone, simple 
 handling and breadth of treatment." 
 
 No. 352 The Drinkers ( '^Los Burrachos " ). 
 
 [Madrid] 
 
 The original painting life-size, a composition of nine figures 
 representing a young peasant crowned with vine leaves, en- 
 throned upon a wine cask, initiating a novice into the Bacchic- 
 
70 
 
 REPRODUCTIONS Or WORKS OF ART IN THE 
 
 rites. The whole composition teems with the very essence of 
 revelry and its humor entitles Velasquez to the name of the 
 * 'Hogarth of Andalusia." 
 
 No. 353 The Forge of Vulcan ; or, Apollo at the 
 Forge of Vulcan, [Madrid] 
 
 (Original lOV^ x 8 ft.) 
 
 Executed in Italy; it marks the change to Velasquez's second 
 period, showing free handling and skill in anatomy. It re'p- 
 resents Vulcan in his cavern with his companions, hearing from 
 Apollo the tale of the infidelity of Venus. Had the speaker 
 been conceived and painted with as much force and truth as 
 are his auditors, this picture would have been unexcelled in 
 dramatic effect. But unhappily, Apollo is wanting in all the 
 attributes of beauty and grace with which poetry has invested 
 him. The modeling, action and treatment of light and shade 
 are masterly." 
 
 No. 354 Portrait of a man. [Dresden] 
 
 No. 355 Portrait {eg,) of Philip IV [Madrid] 
 
 No. 356 Portrait of Philip III. (Madrid] 
 
 From Drawings. 
 
 No. 558 Head of man, [Florence] 
 
 No. 559 Head of a young loy^ loAighing, 
 
 [Dresden] 
 
 MXJRILLO (Bartolome Esteban) (1618-1682) 
 
 At the age of twenty-four, he went to Madrid, where he 
 derived advantage from the friendly counsels of Velasquez and 
 perfected himself in his art. Having returned to Seville, in 1645, 
 he soon acquired a high reputation in historical pictures, por- 
 traits, and other branches of painting. He was patronized by 
 the King of Spain and adorned the churches of Madrid, 
 Seville and Cadiz with his works. As a colorist, he surpassed 
 all other Spanish artists. His productions are remarkable for 
 originality, fidelity to nature, freedom of touch, and softness, 
 splendor and harmony of color. He delighted and excelled in 
 the representation of virgin saints and beggar-boys at play. 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 71 
 
 His ideas, models, and mode of expression were purely 
 Spanish. He has justly been called The Painter of the Con- 
 ception," and has represented this subject with unrivaled 
 grace and tenderness. He has varied the age, the style of 
 beauty, and the surroundings of the Virgin, in almost number- 
 less pictures, but all breathe the same purity and spotless 
 innocence ; all are the fitting representation of that Mother of 
 Christ who holds so high a place in the religion of the South. 
 Among his masterpieces are The Marriage of St. Catherine," 
 ^'A Young Beggar," a ''Holy Family," ''St. Elizabeth of 
 Hungary" and "St. Anthony of Padua." Murillo died in 
 consequence of a fall from a scaffold while painting the upper 
 part of the large picture of the "Marriage of St. Catherine." 
 
 Oil Painting. /f^7^^--<^ 
 
 No. 17 Madonna and Child. (Copy) [Florcu ti ^ ] 
 
 Photograph from Painting. 
 
 No. 357 The Young Beggar. [Paris] 
 
 French School. 
 
 CLOUET (Francois) (1500-1572) 
 No. 726 Photograph from drawing. 
 
 POUSSIN (Nicolas) (1593-1665) 
 
 Founder of the classic and academic in French art, and in 
 influence, the most important man of the century. His work 
 showed great intelligence and had an elevated style that made 
 it impressive. It reflected nothing French, however, and he 
 himself might be put down as an Italian of the Decadence. His 
 drawing was correct but severe ; the composition agreeable 
 but formal. 
 
 Photograph from Painting. 
 
 [Dresden] 
 
 No. 171 Bacchanal. 
 
 [Paris] 
 
73 
 
 REPRODUCTIONS OP WORKS OF ART IN THE 
 
 LORRAINE (Claude) (1600-1682) 
 
 Called Lorraine from the province in which his native town 
 was situated. He differed from Poussin in making his pictures 
 depend more strictly upon landscape than upon figures. His 
 three great charms are : the unlimited space expressed in his 
 pictures, effected by the use of soft vapor to define separate 
 distances, and equaled, perhaps, only by Corot ; the effects of 
 air, shown in veiling and subduing outlines and tints ; and the 
 brilliant effects of light on a charming coloring." 
 
 Photograph from Painting. 
 
 No. 466 The Embarkation of the Queen of Sheba. 
 
 [London] 
 
 From Drawings. 
 No. 731 Landscape, [Paris] 
 No. 732 Landscape. [Florence] 
 No. 733 Landscape. [London] 
 No. 734 Landscape. 
 
 CHAMP AIGNE (Philippe de) (1602-1674) 
 
 Photographs from Paintings. 
 
 No. 168 ""Les Religieuses^'''^ Portraits of Mother 
 Agnes and The Artisfs Daughter, 
 
 [Paris] 
 
 No. 169 Portrait of Richelieu. [Paris] 
 
 WATTEAU (Antoine) 1684-1721) 
 
 The first truly national French painter, portraying, from 
 thoroughly French promptings, the French life around him. 
 His subjects were trifling bits of fashionable scenes from the 
 opera, fetes and balls. His characters are beautifully unreal, 
 but his work was original, decorative and charming. He in- 
 troduced a new spirit and new subject into art, the epic style 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 73 
 
 of the Italian being laid aside in favor of genre treatment. He 
 was a brilliant painter, not a great one in thought or imagina- 
 tion. Unfortunately he set a bad example by his gay subjects, 
 and those who came after him carried his gaiety and lightness 
 of spirit into exaggeration. 
 
 No. 470 The Embarkation to the Isle of Cythera. 
 
 [Paris] 
 
 No. 471 Indifferenty {The Indifferent One.) 
 
 [Paris] 
 
 No. 472 ^'La Finette^ (The Cunning Woman.) 
 
 [Paris] 
 
 Photographs from Drawings. 
 No. 728 Head of a young girl. [Paris] 
 No. 729 Study of two figures, [Vienna] 
 No. 730 Study in drapery. [Paris] 
 
 LANCRET (1690-1743) 
 
 No. 724 Photograph from drawing. [Dresden] 
 
 VAN LOO 
 
 Photograph from Painting. 
 No. 179 Portrait of a woman. [Paris] 
 
 CHARDIN (1699-1779) 
 
 Photograph from Painting. 
 No. 173 The Blessing. 
 
 [Paris] 
 
74 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 BOURCHARDON (1698-1762) 
 
 Photograph fbom Drawing. 
 No. 727 Vintage Time. [Paris] 
 
 LE NAIN 
 
 Photograph from Drawing. 
 No. 725 Feasants. [Paris] 
 
 GREUZE (Jean Baptiste) (1725-1805) 
 
 Photograph from Painting. 
 No. 167 Portrait of the Artist. [Paris] 
 
 PRUDHON (Peter Paul) (1758-1823) 
 
 Photograph from Painting. 
 No. 172 The Assumption of the Virgin. 
 
 GIRODET-TRIOSON (1767-1824) 
 
 Photographs from Paintings. 
 No. 468 Sleeping Endymion. 
 No. 757 The Deluge. 
 
 GROS (Antoine Jean) (1771-1835) 
 
 The greatest of David's pupils. His distinction springs 
 more from the fact that he ceased to imitate the followers of 
 the strictly classic school and began to originate. By choosing 
 for his subjects Napoleonic battle-pieces, he unconsciously led 
 the way toward romanticism. 
 
 Photograph from Painting. 
 
 [Paris] 
 
 [Paris] 
 [Paris] 
 
 No. 469 After the Battle of Eylau. 
 
 [Paris] 
 
WESTERN GALIiERY OF ART, KANSAS CITY, MO. 75 
 
 GERICAULT (Jean Louis) (1791-1824) 
 
 Gros had made innovations on the classic in his battle- 
 pieces, but the first positive dissent from classic teachings was 
 made by Gericault in the Salon of 1819, with ''Raft of the 
 Medusa." 
 
 Photograph from Painting. 
 No. 467 Portrait of a man, [Paris] 
 
 CHEVANNES (Puvis de) (1824 ) 
 
 Photograph from Painting. 
 No. 464 The Poor Fisherman, [Paris] 
 
 LA GAZE 
 
 Photograph from Painting. 
 No. 465 Portrait of an artist, [Paris] 
 
 English School. 
 
 GAINSBOROUGH (Thomas) (1727-1780) 
 
 Photograph from Drawing. 
 No. 735 Portrait of Gainsborough, [London] 
 
 BONNINGTON (R. P.) (1801-1828) 
 
 No. 736 Photograph from painting [Paris] 
 
76 REPRODUCTIONS OF WORKS Or ART IN THE 
 
 SttssiaH School. 
 
 MUNKACSY (M. de) (I-i^4»g^ 
 
 No. 479 Christ before Pilate. [Philadelphia] 
 Nos. 480-487 Details of above. 
 
rORTRAir OF I'h'/XCE OF nENJlLAAVC—SrS'fER.UA.V. 
 
PORTRAIT OF ITHTIP IV.~VELASQUEZ. 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 77 
 
 SCULPTURE. 
 
 Casts from the Originals. 
 
 No. 73 Nihe ( Victory). (Reduced) [Paris] 
 
 Found on the isle of Samothrake, in a much more muti- 
 lated condition than here represented. A Parian marble 
 female figure of colossal proportions, and fully draped. She 
 has just alighted on the prow of a ship, and sweeps down with 
 lightning speed ; the powerful form, with its rushing drapery, 
 seeming to force a way for the imposing goddess of victory. 
 The prow was found in an even more mutilated state, but has 
 been slowly fitted and supplemented, so that the statue stands 
 once more upon its fitting base, as it stood at the head of a 
 long valley filled with the statues, stoa and temples of the 
 shrine. 
 
 No. 55 Apollo Belvedere. [Rome] 
 
 The original figure is in the Vatican, where it has stood 
 since the time of Michael Angelo, and takes its name from 
 that of the room in which it is contained, the enclosed portico, 
 Belvedere, beautiful view. 
 
 The god is represented stepping lightly forward ; his beau- 
 tiful, manly body naked, save for a light chlamys, which falls 
 from his left shoulder over the arm with which, it was formerly 
 supposed, he held his bow. The head, turned a little toward 
 the side, is raised in an attitude full of spirit ; the clear eye 
 seems to follow the effect of the arrow that has just left the 
 string ; and an alert, vigorous life animates the proudly parted 
 lips, and breathes from the dilated nostrils. It is thus that 
 one might picture the god of light at the moment when he 
 had launched the fatal shaft against the Python, and his whole 
 god-like beauty was still thrilling with the noble wrath that 
 filled his soul. There is something wonderfully striking, bold, 
 and full of action, in the impression that the work produces ; 
 and however much the rythmic harmony of the form, the 
 exquisite curve of the outlines, and the nobility of the whole 
 structure of the body, may speak of the immortal beauty of 
 the god, the observer is nevertheless most delighted by the 
 animated aspect of the head, the fiery life of the proud features. 
 Schnaase rightly calls the Apollo the most brilliant piece of 
 
78 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 sculpture of ancient times. It cannot be denied that the effort 
 of the artist to give the effect of the moment of action is carried 
 so far as to produce something startling and striking ; and, 
 although the somewhat theatrical impression which the statue 
 makes may be brought about by the badly restored hands and 
 their peculiar spread-out position, a tendency in that direction 
 is observable even without this damaging addition. The 
 Apollo was discovered in Porte d'Anzo (the ancient Antium), 
 a favorite resort of the earlier Caesars. That it is, however, 
 only the copy of a Greek original, has been proved by the 
 discovery of other imitations, which may be traced back to the 
 same work. The most important of these is a bronze statuette 
 belonging to Count Sergei Stroganoff at St. Petersburg, and 
 discovered at Paramythia, near Janina, in 1792. It gives pre- 
 cisely the same position and action of the god, but shows that, 
 instead of holding a bow in the broken and falsely restored left 
 hand, he held the aegis with the head of Medusa, which he 
 was extending toward some enemy. 
 
 No. 61 Venus of Milo, (Original in the Louvre) 
 
 [Paris] 
 
 This statue, one of the most celebrated antiques, has been 
 attributed to a period about 400 B. C. It was found in 1820 
 in an excavation on the island of Milo, ancient Melos. It was 
 in two large pieces and several fragments ; the knot of hair on 
 the back of the head was broken off in the removal from the 
 place of discovery to the Turkish vessel on which it was first 
 embarked. It was evidently made in two pieces, as the blocks 
 are not of exactly the same marble, the surfaces in contact are 
 hollowed slightly, and the remains of two holes which once 
 held tenons of iron are visible. Why the sculptor used two 
 pieces in a country where marble of suitable size was easily at- 
 tainable, may never be discovered. The division occurs about 
 the waist, where the plaster casts are usually separated. The 
 plinth and left foot, as well as the arms, the tip of the nose, 
 and a part of the lips were gone ; and M. Clarac undertook to 
 restore the plinth, foot, and damaged portions of the face. 
 During the siege of Paris by the Prussians, the Venus was 
 carefully boxed and placed beneath the surface of the earth to 
 guard it from shells and actual robbery. The moisture re- 
 moved the plaster used in its restoration, and the marble when 
 restored to daylight was in the same condition as when first 
 discovered. M. Felix Ravaisson, the accomplished keeper of 
 he antiques at the Louvre, examined the statue anew ; and, 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 79 
 
 in a report made to the government, as well as in a most inter- 
 esting pamphlet published in 1871, urges that the ancient and 
 exquisite marble be left unharmed by the hand of a restorer, as 
 have been the Theseus and Parthenon marbles of the British 
 Museum. The nose and the lips are necessary restorations, 
 but the foot and its support, whatever that may have been, 
 are not needed to give the noble sculpture all its grace and at- 
 tractiveness. The figure, from the waist down, is inferior 
 both in marble and execution. 
 
 M. Ravaisson, referring to the many representations of 
 Venus and Mars, both in sculpture and painting, shows, with 
 much probability, that the Venus of Milo once formed part of 
 a group — Love disarming War, the loveliest attributes of 
 woman restraining the rude hand of man, or it may be the 
 token of the family, where woman is supreme. It must be 
 remembered that, according to many authorities. Mars was 
 the lawful husband, not the adulterous lover of Venus. Of 
 these two interpretations the reader must make choice, for no 
 one could imagine the head to be that of the Cyprian Venus. 
 
 In speaking of this figure, Mr. Lubke remarks : " This is 
 the only statue of Venus that has come down to us which rep- 
 resents the goddess and not merely a beautiful woman. The 
 power and grandeur of form, over which the infinite charm of 
 youth and beauty is diffused, is in harmony with the pure and 
 majestic expression of the head, which, free from human 
 infirmity, proclaims the calm self-sufficiency of divinity. The 
 magnificence of this work, which, in spite of its excellence, 
 was in nowise famed among the ancients, allows us to infer 
 to some extent what must have been the beauty of those 
 vanished creations which excited the admiration of all 
 antiquity. 
 
 Mrs. Lucy Mitchell says : "The statue had suffered hard 
 usage previous to shipment, the sensitive marble having been 
 dragged over a stony road to the shore." 
 
 A mutilated inscription, " [Alexjandros, (or Agesandros), 
 son of Menides, of Antiocheia, on the Meander, made the 
 work " appears on a drawing of the statue made by the painter 
 Debay, one year after its discovery. There is the strongest 
 reason to believe that this inscription was purposely destroyed 
 as too inconvenient a witness to the late origin of the statue, 
 which high officials desired to have pass for a work of the very 
 acme of Hellenic art, calling it a masterpiece of Praxiteles 
 himself. 
 
 Had the art world at that time been familiar with the 
 Pergamon sculptures of the much later second century B. C, 
 the date of the great statue would have been evident from the 
 
80 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 similarity to them in style, while the shape of the inscribed 
 letters would doubtless also have betrayed its kinship to the 
 works of that age. 
 
 No. 57 Venus de Medici, [Florence] 
 
 One of the most famous antique female statues now in 
 existence, ranking with the Apollo Belvedere. It is uncertain 
 where it was found. It was once in the gardens of the Medici 
 at Rome, and was moved thence to Florence some time during 
 the seventeenth century. The marble bears the mark of rough 
 usage. The left forearm and all of the right arm are modern 
 restorations by Ferratta, to whom are due the too slender 
 fingers. 
 
 In the original, the ears are pierced for ornaments and the 
 arm shows the mark of an armlet. It is inscribed as by Cleo- 
 menes, and belongs to the era of Caesar and Augustus. 
 
 ''High as this work stands from the softness of its treat- 
 ment, from the harmonious rythm of the lines, and from the 
 delicate beauty of the slender, youthful form, it remains far 
 inferior in feeling to the works of the earlier period. The 
 beauty of a goddess in her unconscious majesty is not repre- 
 sented here as in the Venus of Milo ; we see nothing but the 
 charms of a coquettish woman, who, from her apparently 
 modest bearing, seems to challenge the admirer, whose notice 
 she is seeking. 
 
 She is one of the very distant changes rung on that cele- 
 brated art creation of antiquity, the Cnidian Aphrodite 
 (Venus) of Praxiteles. The old authors are filled with the 
 fame of the latter and they relate that the Bithynian king, 
 Nicomedes, offered the Cnidians the payment of their state 
 debt in exchange for this wonderful work. The artist had rep- 
 resented the goddess entirely nude, but had modified this bold 
 innovation by making her left hand about to take up a gar- 
 ment, as though she had just emerged from the bath, while 
 with her right hand she modestly shielded her person. 
 
 '' The Medician Venus, when found, was broken into eleven 
 pieces, only the hands and a portion of the arms were wanting. 
 There were ornaments in the ears, and her elegantly arranged 
 hair was gilded. She is sprung from the Cnidian Venus, only 
 her nakedness did not now need to be accounted for by the 
 bath. The dolphin by her side is merely a support and has no 
 reference to her having sprung from the sea." (Muller 
 Ancient Art and Its Remains.) 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 81 
 
 DONATELLO (1386-1468) 
 
 There is a powerful masculine energy displayed in every- 
 thing which Donatello undertook, and his earlier work more 
 especially shows a deep study of the antique. An effort after 
 sharp individualization, however,became a characteristic, and, 
 as compared with this, beauty was a matter of indifference to 
 him. It entered his work but rarely and, as it were, by ac- 
 cident. 
 
 No. 53 Bust of a young girl {giovinetta). 
 No. 55 Profile of a you7\g woman. 
 
 No. 56 Profile— St, Cecilia, 
 
 From a marble in the possession of Lord Elcho. 
 
 No. 62 Head of a laughing child, [Vienna] 
 From a marble in the Nuller collection. 
 
 No. 63 Head of Niccolo da TJzzano, 
 
 No. 66 Profile — young St, John, 
 
 No. 68 Bmt of young St. John. 
 
 No. 70 Bust of a young woman. [Paris] 
 
 From a sculpture in wood, reproducing Cecilia Gonzaga. 
 (Attributed). 
 
 No. 77 Head of a child. [Paris] 
 
 ROBBIA (Luca della) (1400-1481) 
 
 One of the best Tuscan sculptors of the fifteenth century. 
 Most of his figures are extremely beautiful, and of noble ac- 
 tion, and the drapery is treated purely and well. His numerous 
 glazed terra-cottas form the most attractive ornaments of nearly 
 every church about Florence. 
 
 No. 54 Head of Vecchio. 
 
 No. 59 Bust — Virgin and Infant, (Bas relief) 
 
 [Florence] 
 
 Lunette over the door of the Chapter of the Novicetates in 
 the church of Santa Croce. 
 
82 
 
 REPRODUCTIONS OP WORKS OF ART IN THE 
 
 POLLAJOLO (Antonio del) (1429-1498) 
 
 An eminent Italian sculptor, who was also a painter and 
 goldsmith. He is excellent in composition and in knowledge 
 of anatomy. 
 
 No, 52 A young soldier. 
 
 No. 69 Portrait of an unknown man. 
 From a terra-cotta without glaze. (Attributed). 
 
 SETTIGNANO (Desiderio da) (1431-1484) 
 
 A pupil of Donatello. Raphael's father speaks of his deli- 
 cate, sweet and captivating style. 
 
 No. 64 Infant Jesus holding in Ids hand a crown 
 of thorns. 
 
 This ^'Bambino" was carried by the children in the pro- 
 cession that celebrated the burning of vanities," instigated 
 by Savonarola. 
 
 No. 78 Head of child — with base. 
 
 FIESOLE (Mino da) (1431-1494) 
 
 His work is praised for its sweetness and light." 
 
 No. 51 Bust of Bishop Vescovo Leonardo Salu- 
 tati. [Florence] 
 
 From the Duomo di Fiesole. 
 One of the most vivid and finished portraits ever made in 
 marble." 
 
 VERROCCHIO (Andrea) (Clone de Michele) 
 
 (1435-1488) 
 
 Called Verrocchio on account of the correctness of his eye. 
 As the teacher of da Vinci, he exercised a powerful influence 
 upon Italian art. (See page 13.) 
 
Wl^STBRN GALLERY OF ART, KANSAS CITY, MO. 
 
 83 
 
 No. 65 Boy playing loith a dolphin. [Florence] 
 
 From an exquisite bronze fountain in the court of the Pal- 
 azzo Vecchio. 
 
 " Nothing can be gayer or more Jively than the expression 
 and action of this child, and there is no modern bronze com- 
 bining such beautiful treatment with such perfection of art. 
 A half flying, half running motion is represented, its varied 
 action still true to the center of gravity." (Rumohr.) 
 
 No. 74 David ( Victorious) with the head of Goli- 
 ath. [Florence] 
 From bronze in the National Museum. 
 
 MAJANO (Benedetto da) (U42-1498) 
 
 One of the most important and pleasing artists of the time. 
 
 No. 60 Architectural hase with festoons of fruit. 
 
 No. 67 Relief from hase of altar. 
 
 No. 71 Bust of Pietro Mellini^ a Florentine mer- 
 chant. [Florence] 
 In the National Museum. 
 
 ROVEZZANO (Benedetto da) (1490-1550) 
 
 An Italian sculptor born near Florence. 
 No. 50 Candelabra. [Florence] 
 
 Ornate panel from the altar in the Church of the Holy 
 Trinity. 
 
 No. 72 Candelabra. [Florence] 
 Ornate panel from the altar in the Church of the Holy 
 Trinity. 
 
 No. 75 Ornamental column, [Florence] 
 
 From the above named altar. 
 No. 76 Ornamental column. [Florence] 
 
 From the above named altar. 
 
84 
 
 REPRODUCTIONS OF WORKS OF ART. 
 
 
 
 Photographs from Sculpture. 
 
 
 No. 
 
 744 
 
 lorso. 
 
 [Florence] 
 
 No. 
 
 745 
 
 Jupiter. 
 
 [Vatican] 
 
 No. 
 
 746 
 
 fortune. 
 
 [Vatican] 
 
 No. 
 
 747 
 
 Polymnie. 
 
 [Paris] 
 
 No. 
 
 748 
 
 Venus. 
 
 [Paris] 
 
 No. 
 
 749 
 
 AmpeLos. 
 
 [Florence] 
 
 No. 
 
 750 
 
 Pertinax, 
 
 [Vatican] 
 
 No. 
 
 751 
 
 tamtinus. 
 
 [Vatican] 
 
 No. 
 
 752 
 
 trom Bronze hy Cellini. 
 
 [Florence] 
 
 No. 
 
 753 
 
 Lion attacking a man. 
 
 [Paris] 
 
WBSTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 85 
 
 OMISSIONS. 
 
 No. 370 Miracle of St. MarJc {Tintoretto). (See 
 page 40) [Venice] 
 Nos. 371-2 Solari. 
 No. 373 Sassoferrato. 
 No. 555 Garofalo. 
 No. 654 Zasinger. 
 No. 667 IlPordenone. 
 Nos. 683-4 Fra Bartolomeo. (Page 26) 
 No. 711 Lippi. (Page 10) 
 No. 712 Carpaccio. (Page 19) 
 No. 717 Unknown Master. 
 No. 723 Grandi. 
 No. 739 Schidone. 
 Nos. 741-2 Da Vinci. (Page 20) 
 
 ERRATA. 
 
 Page 12— For ''L. Cole," read "T. Cole." 
 Page 15 — Botticelli (reference to photograph), for **No. 
 445," read '^No. 433." 
 
 Page 38— For No. 721," read " No. 719." 
 Page 40— For " No. 560," read No. 740." 
 Page 63— for Penez " read " Pencz." 
 Page 71— Murillo's Madonna, instead of Florence" read 
 '*Rome." 
 
86 
 
 REPRODUCTIONS OF WORKS OF ART IN THE 
 
 INDEX. 
 
 (Catalogue of numbers on page 7.) 
 
 Abraham at Table with Angels {Rembrandt) 53 
 
 Albertinelli 23 
 
 Aldegrever, H 64 
 
 Anatomical Lesson, Tulp's (Rembrandt) 51 
 
 Dayman's 52 
 
 Angel Gabriel [Dolci) 43 
 
 Angelo 24 
 
 Angelico, Fra 9 
 
 Apollo at the Forge of Vulcan (Velasquez) 70 
 
 Belvedere 77 
 
 Aurora (Guidi Rent) 42 
 
 Baen, Jan 58 
 
 Bartolommeo 26 
 
 Barbarelli 30 
 
 Bazzi 26 
 
 Beham, H 48 
 
 Bellini, Gentile 11 
 
 " Giovanni 11 
 
 Bigordi, Tomaso 19 
 
 Bol, H 57 
 
 Bennington 75 
 
 Botticelli, Sandro 14 
 
 Bordone, Paris, 39 
 
 Bouchardon 74 
 
 Brueghels 45 
 
 Buonarotti, Angelo 24 
 
 Calumny (Botticelli) 16 
 
 Cambiaso 40 
 
 Carpaccio 19 
 
 Carracci, A 41 
 
 Casts 77 
 
 Ceiling of Sistine Chapel (Angelo) 25 
 
 Cellini 39 
 
 Champaigne 72 
 
 Chardin 73 
 
 Chevannes 75 
 
 Children of Charles I (Van Dyck) 47 
 
WESTERN GALLERY OP ART, KANSAS CITY, MO. 
 
 87 
 
 Christ Before Pilate (MunJcacsy) 76 
 
 Claude Lorraine 72 
 
 Clouet .71 
 
 Concert (Oiorgione) ! . ! .30 
 
 Conegliano, II „ 23 
 
 Corregio .38 
 
 Cranach, L , 61 
 
 Credi, L .23 
 
 Dante (Giotto) 9 
 
 Danae (Corregio) 38 
 
 DelSarto 36 
 
 Deutsch, N 61 
 
 Dolci 43 
 
 Domenichino 42 
 
 Donatello 81 
 
 Durer, A 59 
 
 ' ' Portrait of (Durer) 60 
 
 Dutch School 48 
 
 Errata 85 
 
 Eyck, Jan van 44 
 
 Fabriano, Gentile 9 
 
 Fiesole, Giovanni 9 
 
 " Mino da 82 
 
 Flemish School 44 
 
 Flink 57 
 
 Flora (Titian) 29 
 
 Forge of Vulcan (Velasquez) 69 
 
 Fra Angelico 9 
 
 ' ' Bartolommeo 26 
 
 Gainsborough 75 
 
 * * Portrait of (Gainsborough) 75 
 
 Gericault ..75 
 
 German School 59 
 
 Ghirlandajo 9 
 
 Giorgione 30 
 
 Giotto Q 
 
 Giovanni, Fiesole 
 
 Good Samaritan (Rembrandt) 5^ 
 
 Girodet 7^ 
 
 Grun,H 6f 
 
 Grenze 7I 
 
 * ' Portrait of (Grenze) ^4 
 
 Gros 4 
 
88 
 
 REPRODUCTIONS OT WORKS OF ART IN THE 
 
 Guercino, II 42 
 
 Guido Reni 42 
 
 Hals, F 48 
 
 Havoc of War (Eubens) 46 
 
 Herman, K 64 
 
 Hoefnagel 45 
 
 Holbein 61 
 
 Huysmans, C 48 
 
 II Cavaliere 26 
 
 II Vecehio 30 
 
 Italian School 9 
 
 Klenglel, J 64 
 
 Jjb, Gaze 75 
 
 Lancret 73 
 
 Le Nain 74 
 
 Lesson in Anatomy, Tulp's (Rembrandt) 51 
 
 Lesson in Anatomy, Dayman's (Rembrandt) 52 
 
 Leyden, L. Van 48 
 
 Lippi, Fillippino 10 
 
 Lippi, Fra Filippo 10 
 
 Lorraine 72 
 
 Lovini 24 
 
 Luini, Bernardino 14 
 
 Madonna of the Star (Angelico) 10 
 
 Enthroned (Bellini) 12 
 
 and Infant (Botticelli) 17 
 
 " Saints (Credi) 23 
 
 " Child (Murillo) 71 
 
 " Sistine (Raphael) 32 
 
 della Sedia 32 
 
 of the Chair 32 
 
 " of the Goldfinch 33 
 
 " Grand Duke 33 
 
 " diFoligno 33 
 
 of the Harpies (Sarto) 36 
 
 Sack 37 
 
 Litta (Vinci) 21 
 
 " of the Rocks " 21 
 
 " Scales 21 
 
 Pesaro (Titian) 28 
 
 Magdalene 28 
 
 Magnificat (Botticelli) 15 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 89 
 
 Majano 83 
 
 Mantegna 13 
 
 Marriage of St. Catherine (Veronese) 41 
 
 Massaccio 10 
 
 Matsys 45 
 
 Massy s .45 
 
 Meleagre and Atalanta (Buhens) 46 
 
 Memling 45 
 
 Mengs 64 
 
 Metsu 59 
 
 Michael Angelo 24 
 
 Miel 47 
 
 Mieris 59 
 
 Mino da Fiesole 82 
 
 Mona Lisa (Vinci) 21 
 
 Moroni 40 
 
 Munkaczy 76 
 
 Murillo 70 
 
 N'ight Watch (Rembrandt) 55 
 
 Nike 77 
 
 Omissions 85 
 
 Palma 30 
 
 Pencz, G 63 
 
 Pertinax 84 
 
 Perugino 14 
 
 Pietro Vannuci 14 
 
 Piombo 36 
 
 Pollajolo 82 
 
 Pope Clement I (Raphael) 35 
 
 Julius II 33 
 
 Silvester I 34 
 
 ** Innocent X (Velasquez) 67 
 
 Poussin 71 
 
 Prima ticcio 39 
 
 Prince of Denmark (Susterman) 46 
 
 Prudhon 74 
 
 Raphael 31 
 
 Kaphael, Portrait of [Raphael) 35 
 
 Reinhard, J 64 
 
 Rembrandt 4:9 
 
 Rembrandt and Wife (Rembrandt) 50 
 
 u t< ii _ 51 
 
 u ii ii . " 53 
 
90 
 
 BEPBODUGTIONS OF WORKS OF ART IN THE 
 
 Reni, Guido 42 
 
 Riciarelli 40 
 
 Robbia, della 81 
 
 Romano 38 
 
 Rovezzano 83 
 
 Rubens 45 
 
 Ruisdael, Jacob 58 
 
 Rnisdael, Salomon 49 
 
 Sacchi 43 
 
 Sacred and Profane Love ( Titian) 27 
 
 Sanzio, Raphael 31 
 
 Saskia (Rembrandt) 54 
 
 Sarto, Andrea del 36 
 
 School of Athens (Raphael) 32 
 
 Sesto, Cesare 24 
 
 Settignano 82 
 
 Sibyl (Raphael) 34-35 
 
 Sistine Ceiling (Angelo) 25 
 
 Sistine Madonna (Raphael) 32 
 
 Snyders, F 47 
 
 Sortie of the Banning Cock Company . . (Rembrandt) 55 
 
 Sodoma 26 
 
 Spanish School 64 
 
 Steen, Jan 58 
 
 Susterman 46 
 
 Teniers 48 
 
 Terburg 57 
 
 Titian 26 
 
 Tintoretto 40 
 
 Tomb of Medici (Angelo) 25 
 
 Turini 43 
 
 Unknown Italian Artists 43 
 
 Voga 38 
 
 Van Dyck 47 
 
 Van Eyck 44 
 
 Van Ley den 48 
 
 Van Loo 73 
 
 Van Ryn 49 
 
 Van de Velde 59 
 
 Vecchio 30 
 
 Vecelli 26 
 
 Velasquez 64 
 
WESTERN GALLERY OF ART, KANSAS CITY, MO. 
 
 91 
 
 Venus de Milo 78 
 
 " de Medici 80 
 
 Verrocchio 13 
 
 " 82 
 
 Verelst 58 
 
 Veronese 40 
 
 Victory 77 
 
 Vinci 20 
 
 * * Portrait of ( Vinci) 21 
 
 Watteau 72 
 
 ^^^^^^ — 
 
GETTY CENTER LIBRARY 
 
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 3 3125 00111 0580 
 
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