Digitized by the Internet Archive in 2013 http://archive.org/details/galleriescabinetOOwaag GALLERIES AND CABINETS OF ART GREAT BRITAIN: BEING AN ACCOUNT OF MORE THAN FORTY COLLECTIONS OF PAINTINGS, DRAWINGS, SCULPTURES, MSS., VISITED IN 1854 AND 1856, AND NOW FOR THE FIRST TIME DESCRIBED. BY DR. VVAAGEN, DIRECTOR OF THE ROYAL GALLERY OF PICTURES, BERLIN. FORMING A SUPPLEMENTAL VOLUME TO THE TREASURES OF ART IN GREAT BRITAIN,' THREE VOLUMES. hi LONDON: JOHN MURKAY, ALBEMARLE STREET. 1857. Tilt riyhl of Translation in murvtd. l^ONDON : rUlNTED IJV W1LUA:^I CI.OWE'j AND SONS, STAMFORD STRKET, AND CHARING CROSS. M GETTY CtrtTER LIBRARY PREFACE. Although the works of art of every kind contained in the public and private galleries of Great Britain, and described in my * Treasures of Art,' published in 1854, are of almost incredible amount, yet, no sooner had those three somewhat bulimy volumes appeared than I was invited to visit collections and inspect pictures of the existence of which I had been previously unaware. Knowing, further, that numerous already-described collections had, since the publication of my work, received considerable additions, I fonned the resolution, with the kind encouragement of Mr. Mmray, whose desu-e it is to promote in every way the knowledge of the art-treasures in this country, of adding a fourth volume to those already before the public. My visit to England in 1854, followed up by one in 1856, and another in 1857, enabled me to collect fresh materials, the abundance of wliich will astonish all who have liitherto taken interest in my researches. This fourth volume consists therefore partly of additions to col- lections already described, partly of collections not Imown to me before. In both respects, no less in London than in the country, I have adhered to the same plan of arrangement pursued in the first three volumes. The reflection that time would impart an especial value to tliis work has induced me, as far as leism-e possibly permitted, to give such a description of every work of art as might suffice in fature to identify it. This is the more important from the number of pictm-es which necessaiily change their owners; such, for instance, since the publication of my former volumes, has been the fate of the pictures belonging to a 2 iv PREFACE. Lord Colbome — the collections of Mr. Eogers, of his sister Miss Eogers, of the Earl of Orford, the Earl of Shrewsbury, and others. But though I may justly claim to have done all in my power to make myself acquainted with the treasures of art in this country, yet I am well aware how far I am, even now, from having had cognizance of much that is worthy of notice ; so that a follower in the same path, who may bring more knowledge and equal love to the task, will still reap a considerable harvest. I cannot conclude this short Preface without here expressing my gratitude to all those who have served not only me, but the cause of art in this land, by the kindness with which they ha^'^e promoted and facilitated my labours. CONTENTS OF VOL. IV. LETTER I. SUPPLEMENT TO THE BKITISH MUSEUM. British Museum — Antiquities — Objects of art belonging to Middle Ages — Additions to the collection of miniatures — Byzantine — Bedford Missal — Henry VI,'s Psalter — Divina Commedia — Drawings of the Italian, Early Netherlandish, Early German, and later Netherlandish schools — Engravings : Italian, Early German — Block-books . . Page 1 LETTER II. National Gallery — Florentine, Umbrian, Paduan, Venetian schools, &c. — Lord Elcho's collection — Lord Yarborough's collection — Mr. Barker's collection — Tuscan and Umbrian schools — Book of Drawings by Man- tegna — Collection of Marquis of Hertford — Italian, Spanish, French, Netherlandish, and English schools — Grosvenor Gallery — Mr. Baring's collection — Florentine, Roman, Bolognese, Venetian, French, Early Ger- man and Netherlandish, Flemish and Dutch, English schools — Mr. Holford's collection — Lord Ward's collection — Collection of H. Danby Seymour, Esq. — Collection of Right Hon. Henry Labouchere — Mr. Mor- rison's collection — Sir Charles Eastlake's pictures — Mr. Sackville Bale's collection — Sir John Soane's collection 53 LETTER III. Lord Overstone's collection — Lord Caledon's pictures — Dowager Lady Wal- degrave's pictures — Mr. Gladstone's pictures — Two Caspar Poussins belonging to the Hoare family — Mr. St. John Mildmay's collection — Mr. Robarts's collection — Artus van der Neer belonging to Lord Shaftesbury — Mr. Davenport Bromley's collection' — Lord Wensleydale's pictures — Mr. Edward Cheney's collection — Rev. Mr. Townshend's collection — Earl Stanhope's pictures — Mr. Cornwall Legh's pictures — Mr. Mar- shall's pictures — Mr. William Russell's collection — Mr. Beresford Hope's collection — Mr. Field's collection — Manuscript belonging to Mr. Boxall — Mr. Tulloch's collection — Mr. Henderson's collection — Collection of late Mr. James — Objects of art belonging to Mr. Felix Sladc . 130 vi CONTENTS OF VOL. IV. LETTER IV. Collection of pictures in Kensington Palace belonging to His Royal High- ness Prince Albert — Byzantine, Early Russian, Italian, German schools, &c. — Ancient coins and j)ictures belonging to General Fox — Earl of Harrington's collection — Mr. Nicholls's pictures — Crystal Palace — MSS. and works of art belonging to His Royal Highness the Duke d'Aumale — Pictures in Sion House — Lord Jersey's collection — Osterley Park Page 220 LETTER V. Sir Culling Eardley's collection, Belvedere — Collection of Rev. John Fuller Russell, Greenhithe — Mr. Foster's collection, Clewer Manor — Mr. Sanders' collection, Taplow House — Mr. Walter's collection. Bear- wood — Objects of art at Aldermaston — Mr. Morrison's pictures, Basil- don Park 275 LETTER VI. Collection of pictures belonging to Rev. Mr. Heath, Vicar of Enfield — Collection of pictures belonging to Lord Enfield, Wrotham Park — Col- lection of pictures belonging to Sir Thomas Sebright, Beech wood — Additions to the collection of the Duke of Bedford, Woburn Abbey — Objects of art at Knole Park, seat of Earl Amherst — Pictures belonging to H. Mildmay, Esq., Shoreliam Place — Pictures at Gatton Park, seat of Countess of Warwick — Additions to collection of Earl Cowper, Panshanger .......... 313 LETTER VII. Collection of pictures belonging to Vernon Harcourt, Esq., Nuneham Park — Additions to collection at Longford Castle, seat of Lord Folkestone — Pictures belonging to General Buckley, Newhall — Collection of pictures belonging to the Earl of Normanton at Somerley — Collection belonging to Sir Wm. Knighton, Blendworth Lodge — Collection belonging to E. G. Bankes, Esq., Kingston Lacy 347 LETTER VIII. Pictures belonging to H. D. Seymour, Esq., Knoyle House — Pictures be- longing to Lord Heytesbury, Heytesbury — Pictures belonging to Joseph Everett, Esq., Heytesbury — Pictures at Wardour Castle, seat of Lord CONTENTS OF VOL. IV. vii Arundel of Wardour — Collection at Corsham Court, seat of Lord Methuen — Ftuins of Glastonbury Abbey — Objects of art in and around Birming- ham — Hawthorn House — Edgbaston — Endwood Court — Manu- factories — Lichfield Cathedral — Collection of sculptures and pictures at Marbury Hall — Water-colour drawings belonging to Cooke, Esq., Manchester — Collection of pictures belonging to Samuel Ashton, Esq., near Manchester — Collection of pictures belonging to John Chapman, Esq., near Manchester — Pictures belonging to Jacob Fletcher, Esq., near Liverixx)! — Collection of pictures at Holker Hall, seat of Earl of Burling- ton — Collection of pictures belonging to Rev. Thos. Staniforth, at Storrs, Windermere Page 384 LETTER IX. Objects of art in Edinburgh — Archa3ological Society — the Antiquarian Museum — Pictures, &c., belonging to Lord ]\Iurray — Pictures belonging to James Gibson Craig, Esq. — Works of art belonging to Mr. Playfair — Gainsborough belonging to Robert Graham, Esq. — Gainsborough belonging to Major Mair — Collection of pictures at Dalkeith Palace — Collection at Gosford, seat of Lord Wemyss — Pictures at Marchmont House, seat of Sir Hugh Hume Campbell — Collection at Broom Hall, seat of Lord Elgin — Objects of art at Rossie Priory, seat of Lord Kinnaird — Objects of art at Keir, seat of William Stirling, Esq. — Collection at Dunmore Park — M'Lellan Gallery, Glasgow — Collection at Bothwell Castle . . 429 LETTER X. Collection of pictures, antiquities, and other objects of art at Alnwick Castle — Objects of art in Newcastle-on-Tyne — Pictures belonging to W. W. Bardon, Esq. — Pictures at Coxlodge Hall — Pictures at Jesmond Cottage — Pictures at Hcddon House — Pictures at Ravensworth Castle — Durham Cathedral, and MSS. in the Library — Pictures in Durham — Pictures belonging to the Archdeacon of Durham — Objects of art at Duncombe Park — Pictures at Elvaston Castle — Pictures at Locko Park — Picture belonging to Earl of Warwick — Lincoln Cathedral — Collections of art at Brocklesby — Pictures at Scawby House — Collection at Clumber Park — Collection at Welbeck Abbey — Pictures at Serlby — Collection at Wim- pole, seat of the Earl of Hardwicke — MSS. at Cambridge . . 4Go Index 527 THE TREASURES OF ART IN GREAT BRITAIN, LETTER 1. " ADDITIONS TO THE BRITISH MUSEUM. British Museum — Antiquities — Objects of art belonging to the Middle Ages — Additions to the collection of miniatures — Byzantine — Bedford Missal — Henry VI. 's Psalter — Divina Commedia — Drawings of the Italian, Early Netherlandish, Early German, and later Netherlandish schools — Engravings : Italian, Early German — Block-books. Since the publication of my work ' The Treasiires of Art in Great Britain,' the arrangement of the sculpture in the British Museum has been greatly improved. The Egyptian and Assyrian monu- ments have, in the first place, been disposed in that chronological succession which alone best unites the highest instruction with the greatest enjoyment. With the Assyrian monuments are also seen other antiquities of the same nation and of the same period — the ivory reliefs and the bronze vessels being deposited in glass cases along the centre of the same gallery. The arrangement of the Greek and Roman marbles, though the space did not permit of so strictly chronological an order as with the foregoing, is also much more satisftictory. The chief alteration consists in the fact that the sculptures from the pediments of the Parthenon have been removed from the hall containing the reliefs from the Parthenon, into a neighbouring room, which, though smaller, is also lighted from above. Besides this, room has thus been gained so to place the sculptures from the two pediments — here seen opposite each other — as to leave about the same spaces as the missing portions M ould have occupied ; by which means the relation between what has been preserved and what has perished is shown, as well as the original extent of the pediments. At the same time the reliefs in the gi'eat hall have perhaps benefited more than any other objects by this change. Now for the first time are they seen so VOL. IV. n 2 THE BRITISH MUSEUM. Letter I., free from all impediment, that the spectator can view them at a proper distance fi-om any part ; while the apartment itself, which, with the statues, and the models of the Parthenon and other buildings, looked more like a warehouse than a gallery, now pre- sents a cowp-dboeil worthy of these universally celebrated works of art. The Greco- Roman and the Roman sculptures are now also more strictly divided, and favourably seen in spaces lighted from above and proportioned to their size. The entrance gallery de- voted to the Roman marbles, and which is now being appropriately decorated, is, it is true, not so favourable in point of lighting as might be desired, though sufficiently so for their subordinate value in point of art. All these changes have been executed with great discrimination by Mr. Oldfield. As regards the antiquities also, the Greek, Etruscan, and Roman bronzes and terracottas have greatly gained by the new arrangements. And here I first insert some earlier notices of Greek and Roman antiquities, which, owing to an omission on my part, were not printed in my first volume of the ' Treasures of Art.' Vol. I. p. 93, line 18 from the top. By far the greater number of the antiquities are contained in a large apartment lighted from above. A shallow basin of Parian marble of considerable size is re- markable for elegance of form ; a priestess of Bacchus, of great beauty, is treated in flat relief in the centre, and a graceful wreath of vine-leaves surrounds the border. Next to this may be observed a bronze statuette of the infant Bacchus, seated, placed upon the stove. He is leaning with his right hand on a sceptre, one shoulder covered with the nebris. The softness and animation of the forms correspond with the beauty of the motive. Among the numerous specimens of small sculptures in metal, especially in bronze, are many of the highest artistic merit. I enumerate a few which struck me as particularly remarkable. Foremost among the Etruscan bronzes are four reliefs from the well-known chariot — a votive offering — found in 1812 between Perugia and Cortona (Case 87). These agree in the whole style of art — namely in the profiles with the sloping lines of forehead and nose — with the vases of the archaic period. The mode of Letter I. ANTIQUITIES. 3 workmanship is very remarkable. The reliefs consist of thin plates of silver, on some parts of which gold plates are fastened with rivets. On the reverse they appear as if beaten out over moulds of some solid material, most probably wood. This kind of work was called by the ancients Empaestic. Next in order, as an excellent example of the developed art of the Etrurians, may be mentioned a statuette of Mars, found in the Lake of Monte Falterona in Tuscany (Case 71). Among the bronzes of the highest Grecian art the following are particularly distinguished. Vol. I. p. 94. An Apollo, drawing his bow, of the greatest elegance and highest finish (Case 78). Two statuettes of Jupiter (Case 77). An hermaphrodite, and the spirited bust of a sea-god. These, with the following and others, were found at Paramythia, in Epirus, in the neighbourhood of the ancient Dodona. A Venus of animated action, very graceful, of singular softness in the forms, and of the finest surface. The right arm and the lower part of the legs are unfortunately wanting. Mercury, with a small gold chain round his neck— invention and execution both admirable. (Both these last in Case 84.) A Minerva, in a striding position, without arms. A youthful Hercules Bibax, with the cantharus in his hand. A Hercules in full manhood — the left arm wanting. The Hercules Farnese. Many a celebrated but now perished work has served as a model for statuettes like this last. A circular relief. Hercules reposing, surrounded by Cupids. This is a very attractive composition. The epidermis is unfortunately much injured. Of the metallic mirrors, of which the British Museum possesses a large and admirable selection (Cases 74 and 75), I may par- ticularly notice one, Bacchus embracing Ariadne, the outlines of which are not, as usually, incised, but in relief, in the ancient Greek style. It is remarkable for the excellent workmanship, and for the already free and noble form of the heads. In the well-furaished collection of ancient weapons, I must mention a helmet with a gold laurel-wreath (Cases 44 and 45). B 2 4 THE BEITISH MUSEUM. Letter I. Among the numerous bronze vessels is a circular one of con- siderable size, on which, above, are the statuettes of two comic actors, with Silenus masks, of great animation. Also one much smaller, with three bacchanalian figures, and another, on which a corpulent Pan is defending himself from a serpent, deserve favourable notice. The collection of beautiful candelabra contains one with two bacchanalian figures on the top, of very spirited motive. Finally, the department of tripods and lamps in bronze is richly represented, and displays some particularly fine examples. The collection of glass vessels is not large, but offers various choice specimens, including some balsam vases of oriental ala- baster. The number of antique mosaics is small ; among them is a Silenus mask of great beauty. Masks, Tesserae, and Lamps in terracotta are here in consider- able numbers. On the other hand, the collection of figures, reliefs, ornaments, &c., of terracotta, is but moderate in extent when compared with other collections of the kind ; some very remarkable statuettes from Athens are, however, to be seen on Shelf 2. A group of female figures, one of whom is playing the tam- bourine, the other dancing, is most charming and animated in motive. Athenian Hydriophorse, or female water-bearers, and the muse Polyhymnia, who corresponds entirely in motive with a marble statue in the Berlin Museum, are admirable. A comic actor also in the character of Hercules is of delightful humour. Various departments have also, during this lapse of time, received considerable additions, to which I now proceed to call attention. OBJECTS OF ART BELONGING TO THE MIDDLE AGES, AND TO MODERN TIMES. This title applies in the widest sense to those objects which the indefatigable exertions of Mr. Franks — a gentleman who unites in no common degree the qualities of zeal and discrimination — have gathered together, and which have grown from small beginnings into a very important collection. The most important is perhaps a circular disk of rock-crystal, with the history of Susannah engraved on it. According to an inscription this work was executed for Letter I. MIDDLE-AGE AET. 5 King Lothaire. Of the three Carlovingian princes of this name, the latest, who \yas King of France from 954 to 986, judging from style of art and excellence of motive, is probably the one referred to. The finished and delicate execution in so hard a material displays the technical skill of that period in a surprisingly favour- able light. From the Bernal Collection. Another engraving on the same material is far ruder. It repre- sents the Crucifixion, with the Virgin and St. John on each side, and the sun and the moon in the sky. Judging from the style of art, it belongs also to the 1 0th century. The purchase of Mr. Maskell's collection of carvings in ivory, together with the few but excellent specimens already possessed by the Museum, »have combined worthily to represent this important branch of art. I must be satisfied with noticing a few of the most important. Reliefs. — Four pieces which had belonged to a box. 1. Pilate washing his hands, Christ bearing the Cross, and Peter denying Christ, with the Maid and the Cock. 2. Judas hanging, and the Ci'ucifixion, with the Virgin, St. John, and the Centurion. 3. The two Maries, and the two Guards at the Sepulchre, which is represented as a separate building, with a kind of chapel. 4. Christ teaching in the centre of four Apostles. The whole style of art, motives, expression, and drapery, agree so entirely with the early Christian sarcophagi, that these reliefs, which approach the round in depth, cannot be ascribed to a later period than the 5th or 6th century. From the very short pro- portions, I believe them to be of the 6th century, and of Italian origin. The colour of the ivory has become a dark brown. The combat of Perseus with the Chima^ra, whom he is piercing with a spear in the back. The motive and drawing are both good. The ground is perforated ; the style of flat relief very good. Nevertheless, the two conventional mushroom-shaped trees, and the horseshoe arches of a gallery above, forbid my assigning to it an earlier date than the 9th century. An ivory tablet — originally, probably, the cover of a book — divided into two compartments, — the upper one containing the Marriage at Cana, with the Virgin telling Clirist that the wine is come to an end ; and the lower one the giver of the feast, two youths filling six vessels with water, and Christ in the act of per- 6 THE BEITISH MUSEUM. Letter I. forming the miracle. The motives are speaking, the draperies tasteful, the high relief in good style, and the workmanship careful. The style of art inclines me to believe this a Carlovingian work of the 9th century. Of the same period and style is the half .of a Diptych, with the Annunciation above, the Visitation in the centre, and the Nativity below. The motive and style of the flat relief are good, the pro- portions short. The Raising of Lazarus : a very careM but dry Byzantine work, which may belong to the 12th century. This relief was formerly in the possession of Chevalier Bunsen. The cover of a book, about 4 in. wide, and 6 in. high, with thirty Scriptural events represented in five rows, in perforated work, beginning below from the left, and ending above on the right. This small relief, which belongs to the 14th century, is quite unique. Style and composition are good, and the execution of the little figures, not more than two-thirds of an inch high, of marvellous delicacy and precision. Some covers of mirrors, of good workmanship, may also be men- tioned. Next in order to these I must notice a complete jewel-casket, the cover of which contains on the top a tournament, with nu- merous animated female figures in the balcony ; a hunting party, three girls bathing, and similar subjects on the sides. This is a good work of the 15th century. Finally, I beg to call attention to a chef-d'oBUvre of ivory carving in the picturesque style that prevailed at a later time. The subject is the Temptation, of indescribable finish and richness of details, especially in the landscape. The head of Christ is also singularly noble for the period. Ivory objects in the round. The statuette of the Virgin with the Child on her arm, about 5 in. high. The composition is remarkably beautiful, and the execution equally fine. This agrees so entirely with the statue of the Virgin by Neri Pisano, in the little church of the Maria della Spina, at Pisa, that, if not by that sculptor himself, it must have been executed in his time and under his influence, i. e. in the 13th century. Statuette of one of the Wise Virgins — the lamp in her right band— about 8 in. high. Slender and noble in form, of earnest and Letter I. MINIATURES. 7 dignified head, and the drapery of admirable style. In my opinion a German work of the 13th century. A painted statuette of the Virgin enthroned, about 4 in. high, with the Child standing at the breast. The style good, and the head of the Virgin very lovely. Most probably French, of the 13 th century. Statuette of the Virgin enthroned, almost a foot high, with the Child undraped, and again standing at the breast. The Child is remarkable for the well-understood and full forms. The drapery is especially excellent, and the execution very careful. This is probably German, of the 14th century. Among the ivory vessels a circular one with a lid is distin- guished for its beautiful and broad decorations in the Romanesque style. A series of those beautiful medallions, executed by Vittore Pisano and others in the 15th century, with some fine medals and coins of the 16th century, merit a close inspection. Many fine specimens of the enamels of the middle ages, with which shrines especially were decorated, are to be seen here. But one of the most imposing portions of this new department of art consists of those tasteful vessels and plates which art has enriched. Of the celebrated Limoges manufactory — metal vessels and plates with enamels — some beautiful specimens are here pre- served. The manufacture of majolica is also represented by a series of plates and dishes of the 15th to the 17th century, which, for size, beauty of form, style of decoration, and in many, also, of figures, are very remarkable. Nor are specimens wanting of the fine Palissy ware. ADDITIONS TO THE COLLECTION OF MINIATURES. Vol. I. p. 97. A Byzantine MS., in quarto, purchased at the sale of Mr. Borcll's collection, in 1853, containing the psalter and hymns, with the date 1066, displays some of the most interesting miniatures that I have seen of the kind. The subjects of many of these extend the in every way important field of Byzantine art. At the same time they serve to prove that even after the middle of the 11th century 8 THE BEITISH MUSEUM. Letter I. the Byzantine painter adhered frequently, more or less, to the art of the first Christian centuries, so intimately allied as it was with the purely antique school of painting ; while, at the same time, in general character, we observe that ascetic severity of conception, that dryness and elongation in the forms, those mechanical arrange- ments of the drapery, and that gloominess of colouring, which all bear witness to the local Byzantine school. The laying on of the colours alone is throughout broad, solid, and careful. The text consists of 208 leaves in one column, and is written in a full minuscule letter. Only the three first pages and the superscriptions of all the chapters are in golden capitals ; first executed, — as it ap- pears from some portions where the gold has fallen off", — in crimson colour, and afterwards covered with gold. The pretty tendrils which, in eight compartments upon a gold ground, surround the superscription YMNOC TOY AAYIAOY RPO^tHTOY, giveno evidence, as in most Byzantine ornamentation after the year 1000, of Arabian influence, but still point to antique tradition. The same may be said of two gryphons next an altar over the inscrip- tion. Unfortunately the numerous miniatures which decorated the borders have greatly suffered ; and occasionally we find that, owing to a mutilation of the upper borders, some of them are entirely lost. The importance attached to the pictures is seen by red signs in the text corresponding with others next the pictures referred to. The miniatures of the first page are also much injured : those on the border probably represented the Three Persons of the Trinity, in human figures. This, at least,, is deducible from the inscription 6 TraXatos- ri^spajv near a figure enthroned in a blue mandorla, showing that it is intended for the First Person. The dress is of dark purple, with the forms of the folds in gold, and the mantle vermilion ; the head is obliterated. The inscription \0 and XP shows that the figure below represents the Second Person. All that can be seen of the third figure is that it was also human. Some much ruined representations — for instance, the Nativity and the Annunciation to the Shepherds, Leaf 2a — still serve to show that the conception in every way corresponds with the Byzantine treatment of these subjects. An interesting example of Pagan forms adopted by Christian art is seen in a picture L. 3a, with the inscription i/TTvos, where an angel, who is fanning the sleeping David with a Letter I. BYZANTINE MS. 9 circular gold fan, is meant to represent sleep. It is also worthy of remark that the local Byzantine style is especially applied in its complete development to Byzantine saints, the representation of whom, by means of art, necessarily belongs to a somewhat later period. Thus, for example, St. Basil is given standing before a singing-desk, with a burning taper in his right hand, in precisely those dry forms and in that brown colour indicative of pure Byzantine art. In L. 8a, representing Christ enthroned and blessing, with purple robe and blue mantle, the angels on each side are new to me. These have four large wings, folded over each other, above and below, partly in beautiful colour and partly in gold, out of which the heads with golden glories, and the graceful hands and feet, are alone seen. Upon their shoulders are heads of animals vomiting fire from the open jaws. Probably these- represent that order of angels called by the Byzantine church the r£rpxfAop(poi, as uniting the four attributes of the Evangelists. This accounts for the head of the lion and bull on their shoulders : the eagle's head, which they should bear between their upper wings, may have been obliterated. The head of one of the angels which is preserved is delicate in form and dignified in expression. L. 11a contains the often repeated subject of David prostrate in prayer before the First Person. This is con- spicuous for its good preservation and for the very successful expression of adoration in the head of David, a figure in regal attire, with vermilion coat bordered with gold, a purple mantle, and a flat golden crown. Especially remarkable are the pictures of the Apostles and Evangelists, SS. Peter, Paul, John, Matthew, Mark, Luke, Simon, Andrew, James, Philip, Thomas, and Bar- tholomew, their names inscribed next them, LL. 19b and 20a. Each of these are enthroned, with a number of figures with their right hands raised, before them, to whom they are preaching the Gospel. In the case of St. Thomas these figures are black men, in reference to his conversion of the Moors. St. Peter appears here in the well-known type, only, as in the earlier form, without a bald head, though his hair is already white. St. Paul's is also white. Unfortunately the lower part of the face is obliterated. St. John is also represented as an old man. St. James has a long brown beard. The dress of St. Peter consists here, as later, of a blue tunic and yellow toga, inclining to orange — that of St. Paul 10 THE BRITISH MUSEUM. Letter I. of a light blue tunic and a toga of dark purple. The subject of Hezekiah appointed by the grace of God king over the Jews, L. 21a, is very peculiarly expressed. Hezekiah is seen held aloft by three men of war upon a steel shield with a golden border, dressed in a purple tunic with broad gold stripes, while an angel flying down from a blue segment of a circle, well known as the symbol of Heaven, places a gold crown with red stones on his head. The king holds a long sceptre in his hand, which ter- minates in a square with four small circles at the corners. The Ascension, L. 25b, is another remarkable picture. Above, in a large blue circle with red stars, are seen two angels holding sumptuous hangings in gold with bright purple patterns. The inscription, at Tr^Xat rov oupocvou, informs us that these represent the gates of Heaven. The Saviour, attired in a dark purple tunic, is seen in a blue mandorla, borne upwards by two angels of good action and dressed in the light-coloured drapery of antique art. L. 27b is again one of the most remarkable pictures. Above are two saints, with the inscription l>^iKn(popos h Ttfixpyos (abbre- viation for 'naTpiapxps) and l^oTrmpos, holding between them a circle, with the bust-picture of Christ. This latter is severe but dig- nified in character. Further below are the same saints next an enthroned Byzantine emperor, obviously interceding for the worship of pictures. Near them are three aged priests, somewhat success- fully dressed in light-coloured garments, one of whom is striking a similar picture of Christ with his staff. The inscription hi stKovoptaxot informs us that these figures represent the Iconoclasts. This is the only instance I know of such an allusion in Byzantine miniatures. L. 28a exhibits David as a slender youth standing in a short light blue coat and light purple chlamys, with naked thighs and swathed legs and feet, the crook in his right hand, and a lyre of very simple form in his left. Five goats and rams, which compose his flock, are too large in proportion to himself. These, with a wolf which is carrying off* a ram, and a dog which is pursuing — both of admirable action — are obviously by another hand, as seen in the heavy and dark tone of colour. L. 31b, the Raising of Lazarus, shows quite the earliest mode of con- ception as found in the catacombs, only that the proportions are very tall, and the features quite youthful. L. 32a contains Christ and David standing conversing together, twice over. Letter I. BYZANTINE MS. 11 L. 32b, the Resurrection of Christ, is also remarkable. The sepulchre, a tower-like building, is obviously the original of a similar form of conception in occidental miniatures. The circum- stance, however, of the angel dressed in blue stooping from the segment of a circle, typical of Heaven, and holding his hands to raise up the Saviour, who is still standing on the earth, is new to me. Two guards are reposing ; one of whom, who is sup- porting himself on a circular golden shield, and looking upwards, is very animated and natural. L. 35b represents SS. Basil and Chrysostom, and a third saint, who, with their gloomy severity of expression, and heavy brown tone of flesh and drapery, are again perfect types of the later Byzantine style. L. 38a, the Stoning of St. Stephen, is the earliest example I know of a Byzantine repre- sentation of this subject. While three Jews are stoning the kneeling martyr, Saul, already in the type of St. Paul, is seated upon a rock in the strict Byzantine conventional form, and is stretching out his hand in encouragement to them. L. 47b, the Repentant Peter ; very speaking in action, and dressed, contrary to custom, in a light blue tunic, and a toga of pink shot material, which he is holding before his mouth. Near him is a large cock, and over him, in token that his repentance is accepted, the hand of the Almighty is extended in benediction from the segment of the circle. L. 50a, the Last Supper, unfortunately nmch damaged, but perhaps the earliest representation of this subject in Byzantine form which has descended to us. It is remarkable that the antique custom of a recumbent position at a meal is here preserved ; the Saviour is also quite on the right-hand side of the table, which is of semicircular form. L. 51a, the beginning of the psalm, "As thirsteth the hart," &c., is a proof that the ancient Greek mode of expression had not died away by the 11th century. We here observe a stag of very good action, with a blue stripe indicating water, and a purple rock and bush, the rest of the landscape. Above this is David, addressing these words to the bust-picture of the Almighty, who appears in a golden circle, denoting heaven, in the mosaic type of Christ, accompanied even, as frequently, with the letters I. C. and X. C. L. 51b, the Ascension of Elijah. The car, which is drawn by four horses, is here painted vermilion, to indicate the fiery light. Elijah himself, attired in bright colours, is in admirable action. L. 55b shows a i)eculiar Byzantine repre- 12 THE BRITISH MUSEUM. Letter I. sentation of the Trinity. The hand of the Almighty is seen above proceeding from a dark blue segment of a circle, and giving the benediction, after the Greek fashion. In a broad light-blue ray, issuing from the hand, is seen the Holy Ghost, as a Dove, while below, in a gold circle, is the Saviour as a child upon the lap of the Virgin, who is conceived in a dark purple robe with golden folds, in the strictest Byzantine form. L. 56a, the youthful type of the enthroned Saviour, in very good action, shows that this form of conception, though of Western origin, was occasionally admitted into Byzantine art. On the other hand, the equally youthful David below him, a very good figure, appears already in the over- laden and tasteless costume of a Byzantine monarch. L. 56b, the Annunciation. This is one of the most successful pictures : the Virgin, in a light blue tunic and dark purple mantle, is seated on a golden chair. The movement of her hands speakingly expresses the words — " What a salutation is this ! " — which she addresses to the angel, who is very nobly conceived. The figure of David, as the head of her line, standing behind her in act of benediction, shows that the whole conception is symbolical. L. 58b, the Ascension. Christ is represented very small, borne upwards in a blue mandorla by four angels. Below, under trees, is the Virgin ; at her side are the figiu-es of the apostles, very much injured. The peculiar broad antique treatment is obvious in the tolerably pre- served heads. L. 61b, the representation of the God of the Sun, very circumstantially given, with the words o viXios, strikingly recalling that in the Abbess Herrad von Landsberg's ' Hortus Delitiarum,' only that here the antique form is much more closely adhered to. A youthful figure, taken quite in front, and sur- rounded with rays, stands out from behind a semicircular car. In his right hand he holds a whip ; in the left the sun's disk — a circle with rays proceeding from it. The four horses are galloping two and two at the sides. Below are the shining wheels, with their axletree. To express also the warmth of the light, the whole sub- ject is carried out in a light red colour. Below, in the centre, in a golden circle, is Christ, with Habakkuk and David on each side. L. 62b, Abraham visited by the Three Angels, two of them standing at the table. Unfortunately the greater portion of Abra- ham is ruined. L. 63b. Here the words, o Accui^ eXsyxoiw-svor, inform us that the figure standing before the enthroned David is Letter I. BYZANTINE MS. 13 the prophet Nathan, upbraiding him in the name of the Most High for the murder of Uriah. Behind David is an angel of great beauty of form, motive, and colour. Christ washing the feet of his Disciples. Here, in the earliest Byzantine representation of this subject I know, we already find that significant gesture of Peter — pointing with his right hand to his head — which, as I have else- where pointed out, may be traced in all representations of this subject down to the 17th century. L. 67b, St. Macarius, in sup- plication, with a white beard ; also L. 75b, another saint — are again of that severe ascetic character peculiar to Byzantine art. L. 82b and 83a, the Delivery of the Souls of the Patriarchs from Purgatory. Here Christ is seen in a blue mandorla, which Satan — a figure of dark colour, but entirely human — touches in his fall. A very aged man and woman next Christ are probably Adam and Eve. L. 85a, Philip baptizing the Eunuch; this latter is standing up to his neck in a pyramid of water, the usual form in the earliest representations of Christ's baptism. Philip is clothed in purple. Close by, the two are seen in a chariot with four horses driving away at full gallop. A youthful saint on horseback, with the inscription Trponos (abbreviation for Procopos), to whom a golden cross appears from out the segment of a circle in the sky, is conspicuous for elevation of conception. L. 87b, the Crucifixion. Here we have the great length and meagreness of the Byzantine mode of treatment in the body of our Saviour ; but, singular to say, not yet the sunken head and swayed-out figure. On the con- trary, the Saviour is quite upright, and still alive. From this it appears that this treatment, which Rumohr first pronounced cha- racteristic of the Byzantine school, was, after the middle of the 11th century, by no means universally accepted hi it. On the other hand, we find here the four nails and the unusually wide footboard. Christ is also, with the exception of hands and feet, wrapped in a purple robe with the folds indicated in gold. The only figures about the cross are Longinus the centurion piercing the side with his spear, and the Jew giving him the sponge. L. 85a, two more figures, striking at a bust-picture of Christ, which they hold between them ; with the inscription, etKovo/xaxot. L. Ola, the youthful figure of Solomon, of very earnest and stately con- ception, is very remarkable, showing on the one hand the costume of a Byzantine monarch, and on the other the antique tradition of 14 THE BRITISH MUSEUM. Letter I- the hands lifted in prayer. The Annunciation below is peculiar, as representing the Virgin on the outside of the house, with a spindle. L. 92b, the Adoration of the Kings. The word pea 47 shows that they are still treated as wise men. Instead of the later crown, they have still caps on their heads, corresponding obviously with the antique Roman conception of all foreign persons as Phry- gians — namely, the cap, the crimson trowsers, the short coat, and the blue boots. The somewhat large but meagre Child is here draped. Below this are the three wise men galloping away, the ass behind them, carrying their baggage, not being forgotten. L. 96b, another Crucifixion. Here the Saviour is alive as before, but with the body slightly bent, and a large white cloth round the loins. The centurion is on the right, St. John and the Virgin on the left. The representation of Paradise below, as a garden, and enclosed by a ruin, which, in the absence of all perspective, appears to run up both sides, is quite new to me. At the ends of the river are two river gods, of the colour of water, with gold crowns on their heads of singular form. The intention doubtless is to express that Paradise, which was lost by sin, is only to be recovered by the death of Christ. L. .99b, the Giving the Law on Mount Sinai. This occupies a whole page, and is without doubt the repetition of some much earlier original. The Almighty is represented in the mosaic type of Christ, in tunic and toga of blue colour, with naked feet, and the right hand raised in benediction. The figure is highly dignified and noble in expression and motive. Moses also, with light blue and pink drapery, gives the impression of an antique painting. The tables of the law do not appear. L, 100a, at the heading of the Psalm of Asaph appears the figure of that personage enthroned, and pointing to a book. At the sides are the audience, three and three. Above, sidewards, in a circle, is the bust-picture of the Almighty in the unbearded type of Christ. L. 101b, Moses on a hill, of youthful conception. From a staff" which he holds up flows a stream, from which three men below are drinking. L. 102a, the Giving of the Manna. This is a very peculiar repre- sentation. An angel of good action is giving the manna to a man, in the form of the sacred wafer ; thus showing an allusion to the holy communion. At the same time the subject is repeated at the side in its historical form — namely, by a blue semicircle, with the two golden doors of heaven, from which proceed a rain of green Letter I. BYZANTINE MS. 15 spots, caught by four men below, one of whom, with a large black beard, admirably represents the Jewish type. L. 104a, the first Six Plagues of Egypt, represented in a very simplified manner : for instance, the conversion of the waters into blood, by two reddish river gods, with horns after the fashion of demons, who are pouring a red stream from an urn. Next one of these river gods are three men with gestures of sorrow ; four frogs, eight flies, and, below the river, six locusts upon a corn-field, indicate the other plagues. Below is a dark greenish segment of a circle, from which fall hail and rain upon one ox, one horse, two rams, and a pig. L. 104b represents the Seventh Plague, the death of all the first- born. Here again we find antique feeling, though in a Christian form — namely, two avenging angels, flying, and piercing two men with spears. L. 106a. Here is doubtless some symbolic intention, which is not quite clear to me. Above are the Virgin and Child^ half- length figures, before a building, in the strict Byzantine treatment ; below is a rock, and, lower still, David anointed by Samuel. By way of indication of his shepherd condition, a herd of six animals are introduced, and a dog barking. L. 107b, the Almighty enthroned between two angels, with the patriarch Jacob, as an old man in a purple robe, and Joseph holding Benjamin by the hand, as indi- cated by the names written at each side. This subject is also new to me. L. 109b, i^braham as a dignified old man in a purple dress, with the folds drawn in gold, bending in adoration before the figure of the Almighty, who is giving him the benediction. This is also very remarkable. The same may be said of 110a, Christ in act of benediction upon a rock, whence flows the water of life, of which two persons are drinking. Behind Christ stands a youthful saint. L. 110b, the youthful Christ in act of benediction, enthroned between two large angels with red sceptres. This is one of the most interesting pictures : the (Jhrist is strikingly like that on the well-known Dalmatic — a work of Byzantine origin — in St. Peter's at Rome. Three armed figures in blue, standing on pillars, with the inscription, oi ^toi touv s^vujv, are also remarkable as showing how much the traditionary forms of representation of the ancient gods had already degenerated. L. 1 13a. This is the earliest representation 1 know of Zacchseus, who is depicted as an old man with purple tunic and vermilion toga, sitting in a tree, the leaves of which are copied fi^om ivy. Below is Christ, looking up to him. 16 THE BRITISH MUSEUM. Letter I. The feast at Zacchseus's house is lower down, and, as required by the space, is much simplified, only Christ and St. Peter being seen reclining at the table, with two other persons behind the table, and Zacchseus entering by the door, with a dish. L. 114a, the Visitation. The Virgin in a blue tunic and purple mantle ; Eliza- beth in a light brown petticoat and a dark brown mantle. This is conspicuous for the heartiness with which the women embrace. At the same time we recognise in the late antique forms of the buildings the model of the architecture prevailing in occidental miniatures from the 8th up to the 12th century — consequently at a time when the Romanesque architecture was fully developed. This is another proof of the tenacity of Byzantine influence. Above the building, in symbolic allusion, is the figure of Christ in the act of benediction, with St. John kneeling in adoration ; both as boys. The inscription of the latter is 6 Tr^o^^optos-. L. 115a, the bust picture of Christ, with the cross thus, doubt- less conveying some meaning. Next the cross is David standing in adoration. L. 116a, the Entombment. This is peculiarly conceived. Joseph of Arimathea and Nicodemus, as the written names inform us, are carrying the very diminutive body of the Saviour, which is wrapped up like a mummy, to the gate-like opening in a brown rock, to which an angel, descending from the segment of a circle, is pointing. Below, in very speaking gestures of sorrow, are the Virgin and two women (at yuvxiyizs). L. 118a contains one of the earliest representations of the Transfigm'ation, with the inscription r; fX5Ta.(jLop(poGrj^, which, doubtless being of very early Byzantine invention, became a model for all times, and even for Raphael. In the centre, in a circle of dark steel- blue colour, is Christ. On his right hand Elijah depicted as an old man — on his left Moses youthfully conceived ; both with their heads bowed in adoration. Far below, kneeling upon a rock, are the three disciples : St. Peter, according to the well-known type, but already as an old man ; another, probably St. John, youthful ; the third, and therefore St. James, with a brown beard. L. 121a, the Flight into Egypt: the Virgin and Child, very statelily conceived, are seated on the ass, before which, which is new to me, walks a figure in short red coat and purple trowsers, with the inscription denoting St. James. Joseph, who follows the Virgin, is given as an old man, but in antique costume, in blue Letter I. BYZANTINE MS. 17 tunic, purple toga, and with bare feet. L. 125a contains again two river gods, blue figures with crowns, and the inscription oi •TTOTocixoi. L. 134b, Christ weeping over Jerusalem. Before the figure of Christ, who is in the act of benediction, and projecting from the architectural indication of the city, with the inscription CItON, is a female head, with an expression of grief, and with a flat purple crown — obviously the personification of Jerusalem. Her future destruction is however fully expressed in the antique manner ; for below is a black compartment, with the inscription a^Tif, denoting therefore the lower world, within which is a prostrate figure, doubtless typifying Je- rusalem, of which unfortunately only the outline is left. L. 135b, an attempt to represent the universe, by a figure of which I have here tried to give an idea. This is one of the remarkable objects in this rich codex. In the outer blue ring of this circle the stars are indicated : within the same is the inscription 6 oupayos^ with the sun of a red, and the moon of a blue colour. In the centre of the circle is the earth. The two heads which are connected with the earth are, we are informed by the inscription, avriTro^sr, the antipodes. L. 137a, a Dying Man ; a naked child coming from his mouth, with the inscription "^^^ — abbreviation for ^z/oto^^.oy, the spot- less, or, as we call it, the righteous ; — an angel flying down is in the act of receiving it, while another angel stands at the head of the couch. This proves that this mode of representing the soul, which obtained so much among the western nations, was ori- ginally conceived in the Byzantine school. At all events, I know of no earlier representation of this subject. L. 138a. Here we find again a very similar picture of the antipodes, accompanied with three full-length undraped little figures. L. 140a, SS. Peter and John the Evangelist ; the former, both in head and dress, quite according to the earliest tradition. St. John, however, is almost in the type of St. Paul, only with grey hair and beard. L. 143. However worthy of remark the subject of this and the following pictures from the history of Moses — the Passage of the Red Sea, the Worship of the Golden Calf, &c. — I must content VOL. IV. C 18 THE BEITISH MUSEUM. Letter I. myself with saying that Moses is throughout represented as youth- ful, and Aaron always as aged. On the other hand, I must call attention to the Ascension, L. 149a, which is remarkable for the conception, for the very pure antique feeling for colour, and for the broad execution. Christ is here alone, dressed in a vermilion tunic and purple toga, with the folds given in gold (doubtless to express the heavenly glory), his right hand raised in benediction, within a blue mandorla with three stars, borne up by two angels of very beautiful motives, at the lower point of the mandorla. L. 150a, the Death of Judas. This is a remarkable picture, his moral depravity not being given, as elsewhere, in any outward expression. His head is youthful, his figure refined, his costume of delicate shot material, and quite Roman. He is held up by a black demon, with a black band round his throat, in order to hang him upon a tree. A dignified figure with a glory on the opposite border, appears from the inscription, /xar, to be St. Matthew, the narrator of the death of Judas. L. 151a. This is the earliest representation I know of the Temptation of St. Anthony. Unfor- tunately the figure is much injured, and only in the head is seen a good expression of entreaty. Behind him is a black winged demon of colossal size, and before him, retreating, are two smaller ones of the same character. But one of the most important pic- tures of this MS. is the Last Supper. L. 152a. Beneath a pent-house, supported on columns, as seen in old Basilicas, above the altar — only here more in the form of a cupola — is Christ, standing in the centre, with a flesh-coloured wafer in his right hand. This he is giving to one of the disciples, who is bending in the act of receiving it with both hands. In the left hand of Christ is a similar wafer. Before him is an altar with a beautiful red cloth. Behind the disciple mentioned are five others with upraised hands. On the left of the Saviour are six others, the foremost drinking from the chalice. Behind them, as appears from the inscription, is Melchizedec, a youthful figure with a crown, holding a golden cup, with a golden ewer. Corresponding with Melchizedec, on the opposite side, and with the name given, is David, also youthfully conceived. The motives are throughout good, the costumes of the disciples quite antique, as is the style of colouring. The whole has a far earlier look than that in many respects similar representation on the sleeves of the above- Letter I. BYZANTINE MS. 10 mentioned Imperial Dalmatic, and thus affords another proof of the later period to which that belongs. L. 152 contains the ori- ginal of the representation of St. Onofrius, as an old man, naked, and only girded with leaves, who is kneeling in prayer to a segment of a circle, from which the hand of the Almighty pro- ceeds. Palm Sunday is represented in a very simple form. Christ is seen on the ass, accompanied only by Peter ; a small Jewish figure is spreading out his purple dress ; while in the gateway, of antique form, is an old man holding a large palm-branch, with some companions. L. 158a shows us five saints, in good and lively action, adoring the bust-picture of Christ, which appears in the sky in a circle, and in the act of benediction. The inscrip- tion, TTsvTe, teaches us that the saints represented are the martyrs Eustratius, Auxentius, Mardarius, Eugenius, and Orestes. L. 162, the Creation of Adam and Eve, is very remarkable : the Almighty in the mosaic type of Christ, and very dignified in expression, dressed in a purple tunic, with a toga of subdued blue, and sandals, is seen bending over the figure of Adam on the ground, and is touching his head with his left hand, while he blesses him with the right. The garden of Eden is expressed by flowering trees, which surround the figures, and the gate by a red compart- ment, in which is a cherub. L. 163b, and h 165b, containing the figures of St. Euphemia and St. Thecla, are very characteristic as representations of female saints — somewhat rare in comparison with male — in strict Byzantine style. They are seen praying with upraised hands, and therefore in antique form, both in brown dresses. L. 176, the Jewish Captivity in Babylon. This is pro- bably the earliest representation of this subject. Two river gods, personifying doubtless the Euphrates and the Tigris, are here introduced as before, only with the unembellishing addition of the stream proceeding from the mouth. By these are palm-trees, with golden harps leant against them. Some Jews reclining are unfortunately much injured. P'our standing figures are better preserved. Two men in golden helmets represent doubtless Baby- lonian soldiers, who are guarding the Jews. The history of David, in a series of pictures, contains also much that is interesting. L. 183 displays David in the act of slinging, with Goliah in a red shirt of mail, with golden scales, striking at him in a lame manner with his lance. L. 189b shows us the Almighty enthroned c 2 20 THE BRITISH MUSEUM. Letter I. between two angels, and sending the one on his right to David. Below is the same angel, and David with his flock, blowing the flute exactly as it is blown to this day. Lower still he is seen following the angel. L. 190a, David again with his flock, con- versing with the angel. Below, the . same, opposite to the aged Samuel, who holds a large horn with the anointing oil ; and lower still, David being anointed in presence of his father, Jesse, and others, in whom the expression of astonishment is well given. L. 190b, the same subject in similar form, only that the spectators are designated as Jesse and the brethren of David. Also on a much larger scale, Saul, enthroned and possessed with an evil spirit, surrounded by five soldiers, with the inscription, ^-ay/xa^ov xoc'i hi d^-x^ovTBs. L. 19 la. On the same scale of size, David, in a tunic of light purple, and a fluttering blue chlamys, kneeling upon Goliah, and holding him by the hair as he cuts off" his head. Next this, the Philistines fleeing. Below, three virgins with harp, violin, and timbrel, celebrating the triumph of David. L. 192a contains a strange representation, arranged in the fashion of a mosaic, but rendered indistinct by the state of figures and inscriptions. L. 199. This is a remarkable example of subjects conceived in the earliest period of Byzantine art, undergoing a change and becoming weaker in execution with the lapse of time. The repre- sentation, namely, of the Prophet Isaiah, between the personifica- tions of Night and Dawn, is well known to all lovers of art by the engraving in D'Agincourt's work, from a Byzantine MS. of the lOth century in the library of the Vatican. Another still finer example, though agreeing in all essentials with the above, is in the celebrated Byzantine MS. of the Psalter in Paris, of v/hich I gave a circumstantial account in 1839.* Both point to one common earlier and justly prized original. Here we find, it is true, the subject again, with the same motives ; the boy has even the same inscription — oq^^os ; the figure of Night, however, is quite sup- pressed, while the bust-picture of the Almighty, in the mosaic type of Christ, in a golden circle, is introduced instead of the hand blessing, and proceeding from the segment of a circle. Finally, the execution, as compared with the others, especially with the Paris Psalter, is of very barbarous effect. L. 202a, and the fol- lowing, display in great detail the history of the Three Children in * See Kunstwerkc und Kunstler in Paris, p. 223. Letter I. BEDFORD MISSAL. 21 the Fiery Furnace : they are represented, as in the catacombs, under youthful forms, and are also thus inscribed — t^i^cS". They are protected in the fiirnace by an angel. Their arms are raised in prayer to Fleaven, which is represented as a large blue half- circle, with two rude profiles in white and red, and the words (TeXrivyj and riXio^. Their heads are of good expression. L. 206b contains, finally, a very stately and truly Byzantine representation of the Virgin standing with the Child. Vol. L p. 127. A renewed examination of the Bedford Missal in 1854, and a somewhat more extended knowledge of early miniatures, enable me in some respect to correct as well as to add to my notice of that most important MS. made as early as the year 1835. I there- fore feel myself especially called upon to do so. There is no doubt that English, French, and Netherlandish artists united their skill in this work. Although, therefore, so thoroughly competent a judge as Mr. Bond pronounces the text to be English, the fact, on the other hand, that all the chief French saints — St. Genoveva, St. Martin, St. Germain, and St. Denis — are distinguished by golden letters in the Calendar, while St. Thomas of Canterbury is the only English one so favoured, is apparently an evidence of the volume having been executed in France. The borders have also far more a French than an English character. Further, I may observe that the pictures in the Calendar, the small circular pictures in the borders, St. John the Evangelist (1. 19a), St. Luke (1. 20b), and the majority of the large pictures, are by a French, though by no means a distinguished painter. Numerous small pictures in the borders also show a French hand, and one of a far more mechanical order. The Days of the Creation (1. 14), the Crucifixion (1. 144a), and the Last Judgment (1. 157a), appear to me, judging from the character of the heads, the glutinous nature of the colours, and the admirable impasto, to be the work of a Netherlander. The two best artists, however, who have taken part in this work, I am per- suaded were both English. The first is seen in the building of the ark. The whole tendency is here more realistic, the heads more individual and decided, and the colouring strikingly resembling that in authentic English miniatures. The following pictures are 22 THE BlUTISH MUSEUM. Letter J. also by the same hand : — The Building of the Tower of Babel (1. 17b), the Departure from the Ark, and the Drunkenness of Noah (1. 18b), the suppliant David (1. 96a), and finally various small pictures in the borders— for instance, 1. 186a. To the other English, and incomparably superior hand I attribute the three pictures which I was formerly disposed to give to Jan van Eyck, viz. the two with the portraits of the Duke and Duchess (1. 256b), and (257b) King Qovis, to whom the Almighty is sending the coat-of-arms with the three hlies from Heaven. My especial reasons for thus deciding are the slender proportions, delicate melt- ing of the flesh-tones, the copious use of vermilion, the general gaiety of colouring, and the character of the delicate ornamentation on St. George's armour. All these peculiarities I have since learnt in my studies of undoubted English miniatures in the British Museum, and also in the Bodleian, in 1851, to be characteristic of English work at this period. Vol. I. p. 130. My notice already given of Henry VI.'s Psalter is, when com- pared with the artistic importance of the MS., far too short. An error in it also calls for correction. This octavo work contains 286 leaves, written in one column, in a large and powerful minu- scule letter. The border decorations have an English character, and St. George, the patron saint of England, is distinguished in the calendar by golden letters ; that the same distinction is here bestowed on those French saints named in the Bedford Missal, is a circumstance which may be explained by the fact that Henry VI. was also King of France. The pictures bear witness partly to a Netherlandish, partly to a French hand, and are interesting as specimens of the length of time during which the idealistic tendency, dating from 1350, maintained its power side by side with the realistic, dating from about 1380. For as Henry VI. appears here crowned — his coronation took place in Paris, 1431 — and yet still as a child, it is evident that the execution of this work belongs to the years immediately following 1431, when the chef-d'oeuvre of the realistic art of the 15th century, namely, the altarpiece repre- senting the Adoration of the Lamb, by the brothers Van Eyck, had been already completed. By far the greater number of the pictures partake of the idealistic tendency, and in my opinion were executed Letter I. HENRY Vl.'S PSALTER — VULGATE. 23 by a French artist. To these belong the Virgin enthroned (1. 49a), where the royal figure in a blue mantle with lilies, standing behind Henry VI., is not, as I have stated, the Duke of Bedford, but Louis IX., called St. Louis ; also the Virgm with the Child, who is giving a scroll to the youthful kneeling king ; another, termed in my book the Coronation of the Virgin ; and finally (1. 205a), a very remarkable representation of the king, who, kneeling, entreats the intercession of the Madonna, who, kneeling in her turn, is praying to Christ, while she points with her left hand to her undraped breast, and with the other to herself Her prayer is heard, for Christ is seen above, enthroned next the Almighty, pointing to the wound in his side as symbol of the atonement. Two angels on the throne with the instruments of the Passion have the same meaning. The different pictures of monks and nuns, of which I mentioned a few, are, on the other hand, entirely realistic in character, and show the hand of a Netherlander. The picture with King David (1. 204b) is drier, and obviously by an inferior artist. The combat between David and Goliah is remarkable as taking place within barriers, as at a tournament, with King Saul looking on from a tribune. The delicate chess-board ground is also a relic of an older period, though occasionally the elements of a new era in art are seen side by side with it in a simple land- scape, and oftener in that species of architecture representing the interior of a church. Vol. L p. 206. The following manuscripts are new acquisitions : — The Vulgate (Addit. 18,720) folio, in two columns, on very fine parchment, beautifully written in a strong and full minuscule letter. This MS. is remarkable inasmuch as, though decidedly belonging to the 14tli century, the eight pictures from tlie Old Testament, and the nine from the New, show no signs of the style of art prac- tised by Giotto, but partake entirely of that Byzantine character which prevailed in Italy in the 13th century. The tone of the flesh is generally brown, the remaining portions of a dark and gloomy colour. All evidence proves this work to have been exe- cuted in Northern Italy, most probably in Bologna. Considcr(;d in an artistic sense the pictures are of little value. Dante's Divina Commedia (Addit. 19,587), a folio volume of 24 ^ THE BRITISH MUSEUM. Letter I. 174 sheets, in one column, with a broad border, written in a strong minuscule letter ; the lower border, as far as 1. 99a, containing pen drawings delicately shaded in colour and Indian ink. The picture 1. 99b is incomplete in colour, and after that only outlines occur. The inventions are, however, clever ; the motives generally very dramatic and graceful ; the drawing of the nude — the period (about the middle of the 14th century) considered — good ; the faces in many cases already emancipated from the Giottesque type, and striving successfully at individuality. In the Inferno^ the repre- sentations even of the demons are not, as in the pictures by Bernardo Orcagna, caricatures ; only the Satan at the end shows in form, as well as in motive, namely, in the devouring of the condemned, a similarity to that painter, though quite independent of him. I select a few of the single pictures : 1. 2a represents the youthfully conceived Dante pointing to the figure of Virgil, who appears as an old man in a blue m.andorla, with a golden Gothic frame ; 1. 3a, a female form, praying, probably Beatrice, with a nimbus of scolloped Gothic shape surrounded with rays, is very noble in motive, expression, and cast of drapery. At the commencement of the Pur gator io (1. 62a) the rich decoration of the border in beau- tifully coloured tendril-work points to Tuscany ; below in a hori- zontal oblong is the Archangel Michael weighing two souls ; other souls are kneeling. The picture of three knights (1. 77a) is par- ticularly successful. This MS. represents probably one of the eEft-liest attempts to embody the poems of Dante that has descended to us, and is on that account also very remarkable. The following miniatures, extracted from MSS., which in 1834 I saw and described, in the possession of the late Mr. Young Ottley, and which, after his death, became the property of Mr. Rogers the poet, were fortunately acquired for the Museum at the sale of that gentleman's collection. They are thus secured from fiirther wanderings, and have become accessible to every lover of art. Border decorations, executed, as we are" informed by an inscrip- tion, in 1489, for Antonio Pallavicini, Cardinal of St. Praxede. The beauty of the arabesques, enriched with classical motives, and the splendour of the colours and of the gilding, render these admi- rable specimens of the taste for MS. ornamentation of this period. The same remark applies, as regards the middle of the 16th Letteu I. ITALIAN MINIATUllES. 25 century, to some borders with the following inscription: — '^Apol- lonius de Bonfratellis de Capranica Capellai et Sacristise Apostolicse Miniator fecit, Anno Domini MDLXIV. mense Julio, sedente Pio IV. Pont. Opt. Max. de Medicis Mediolanense V." Here we see that Renaissaj^jce style in miniature painting first developed by Don Giulio Clovio, in which the most graceful arabesques are executed in gold, brown, and other colours, intermingled with small pictures and bronze cameos. The original document, in the most elegant writing, on the finest parchment, containing the jointure settled by Lodovico Sforza, Lord of Milan, on his wife Beatrice d'Este : it is dated 1494, and signed by Sforza himself. In the centre of the wide upper border are the arms of II Moro, supported by two beautiful angels of graceful action ; at each side of which, in circles, are the portraits of himself and Beatrice in profile ; both, and especially hers, dis- play a refinement of taste, a delicacy of feeling for nature, and a technical completion seldom met with in this mode of art. Both the side borders are decorated with arabesques ; the right one more in the earlier taste of the 15th century ; the left one of that freer and more spirited character which points already to the 16th cen- tury, with very graceful figures introduced on purple or dark-green grounds. In the whole we perceive the influence of Leonardo da Vinci, then working in Milan. They were probably executed by that Maestro Girolamo whom Vasari praises as the greatest minia- ture-painter of that time in Milan. Allied in character to the foregoing are the contents of a volume (Addit. 20,916) purchased at the sale of Lord Stuart de Rothesay's library ; they consist chiefly of what are called in Italian Bucali, or instructions by the Signory of Venice, some of the 15th, but chiefly of the 16th and 17th centuries, all headed by a miniature. Some of these are very remarkable, especially the portraits. Upon the whole, these Bucali afford, like the deed of settlement above described, very interesting examples of that feeling in the middle ages which not only sought to adorn works of ecclesiastical and secular intention, but even bestowed the cheerful accompani- ments of art upon documents of mere business import. They also show how long this custom continued. Among the miniatures, two are particularly remarkable ; the one represents a sage in a carriage drawn by two owls, and accompanied by children. The invention 26 THE BRITISH MUSEUM. Letter I. is good, the colouring very powerful, and the execution admirable. The painter Francho, whose name we gather from the following inscription — "Diifaveant opus Franchi Miniatoris" — appears from the style of art to have belonged to the Milanese school of the latter part of the 15th century. The other miniature, a large combat, also bears witness to a very skilful Lombard artist of about 1480. This one has unfortunately much suffered. DRAWINGS OF THE ITALIAN SCHOOL. YoL I. p. 224. The additions made to the collection of drawings and engravings in the two years since the publication of my work, are, both in number and quality, very considerable. Owing to the ceaseless and successful exertions of Mr. Carpenter, several miniatures extracted from MSS. have been acquired for his department. The earliest is the initial O, 9J inches in diameter, and ob- viously belonging originally to a large Cantionale. In style of art and stage of development it may be adjudged to the Tuscan school of the time of Andrea Orcagna, and consequently to the latter half of the 14th century. In the middle is St. Bernard of Clairvaux, enthroned on his right St. Bernardin, on his left two other canonised monks of his order. The composition is dignified ; the execution in body colours careful, and the grounds gilt. The body of the O is vermilion with green foliage, and flowers in the corners. Next in importance is a miniature by Don Giulio Clovio, repre- senting the martjTdom of St. Bartholomew. The influence of Michael Angelo is seen in the motive. On the other hand, the manner in which the blood is running down from the one already flayed leg is vulgarly realistic and very disgusting. The guards appear in the antique Roman costume. A stone idol is falling. The heads are pleasing, but of no character ; the finish is great. A prayer on the other side appears to be by the same hand as the writing on the pictures by Clovio bequeathed by Sir Charles Gre- ville to the library of the British Museum. About 5f in. high, by 7 1 in. wide. Two miniatures of the time of Oovio, and allied to him in style, Letter I. ITALIAN DRAWINGS. 27 are also remarkable. The subjects are dancing children, and angels playing on musical instruments. The drawing of the one, where the angels are draped, is better than in the other, where the forms of the children are too full. Both are very soft and tender in treatment. This is also the fitting place to notice a very beautiful drawing of the Crucifixion in red chalk, which Mr. Carpenter, in my opinion rightly, ascribes to Don Giulio Clovio. The rich composition of ten figures contains some few fine motives. It has, however, that eclectic character peculiar to this artist. In some parts Raphael may be recognised as the model for imitation, in others Parmi- gianino. The soft modelling agrees also with the manner of Clovio. Pesellino (?). — A youthful female head looking down towards the right side ; drawn with the point of the brush in a green-blueish tone, and on one side set off by a dark-blue ground. This is of very great delicacy, and may perhaps be, as Mr. Carpenter believes, by the hand of this rare scholar of Fra Filippo Lippi. Jacobo Belli ^^ I. — The most important recent acquisition is decidedly the book of drawings by this master, with which lovers of art had been made acquainted by means of Dr. Gaye's long article in No. 23 of the ' Kunst Blatt ' of 1840, published by Cotta in Stuttgart. This book had been since 1813 in Venice, in the possession of M. Domenico Mantovani. It consists of one folio volume of 100 leaves, of a thick and coarsely-grained paper, 99 of which, and most of them on both sides, are drawn upon in black chalk and pencil. In many cases one drawing runs through two opposite pages. On the first page is an inscription by the hand of the master, " De mano de mi iacobo bellino veneto 1430, in Ve- netia." I agree entirely with Dr. Gaye in his opinion that this date refers only to the commencement of these drawings, at which he doubtless continued to work for a series of years from this period. Considering the general dearth of pictures of the Venetian school belonging to the first half of the 15th century, a book of this kind, containing such a store of artistic ideas by the chief master of the school, becomes of the greatest importance, and the more so as scarcely a picture by his hand can be with certainty pointed out. The contents are divided into subjects for ecclesiastical art, subjects 28 THE BRITISH MUSEUM. Letter I. from mythology, and others from common life, animals, landscapes, and architectm^e ; thus giving us a comprehensive view of the posi- tion occupied by the Venetian school at that time in all these diiferent departments of painting. In the conception of his eccle- siastical subjects he frequently shows the influence of his master, Gentile da Fabriano. The Adoration of the Kings, p. 19, is an example of this ; and still more so another representation of the same subject further on, with the rich suite of the kings on horse- back. Other drawings, on the other hand, exhibit the development of a peculiar and highly dignified mode of treatment in sacred subjects. For instance, Christ in the Mandorla, p. 61 ; the En- tombment, p. 23 ; the Almighty between Adam and Eve, p. 43 ; Judith, p. 35 ; and the Death of the Virgin, p. 67. The drawing of the Baptism of Christ is remarkable for the four angels playing on musical instruments ; in the representation of which Giovanni Bellini and his school afterwards took so much delight. Upon the whole, however, we here perceive that realistic conception both of figures, and also in the ample rendering of space, which is so cha- racteristic of the Venetian school. This peculiarity is already apparent in the frescoes of Jacopo d'Avanzo, but it is much further developed in these drawings. In many of the sacred subjects the landscape or architecture is by far the principal object, the very small figures playing only a subordinate part. Specimens of this treatment may be seen in the Annunciation, p. 13 ; in the same subject, p. 76 ; in the Flagellation, pp. 71 and 74 ; in the Judg- ment of Solomon, p. 47 ; and, finally, in the Twelve Disciples, p. 88. The monotony of the landscapes is striking, consisting, with some exceptions, of formless and clumsy hills. In the conception of mythological subjects, with the exception of a fight between Lapithge and Centaurs, where the master has ob- viously made use of an antique model, he shows an ignorance of all antique examples, amounting to an almost ridiculous naivete. The Triumph of Bacchus is an instance of this. In this respect the contrast between these drawings and the Paduan school is very decided. To Squarcione, surrounded as he was with antique sculp- ture, such a mode of conception must have appeared quite puerile ; and the hatred which, according to Vasari, that painter entertained for Jacobo Bellini was doubtless not the result of personal dislike only, but of the great difference which existed between their Letter I. ITALIAN DRAWINGS. 29 respective artistic tendencies. While Squarcione followed the newly awakened antique impulse, Jacobo Bellini adhered with enthusiasm to the marvellous and fantastic, and to the chivalry of the depart- ing middle ages. This is shown by his drawings of all kinds of fabulous dragons, by his predilection for the subject of St. George and the Dragon (four drawings of w^hich occur in this book), and by his spirited and veracious representation of the military commanders and soldiers of his period. While Squarcione, as all the works of his school prove, sought to apply the plastic laws of ancient sculptm'c to painting, Jacobo Bellini's efforts were all directed to the pic- turesque only. For this his feeling was so strong that he even sacrificed to it the moral importance of his subject ; as, for instance, in the Crucifixion, p. 77, where the foreground is occupied with horsemen seen from behind, in the strongest foreshortenings, while the chief event takes place in the middle distance, so that the picture is principally devoted to solving the most intricate lessons in perspective. Thus again, in the Nativity, we find him taking delight in elaborate and overladen constructions in wood, in which the connoisseur of the early Venetian school may recognise the original model of similar erections by Giovanni Bellini and his followers, to wit, in the Adoration of the Shepherds by Girolamo da Santa Croce in the Berlin Museum, No. 24. In no respect, however, is his feeling for the picturesque seen to such advantage as in his draperies, which are frequently of a purity and freedom surpassing the later and best works of the great Andrea Mantegna, who never quite emancipated himself from his youthful practice acquired in the school of Squarcione, in which a disposition of drapery fitted only for sculpture was applied to painting. At the same time we recognise from this and other drawings the source of that powerful and beneficial influence which Jacobo Bellini exerted over Mantegna after he became his father-in-law. This influence may be traced in the gi'eater picturesqueness of invention and truth of colour seen in the frescoes of the martyrdom and death of St. Chris- topher in the Chapel of the Eremitani at Padua, executed imme- diately after Mantegna's marriage with Bellini's daughter. To this fact I have drawn attention in my treatise on Andrea Mantegna, though I erroneously ascribed the change to Squarcione's criticism on the misapplied imitation of sculpture apparent in Mantegna's earlier pictures executed in Padua. The great development of the 30 THE BEITISH MUlSEUM. Letter I. picturesque and realistic feeling in most of Mantegna's later works may now without question be ascribed to his connection with Jacobo Bellini. Various figures indeed occur — for instance, the archers in the Martyrdom of St. Sebastian, p. 11, and in another representa- tion of the same subject — in which we plainly recognise Mantegna's models ; while the conception of several single heads displays the strongest resemblance to the series of pen drawings by Mantegna, formerly in the possession of Mr. Samuel Woodburn, and now in that of Mr. Barker. Scenes from the most various departments of common life are conceived with great truth and animation. I may mention espe- cially a youth on horseback, and ladies also on horseback, one of vv^hom has a falcon on her hand, p. 20 ; a fight between a knight and a lion, p. 22 ; a tournament, p. 36 ; milk-women, p. 34 ; and two men carrying a tub. The representation of animals, horses and lions, were evidently his favourite subjects ; many studies of each are here, and both animals are frequently very successful. Upon the whole, I may observe that in subjects requiring lively action he shows less aptitude ; thus, in representing a combat, the thrusts are lame, and do not reach their mark. But in quiet figures, on the other hand, he deserves especial admiration. This is the case with St. Paul, p. 28 — a sketch for an altarpiece, of three figures — who is positively grand in design. Also, though figures occur which are too meagre, we find equal examples of full forms, though his proportions incline frequently to the over slender. All things considered, he shows himself here as a very good draughtsman. Unfortunately a large portion of these drawings are very much rubbed, and others mjich obliterated. Andrea Mantegna. — The Virgin fainting, and two other women. A study executed with a broad pen for the group in the well-known engraving of the Entombment. The head of the Virgin is especially spirited ; 9 J in. high, 6f in. wide. Two youths, one holding a club in the left hand, and looking at the other, who has the left hand on his companion's shoulder, and a sword in his right hand. Obviously a fragment, the figures being cut off at the knees, and only the hilt of the sword seen. Of masterly execution in the sloping lines peculiar to Mantegna, with the brush and bistre, and showing the form of art he practised in his later time. 9 in. high, 10 in. wide. Letter I. ITALIAN DRAWINGS. 31 PiETRO Perugino. — L To this master I agree with Mr. Car- penter in ascribing a slight but spirited sketch for an Adoration of the Kings, of rich composition, and with much architecture. Formerly in the collection of Mr. Richardson, who erroneously held it to be by Giovanni Bellini. 7| in. high, 7^ in. wide. 2. A Prophet seated, his left hand supported on a book — doubt- less his Prophecies — his right hand pointing to it. This fine draw- ing has been wrongly ascribed both to Taddeo Gaddi and Bene- detto da Majano. I am inclined, however, to consider it by Perugino. Leonardo da Vinci. — 1. The Virgin seated, holding the Child on her arm, who is hugging a cat. Close by, only in out- line, another sketch of her head more in profile. Most spiritedly executed with pen and brush in sepia. On the back, only far slighter, a similar motive, but taken from the other side, so that the Virgin looks at the Child. About in. high, 3 in. wide. Purchased in 1856. 2. A page with slight but very spirited sketches in pen and sepia. Two horsemen in full gallop, a lion seizing a horse, and the strongly foreshortened figure of a horseman dying. Lorenzo di Credi. — Head of an old and bald man, almost three-fourths the size of life ; admirably drawn on green paper with a silver point, and heightened with white. Michael Angelo. — 1. Study of a powerful man, much bent, and bound. Slightly drawn in red chalk, with a broad and masterly hand. 2. A powerful youth, seated, looking at a picture which he holds with the left hand. Most spiritedly and broadly thrown on the paper with the brush and sepia. 3. A head, life size, looking sidewards, and with open mouth. Of broad and masterly drawing in black chalk, heightened with white, most of which- is now effaced. Raphael. — 1. A seated figure, the hands above the head, as if bound. Judging from the inscription, a study for the well-known fresco of the Battle of Ostia. The right leg is separately repeated. Finely drawn in black chalk, though, from a defect in the forms of the left shoulder, rather questionable in my eyes. 2. The beautiful pen drawing of the group in the Entombment who are carrying the body. Bequeathed by Mr. (chambers Hall, 32 THE BRITISH MUSEUM. Letter I. who has died since my work was published. Formerly in the Lawrence Collection, afterwards in that of the King of Holland. Baccio Bandinelli. — A rich composition of much action, spi- ritedly drawn with pen and bistre. Beccafumi. — Drawing for the well-known composition of Moses striking the Rock, on the floor of the cathedral at Siena. Of broad and spirited execution with the pen and brush in bistre, and hatched in the masses. This drawing quite agrees with the en- graving by Laelius Cosatti. In the form of a frieze. 9f in. high, 5 ft. 3 in. wide. Pellegrino da Modena. — A Pieta, of unusual composition, the Christ being in the centre, with the Magdalen kissing his feet, and with the Virgin, St. John, and seven other men and women in actions of lamentation on each side. The motives are noble, though the heads are somewhat insipid. The execution very careful, with the brush, in bistre, and heightened with white. Formerly in the Richardson collection. Federigo Baroccio. — 1. Study for his well-known Entomb- ment. Of picturesque and masterly drawing, in red-brown colour on reddish paper, and heightened with white. 2. Study for his St. Francis receiving the Stigmata. Very broad, in Indian ink, on green paper. From the Sagredo Collection. CoRREGGio. — 1. The Virgin, with the very graceful Child, and Joseph. In red chalk, of soft and picturesque treatment. 2. A figure in lively action, the left hand pointing to himself, the right upwards. Very pleasing. In red chalk. 3. The Virgin with the Child, who, turning upwards, is kissing and caressing her. A new and charming motive. In sepia, with a broad pen and brush. These are on sheets of parchment, from the collection of Sir Peter Lely. Parmigianino. — 1. Jupiter upon a pedestal, holding the thun- derbolt, and worshipped by numerous figures. Opposite to him the statue of Minerva enthroned. With pen and brush and bistre. Very spirited. 2. The infant Christ being bathed, a composition of six figures. Arbitrary in composition, but of very graceful motives. Of mas- terly drawing in sepia and red chalk. GiORGiONE. — Above is a saint tlirown down : according to Mr. Letter I. . EARLY NETHERLANDISH DRAWINGS. 33 Carpenter's opinion, St. James the Less. Below are numerous figures in fear and astonishment. Very animated and speaking in motives, of good style in the draperies, and of masterly drawing in sepia with a broad pen. Also ascribed to Titian. Paul Veronese. — 1. A Riposo. The Virgin, looking down on the sleeping Child, is holding her breast with her right hand. Joseph is on the right, the ass on the left. Of unusual elevation of feeling in the head of the Virgin. The drawing broad and masterly, on greenish paper, with the pen and Indian ink, and heightened with white. Of considerable size. 2. St. George before the throne of some potentate, which is sur- rounded with warriors and courtiers. On the other side a group, with horsemen. Like the foregoing drawing, only in sepia. About 1 ft. high, 1 ft. 8 in. wide. Andrea Schiavone, called Meldolla. — The Marriage of St. Catherine, with Joseph and three angels. The proportions slender and the motives graceful in the style of Parmigianino. With pen and sepia on light brown paper, heightened with white, and very spirited and soft. About 9 in. high, 7 wide. Camillo Procaccini. — Da\dd celebrating his victory over Goliah. A rich and attractive composition, in pen and Indian ink, slightly shaded. Engraved by Ryland. Ottavio Leoni. — Three portraits. Very softly drawn, in his usual manner, with black and red chalk. DRAWINGS OF THE EARLY NETHERLANDISH AND EARLY GERMAN SCHOOLS. The sale of Mr. Woodburn's collection afforded Mr. Carpenter the opportunity of purchasing some miniatures of the Passion, which had been extracted fi'om a MS. These consist of Pilate washing his hands ; the Flagellation ; the Bearing of the Cross ; the Descent from the Cross ; and the Entombment. They are* executed with great skill in chiaroscuro, with modest indications of green trees and blue sky. Judging from the drapery, which is still soft in its folds, from the already individualised heads, and from the character of the initials and text, they may have been executed in Belgium, on the French frontier, between 1430 and VOL. IV. D 34 THE BEITISH MUSEUM. Letter T. 1440. The heads are generally delicate in form and expression, but the proportions too short. Hans Memling. — Sketch for the lower part of a rich com- position of the Crucifixion, in which, however, the Cross is not even indicated, though the Magdalen is looking up to it in entreaty. The group of the fainting Virgin supported by St. John and a young female, bears, as well as the Magdalen, great resemblance to the beautiful small picture by Memling in the collection of the Rev. J. Fuller Russell. The same remark applies to the riders, five on horses and one on a camel. The horseman, also, seen in front, occurs in Memling's well-known Crucifixion in the Church of Our Lady at Liibeck. Two of the same, one of whom is holding a handkerchief to his face, are piercing the side. All the heads are very animated, and those of the believers and of the centurion very noble. The horses, which are very skilfully drawn, correspond most with those in the picture of the Seven Joys of the Virgin, by Memling, in the Munich Gallery. The execution is careful and delicately felt. Drawn with the pen and point of the brush in Indian ink, on white paper, with frequent hatchings. About 10 in. high, 11| in. wide. This drawing is the most important I know of the whole school of the Van Eycks. Early Dutch School. — Most probably by Gerhart von Harlem. The youthful Christ teaching in the Temple, which is treated in the Romanesque style. A very admirable drawing in Indian ink with the point of the brush, but not complete. The figure of Christ is scarcely indicated. In the middle distance are the Virgin and Joseph, who have just entered. In the decidedly realistic character of the Scribes a certain humour is apparent. The drapery is sharp, but otherwise of good style. None of the feet are given, and only one indicated. 11 j in. high, 8 J in. wide. Martin Schongauer. — Christ, as the teacher of the world, giving the benediction with his right hand, — in the left the Book • of Life. A finished and masterly pen-drawing, in. high ; almost 5 in. wide. Upon the drawing, in an early hand, which Mr. Hartzen rightly recognises as that of Albert Durer, is the following inscription : " Das hat hubsch Martin gemacht im 1469 jor." The head alone appears to me not quite worthy of this great master. The ink is of unusual blackness. Letter I. EARLY GERMAN DRAWINGS. 35 In the manner of Martin Schongauer. — The Virgin, with Joseph, seated on a block, and holding the Infant on her lap. Joseph is kissing his' right hand. The head of the Virgin par- takes much of Martin Schongauer in feeling and beauty ; but, as also the Child, is fuller in the forms. The folds of the drapery are, it is true, sharp, though each single one is softly modelled. The execution, in Indian ink upon a reddish paper, is throughout masterly. The white with which it is heightened is now partially turned black. 8 J in. high, 8 in. wide. By the master E. S. (?) — The Announcing Angel. Of very peculiar conception ; being represented holding a document with two seals in the left hand, and pointing to it as the warrant for his mission with the other. Of light and spirited touch with a broad pen. The above designation, which proceeds from so approved a connoisseur as Mr. Hartzen, is probably right. The character of the head only appears to me to be somewhat foreign to this master. 10 in. high, 5f in. wide. School of Albert Durer. — Adoration of the Shepherds. In the foreground of a landscape are seen the Virgin and Joseph adoring the Child, who lies on a cloth on the gi'ound. Close by, under a tree, is a stately shepherd with a club : at his feet a sheep, and two smaller shepherds, one of them looking up to an angel with a scroll hovering over the house. In the middle distance, beneath a penthouse, are the ox and the ass. Upon a small tablet, hanging on the branch of a tree, is a monogram, and the date 1.5.]. 4. Unfortunately spotted. In Christ's * Lexicon of Monograms ' he assigns this to Michael Wohlgemuth, and says that it occurs on his copper plates with the same date. On the other hand, Brulliot states that no plate so inscribed ever met his eye. Setting aside the fact that Wohlgemuth was never known as an engraver, and also the improbability of his engraving a plate at the age of 80, it may be remarked that this drawing, with which the engravings in question would doubtless agree, displays the fully developed style of Albert Durer. The unknown artist may therefore be classed as one of his very skilful followers. Hans Holbein. — The harvest of drawings by this great master is by far the most important of the recent acquisitions ; at the same time they equally exemplify the high development and rich variety of his powers. 36 THE BRITISH MUSEUM. Letter I. 1. Design for the Triumph of Riches, which, with its companion, the Triumph of Poverty, Holbein executed in body colours on the walls of the hall of the Easterling Merchants, in the Steelyard, London. Drawn with the pen, and slightly w^ashed with Indian ink. The composition is known by the engraving in Van Mechel's work, which gives, however, no idea of the freedom, breadth, deci- sion, and spirit of the drawing. In point of style and artistic merit it stands midway between Mantegna and Raphael, and is more than any other of his works calculated to prove Holbein to be the master in whom German art attained the free forms of the cinquecento ; also that, had the circumstances of his life been as favourable to him as to Raphael, or, in other words, had he not been required to earn his daily bread by painting portraits, his name, as an historical painter, might have stood next that of the great Italian. About 9 in. high, 2 ft. wide. The best representation of the picture itself is, however, conveyed by Vostermann's copy in the possession of Sir Charles Eastlake, and, next to that, by the careful drawing in sepia, by De Bischop, in the print-room of the British Museum. 2. A female seated, and seen in front, with a kind of barett cap ; an infant on her lap ; on her right is a girl speaking to her ; on her left, a boy with cap and feathers. The motives and indications of the forms are worthy of Raphael. The head of the woman, of a melancholy expression, is the slightest in execution ; the rest is very broadly drawn with the pen, and slightly washed in Indian ink. In the handwriting of the master is this inscription: — "Ex- ultate cedrus H. Holbein." A drawing of the first class, about 4 in. high, 6 in. wide. 3. Five musicians in a gallery, playing on wind instruments. Motives and expression of the greatest animation ; of similar style to the last, only still broader and more powerful in treatment. 4. Henry VIIL alone at table beneath a canopy. Two persons approaching him ; others are dispersed in the space. On the right is the buffet with various vessels : 3f in. high, 4f in. wide ; inscribed in capital letters, " Holbein invent :" a true picture of the time. The little heads are very spirited, and expressed wdth great mastery ; while the light striking through the window, rendered with Indian ink, gives the whole a picturesque effect. 5. Portrait of a woman, drawn only in slight outline with the Letter I. EAELY GERMAN DRAWINGS. 37 silver point upon coloured paper, but with the most delicate feeling for nature. 6. A woman in bed ; behind her an infant swathed in a cradle. Five other children are also present ; the youngest naked and standing by the bed, two seated on the floor, and two bringing a vessel and a saucer for drinking. Next the house is an interwoven fence. Attached to a hut and a tree is a stake on which rags are hanging. 5f in. high, 7^ in. wide. Signed " H. Holbein," in delicate writing. Very cleverly composed ; the children true and full in forms ; and the execution with the pen broad and masterly. 7. Design for a clock ; on the foot below, two Tritons ; above, two boys pointing to tablets with numbers, and bearing on their heads the dial-plate with a crown ; in the centre a kind of satyr with a painful expression. About 1 ft. 6 in. high, 10 in. wide. The following inscription, not entirely legible, in pale ink : — " . . . hora . . . facta pro Anthony deny Camerario regis quod in initio novi anni 1544 regi dedet." This design, which is drawn in a very delicate Renaissance taste, in pen and Indian ink, was bought at the Strawberry Hill sale (Horace Walpole's), and is mentioned by him as having formerly belonged to the Mariette collection. The English nam.e of the individual alluded to in the inscription is Sir Anthony Denny. A no less beautiful design for a clock, though somewhat different, may be seen (No. 86) in a MS. be- longing to the British Museum : Sloane, No. 5308. 8. Design for the sheath of a dagger, with hilt ; on the top are two Genii — half-length figures ; on the sheath the history of Mutius Scsevola, but of simpler treatment than in the drawing already described in my book. Lower down is a female figure, and also several half-length figures. The decorations, which display the later Renaissance taste, indicate the last period of the master, who, besides pen and Indian ink, has here employed a little sepia. 11 J in. high, 2^ in. wide. 9. A highly finished architectural design for a mantel-piece, in two stories, divided by an entablature of antique form, each story with two columns at the sides ; the upper Ionic. In the centre space of the lower story is a half-circle, containing a circle with Esther and King Ahasuerus, and a fjght of horsemen on each side ; in the angles are the busts of a warrior and a woman ; in the upper story, in the centre, above, are the royal arms in a circle, with a 38 THE BRITISH MUSEUM. Letter I. lion and a dragon opposite supporting the shield ; at the sides, a scroll and arabesques ; below, in the centre, and very spirited, a combat of horsemen ; at the sides, a Charity with three children (very beautiful), and Justice, with her feet upon criminals. The division of the space shows how admirable an architect was Holbein. In the motives of the figures the greatest freedom and the most natural grace prevail ; the ornaments are of the choicest taste of the Renaissance style. The execution with pen, Indian ink, and sepia, is a model of precision and power. 21^ in. high, 16J in. wide. This drawing was formerly in the possession of Sir Joshua Reynolds, and was also purchased from the Strawberry Hill collection ; it is now framed and glazed and hung up. St. Ursula with her suite in a ship, attacked by archers on the shore ; in front, in a corner, upon a stone, is a T and another letter which may be read as a b or a h. This drawing is nearly allied to the earlier time of Holbein ; it is animatedly conceived and of masterly execution with the point of the brush in Indian ink, heightened with white. Albert Durer. — 1. Sketch for a Last Judgment, in two semi- circles, one within the other. Above, in the centre, in the man- dorla, is Christ enthroned, giving the benediction with the right hand, and threatening with the other ; at his side, in corresponding significance, are the lily and the sword ; next him, on each side, the Apostles enthroned and Saints ; somewhat lower down, the Virgin on the right, and John the Baptist on the left ; between them, under the feet of Christ, are four other persons ; lower down are two trumpeting angels, very grand and spirited ; below, on the left, are the jaws of hell, with demons ; on the right, the blessed conducted to heaven by angels. Signed with the mono- gram, and with the date 1513. This slight but very animated drawing, with the point of the brush upon white paper, abounds with original and beautiful motives. The Christ greatly resembles that in Albert Durer 's well-known engraving, where he is repre- sented seated with scales and sword upon a lion : one of the demons, however, is like that in the plate of the Knight, Death, and the Devil. lOf in. high, 1 ft. 4| in. wide. 2. Scene from a legend with which I am unacquainted — a canonised nun pointing with the right hand from a window to a monk below in the water, who is holding a jug in his left hand, Letter I. EARLY NETHERLANDISH DRAWINGS. 39 and is being drawn out of the water by another monk. A masterly drawing in Indian ink, with the point of the brush ; the house slightly coloured of a blueish, the trees of a greenish tint. 9 in. high, in. wide. Erroneously inscribed with the name of Israel von Mecheln. 3. A kind of pillar, as a candelabra. At the foot is a man seated; above, a goat leaping. Inscribed 1510. Broadly and softly drawn in Indian ink with the point of the brush, and slightly coloured, llf in. high, 2f in. wide. Hans Brosamer. — Adam just created, and blessed by the Holy Trinity. The First Person in papal robes, and with a sceptre, is giving the benediction on one knee ; the other Persons similarly attired and occupied, are hovering in the air. In the corner on the left is a piece of architecture in the taste of the Renaissance. The background is a landscape, with animals. A very finished drawing, in a stiff and somewhat minute pen. 9f in. high, 61 in. wide. I entirely agree with the designation above given by Mr. Carpenter. George Pens. — 1. The Sacrifice of Isaac. A very spirited drawing in sepia with the pen and brush, and quite corresponding with the engravings by this master. 2^ in. high, 3| in. wide. 2. Two Emperors ; both in their robes, and with the imperial globe ; the one holding a sceptre, the other a sword. 2 in. high, 1^ in. wide. Lucas van Leyden. — 1. Lucretia kneeling, and stabbing herself, in the costume of the painter's time. In the background is represented the cause for this deed. In a circle about 4 inches in diameter, of masterly and careful drawing, on yellow paper, in pen and Indian ink, with slight heightening of white. The whole style of art greatly recalls his master Engelbrechtsen, and bears witness to his earlier period. On the back is the same subject, by an inferior but closely allied hand. 2. Judith putting the head of Holofernes into a bag. The very mannered motive, and the broad use of the otherwise masterly pen, all point to the later time of the master. Pieter Koeck. — Pen-drawing for an altarpiece with wings. In the centre the Baptism of Christ ; a very rich composition. Skilful and masterly. This artist shows the influence of Bernhard van Orley. Dated 1553. Besides this there are 6 large drawings in 40 THE BRITISH MUSEUM. Letter I. pen and Indian ink of the History of David, with much architec- ture in the taste of the Renaissance. " Martinus van Heemskirk, inventor, 1561." This is the inscription on a very careful, though feehly executed pen-drawing, representing David reproved by Nathan, which quite corresponds with the known style of this master. Henrick Golzius. — Colossal portrait of a man, of broad and masterly execution in pen and sepia, in the style of his engravings, with monogram, and the date 1608. Jeronymus Bosch. — A fat man being shaved. Of vulgar humour, and drawn with a broad pen. PiETER Aertzen. — An old woman entreating a smith to patch an old pair of bellows. Pen and bistre. Dated 1570. The style of vulgar waggishness in which this drawing is conceived makes me attribute it to this master. Pieter Breughel the Elder. — Representation of some Dutch proverb, unknown to me. A man is searching with a lantern under bales of goods ; another is looking into a tub ; a third into a sack, &c. In the distance is an army. Full of character, and carefully drawn with pen and brush in bistre. Jan Breughel. — 1 & 2. Landscapes, with travellers attacked by robbers. Two very good drawings. DRAWINGS BY THE LATER MASTERS OF THE NETHERLANDISH SCHOOL. Rubens. — 1. Portrait of a woman in black and red chalk. Slight and spirited. 2. Very slight but masterly sketch in the same style of a fiat Flemish landscape. Vandyke. — 1. Study for the portrait of the Earl of Arundel, seated, full length. Very easy in motive, and thrown on to the paper with the most masterly hand in black chalk. 2. Another sketch, of similar treatment, of a man seated, a child at his side. Jacob Jordaens. — Adoration of the Shepherds. A rich and dramatic composition, of bold and masterly execution with chalk and brush. Of unusual size. Letter I. LATER NETHERLANDISH DRAWINGS. 41 Teniers. — 1. A Knifegrinder at his work. Slight and broad, in black chalk. 2. Landscape, with a village church. Of similar treatment. Peter de Hooghe. — A woman, taken in profile, instructing four little girls in the art of knitting. The heads are very ani- mated. The light, falling in, is admirably expressed, though only in red chalk. Drawings by this master, especially of such a size, are very rare. Philip Wouvermans. — Camp scene, with six horsemen, and other figures on foot. A trumpeter is blowing his instrument. This drawing, which is executed with great breadth only with the brush and Indian ink — the masses of light and shade admirably indicated — is a striking contrast to his delicately-finished pictures. It is well known how seldom drawings by this master occur. Hobbema. — A water-mill, with reflections. Of admirable chiaro- scuro, and broad and spirited execution with chalk and the stump. Exceedingly rare. C. PoELEMBURG. — The Finding of Moses. His love of depict- ing the female form undraped is here indulged by representing Pharaoh's daughter and her companions as bathing. In sepia, and of the same tenderness and delicacy as his oil pictures. Franz van Mieris the Elder. — 1. An old woman seated in prayer. Opposite to her a child in strong lighting. In black chalk and the stump, and of such masterly treatment of chiaroscuro as to approach in eff'ect the etchings of his master Rembrandt. Upon parchment, and signed " Mieris." 2. His own portrait, marvellously soft and delicate ; in the same style and on the same material as the foregoing, and obviously the original of the engraving by A. Blotelinck, which is preserved with it. Jan Lievens. — 1. A male portrait, almost to the knees. Of great truth of nature, and carefully and softly treated with black chalk and the stump. 2. A landscape. In front a drawbridge ; houses and trees be- hind. An effect of chiaroscuro is here produced with sepia, bistre, and a little colour, worthy of Rembrandt. School of Rembrandt. — View of Bacharach on the Rhine. The foreground in clear light, the background in chiaroscuro. Of masterly execution in bistre and Indian ink. 42 THE BRITISH MUSEUM. Letter I. " PiETER Sanredam, 1661, 31 May." — This is the signa- ture in the interior of a church, executed in Indian ink, and a little colour, and quite worthy of the author. Albert Cuyp. — Piece of water, with a sailing vessel and a boat. The luminous effect, and the fine reflections in the water, which are so admired in this artist's pictures, are also expressed here with great spirit and sketchy breadth. Drawings by Cuyp are very rare. Signed " A. C." William van der Velde. — 1. Large drawing for a sea-fight, in chalk and the stump. 2. A smaller drawing of a similar subject, treated in the same way, but more slightly. 3. A calm sea, with several vessels. Signed " W. v. V. F." Of the same treatment, and of great charm. Sir Balthasar Gerbier. — Portrait of Frederick, Elector of the Palatinate and King of Bohemia ; in an oval form, and with tasteless decorations. Extremely delicate, but somewhat stiffly drawn with the pen upon parchment. Signed " Gerbier fe^" Gonzales Coques. — Portrait of a woman seated, in Indian ink, on parchment. In an oval form. Very animated. J. HuLSWiTT.— Exterior of an old picturesque house. Finely executed with the pen and brush and bistre. Of Rembrandt-like powen " Korneli van Borsum, 1624." — This is the inscription in a drawing-book in 4to., containing a number of drawings with the pen, with the brush, in Indian ink, or in bistre ; — of landscapes with animals, and especially fowls ; sea-pieces ; — and lastly of scenes, in a circular form, representing the months of January and February. This book aff'ords us a fresh example of the astonishing number of skilful artists who flourished in Holland in the 17th century, nothing else being known by this master. engravings. Besides the six engravings from the Otto Collection in Leipsic (of which I gave an account, vol. i. p. 254), ten more have been obtained from the same source ; so that the British Museum now possesses 16 out of the whole series of 24. They are as follows : A female figure recumbent, and almost undraped. Upon a Letter I. ITALIAN ENGRAVINGS. 43 scroll is this inscription : " Amor vuol fe, e dove fe nonn e, amor non puo." (Bartsch, xiii. p. 43, 1.) A circle, in the centre of which is a stout young man crowned with vine-leaves; half-length. Festoons of fruit form a border I around. (Bartsch, xiii. p. 143, 3.) 4^ in. in diameter. A coarse, I mechanical work, intended perhaps for Bacchus. I A circle, with Cupid, represented as a youth, with bandaged eyes, * and bound to a tree by four women, two on each side, who are \ playing him tricks. (Bartsch, xiii. p. 144, 5.) 6j^2 i^- diameter. The Cupid is very elevated both in motive and forms, and, as well as the rest of the drawing, points to Sandro Botticelli. A circle. In the centre, opposite each other, are two heads, of a man and woman, both caricatures, and looking at one another. In a border of leaves and tendrils are eight ovals, each containing one amorino playing on a musical instrument. The words " Da mi conforto," written by hand on a scroll, are to be considered as proceeding from the mouth of each of these caricatures, and well express the original humorous intention of the design. (Bartsch, xiii. p. 144, 6.) 6 in. in diameter. A circle, in the centre of which is a fight of five large dogs with a bear. The border is a wreath of fruit. The balls, from the arms of the Medici, are drawn with the pen in two compartments. (Bartsch, xiii. p. 145, 8.) 7 in. in diameter. The conception is very animated. It is very interesting to compare this plate with another of an upright form, and containing the same compo- sition ; with this advantageous difference, that, instead of one of the dogs, a huntsman is introduced, who is spearing the bear. A circle, with a hideous face. (Bartsch, xiii. p. 146, 10.) in, in diameter. A circle, with two medallions. In the one, the head of a man in profile ; in the other, that of a woman in front. Above and below are three hunting subjects. (Bartsch, xiii. p. 146, 11.) in. in diameter. A circle, with a youth and a maiden in a landscape, and a young man blowing the shawm and beating the drum. (Bartsch, xiii. p. 148, 15.) 5j^2 i"- diameter. Very attractive for naivete and simplicity. A circle, with a youth bound to a tree, and a maiden holding up 44 THE BRITISH MUSEUM. Letter I. a heart before him. (Bartsch, xiii. p. 149, 19.) in. in dia- meter. Very animated and naive. A horizontal oval. Two amorini, holding a festoon of fruit and leaves. In the centre is Cupid standing with bandaged eyes and outspread wings ; in one hand a bow, in the other an arrow. (Bartsch, xiii. p. 150, 21.) 3^ in. high, in. wide. In this beautiful little plate the composition is prettier, and the forms softer and fuller, than in the others. These plates, with the before described other six, are especially important as rare examples of non-ecclesiastical subjects at so early a period of Italian engraving. The Crucifixion. The Saviour, with the head already sunk. On the right the Virgin, with folded hands ; and, what is new to me, on the left St. John the Baptist, with a long sceptre, terminating in a cross, looking at the spectator, and pointing upward to the Cross. About 8 in. high, 6 in. wide. Conception and expression remind me most of Andrea del Castagno. The draperies are of pure taste, though the still niello-like treatment is very hard. From the De Bammeville Collection. Baldini. — The Virgin, upon a moderately high throne, is hold- ing with her right hand the Child, who is seated on her knee. Two flying angels hold a crown over her head. On the right, directly close to the throne, and about the height of the Child, is a female saint, holding a flower and the model of a church ; on the left St. Lucy. More in the foreground, on the right, are St. Anthony of Padua and St. Catherine ; on the left, Peter Martyr, and the Magdalen with her hands folded, and the box of ointment at her feet. In the centre, quite in front, is St. Dominic kneeling, with the rosary. Above the wall which runs behind the throne are seen four cypresses. The whole engraving, with obtuse angles, is en- framed by a wreath of laurel and ribbon. About 6 in. high, 5 in. wide. The rich composition corresponds very nearly with Sandro Botticelli, and the treatment, as Mr. Carpenter rightly observes, entirely with the manner of Baldini. The printing ink is dull and grey ; the drapery of the Magdalen coloured with dark crimson. Some other portions are also feebly coloured. PoLLAiuoLo. — An impression of the plate of Hercules with the Giants (Bartsch, No. 3), in the same unfinished state, with the white ground left on the left hand, like that in the Im- Letter I. ITALIAN ENGRAVINGS. 45 perial Collection at Vienna. From the De Bammeville Col- lection. : Andrea Mantegna. — 1. Impression of the Virgin in the Grotto. (Bartsch, No. 9.) Of the rarest power and beauty. 2. Impression of the first state of the plate of the Virgin and Child. (Bartsch, No. 8.) I have nowhere seen a proof of such warmth, freshness, and power. The fine shadings in the heads, which are here perfectly rendered, show the degree of artistic excellence at which Mantegna had arrived. From the Mund Collection. GiROLAMO MocETTO. — 1. Johu the Baptist in the Desert. (Bartsch, No. 5.) This is the model for the more frequent plate by Giulio Campagnola, who only altered the landscape background ; incomparably nobler in the head, and of freer and better under- stood drawing. The treatment also for this period is very broad and masterly. Judging from conception, expression, and rendering of forms, this is decidedly from a drawing by Andrea Mantegna. From the Mund Collection. 2. The third portion of a plate representing a large combat of horsemen, with the signature " Mocettus." Another third is in the Imperial Collection in Paris ; the remaining portion in the Imperial Collection at Vienna. From the Mund Collection. St. Bernard of Siena, standing below an arch of the most elegant Renaissance taste — the angles, however, perforated — pointing wdth his right hand to an open book in his left, in which are the words, " Pater manifestabi nomen tuum hominibus." On the wall is his attribute, the i. h. s., with the cross above the h. In front are two boys with large cornucopias ; behind, upon a parapet, three mitres and a flower-pot. The portrait-like head, as well as all the rest, is admirably drawn. The whole style of art shows an affinity with i\ndrea Mantegna ; but the taste of the drapery is purer, and the technical treatment more developed. In all probability the work of one of his follow^ers. The impression is singularly powerful and fine. A Pieta. Christ seen more than half-length above a sarcophagus, of antique decoration, showing, with an expression of rigid sorrow, and with somewhat lively action, the wounds in his hands. Next above is the Holy Spirit in form of a dove ; then the Almighty in the mosaic type of Christ, with a crown, formed of three lilies, and 46 THE BRITISH MUSEUM. Letter I. surrounded by a glory, on his head ; the arms outstretched. In the air, on each side, in very pleasing motives, is a kneeling angel. Below, before the sarcophagus, is John the Baptist, looking up, the cross above his right shoulder, his hands folded. The folds of his mantle are of very good taste. The goatskin is only seen upon the chest ; the right advanced leg is nude. On the left is a youthful saint, quite in the costume of the time, with a naked sword, the point of which touches the ground, under his left arm ; his hands are folded. In the centre of the sarcophagus is a wreath of laurel with four ribbons ; in the centre the word iesv. Round the whole plate is a border of laurel-leaves. i"- ^^S^^ ^T2 wide. From the Mund Collection ; and in that catalogue erroneously given to Baldini. I agree rather with Mr. Carpenter in recog- nising in the characters of the heads, and in the drawing and treatment, a striking likeness to the so-called Gioco by Mantegna. At the same time the whole style of art strikes me as somewhat less refined, the drawing not so good, and the treatment somewhat harder and more antiquated, namely, the crossing of the lines at right angles, in the style of a niello. In all probability a unique specimen. NicoLLETTO DA MoDENA. — The God Mars, youthfully con- ceived, with the armour and weapons of the period, standing in a quiet posture, looking down ; the right hand inclined towards the hip ; a standard in the left hand, with s. p. q. r. and a trophy. On the right is a dry tree, on which is a small tablet with the name NicoLETO DA MoDENA. At the foot of the tree are two shields and a drum. On the left side is a ruin. On a projection in the form of a pedestal is a helmet, and leaning against it a battleaxe. On one of the surfaces of the pedestal is the inscription divo marti. In the middle distance is a large piece of water, and behind that a landscape with two hills. About in. high, 3 in. wide. This plate, which is not mentioned by Bartsch, is of great delicacy of feeling, and more elegant in drawing than most of the works of this engraver. In the manner of Antonio of Brescia. — The youthful Bacchus, his left hand, according to the well-known antique motive, above his head ; the right hand upon the shoulder of a very hideous follower of Pan. On the left is a male satyr blowing the horn and the double flute. At the feet of Bacchus is a dog biting a serpent. Letter I. ITALIAN ENGRAVINGS. 47 Next the follower of Pan is a eista mystica with two snakes coming out of it, and a tree on which hangs a Pan's-pipe. About 5 in. high, 4J in. wide. The treatment of this very powerful engraving shows much affinity, as Mr. Carpenter rightly remarks, with the above- mentioned master. The indication of the forms is hard. The Holy Family. In the centre is the Virgin, of pathetic ex- pression, sitting with her hands folded ; before her is the very beau- tiful Child, sweeping away the dust and dirt with a broom. More behind is St. Joseph saw^ing a beam. In the background are two women, whose gestures express surprise. In the distance is the high line of the sea, w4th a vessel. The sun is seen in the sky. On the right, quite in front, is a short stump of a tree, on which is a small anvil with a hammer upon it. Against the tree is a stake. In the centre on the floor is a shell. About 6 in. high, 5 in. wide. The full and decided forms bear witness to an excellent artist of Ra- phael's time. The technical treatment also of the engraving is on a par with Marc Antonio. At the same time, this domestic con- ception of the subject is very unusual in Italian art ; the feeling, however, is very elevated. An admirable impression. Marc Antonio. — 1. Leda with the Swan. Quite the same composition which Bartsch (xiv. p. 187, No. 232) describes as in the manner of Agostino Veneziapo. It is however so far more spirited, of such delicate drawing and superior chiaroscuro, and in all these respects so entirely resembling Marc Antonio, that Mr. Carpenter appears to me to be perfectly right in recognising in this plate a specimen of the master, and in that mentioned by Bartsch a copy from it. Bartsch is of opinion that the design was by Giulio Romano. If that be the case, he borrowed the chief motive from the well-known composition by Michael Angelo. 2. A very fine impression of the Triumph of Titus (Bartsch, No. 213), with this difference, that the fillet upon the trophy held by the warrior seen from behind, and who is pointing to the child, is left partially white, while in the common state of the plate this portion is quite in shadow. 3. A woodcut of excellent workmanship, from the engraving of the Martyrdom of St. Lawrence by Marc Antonio (Bartsch, No. 104), the size of the original. An admirable impression. From the Mund Collection. 48 THE BRITISH MUSEUM. Letter I. ENGKAVINGS OF THE EARLY GERMAN SCHOOL. The well-known subject of St. Hubert kneeling before the stag with a crucifix between its horns, here represented with a few pecu- liarities new to me. On the right of the kneeling saint, and next to the stag opposite him, only the foremost half of which is seen, is a boy kneeling, of a monkey-like face. In front of the saint is a dog kneeling with his fore-legs, while the hind-legs still express the act of running. Further behind, and only partially seen, are two other dogs, the foremost of the two also kneeling. Quite on the right, and in the middle distance, is the horse turning his head round. An angel is seen descending with a stole painted of a crimson colour. The other portions also, with the exception of the flesh, are almost all illuminated. Along the upper border, in a Gothic minuscule letter, difficult to read, is the following inscrip- tion : — " Sanctus Hupertus zu atre (?) in lotringen." Hanging by threads to this inscription are two slightly-indicated coats-of-arms, 1^2 i^- highj wide. Drawing and motives are good, and the treatment very simple ; for besides the tolerably delicate out- lines, there is only a very modp>t indication of shadows. The printing-ink is powerful. Judg ig from all circumstances, the work can hardly be much later m 1440. The Virgin with her hands c ssed, lamenting over the body of the Saviour — a very meagre figure stretched upon her lap, the head lying towards the right side of the engraving. In the background is the cross, on which hang a scourge and a rod, and against which lean the pole, with the sponge and the spear. On each side are rocks indicated in the early Byzantine form. 7^ in. high, 4|^ in. wide. The ink is rather pale, and the very moderate execution like the German editions of block -books. The folds in the drapery of the Virgin are much overladen, and with sharp breaks. The execution may be assigned to about 1460-70. This impression is illuminated. Both these engravings just described are on wood. An acquisition of great interest for the art of copper-engraving in Germany consists of 27 small plates on parchment, cut out of a surrounding text, as the writing on the back of some of them testifies. They represent — 1. The youthful Christ teaching in the Temple. 2. Christ washing the feet of the i\postles. 3. The Last Supper. The figures are seated at a round table. On the left, in the fore- Letter I. EARLY GERMAN ENGRAVINGS. 49 ground, is Judas Iscariot, with Satan entering his open mouth in the shape of a fly. On the stone bench on which he is seated is the inscription LVII lOr, indicating, as Mr. Carpenter agrees with me, the date 1457. All other evidence also is in favour of this supposition. In style of art, and in the still soft folds of pure taste, these little prints recall the small Passion by Meister Wilhelm in the Berlin Museum. At the same time the treatment is very simple, and does not extend beyond a pale outline. Most of the composi- tions have something awkward ; on the other hand, single motives are speaking. The powerful colouring applied, and the large glories laid on with leaf-gold, with borders and decorations painted in black, bring these little prints in close affinity to miniatures. Here evidently we see a kind of transition from the art of miniature-painting to that of engraving on copper. 4. Christ on the Mount of Olives. He is here represented lying on the ground with outstretched arms. Before him, on a green eminence, is the chalice. From a cloud, resembling the earlier segment of a circle in form, proceeds the hand of the Almighty, holding the cross of St. Anthony "J". The three sleeping disciples are clumsily arranged. 5. Judas kissing Christ. 6. The guards, three in number, lying as if dead before Christ on the ground. 7. Christ before Caiaphas, who is rending his garment. 8. The maid-servant of the High Priest accusing Peter. Her gesture is particularly speaking. 9. Christ before Pilate. 10. Christ before Herod. 11. Christ mocked. 12. The Scourging. 13. The Crowning with Thorns. 14. The Ecce Homo. 15. Pilate washing his hands. 16. The disrobing of Christ. 17. Christ disrobed, and sitting next the Cross, which lies on the ground. A very rare form of representation. 18. Christ being attached to the Cross. 19. Christ on the Cross. 20. The Descent from the Cross. 21. The Dead Christ lamented. 22. The Entombment. 23. The Descent into the Limbus. 24. The Ascension. 25. The Three Women at the Sepulchre. The angel is drawing the winding-sheet from the empty tomb, in order to show that the Lord is no longer there. 26. The Noli me tangere. 27. The Incredulity of Thomas. Ihc difference between the youthful Christ teaching in the Temple and the Christ washing the feet of the Apostles is so great that other plates may be supposed to have filled up the text between them. Each plate, including a border of an inch wide, is VOL. IV. E 50 THE BRITISH MUSEUM. Letter I. 3 in. high, 2^ in. wide. These engravings appear to have been executed in the Rhine country, probably in Cologne. They afford a fresh proof of the early exercise of the art of engraving on copper in Germany. The Master of 1466. — I am glad here to make good an error committed in vol. i. p. 293, where I reported that the British Museum did not possess the chief work of this master, the Virgin of Einsiedlen (Bartsch, No. 35). On the contrary, a remarkably fine impression of the same is here. 2. The Adoration of the Kings, a different composition to that described by Bartsch, No. 14. The Child, seated on the lap of the Virgin, is here showing her a gold piece which he has taken from the open casket of the King kneeling before him in profile. Between the Virgin and this King, and more behind, is the second King, standing, and taken in front ; and next to him, also standing, and seen in profile, the third King, looking up at the star, and holding in his right hand a vessel in the form of a horn, his left hand up- raised. On the right, in the ruin in the background, is Joseph, with his right hand on a crutch, a candle in the left. On his right are the ox and ass. Finally, in the landscape are two shepherds, also looking up at the star. About 4J in. high, 3 in. wide. A good though somew^hat spotted impression. The composition show^s in a high degree the influence of the Van Eyck school. The treat- ment displays the middle time of the master. This plate, an im- pression of which is in the collection of engravings in the Berlin Museum, is a free and diminished copy from a plate in abraded worh, of w hich an excellent impression exists in the collection of M. Sotz- mann at Berlin. The essential difference between the two lies in the landscape background. That in the abraded plate contains a town and two mountain castles, and, besides the shepherds, the figures of three horsemen, and three pedestrians, one of whom, carrying a sack, is attacked by a lion. In this engraving, on the other hand, there is only one mountain castle, and, on the stream at its feet, a ship, with the indication of some figures. The abraded plate is 6 ^^^^ ^T2 i^- ^^^^ 5 ^^^^ surrounded with a border of foliage work of an inch wide. 3. A couple of lovers, in the open air ; mentioned by Bartsch (vol. x. p. 53, No. 29), under the name of " TAmant," as anonymous. This plate is with justice assigned by Mr. Carpenter to the Master Letter I. EARLY AND LATER ENGRAVINGS. 51 of 1466. J udglng from drawing and treatment, it belongs decidedly to his earlier time. Lucas van Leyden. — Among the plates of this master, pre- sented to the British Museum, as mentioned in vol. i. p. 299, by H. T. Brooke, Esq., there are two, of the utmost rarity, to which I omitted to call attention, viz. the large plate of Hagar and the " Uylenspiegel." I must also here mention, and chiefly for its great rarity, a plate of the early French school, by Jean Duvet. It is a circle of about 6 in. in diameter, containing three horses rearing ; the one seen half in profile, the other two from behind. On the right is a horseman, nude ; another figure, also nude, is holding the throat of the horse on the left. Below, on the left, is a dog's head in profile ; on the right, the upper portion of another dog seen from behind. A good impression, though with a small piece cut off on the left side. M. Dumenil himself never saw this plate, but only mentions it as existing, at the close of the preface to his well-known Catalogue. In other departments, also, the last three years have brought many additions. The collection of Hollar's etchings has now, by means of a considerable number of new specimens, among which are some of his chief and rarest, become one of the richest and finest in the world. Of Rembrandt's etchings also it may be unhesitatingly said that the finest collection is here. The same applies to the other Nether- landish etchings, which have received their last completion by new and very valuable additions to Mr. Sheepshanks' splendid collection, purchased some years ago by the Museum of Mr. Smith. Of several German engravers — such as Dietrich, Bode, Carl Baron von Vitinghof, and Weirotter — who had before been quite absent, or only very sparingly represented, whole collections have been purchased. As regards the Block-books, I have been publicly accused of having described them as belonging also to the Print Room. I may observe therefore here that this was by no means my intention* The misunderstanding is merely owing to the circumstance that in the superscription, vol. i. p. 300, " Block-books and single woodcuts in the British Museum," the words " the library of printed books in " were omitted after the word "in." E 2 52 THE BRITISH MUSEUM. Letter I. Although not belonging to the department of Block-books, I may here notice a very great rarity with Italian woodcuts, in the same library. This is a quarto vol. of 66 leaves, with the title, " Philippi de Barbariis opuscula, mcccclxxxi. and the further particular title, " Tractatus solennis et utilis editus per religiosum virum." The 28 therein contained woodcuts are very simply treated, but nobly composed and well drawn. They show the strong influence of Andrea Mantegna. Letter II. THE NATIONAL GALLERY. 53 LETTER 11. National Gallery — Florentine, Umbrian, Paduan, Venetian schools, &c. — Lord Elcho's collection — Lord Yarborougli's collection — Mr. Barker's collection — Tuscan and Umbrian schools — Book of Drawings by Man- tegna — Collection of Marquis of Hertford — Italian, Spanish, French, Netherlandish, and English schools — Grosvenor Gallery — Mr. Baring's collection — Florentine, Boman, Bolognese, Venetian, French, Early Ger- man and Netherlandish, Flemish, Dutch, and English schools — Mr. Holford's collection — Lord Ward's collection — Collection of H. Danby Seymour, Esq. — Collection of Right Hon. Henry Labouchere — Mr. Mor- rison's collection — Sir Charles Eastlake's pictures — Mr. Sackville Bale's collection — Sir John Soane's collection. ADDITIONS TO THE NATIONAL GALLERY. Vol. L p. 315. In the two years that have elapsed since the publication of my work, the National Gallery has been enriched by legacies from Lord Colborne and Mr. Rogers, and by very important pur- chases. The latter give evidence of a systematic plan which every lover of art will gladly recognise, namely, that of supplying to the Gallery those schools and periods which have hitherto been wanting, and which alone can contribute to give it the complete- ness worthy of so great and wealthy a nation. With this view admirable works of the great Italian masters of the 15th century — of Perugino — Mantegna — Giovanni Bellini — upon whose shoulders Raphael, Titian, and Correggio may be said to have been upraised — have been obtained. How difficult also it is to pro- cure pictures of this class at the present day no one can better appreciate than myself, to whom, as regards a public gallery, a similar task has been assigned. I proceed to consider the new pictures in the same order of schools as in my book. THE FLORENTINE SCHOOL. Benozzo Gozzoli. — Altarpiece. The Virgin enthroned, holding the Child standing on her lap. Behind her are four angels. At the sides are John the Baptist, with SS. Zenoblo, 54 THE NATIONAL GALLERY. Letter II. Jerome, Peter, Dominic, and Francis. This work, according to a recently published contract,* dated October 14, 1461, was executed in tempera for the Oratorio of the Brotherhood of the Purification of the Virgin, consequently at a time when the painter, bom 1424, was 37 years of age. The picture is unequal in its parts. The Child is the least interesting in motive and forms, while the head of the kneeling St. Jerome, which, in intensity of feeling, recalls Fiesole, the master of Benozzo Gozzoli, is very attractive. The same may be said of the angels, and especially of the small figures on the worked robe of one of the figures. The preservation is, in every essential part, excel- lent. As all authentic easel pictures by Benozzo Gozzoli are exceedingly rare, the acquisition of this is the more important for a public gallery. Fra Filippo Lippi. — St. Bernard of Clairvaux adoring the Virgin, who appears to him with the infant Christ. Of the highest elevation and refinement of feeling. Judging from this quality, from the characters of the heads, and the drawing, I am inclined to consider this picture, which is dull in colour, an early work of the master. From the collection of M. de Bammeville. Sandro Botticelli. — The Virgin standing, and holding with both hands the Child before her. On the right is John the Baptist, as a child, with a crimson mantle over his goatskin, his hands folded, and his eyes cast down. On the left is an angel. The background is sky. According to the inscription on the back of the picture — "M. Giuliano da S. Ghallo" — it was pro- bably once in the possession of that artist, mentioned by Vasari as having, with his brother, formed a collection. The expression of purity in the youthful «nd portrait-like head of the Virgin, is admirable ; the same may be said of that of humble adoration in the Baptist and angel. The Child is modelled with particular care. Most of the hands are unusually graceful in form and motives. The picture is in excellent preservation. Jacopo Pacchiarotto. — The Virgin oflPering the breast to the Child, who is looking round. The background a landscape. Easel pictures by this Sienese master rarely occur. The maternal expression in the portrait-like head of the Virgin is very success- * ZanoLbi Bicchieiai. Alcuni documciiti artistici. Fiienze, 1855. Letter II. UMBRIAN SCHOOL. 55 ful, and the Child is carefully executed in a wann tone. From the collection of M. de Bamraeville. THE UMBRIAI^ SCHOOL. Lorenzo di S. Severino. — The Virgin enthroned with the Child, and surrounded with four saints. Signed. Lanzi rightly remarks that this painter, who flourished about 1470, remained inferior in the rendering of artistic form to the average standards of Italian art. In earnest and dignified character of heads, however, in good drawing and careful execution, he shows him- self to be an able master. In excellent preservation. From the de Bammeville Collection. NiccoLO Alunno. — The head of Christ, as the Ecce Homo, in body colours on plaster. The refined and genuine religious feeling for which the pictures of this rare master are celebrated is well exemplified in the noble features of this head. PiETRO Perugino. — The three lower and principal compartments of the altarpiece painted, according to Vasari, for a chapel in the Certosa of Pavia. The centre compartment represents the Virgin kneeling in adoration before the Child, who is lying on a cushion, supported by a youthful angel. Three angels are in the sky above. The compartment on the right contains the Archangel Michael, in full iarmour ; that on the left the Archangel Raphael with the youthful Tobit. The background consists of a landscape running through each picture. Of the three upper compartments the centre contained the First Person of the Trinity, with the Holy Ghost as the dove doubtless below him ; those at the sides the announcing angel Gabriel and the Virgin. The altarpiece consequently comprehended originally the Trinity, the Virgin, and the three archangels. At the dissolution of the monastery of the Certosa, these three lower and principal compartments were purchased by the ducal family of Melzi, and transferred to Milan, where they remained until 1856, when the present Duke Melzi sold them to the National Gallery. These pictures possess in the highest degree the feeling for beauty, purity, and earnestness in which the essence of Perugmo's art may be said to consist, com- bined at the same time with a depth and warmth of colouring, a delicacy of modelling, and a carrying out of detail, such as is most rarely met with in the works of this master. In both the 56 THE NATIONAL GALLEEY. Letter IL side compartments especially, the forms of the school peculiar to this master are developed with an animation which led both Rumohr and Passavant to believe that the hand of the youthful Raphael had been engaged upon them. I agree with them as to the co- operation of the great master, though inclined to assign to it a more definite limit ; for the great elevation and refinement, the soft melancholy which pervades the expression, the tender modelling, and the marvellous feeling for beauty — all charac- teristics of Raphael — appear to me to shine forth especially in the left compartment [right of the spectator] and more particu- larly in the head of the archangel Raphael. In my notice of the beautiful drawing for this picture at Oxford (vol. iii. p. 56) I have supposed it to be executed about the year 1501. At all events, no later date than 1502 can be assigned, for Passavant proves that the Coronation of the Virgin, executed by Raphael for the Oddi family of Perugia, and now in the Vatican, cannot have been produced later than 1503. In truth, the Coronation of the Virgin exhibits, in point of feeling, style of modelling, and power of tone, much affinity with this left compartment, which at all events was one of the last works executed by the young Raphael in the atelier of his master, as he painted the picture for the Oddi family on his own account. Thus the period of the execution of the whole altarpiece, of which we have hitherto had no evidence, may be also determined. This may be assigned to no earlier a time than that of Perugino's location in Perugia, when, according to the custom of the day, his scholars assisted in the works he had undertaken. That they did so in this instance is further proved by the three angels in the sky, in the centre picture, which exhibit a coldness and crudeness of colour differing from all the rest of the work, and also from all the authentic examples of Perugino before the year 1500, and are probably by the hand of Spagna. The landscape is especially worthy of admiration in point of forms, fulness, and depth of tone. The name of the master is on the compartment which contains the archangel Michael. Lo Spagna. — An altarpiece. The Virgin and Child upon a lofty throne, surrounded with angels. At the foot of the throne are two little angels seated, and playing on musical instruments. The picture is semicircular above. From the collection of Lord Letteu it. SCHOOL OF PADUA. 57 Orford. The composition is of simple and antiquated form, but the separate motives are free and graceful ; the head of the Ma- donna mild and lovely ; the expression of the angel looking up from below inspired ; the modelling careful ; the colouring power- ful and very clear, and the preservation in all essentials excellent. The pictures of this master, who, next to Raphael, was the most gifted scholar of Perugino, are rarely found even in Italy. SCHOOL OF PADUA. Andrea Mantegna. — This highly original school, founded by Francesco Squarcione, about 1430, was formerly not represented in the National Gallery at all. The difficulty of discovering authentic works by this its chief master, makes it the more for- tunate that the gap should have been filled by such an example as this altarpiece. The Virgin is seen enthroned under a vermilion canopy, holding the Child standing on her lap. On the right is John the Baptist with a delicate cross in the right hand, round the lower part of which is entwined a scroll, with the " Ecce Agnus," on the inner side of which, in elegant characters, is the inscription — "Andreas Mantinia, C. P. F." {L e. civis patavinus fecit). Fie is clad in the goatskin, and in the left hand holds a light-coloured drapery around him. On the left is the Magdalen, with blonde, grandly-flowing hair, looking upwards with an air of inspiration, holding in her right hand the vase of ointment, and grasping her mantle with her left. On the ground are separate stones and plants, and on each side of the throne pomegranate and orange trees in flower. The background is sky. The figures are three-fourths the size of life. The general efibct of this picture, which is painted in tempera, is unusually light. Nevertheless the saints, both in the light draperies and in the flesh parts, are most delicately modelled, and carried out in every detail with as much knowledge as care. The style of the very tender folds strikingly recalls the picture of the Madonna della Vittoria in the Louvre, and, as well as other qualities, bears witness to the latest and ripest time of the master. The Madonna's head how- ever, as we occasionally find in pictures by the master — a circum- stance for which it is difficult to account — is inferior to the rest. The preservation is excellent. According to the evidence of Borroni, this picture passed from the possession of Cardinal Cesare 58 THE NATIONAL GALLERY. Letter II. Monti, by legacy, into the Andreani family. Later it became the property of the Mellerio family ; and last of all that of the family of Sommaglia, who sold it to a picture-dealer in 1855. VENETIAN SCHOOL. Bartolommeo Vivarini. — The Virgin, with the Child on her lap. St. Paul on the right — St. Jerome on the left. Half-length figures. An unusually good picture by this master, who adhered to the practice of tempera, and to the antiquated forms of art, at a time when Giovanni Bellini, availing himself of the use of oil, introduced a more powerful modelling, a far greater force and depth of colouring, and a melting execution. This picture is more refined in the physiognomies, and executed with greater attention to roundness and reflected lights, than his usual works. Formerly in the Contarini Collection. Of unusual excellence of preservation. Inscribed below "Opus Bartolomei Vivarini DE MURANO." Giovanni Bellini. — The Virgin holding the Child on her right arm, with a pomegranate in her left hand, on which the Child has also placed his right hand. On each side of the curtain behind the Virgin is landscape ; in front a parapet of brown marble, on which is a cartellino, with the inscription — " Joannes Bellinus P." A prophetic sense of the Saviour's sufferings, which the painter has signified by the symbol of the pomegranate, is touchingly depicted in the unusually beautiful features of the Virgin, who has her eyes cast down, and in the highly expressive countenance of the Child. At the same time the painter has exerted all his powers in the modelling of every part, and espe- cially of the nude. The colouring, with the full brownish flesh- tones with dark shadows, the deep blues and crimsons of the dra- pery, and the green of the curtain, harmonises with obvious intention with the intense pathos of the moral conception. The tone of the landscape also is serious, and even gloomy. The pre- servation is so perfect as still to show unchanged that enamel-like surface, and those ridges in the draperies, which resulted from the nature of certain colours used by the old masters. Purchased at Venice in 1855, from Baron Galvagna. Marco Basaiti. — St. Jerome, in a rich rocky landscape, kneeling before a crucifix. Among the scholars of Giovanni Letter II. VENETIAN SCHOOL. 59 Bellini who adhered to his types, Basaiti occupies a prominent place. In dehcacy and solidity of execution, this picture strikingly recalls the smaller works of Antonello da Messina, nay even shows an affinity to Van Eyck. The tone is, at the same time, of a deep and full harmony, and the preservation leaves nothing to be desired. Francesco Tachoni. — The Virgin with the Child on her lap. Signed, " Op. Francisci Tachoni, 1489 Octu." This rare Cremo- nese painter is here seen as a conscientious follower of Giovanni Bellini, with an affinity to Cima da Conegliano. He is refined in feeling, and able in composition, though dull in colouring. The preservation is good. GiROLAMO DAI LiBRi. — The Virgin and Qiild. Particularly pleasing in the heads, and unusually animated in colour. This Veronese master is known to have received his cognomen from his also decorating books with miniatures. GiORGioNE, AND ViNCENzo Catena. — The Virgin Enthroned, with the Child on her lap. Before her on the gTound in the atti- tude of adoration is a warrior. Further back his page with a horse. The peculiar animation and poetry of the invention breathe quite the spirit of Giorgione. Judging also from the glow of colour and energy of treatment, I am inclined to attribute the figure of the warrior and his page to his hand. The expression, however, and light tone of the Virgin and Child, and the style of folds, display so much of Vincenzo Catena, his fellow- scholar, that I believe those portions to be by him. It is quite possible that Giorgione may have had occasion to avail himself of Catena's assistance. Giorgione. — Small full-length figure of St. George. Elevated and powerful in head and form, of unusual vigour in the glow of tone, and of broad and masterly treatment. I have not been so fortunate as to visit Castelfranco, but I have learnt that this little picture is a study for the St. George in the altarpiece painted by Giorgione for his native town — only that the saint is there repre- sented with a helmet on. Bequeathed by Mr. Rogers. Titian. — 1. Christ appearing to Mary Magdalen. See vol. ii. p. 76. Bequeathed by Mr. Rogers. 2. The Tribute-money. Signed. From the Soult Collection. This picture is particularly important as an example of the manner in which Titian treated biblical subjects in his later years. As 60 THE NATIONAL GALLERY. Letter IL respects moral refinement, it can bear no comparison with the well- known " Cristo delta Monet a " of his earlier time in the Dresden Gallery. The head of om- Saviour, though fine, is worldly ; the tone of the flesh less transparent and at the same time redder, but of singular power and depth ; and the treatment, finally, broader and more marrowy. The preservation is remarkably good. GiAcoMO Bassano. — The Good Samaritan. Very rarely did this unequal master combine such admirable modelling, such care- fully carried out and yet broad execution, with so much general brightness and transparency of colouring. The preservation is perfect. Bequeathed by Mr. Rogers. Bartolommeo Veneto. — Portrait of a young man in the costume of a member of the Compagnia della Calza. Inscribed, *' Ludov: Marti. (Martinengo) Ann: xxi. Bartol: Venetus faciebat MDXxx. XVI. Jun." This otherwise unknown master shows himself thoroughly worthy of the great period of art in which he lived. The conception is serious and elevated, and, as well as the powerful and warm colouring and strict carrying out, shows an affinity to Giorgione and to the earlier portraits of Titian. In good preserva- tion. Purchased at Venice in 1855 of the heir of the Count Girolamo Martinengo. Paul Veronese. — The Adoration of the Kings ; a rich com- position, inscribed with the date mdlxxiii., and originally executed for the church of S. Silvestro * in Venice. There it remained until 1 837, at which time it was removed on account of repairs to the church, which, having entailed alterations rendering the space too small for it, the picture passed into the hands of Signor Angelo Toffoli, from whom it was purchased for the National Gallery in 1855. The painter has here followed the old symbolical conception, according to which the Nativity as well as the Adoration of the Kings was represented as taking place in the ruins of an antique temple, signifying that Christianity was founded upon the ruins of Paganism. Here, as in the Marriage of Cana, in the Louvre, and many other works by the master, the architecture occupies a prin- cipal part ; so that the composition is confined to the lower portion of the picture. At the same time the composition is incomparably more artistic in arrangement, and more varied in the lines, than in either of the other two pictures of the same subject by the painter, * Venetia citta nobilissima, mdlxxxi, p. 65. Letter 11. ITALIAN SCHOOLS. 61 known to me, in the Dresden Gallery, and in Devonshire House. These two, which greatly resemble each other, are not, like the work before us, quadrangular in form, but more in the shape of a frieze, while the composition corresponds by assuming more the style of a bas-relief. On the other hand, the golden tones render them far more effective than this grey and coolly-treated picture. Nevertheless, however monotonous in general tone, the colours are here most delicately balanced. Thus the decided mass of a silvery tone, produced by the foremost king and the page on the one side, is agreeably balanced by the broken red of the Virgin's dress, and the orange colour of her mantle ; while, on the other hand, the powerful crimson robe of the second king not only forms a happy contrast to the cool colouring of the first, but an excellent transition to the deep but transparent mass of shadow on the right side of the picture. The motives are very animated ; the heads, as in general with this painter, decidedly realistic in character ; and the treatment very broad. Seldom do we find a sky by Paul Veronese in which the blue has been so well preserved — a circumstance which con- tributes much to the delicate keeping of the whole. The merits of this picture have been recognised by the most esteemed Venetian writers on art of all times. Boschini calls it " il famosissimo quadro di mano di Paolo Veronese ;" * and Zanetti, in his enu- meration of the works of the master, with the localities to which they belonged, thus mentions it : " Un celebre quadro di Paolo con la visita de' Re Maggi. Bella e ricca composizione." f But there is no greater proof of the reputation this picture enjoyed in Venice than the fact of its having been engraved on copper by Carlo Sacchi in 1649. As the removal from the church in 1837 necessitated its being folded, the marks thus occasioned have had to be repaired. Small retouches can also be discerned ; but there is no sign of any larger over-paintings. BOLOGNESE SCHOOL. GuiDO Reni. — The Ecce Homo bequeathed by the late Mr. Rogers. Pure and elevated in feeling, and broadly and spiritedly executed in his finest silvery tone. NEAPOLITAN SCHOOL. RiBERA. — See vol. ii. p. 241. Bequeathed by Lord Colborne. * Guida di Venezia, IGfU, p. 253, f Delia Pittura Vcneziana, mdcclxxi, p. 18'J. 62 LORD ELCHO'S COLLECTION. Letter II. EARLY GERMAN SCHOOL. Albert Durer. — A male portrait with white beard. With the monogram and 1514. Although this picture belongs to the less finished and drily-coloured works of the master, it is still, considering the extreme scarcity of his pictures, a valuable acqui- sition. From the collection of M. de Bammeville. NETHERLANDISH SCHOOL. Rubens. — 1. Triumph of Juhus Caesar, after Andrea Mantegna. See vol. ii. p. 79. Bequeathed by Mr. Rogers. 2. An Allegory of War, study for the Pitti picture. See vol. ii. p. 79. Bequeathed by same. Rembrandt. — See vol. ii. p. 240. Bequeathed by Lord Colborne. Teniers. — See vol. ii. p. 239. Backgammon-players. Bequeathed by same. Berghem. — See same page. Bequeathed by same. Artus van der Neer. — See same page. Bequeathed by same. ENGLISH SCHOOL. Sir David Wilkie. — See vol. ii. p. 240. Bequeathed by Lord Colborne. LORD ELCHO'S COLLECTION. VoL IL p. 82. Since the appearance of my book Lord Elcho has succeeded in adding the following valuable pictures to those previously in his possession. They are distributed with much taste in the different apartments of the house. Sebastian del Piombo. — Portrait of Pope Clement VII. in a chair ; almost to the knees. Painted on stone. Grandly conceived. The hands of admirable action and drawing. The colours much broken. Jacobo Pontormo (?). — 1. Portrait of a young man, holding a , paper in his hand, on which is the name Jacopo. 2. Portrait of a beautiful young woman, companion to the above. The conception of each is very elevated ; the drawing refined. Judging from the style of the sfumato, and from the generally cool Letter II. LOKD ELCHO'S COLLECTION. 63 colouring, which is pale in the flesh-tones, I am inclined to attribute these very attractive pictures rather to the hand of Franciabigio, rival of Andrea del Sarto. From the circumstance of the inscrip- tion. Lord Elcho is disposed to believe them the work of Pontormo, and they partake, it is true, in some measure, of the manner of this master, who was scholar to Andrea del Sarto. In colouring, how- ever, they appear nearer to Franciabigio, while the inscription, according to the custom of the period, refers more probably to the Christian name of the person portrayed than to that of the artist. Titian. — 1. St. Sebastian. This is almost a repetition of the large picture already described in Lord Elcho's possession, but on a smaller scale. The comparison of the two pictures is very inte- resting. The lesser one is in no way inferior in depth of tone, and but little so in making out. It is also in good preservation. 2. Venus and Adonis, the same composition as that in the National Gallery. This picture has unfortunately suffered in most parts, though such as are preserved — for instance, the arm of Adonis — show a delicacy of modelling, and a transparency of warm tone, surpassing that in the National Gallery, proving this picture to have been unquestionably a fine work by the master. Paris Bordone. — Venus reposing. Now a half-length, but originally, as the form shows, a full-length figure. The head was furnished by a model of uncommon beauty, which is somewhat marred by an undue space between the right eye and the nose. The colouring, however, displays in full measure that truly lumi- nous power and warmth which rendered the master so popular among the Venetian fair sex. Andrea Schiavone. — The newborn Jupiter, attended by nymphs, who are playing on musical instruments. The size and spirit of the composition, the, for him, unusually light local tones of the flesh, and, finally, the grand and beautiful landscape in the manner of his master, Titian, render this one of the most important pictures I know by Schiavone. Like other Venetian painters, he was no adept in the difficult task of depicting the human foot, so that in this picture no feet are visible. MuRiLLO. — A Monk of the mendicant order, kneeling, and receiving a loaf of bread in a scrip from the infant Christ, who is appearing unto him. In the sky are angels with more loaves. The background is a landscape, which is rendered somewhat 64 LORD YARBOROUGH'S COLLECTION. Letter 11. more in detail than usual. The figures full-length and life-size. The feeling in the head of the monk is of great intensity. The tone of colouring corresponds "v^dth the solemnity of the subject ; the execution is careful, and the whole in so far remarkable as displaying the master's power in the delineation of saints, children, and landscape. From the collection of Louis Philippe. ZuRBARAN. — The Virgin and Child in Glory : two saints at their side. The Virgin is almost too tenderly conceived ; the saints are very animated, and the effect very powerful. Giorgio Vasari. — Christ on the Mount of Olives. Of mode- rate size. Far happier in composition than usual ; of astonishing power of colouring for him, and careful in execution. Finally, I must mention the head of a youthful Bacchus, executed in marble, and with the species of bandeau called the credemnon about his head. The ideal conception of this god is here rendered with uncommon beauty, and, with the admirable workm^anship, displays the hand of a Greek artist of no ordinary skill. The greater portion of the nose, and almost the whole lower lip, are modern. LORD YARBOROUGH'S COLLECTION. Vol. II. p. 86. By the kind intervention of Sir Charles Anderson, I succeeded in obtaining a satisfactory inspection of Lord Yarborough's pictures in his house in Arlington Street. I therefore give the following completed description of the collection, introducing, for the con- venience of those readers who may take this work as a guide, such pictures as I before described in their appropriate places. DRAWING-ROOM. RiBERA. — St. Catherine. Although somewhat secular in gene- ral character, yet the forms are more elevated than usual for the master, and the drawing particularly refined. Sir Anthony More. — 1. Portrait of the Earl of Essex. To the knees. A sitting figure. One of the best specimens of this celebrated portrait-painter. Very true and animated in conception, and of particularly solid execution — namely, in the hands. Bartolommeo Schidone. — The Virgin and Child. St. Joseph Letter II. LORD YARBOROUGH'S COLLECTION. 65 quite on one side of the picture, with a quantity of grey hair. For astonishing power of chiaroscuro and freedom of handling, this is one of the best examples of a composition which the master fre- quently repeated in various scales of size. Ventura Salimbeni. — St. Catherine, seated, a palm-branch in her hand. Pictures signed with the name of this pleasing but not profound master of the later Sienese school are seldom seen out of Italy. The head is of a pretty, but very worldly character. The clear, warm, and delicate colouring shows the study of Correggio. Tintoretto. — 1. Consecration of a Bishop. A rich and for- tunate composition ; whole-length figures, the size of life. Full of animated heads, and of very careful execution. SoFONisBA Angusciola. — A nun, in the white robes of her order. A signed picture. This is a nobly conceived and deli- cately coloured specimen of this rare female artist, who is justly praised by Vasari. Titian. — 1. The repentant Magdalen. Among the various repetitions of this composition which I have met with in European galleries, this may be considered as an original. With few excep- tions it surpasses all others, not only in transparency and warmth of colouring and spirited treatment, but also in elevation of expression. The landscape background is also of great beauty. Annibale Carracci. — 1. John the Baptist, whole-length figure, seated. Very dramatic in action, but forcibly recalling an Aca- demy figure, and rather dark in the shadows. Sir Antuony More. — 2. Portrait of Catholic Queen Mary. Companion to the foregoing, and in the delicacy and rendering of all portions certainly one of his best female portraits. Tintoretto. — 2. The dead body of the Saviour mourned by the disciples. Of his later time. Spirited, but sketchy, and treated in a uniform brown tone. Salvator Rosa. — 1. St. Jerome, in a rocky landscape. The conception of the saint is far more elevated than usual with this master ; to which is added a peculiarly powerful, warm, and trans- parent colouring, and a proportionably careful treatment. DoMENiciiiNO. — The Martyrdom of St. Stephen, treated as a landscape. This little picture is genuine, but belongs to those by the master in which a cold red, and a generally heavy tone of colour predominates. VOL. IV. F 66 LORD YAEBOROUGH'S COLLECTION. Letter IL Andrea del Sarto (?). — The Virgin holding the Child before her, who is adored by the Baptist. The rather hard heads of the Virgin and Child incline me to believe that this often-repeated composition is a good work of the school. An NIB ALE Carraccl — 2. The well-known composition of Christ mourned by six figures, with an angel pointing to the wound in one hand. The master, it is certain, seldom attained such elevation of feeling as in this composition, which he executed the size of life. This example, which is a cabinet size, and painted on wood, is also very attractive for clearness of colouring and careful carrying out. Titian. — 2. Christ with the Disciples at Emmaus. This is essentially the same composition as that known by the name of " la Nappe," in the Louvre, though with a few alterations. The heads, to my view, have something too uncertain and woolly in quality for Titian, while the very clear and warm colouring, as well as the treatment of all the other parts, indicate the picture to have pro- ceeded from the master's atelier. Garofalo. — The Circumcision. The rich composition of this cabinet picture is very happy ; the heads elevated in feeling, the colouring warm, and the execution very careful. Rembrandt. — The portrait of an old woman seated in an arm- chair, with white collar. To the knees. The conception very animated and delicate, and carefully executed in a light and very transparent golden tone. Titian. — 3. The original sketch for the picture of Actaeon and Diana in the Bridgewater Gallery. Highly spirited, warm, and clear, and having the advantage of the finished picture in being admirably preserved. THE staircase. GuERCiNO. — The Annunciation. Whole-length figures, the size of life. A picture of the first quality, and particularly cha- racteristic of the master in the great power of colouring and the free and spirited treatment. Juan de Pareja, also called " the Slave of Velasquez." — Portraits of Philip and Isabella of Bourbon. Whole-length figures, the size of life, animated and well preserved. Sir Joshua Reynolds. — 1. Portrait of Sir Richard Worsley, Letter H. LORD YARBOROUGH'S COLLECTION. 67 the well-known collector, whose treasures of art were inherited by Lord Yarborough. Full-length figure, life-size. A good and careful specimen of the master. PiETiio DELLA Vecchia. — 1. The Nativity, in a long and narrow form, composed in the taste of Giacomo Bassano, and of extraordinary power of colouring. Salvator Rosa. — 2. A large landscape ; grand hills rising in the middle distance, and crowned with a castle ; robbers in the foreground. Highly poetic in lines and in warmth of lighting, and a chef-d'oeuvre of the master. The pendant to it is in the National Gallery. Hans Holbein. — ]. Portrait of Edward VI. as an infant. A bust-pictiu-e with the hands ; presented by Henry VIII. to an ancestor of Lord Yarborough. Of very na'ive and natural con- ception, and especially careful in execution. The little hands are incomparable. Gaspar Poussin. — 1. Landscape with a town ; a waterfall in the foreground. The poetical feeling of the master is here com- bined in a rare degree with delicacy of tone, clearness of colouring, and careful execution. Hans Holbein. — 2. King Henry VIII. A perfectly front view ; to the knees ; like the picture in Warwick Castle : not so transparent and careful in detail as that picture, but more powerful in modelling. Also presented by that monarch to the family. Francesco Albani. — The Repose in Egypt. Joseph is holding an open book, to which the Virgin points ; numerous angels are around. Of very pleasing composition, warm and clear in colour- ing, and careful in execution. GuiDo Reni. — David holding the head of Goliah. Of the earlier and better time of the master ; nobly conceived, and care- fully carried out in a powerful and clear tone. Claude Lorraine. — 1. Trees and a single figure in the fore- ground ; a chain of hills in the distance. The picture is animated by numerous and w^ll-drawn figures. This is one of the works which display the master in his whole greatness. The distance is of marvellous airiness ; the colouring clear and powerful ; the execution careful. It was painted for Pope Urban VIII., who died in 1644, and therefore belongs to Claude's middle and best time. It was afterwards in the possession of Louis XVI., when it was F 2 68 LORD YAEBOROUGH'S COLLECTION. Letter II. engraved under the title of "la Recompense du Village." The preservation is unusually good. Nicolas Poussin. — 1. A very poetic landscape, but with the figures obviously by another and inferior hand. Albert Cuyp. — A winter landscape : a broad frozen stream, with the ruin of a massive tower on the shore, and a gay multitude with skates and sledges. The happy composition, the striking effect of sunlight, and the broad and masterly treatment, render this one of the finest works of the best time of the master. Sir Joshua Reynolds. — 2. Portrait of Mrs. Pelham, feeding chickens ; full-length figure, life-size. Most dehcately conceived, and of a subdued warmth of colouring. Claude Lorraine.— 2. A large landscape. The cold tone is little attractive. It is placed too high for any positive opinion. Joseph Vernet. — A sea-piece, with a stranding boat. Of unusual power for him. Andrea Schiavone. — Adam and Eve expelled from Paradise. An excellent example of the painter, for, in addition to his warm and powerful colouring, we have here the (for him) rare quality of careful execution. Giuseppe Porta, named, after his master, del Salviati. — The Annunciation. The works of this painter are not often met with out of Venice. In this little picture he has been singularly successful in combining the graceful feeling of the Florentine school in his motives with the full warm colouring of the Venetian school. The execution is also very careful. Dietrich. — 1 and 2. Two genuine and good pictures by this many-sided master. PiETRO della Vecchia. — 2. The Adoration of the Kings. Companion to the before-mentioned picture, and of similar cha- racter and merit. Raphael (?). — A male portrait with hands, with a landscape background, signed " R. A. S. mdxvi. R." Nominally the por- trait of the well-known Caradosso Foppa, of Milan, who in the time of Julius II. executed a large and very beautiful medal in Rome. At all events this is a very good work of that golden age of art. For any more precise opinion the place where it hangs is too dark. GuiDO Reni. — ^2. The daughter of Herodias receiving the head of the Baptist on a dish. A specimen of the often-repeated picture. Letter II. LOED YAKBOEOUGH'S COLLECTION. 69 The expression of the head is dignified and tender, and the colour- ing more powerful and warm than in other examples. Nicolas Berghem. — His own portrait as a huntsman. Next to him his dog. Very animatedly conceived, and of warm colouring and careful execution. Claude Lorraine. — 3. A ruin, with pillars. On the left of the foreground are Hagar and Ishmael, with the angel appearing to them : on the right trees, with a flock feeding : in the distance a view of the sea. Of pleasing composition and warm and delicate tone. Nicolas Poussin. — 2. The Virgin and Child, the little St. John, and Joseph ; whole-length figures, the size of life. Although Poussin seldom attempted such a large scale, which is far less adapted to him than his usual size, this picture is nevertheless remarkable for beauty of composition and very careful execution. The heads, however, have something empty. Adrian van der Werff. — Venus and Cupid in a landscape ; pleasing and highly finished. Teniers. — 1. A landscape, recalling the style of Momper. Mass is being performed in a cave, with numerous figures. Poetic- ally conceived, and of spirited treatment. Greuze. — A young girl seated, holding a letter before her. To the knees. Execution of uncommon solidity is here combined with his pleasing conception. Titian. — 4. The Virgin and Child in a landscape, surrounded with the Baptist, SS. Elizabeth, Catherine, and Joseph. Figures about two-thirds the size of life. It is much to be regretted that this promising-looking picture is so darkly placed as to render any more decided opinion impossible. Teniers. —2. Cooking and feasting are going on beneath a ruin. A very original and beautiful picture. Giambattista Moroni. — Portrait of a man about to write. The background of a landscape character. A Latin inscription upon a label declares all the happiness of the individual portrayed to be in himself. The true and delicate conception of this great portrait-painter is here united to a particularly delicate and warm colouring. Leonardo da Vinci (?). — A repetition of the well-known picture in the Louvre, of the Virgin on the lap of St. Anna. An 70 LORD YARBOROUGH'S COLLECTION. Letter IL old and fine work, but somewhat heavy in the colouring. I am inclined to consider this the work of Salaino. Paul Veronese. — Christ driving the Money-changers from the Temple. The conception is very dramatic, though not free from undignified motives. The colouring is clear and warm. DRAWING-ROOM. Jacob Jordaens. — Three Flemish musicians. This so often vulgar master is here quite in his element. The humour is as genuine as it is delightful ; the colour of the greatest power and transparency ; and the execution in a solid impasto, and altogether masterly. Gaspar Poussin. — 2. Landscape, with rising ground in the middle distance, crowned with a castle ; in the foreground two figures resting. In poetry of conception and feeling for lines a picture of the first quality. 3. The companion to the above, and but little inferior to it. Vandyck. — The sketch for a Crucifixion. The painter has here not advanced beyond the most general idea, so that the heads are only very undecidedly given. Composition and treatment are spirited. Van der Helst. — Portraits of a Dutch family. In truth of nature, kindliness of feeling, warmth of colouring, and delicacy of carrying out, this is a real gem of art, and recalls the beautiful picture in the Louvre, No. 197. Turner. — 1. A very large landscape, with the commencement of the vintage of Maqon. In the foreground are figures dancing and occupied with the vintage. Inscribed 1803. In the highest style of landscape, recalling both Claude and Poussin, and at the same time solidly and carefully carried out. 2. Wreck of the Minotaur, a transport-ship, upon the Haak Sands. Dated 1810. Although at the period of my visit in 1854 this picture was not in its place, being at that time in the hands of the engraver, yet I had it fully before my memory as another master-work of the same rank as the foregoing, showing affinity to the great Dutch sea-painters, and namely to William van de Velde. THE hall. The arrangement of sculpture in this space gives it a very stately appearance. Portrait busts by Nollekens here display LkttekIT. MH. BARKER'S COLLECTION. 71 the (rvcsit English statesmen of the latter half of the last century and the beginning of the present, such as Pitt and Fox. Here are also a group of Venus and Cupid by Nollekens, and the statue of a young girl, and the well-known huntsman, by Gibson. Also the Prodigal Son embraced by his Father, by Tueed, in which the speaking earnestness of the motive is especially worthy of remark. Finally I may mention a very spirited work by Bernini — the statue of Neptune, from the Colon na Palace at Rome, executed with the greatest decision, only with the chisel. COLLECTION OF ALEXANDER BARKER, ESQ. Vol. II. p. 125. Since the appearance of my book Mr. Barker has continued to increase his collection with pictures of the same class, namely, with the Italian and Netherlandish masters of the 15th and beginning of the 16th centuries. Some few of these I am not able to describe with any detail, having unfortunately mislaid the notices taken of them in 1854. This gentleman has also added a series of inte- resting sculptures in ivory, and a number of beautiful majolica plates. I take the pictures in the order I have already observed. TUSCAN SCHOOL. Dello Fiorentino (?). — The Adoration of the Kings, who appear in the richest costume of the times, and whose truly portrait- like heads are said to represent members of the Accajuoli family. On the hut, within which are seen the ox and ass, is a peacock ; in the sky are two falcons aiming at a heron ; in the rocky landscape are several horsemen. Of circular form. So very little that is authentic exists of this master, who belongs to the earliest part of the 15th century, that I do not venture to decide as to the painter of this picture. At all events it is an interesting memorial of his time and style of art. The Virgin is very maidenly in physiognomy and expression. In the other and very animated heads an aim at individuality is evident, and the modelling, in a j)owerful and somewhat heavy t(me, is very good for the period. Fra Filippo Lippi. — Six saints enthroned, one beside the other. A picture in which the master appears in the full excellence of his art ; the heads are noble, animated, and individual, the drawing 72 ME. BARKER'S COLLECTION. Letter 1L excellent, the motives speaking and graceful, the draperies in choice taste, and the execution highly solid. Sandro Botticelli. — 1. The Virgin standing and looking at the Child, who is seated and looking up at her. Also the little St. John. Large life-size, to the knees. A work of the first class by this so unequal master. The forms have something grand. The expression of the heads is that of a deep and mysterious melancholy ; the carrying out is of great decision and mastery, and the keeping excellent. From the Bammeville collection. 2. Venus, in light white drapery, stretched on a couch, her right arm leaning on a red cushion, on which a pomegranate and some roses are held by an amorino, on whom her left arm is laid. The amorino has his left hand on a bunch of grapes, which lie on the person of the goddess, and which she is holding with the fingers of her right hand. Lower down is another amorino^ kneeling on his right knee, looking round very animatedly at Venus, and with his right hand in a basket of red and white roses. Behind him is a third, with a similar action of head, holding a bunch of roses. Quite in the foreground are flowers. The background is a rocky landscape of insipid tone. This is one of the most remarkable of Sandro Botticelli's mythological pictures. The forms are grand in conception, though the head, hands, and feet of the goddess show that they were taken from a living model. The drapery may have been painted in by a later hand, ^sthetically speaking, the two amorini at her feet are the most successful. The motives are graceful, the forms of beautiful fulness, and the modelling very careful, in a prevailing brown tone. Only the roses are somewhat unsatisfactory. Andrea Verocchio. — A circular picture of about 5 ft. in diameter, divided vertically into three parts. In the centre, and relieved by the clear sky of the background, is the Virgin, a slender and noble figure, of fine action of head, folding the tips of her fingers ; her dress, which consists of a veil, a dark violet dress, and a dark blue mantle with yellow lining, afibrds a peculiarly earnest and pleasing harmony of colour. Before her, on the ground, on a piece of dark -green drapery, is the Infant, which she is adoring. The forms of the Child are too full, which is especially seen in the fingers, those of the right hand pointing to his mouth, with the well-known meaning — " I am the ^^'ord Letter II. TUSCAN SCHOOL. 73 those of the left hand holding a goldfinch. In the left compart- ment is a youthful angel kneeling, his hands crossed on his breast ; in the right compartment is another angel, taken in front, his hands raised in wonder as he looks at the Child. On the right, kneeling next him, is St. John the Baptist, as a child, the cross in his left hand, and pointing with his right to the Virgin. In the middle distance is Joseph. The landscape background contains a town, a large piece of water, and mountains. Figures almost life-size. The modelling, in a clear brownish flesh-tone, is very careful. This is the most important picture I know by this rare master. Lorenzo di Credi. — Here are various pictures by this scholar of Verocchio, who, though noble and pure in feeling, graceful in motives, of pleasing heads, very clear colouring, and careful execution, was nevertheless rather monotonous in character. None of these specimens, however, show him in his full force. 1. An altarpiece of considerable size. The Virgin enthroned with the Child, with two saints at her side. Figures life-size. Of great clearness of general tone. The forms of the Child too full. The heads very pleasing. 2. The Virgin kneeling and adoring the Child, who is lying on the ground, with a wheat-sheaf, at which a goldfinch is pecking, under the upper part of his body. Next him, and in reference doubtless to the transitoriness of all things, a dandelion with its light seed-vessel, which a breath can carry away. On the left is Joseph seated. Figures about three-fourths life-size. Very clear in colouring, but of less delicate rendering. 3. The Virgin holding the Child upon her lap, who is blessing the little St. John, led up to him by an angel on the right. On the left is another angel holding flowers in his robe. The background is a landscape with buildings. A circular picture. This unfavour- ably hung work is noble and refined in the heads, and particularly careful in execution. 4. The Virgin and Joseph are kneeling in adoration before the Child, who is lying on the ground. Circular picture. The head of the Virgin beautiful. Of more powerful modelling than usual, and broader in the folds of the drapery. Luc A SiGNORELLi. — 1. Two frcsco picturcs, with figures about half-life size, which have been successfully transferred from wall to 74 MR. BARKER'S COLLECTION. Letter IT. canvas ; both signed " Luca Coritius," in allusion, as often with him, to his native town of Cortona. The one represents the Triumph of Chastity, represented by a female figure in the fore- ground, drawn by two white unicorns in a car, on which Cupid is bound. Behind come a tumultuous troop of maidens, one of them holding aloft the youthful figure of Love. In the foreground is Love again as an undraped youth, kneeling and being bound by virgins, some of whom are plucking the feathers from his wings, while another breaks his bow, and a third is aiming at him with two of his own arrows. The motives here are very animated, and the troop of girls behind of very momentary action. On the left, as quiet spectators, are three knightly figures. 2. Coriolanus being overcome by the entreaties of his mother and wife. The expression of joy in his face, of entreaty in that of the women, and of rage in the leaders of the Volscians, and especially in one old man, is very admirable. The throughout less complete rendering of the forms, which in some parts are even deficient, show these works to be of the earlier time of the master. UMBRIAN SCHOOL. • PiETRO BELLA Francesca. — The profile portrait of Isotta, wife of the art-loving but cruel tyrant of Rimini — Sigismondo Malatesta — well known to all connoisseurs by Vittore Pisani's admirable medal. In the features, and in the rich dress, it entirely agrees with that medal ; in conception and treatment with the fresco portrait of her husband in the Chapel of the Rehcs, Church of S. Francesco, Rimini. Unfortunately the flesh parts have been stippled over by an Italian restorer. PiNTURiccHio. — A fresco successfully taken from a wall, the subject of which Mr. Barker believes to be the Return of Ulysses to Penelope. I am inclined, however, to consider it the visit of Collatinus to Lucretia. The subject is treated in the costume and manners of the painter's time. On the right is Lucretia busied at a large loom, and next her a young female attendant winding yarn from a skein, with which a cat is playing. Opposite to her are seven youths, just entered at the door, and evidently surprised at her occupation ; the foremost, decidedly Collatinus, bearing, in Mr. Barker's opinion, the features of Raphael. The fact of his being represented with light hair is sufficient, to my view, however, to Letter II. UMBRIAN SCHOOL. 75 overturn this supposition, as the authentic portrait of Raphael, by himself, in the Gallery of the Uffizi at Florence, shows that his hair was at an early age of a dark brown. The youth behind the foremost figure, with a falcon on his wrist, represents doubtless Sextus Pompeius. The view of a seaport with vessels, and sur- rounded with hills, seen through a window, on which Mr. Barker chiefly grounds his opinion of the subject, is, I believe, merely an accidental accessory. The figures are about three-fourths life-size. The whole is a no less remarkable than charming specimen of the treatment by the Umbrian school of a scene in profane history. The modesty and domestic character of the women are admirably expressed. The heads of the youths, the foremost of whom is very elegant in form, show entirely the well-known and attractive type of this school. Besides this, Mr. Barker possesses several more pictures of a frieze-like form, which he also attributes to Pinturiccliio. As my mislaid notices refer to these, my memory only serves to state that two of them represent scenes from a tale with which I am unac- quainted, that they are full of animated and often very graceful motives, unequal in* execution, sometimes careful and sometimes sketchy. Generally speaking the proportions are of a length, compared with the small heads, such as I have never seen in the authentic pictures by Pinturicchio. Portrait of a young man in black dress, entitled a Masaccio, but in my opinion of later date, and also too feeble for him. The forms are too empty and the hands too small. An example of the often repeated Leda with the Swan, attributed to Leonardo da Vinci, and believed by Mr. Barker to be the work of that master. This I believe to be the careful work of an excellent master of the Cologne school, who first painted in the style of Quentin Matsys, as may be seen in his best picture of that time, the well-known Death of the Virgin in the Pinacothek at Munich. He afterwards devoted himself to the imitation of the great Italian masters, relinquishing his warm and clear colouring for the better study of modelling, and spending, as it appears, some time in Lombardy. Evidence of this is seen in the imitation of Leonardo's Cena in the Predella of a Pieta in the Louvre, No. 601 of the Catalogue of 1854, and in the picture before us, tlu) style and treatment of the landscape background of which strikingly 76 MR. BARKER'S COLLECTION. Letter II. correspond with that one. For Leonardo himself, or even for one of his school, the drawing is too weak. The position of the eyes is incorrect, the feet badly foreshortened, and the swan too heavy and coarse. Finally, I am inclined to believe that an undraped Juno, holding in her left hand the neck of a peacock standing next to her, attri- buted to Razzi, is too feeble for that master, although said to have passed under his name in the Orleans Gallery. How is it to be believed that a painter who often rivalled Raphael in feeling for beauty and grace should have represented the Queen of the Gods under the aspect of a short and stout model ? In the character of the head, in the colouring, and the style of the very careful model- ling, this picture reminds us most of Marco Oggione, one of the second-rate scholars of Leonardo da Vinci. EARLY NETHERLANDISH AND GERMAN SCHOOL. QuENTiN Matsys. — The Virgin enthroned, holding the Child on her lap, who, with his right hand on a page, is placing an open book in the hands of the kneeling St. Catherine beside him, and with his left hand showing his mother the blossom of an iris. On the left is St. Margaret seated reading a book, with the dragon, her attribute, stretched upon her blue mantle. Both the saints are in the rich costume of the painter's time. Above the head of the Virgin are two angels holding a rich gold crown ; within the throne, which terminates in a semicircular form, and more towards the outer edge, are roses, and in the centre admirably painted grapes ; on each side is the view of a landscape — on the right, towers and blue hills, and on the left a town, and the sea, on which is a large ship ; at the side is a frieze of violet colour, with boys, three and three, holding festoons. That this beautiful picture of the latest and best time of Quentin Matsys should, owing to a small monogram of A and D upon it, have been, even when in the possession of Mr. Samuel Woodburn, attributed to Albert Durer, to whose monogram also it bears no likeness, is a proof how small is the knowledge of this master even among tried connoisseurs. Those who are acquainted with Albert Durer's authentic pictures will agree with me that no trace of his style is to be found here. On the other hand, it agrees in the most remarkable manner with the known works of Quentin Matsys : the same aim at tenderness and Letter II. EARLY NETHERLANDISH SCHOOL. 77 beauty in the heads, the same narrowness of the female hands, and delicacy of the luminous flesh-tones, the same peculiar arrange- ment of the colours of the draperies, and the same tender pinks, and style of the golden patterns on the red robes of St. Catherine. Fhially, the preservation of this miniature-like picture of moderate size leaves nothing to be desired. Hans Holbein. — Portrait of a man of a type of features resem- bhng the House of Habsburg, with long hair hanging, down on each side, and a broad-brimmed hat, on which a medal is fastened ; a white shirt with delicate border reaches to the throat ; one-half of the coat is red with slashings of cloth of gold, the other half of cloth of gold with red slashings. The blue mantle, now become almost black, has a turned-down collar with a golden pattern. In his right hand is a paper with the profile in slight outline of a male head ; the ground is a blueish green ; the face is of great decision of forms, and admirably modelled in a full brownish tone. The hands, however, are dry and empty, the treatment of all accessories of great precision. Mr. Barker has recently become the possessor of a number of pictures from the well-known Manfrini collection in Venice, includ- ing some of the chefs-d'oeuvre of the gallery. They were not arrived before I left England. The sale of Mr. Samuel Woodburn's collection afforded Mr. Barker also the opportunity of acquiring a book containing 50 leaves, with pen-drawings on each, by Andrea Mantegna, be- longing to various periods of his career, and showing his genius in various aspects. Thus a Madonna, holding the Child standing before her on a cushion, with two angels playing on musical instruments, is obviously of a very early time. Again, a sheet with four compositions upon it, all of the same subject, in the two upper of which the Child is represented sleeping, shows by its fuller forms and freer motives a somewhat later time. He appears in his maturity in four compositions of the same kind on a third sheet ; of these, the two lower ones, in which the Child is repre- sented at the breast, and fretting, but for the puffy character of the drapery, belong entirely to the freer forms of the cinquecento, and in point of beauty are worthy of Baphael. Another series of leaves, with scenes from common life, and bust-pictures in profile, belong to Mantegna's realistic side, and show in the most striking 78 MR. BARKER'S COLLECTION. Letter IL manner, when compared with many of the drawings in the book by Jacobo Belhni, already described in the print-room of the British Museum, the great influence which the Venetian exercised upon the Paduan master. Next in order, and of the highest charm, are a number of drawings with children and amorini, sometimes playing, sometimes fighting. But the palm of superiority must be given to two allegorical subjects, one of which displays two slightly draped female figures and an amoi^ino striking a man who is already on his knees ; the other a prostrate female, who is attacked with blows by two amorini with arrows and a burning torch. The purity of the drawing, the freedom and grace of the motive, the beauty of the forms, and the more picturesque style of the draperies, agree entirely with the beautiful picture with the dancing figures in the Louvre, and display the master in his latest time and highest perfection. I now proceed to the sculptures in Mr. Barker's possession : — The bust of a young Florentine woman by a very skilful hand, and showing in conception and workmanship the latter time of the 15th century, is the only specimen in marble. The delicate features express great modesty ; the round and elevated forehead is the least individualised part. Various specimens of ivory are also here, of which I can only notice those which appeared to me particularly interesting. The following are of Italian origin : — Statuette of a female Saint crowned, holding a lily in her right hand in the form of French fleur-de-lys. About 9 in. high. Of very noble head, excellent drapery, and careful execution. About the middle of the 13th century, and, judging from the slender and meagre form, Florentine. Statuette of the Virgin and Child; about 1 ft. high. Of admirable style of drapery. 13th century. Barnaba Galazzo Visconti, enthroned as judge, four figures at his side, and his coat-of-arms. A very careful work, with a border of a tasteful pattern. All in relief. A small tablet of peculiar form, with the profiles of Sigismondo Malatesta, and Isotta his wife, opposite each other, in very flat relief; below, their united ciphers. The ground of dark mother- of-pearl, and around a very tasteful frame-work of enamel. The original leather case is here also, and remarkable for its pretty Letter K. THE MARQUIS OF HERTFORD'S COLLECTION. 79 decorations. The same may be said of two ivory dagger-sheaths, with the initials of Sigismondo, Pandolfo, and Malatesta. Also an ivory mortar, with a pestle, shows by its pretty form how the feeling for elegance pervaded everything at that time. Statuette of the Virgin and Child, of the miusual height, for ivory, of about 1 ft. 6 in. This I consider to be a French work of the beginning of the 14th century. The motive is of a conventional Gothic, the heads tolerably advanced in the not pleasing type of that period, and the drapery of good invention and of masterly execution. Finally, sixteen majolica plates are well worthy of observation. Several by Maestro Giorgio da Gubbio are of great beauty. The best is one representing the Birth of Adonis. For this, how- ever, Mr. Barker paid the sum of 60^. COLLECTION OF THE MARQUIS OF HERTFORD. Vol. IJ. p. L54. By a particular kindness on the part of the Marquis of Plertford, I find myself enabled to describe a number of valuable pictures belonging to his Lordship's collection, which I saw partly in 1854 and partly in 1856, in Manchester House and in a house in Berkeley Square. To these I may add three pictures which the Marquis purchased in Paris in 1855, at the sale of Baron Meck- lenburg's collection. These had been long known to me. ITALIAN SCHOOL. Bernardino Luini. — The Virgin looking at the Child, whom she holds with both hands on her lap. The Child is taken quite in front and is gazing out of the picture. A landscape back- ground. A picture of very attractive heads and motives, and of very careful execution. The colours of the drapery have, however, rather a crude effect for him. From the Fesch Gallery. Paul Veronese. — Perseus and Andromeda. She is fastened to the rock on the left, while he, mounted on Pegasus, is attacking the monster. Figures life-size. The conception is very animated ; the dragon of admirable hivention ; the colouring of a power 80 THE MAEQUIS OF HERTFORD'S COLLECTION. Letter II. seldom seen in his pictures, and approaching Titian. The land- scape also, which occupies a large portion of the picture, is admirable. DoMENiCHiNO. — The Sibyl. From the Stowe collection. Half- length figure. The fine features are taken from a model from whom this master frequently drew. The expression of inspiration, the unusual power and warmth of colouring, the refined drawing, and the solid execution, combine to render this well-preserved picture very attractive. Albano. — Venus reposing on a light cloud and kissing Cupid. Amorini surround the group. A piece of violet drapery forms a kind of sail over her. This little picture, a flat oval in shape, belongs in point of elegance of forms and motives, and light and harmonious colouring, to the most charming examples of the master. From the collection of Count Montcalm. Canaletto, — 1. A view of the Piazetta, with a festivity going on. 2. The Bridge of the Rialto. 3 and 4. Two Venetian views. These are the four pictures already mentioned as inherited by Lord Hertford. They are remarkable for great power and freshness. The first only is some- what crude. 5 and 6. Two other pictures by Canaletto, about 4^ ft. high by 6 ft. wide, belong for choice of subject and admirable keeping to his chefs-d'oeuvre. 7 and 8. Two other views of Venice, by the same master, may finally be mentioned, in which buildings and figures are on an unusually small scale. These are of a delicacy of keeping and precision of rendering seldom observed in his pictures. Sassoferrato. — Marriage of St. Catherine, with an angel. Full-length figures, life-size. In composition, beauty of heads, warmth of colour, and equality of careful rendering, this is one of the most admirable pictures of the master. From Lord Orford's collection. SPANISH SCHOOL. Velasquez. — 1. Portrait of an Infant of Spain, about three years old, in grey dress, with violet scarf with a sword attached, the hilt of which is held by the left hand. In the right is a Letter II. SPANISH SCHOOL. 81 sort of general's baton, which serves the child for a stick. Upon a cushion is a cap and feather. Full-length figure, life-size. The background consists of a darkly-treated curtain. From the Standish collection. This picture has a marvellous charm. The conception is highly animated, the delicate flesh-tones positively luminous, and the careful execution of every part unusually sus- tained. 2. Portrait of an Infanta of Spain. Standing figure, in black dress with white sleeves, the right hand upon a table covered with a red cloth. Full-length life-size figure. Hangings in the background, with a bit of landscape. 5 ft. high, 3 ft. 6 in. wide. The head is painted in a luminously warm tone, the hair very broadly treated. The general keeping admirable. From the Higginson collection. 3. Don Balthasar, son of Philip IV. of Spain. In a black and white dress with a crimson scarf, on a black charger. A cavalier attended by a page, and other figures around. The royal mews are seen in the background. Purchased at the sale of the collection of the late Samuel Rogers, Esq., for 1210 guineas. Of very animated conception, powerful colouring, and masterly keeping. A portrait of this prince, very similar to this but still finer, is in the Grosvenor Gallery. 4. Portrait of a lady, in black neckerchief and brown dress ; gloves on both hands, in the right hand a fan. The background consists of a dark sky. Almost to the knees, and the size of life. From the Aguado collection. This picture displays the warmest golden tones of the master, and also a far more careful execution • and solid impasto than is usually found in his portraits. It is of astonishing animation. MuRiLLO. — 1. The Annunciation. The Virgin is kneeling at her faldstool, the angel kneeling upon a light cloud a little above the floor. About three-quarters the size of life. Of unusual power and clearness of colouring, though the greenish-blue and violet drapery of the angel makes a somewhat gaudy etlect. Very well preserved. From the Aguado collection. 2. The Marriage of the Virgin, A composition of twelve small figures. The Virgin is dressed in white, with a blue mantle which scarcely conceals her dress. Behind her are four maidens. Between her and Joseph — who is attired in a blue VOL. IV. G 82 THE MARQUIS OF HERTFORD'S COLLECTION. Letter II. coat and orange-coloured mantle, and accompanied by five male figures, one of whom is breaking a withered staff" — is the High Priest. Behind is a crimson curtain with a ray of light falling from above, and the Holy Spirit in form of a dove before it. The draperies are in particularly fine taste, the execution equal and very careful. This is by far the most important example of the few cabinet pictures by Murillo known to me. 3. The Virgin in Glory. In white dress and azure mantle. Several angels at her feet. Her head is of unusual elevation of character, and the effect of the whole earnest and powerful. Small figures. From the Stowe collection. 4. The Virgin holding the Child. Life-size, to the knees ; of oval form. I know few pictures by the master where the dra- peries are treated so finely, and where the colours are of such luminous transparency. At the same time the treatment is very careful. From the collection of Casimir Perrier. 5. The Virgin and Child. Half-length figures. A good picture, though not so important as the foregoing. 6. The Adoration of the Shepherds. Represented as a night scene, with the light proceeding from the Child. Around are the figures of St. Joseph, two shepherds, a shepherdess carrying a basket with two pigeons, a boy, and two angels. Below, in the foreground, are a lamb and a dog. About three-quarters size. The Virgin is of unusual elevation both of form and ex- pression, and the other heads very animated. The red-brownish tones of the flesh are transparent, and the general effect admirable. 7. The Holy Family. The Virgin is kneeling and contem- plating the Child lying on the floor before her, who, looking up to the adoring little St. John, points to the scroll with the " Ecce Agnus Dei." St. John grasps the scroll in token that he accepts the mission. On the right is Joseph standing with an open book, and looking at the children. Behind him are trees ; on the other side a lightly treated hill and sky. This is a very remarkable work of the master. The Virgin, who is painted in a warm, silvery tone, is refined and noble both in feature and expression. The Child is very lovely, and, like the St. John, warmly and trans- parently coloured. Joseph alone is of a cool reddish flesh-tone. At the same time the execution, especially in the Virgin and Letter II. FRENCH SCHOOL. 83 Child, is very careful, though a lamb may be pointed out as feebly treated. Formerly in the Casimir Perrier collection. 8. Joseph sold by his Brethren. A rich composition of figures of small life-size. The motives are animated and of great truth of detail. Nevertheless this is one of those pictures by the master in which expression and forms are of that common character appertaining more to a genre than to a biblical subject. FRENCH SCHOOL. FRAN901S Clouet, called Janet. — Portrait of a Lord Hertford in black dress and black cap with white feather. The background is green. Below is this inscription — "Le Comte de Hertford." This small picture belongs to the few genuine works of a painter to whom so many mediocre pictures of his time are erroneously ascribed. The conception is very delicate and animated, the colouring clear, and the execution very tender. Caspar Poussin. — A rich, hilly landscape, with a waterfall in the foreground. Unquestionably one of the finest works of the master, in whom we seldom find the high poetry of his art com- bined with so much detail, with such warmth and transparency of tone, and so equal and happy an execution. Formerly in Lord Ashburnham's collection. Watteau. — 1. A landscape, with figures of ladies and cava- liers in the foreground, listening to the sound of a theorbo played by a male figure standing before them. In power and transpa- rency, and broad and spirited treatment, this picture is one of the most admirable by the master. 2. A wood, with four ladies and a gentleman resting in the foreground ; another gentleman standing. At different distances from the eye are similar groups. The very tasteful composition, truly luminous and harmonious colouring, tender aerial per- spective, and very refined carrying-out, render this also one of the chefs-d'oeuvre of the master. From the collection of Count de Morny. 3. A wood with tall stems, with cheerful figures of ladies and cavaliers in various groups. On the right is the statue of a stout female figure on a pedestal. For tasteful distribution of the figures, power of chiaroscuro, delicate aerial perspective, and clever and yet careful treatment, we have here again one of the most G 2 84 THE MARQUIS OF HERTFORD'S COLLECTION. Letter II. superb specimens of the master. From the de Morny collection, where I had already seen and admired it. Lancret. — Eight figures of ladies and cavaliers, one of them with a mask, in the open air, before a pedestal. On the right a fountain with sculpture. Beautiful and powerful trees are in the landscape. The figures, which are of an unusually large scale for this painter, are warmly coloured, and finished with unusual in- dustry. The whole picture is characterised by much air and light. I had previously seen this fine work in the Standish collection. The present possessor purchased it for 750^., the highest price, I imagine, yet given for the master. Pater. — A landscape, with a party of ladies and gentlemen resting in the foreground under trees. One of the figures, dressed in white silk, quite in front> is very remarkable, and strongly relieved by another figure in black. On the right is the re- cumbent figure of a Venus on a pedestal, at the base of which are three children. On the same side, in the background, is a distant view. In every respect — composition, power, clearness of colouring, and finish — this is the finest picture I know by the master. Greuze. — 1. A young girl kneeling in adoration before a statue of Cupid with a garland. Various accessories at the foot of the pedestal. A landscape background. Whole-length figure, three-quarters size. This picture in every way merits the high reputation it enjoyed in the collection of Cardinal Fesch. The slender form, beautiful features, lovely expression, and warm and clear tints of the girl, render this work attractive in no common degree. The execution is also careful, and the preserva- tion perfect. 2, 3, 4, and 5. These are specimens of Greuze's most frequent subjects; half-length figures of young girls, all of great power, transparency, beauty, and finish. In one of them especially, who is looking sorrowfully upward, the expression is admirably given. I was agreeably surprised, also, to find in this collection fine specimens of the most approved masters of the modern French school. Horace Vernet. — 1. One of those mounted shepherds, here on a grey horse, who drive the oxen to Rome, is following a stray Letter TI. FRENCH SCHOOL. 85 member of the herd, which is seen with other drivers in the back- ground. He is aiming a blow with a pike at the animal, which with its head turned aside is trying to avoid the thrust. Signed and dated " Romse, 1829." About 3 ft. high and 4 ft. wide. This picture, which was painted in the master's freshest period, unites with that animation and truth of action in which no other living master approaches him a transparent and sunny effect, and a treatment as careful as it is spirited. 2. A scene in Algiers, with ten Arabians and a boy, in their white bernousses, encamped in a circle. Next them stands a woman with a vessel of water on her head. About ft. high by 4 ft. wide. Signed and dated " Romse, 1833." This is incom- parably one of the finest pictures I know by Horace Vernet. No modern painter has seized the peculiar character of the Arabians in so masterly a manner, and in this picture- he surpasses himself. The animation and variety of the heads, preserving at the same time the national type of character, are truly admirable. The keeping and lighting are masterly, and the execution of a solid impasto. The hilly landscape, also, forming the background, deserves praise. 3. French soldiers storming a gateway. Some Arabians lie vanquished on the ground. Probably an episode in the storming of Constantine. This is a very small picture, painted on slate, of very lively motives and careful execution. Decamps. — A crowd of Arabian horsemen and pedestrians under the white walls of a town. Signed and dated 1837. This picture belongs to the best time of this justly celebrated master, and combines the full glow of his colouring and the force of his effect with a more precise and solid execution of details than is observable in many of his later works. Paul Delarociie. — A woman with a child asleep on her lap. The background a landscape. Full-length figures, three- quarters size. Signed and dated " Rome, 1844." Whether the painter intended to depict Hagar and Ishmael, or some other biblical event, I know not. At all events it is one of the best of his pictures, as far as I am acquainted with them. The expression of the mother, who is looking up, is dignified, the sleep of the child very natural, the drawing excellent in every part, the model- ling throughout very careful, and finally, what can seldom be 80 THE MAEQUIS OF HERTFORD'S COLLECTION. Letter IL said of his pictures, the colouring of great transparency and delicacy. Leon Coignet. — The original of the masterly and well-known engraving of the Abduction. Signed and dated 1828. The engraving promises more than the picture fulfils ; for, with all the animation of motive, admirable expression, and careful execution, the crudeness of the colour is unpleasingly conspicuous. The figures are small. St. Jean. — 1. A large flower-piece, chiefly composed of poppies and roses. Signed and dated 1846. 2. The companion picture, a fruit-piece in a dish. These both belong to the most successful works of this painter, who stands first in rank in the modern French school in this walk of art. NETHERLANDISH SCHOOL. Rubens. — 1. The celebrated "Rainbow" landscape. From the collection of Lord Orford. See vol. iii. p. 434. 2. Portrait of an old man, almost en face^ with white beard and black dress, with his left hand holding a glove about the centre of his breast. Half-length. The ground is a greyish-brown. One of the finest portraits I know of the master. The conception is so animated that the eyes are really luminous, and the flesh- tones so transparent that one can see the blood under the skin. At the same time the transparency of the shadows, which are very deep but treated in the local flesh-tone, is almost the most remarkable feature. 3. Battle between Constantine and Maxentius. One of the twelve sketches from the history of Constantine, once in the Orleans Gallery. A raging combat of horsemen upon the broken bridge, now called Ponte Molle. This sketch is more powerful jn colour than usual, and in action and spiritedness of execution recalls the famous Battle of the Amazons of Munich. Formerly in the Orleans Gallery. Later in the collection of Lord Ranelagh. Purchased at the sale of Mr. Rogers's pictures for 260 guineas. Vandyck. — 1. Portrait of a young man in black dress ; the background a red curtain ; full-length figure, standing, life-size ; of animated conception, and carefully executed in his fused Genoese manner. 2. Portrait of a lady with pretty features, in a black silk dress Letter II. NETHERLANDISH SCHOOL. 87 with yellow stomacher, seated in a chair, her right hand on the arm of the chair. The ground dark. To the knees. Of the master's best middle period, and as lively in conception as careful in execu- tioa From the Wells collection. 3 and 4. Portraits of Charles I. and Henrietta Maria, inherited by the Marquis of Hertford. These are decidedly not entirely by Vandyck's hand. Portions of the execution are weak ; for instance, the dress of the king. Philippe de Champagne. — The Adoration of the Shepherds ; an altarpiece. Besides the Virgin and Joseph the figures include five shepherds and three angels. A lamb is on the ground. The light proceeds from the Child. This picture is of the painter's later time ; it is happily composed, delicately drawn for him, and very carefully finished. The effect, on the other hand, is crude, and the colouring unusually cool. From the collection of Count Montcalm at Montpellier. Purchased for 367/. Rembrandt. — 1. The Unjust Steward. The master, dressed in red, with a red and orange-coloured turban, is seated behind a table with papers. Three persons stand before him, the centre one of whom is the culprit ; next him is a soldier about to lead him to prison. The ground is dark ; figures life-size. This pic- ture, formerly well known in the Stowe collection, is of the most striking effect. The power, warmth, and transparency of the colouring are astonishing, and the treatment broad and masterly in the most solid impasto. 2. Portrait of a young man with hat and feather ; bust-picture ; carefully executed in a clear, yellowish tone. 3. Portrait of a negro as huntsman, half-length figure, very animated, solid and careful. From the Stowe collection. Gabriel Metzu. — 1. A fishmonger, and a girl bargaining with him ; above them a kind of bower ; the background architec- ture. Very carefully finished in a clear tone. 2. Single figure of a girl ; a small but pretty picture. Caspar Netscher. — A room, with a girl in crimson bodice, and dark-green petticoat, making lace. About 1 ft. high, 10 in. wide. This picture is as characteristic of the master as it is admirable, and of his best time. He is rarely seen with such power of colour and force of effect. Peter de Hogg he. — A woman peeling apples, seated beneath 88 THE MARQUIS OF HERTFORD'S COLLECTION. Letter 11. a window ; a little girl standing before her is trying to take the peel of the apple she is engaged upon. Behind is a saucepan upon the fire. About 2 ft. 3 in. high, 1 ft. 10 in. wide. Very- naive and domestic in feeling, and as sunny and clear as it is powerful in effect. ScHALCKEN. — A girl by candlelight. Very agreeable. Teniers. — 1 and 2. These two ' pictures, though genuine, are not of that class which one rightly expects in a collection of such masterpieces of the greatest painters. One of them represents peasants in an interior. Adrian Brouwer. — A peasant seated asleep ; almost entirely seen in front ; behind him a wooden partition ; in the background are two more peasants. By far the finest example of this rare master I know. The figure, which is of an unusually large size for him, is of the most surprising truth, admirably drawn, very careful, though broad and soft in treatment, and of a delicacy of harmonious arrangement which places him in this respect higher than any other genre painter, and quite explains the admiration that Rubens had for him. Adrian van Ostade. — 1. Five peasants round a table before a tavern ; in the background three more, and a woman who is pouring out liquor. On wood. About 1 ft. 6 in. high, by 1 ft. 3 in. wide. Signed and dated, though the date is illegible. The figures are well distributed in the space, and the clear chiaroscuro, treated in a delicate golden tone, is admirable. 2. A peasant before the door of his house cleaning a fish ; his wife and three children, the youngest of whom she holds in her arms, are attentively watching this interesting occupation. On wood. About 1 ft. 2 in. high, 1 ft. 1 in. wide. The figures are truthful and animated, and the colouring of singular power and clearness. Isaac van Ostade. — View of a town, with figures of men and animals. Among the latter a grey horse is especially remarkable ; on the left is a church, before which is a cart with a brown horse. On wood. About 2 ft. high, 3 ft. wide. The colouring of this picture is of unusual power, even for this master, and the treatment very careful. Philip Wouvermans. — 1. A smithy in a cavern, with a horse being shod before it ; behind is a cart. An unusual effort Letter II. NETHEKLANDISIl SCHOOL. 89 of the master, and approaching Isaac Ostade in warmth and energy of tone. Also very carefully carried out. 2. A large landscape, with a sandy hill on the left, in the manner of his master Wynants. Water in the foreground, with a small foot-bridge, with a man passing over ; on the shore a man on a grey horse which is drinking. About 2 ft. 3 in. high, 2 ft. wide. This picture is in his third manner, and is carried out in his softest and most delicate silver tone. 3. The well-known horse-market, from the collection of Baron de Mecklenburg at Paris. In point of size, richness of composition, agreeable motives, delicacy of keeping, and equality of careful execution, one of the chief works of the master's third period. This is the only way to explain the enormous sum of 80,000 francs, or 3200/., given for it by Lord Hertford at the sale of that collection. Albert Cuyp. — View of the river Maas by Dortrecht. On the right is the church with its blunt tower ; on the left, in the foreground, in the river, a ship manned with soldiers. About 3 ft. 6 in. high, 5 ft. 8 in. wide. This masterpiece possesses in full measure all the great qualities of this painter. The effect of morning is of the sunniest transparency, the reflectioifs in the water marvellous, the colouring powerful, and the execution marrowy. Nicolas Berghem. — A rocky landscape, with a shepherdess on horseback, and her herd. This picture, of an upright form, belongs, in point of tasteful composition and airy delicacy of gradations, to the best examples of the master. Karel Dujardin. — 1. The interior of a court, in which stand two horses laden — a grey and a brown horse. Above the wall is the view of a landscape. On canvas. About 1 ft. 6 in. high, 1 ft. 8 in. wide. Very warm and clear in tone, and of peculiarly soft touch. 2. A group of children, one singing, another jumping ; behind them a wall and a piece of sky. Of upright oval form, very prettily conceived, and sketchily but very cleverly treated in a warm tone, approaching Adrian van de Velde. From the Duval collection. 3. Portrait of a young man. Very animated and delicate. Hobbema. — A piece of clear water on the right, and behind, a village in sunshine ; quite on the left a house with three figures before it, with a wood at the side ; in the centre another house among trees, and a flat distance. This picture is of considerable 90 THE MAKQUIS OF HERTFOKD'S COLLECTION. Letter IL size and very happy composition. The bright hghting of the whole right side with the clouds, forms a fine contrast to the powerful and clearly treated shadow of the left. The execution is also most careful. From the Fesch collection. Jan Wynants. — On the right a dead tree, with a piece of water at its foot ; behind are two sportsmen by A drian van de Velde, who painted also the other figures in this picture ; on the left is his favourite sand-hill ; in the centre of the middle distance are two light trees. About 2 ft. high, 2 ft. 8 in. wide. The charm of true nature in this picture, the great softness, harmony, and transparency of the tone, and the very delicate execution, render it quite a little chef-d'ceuvre. Jacob Ruysdael. — A landscape with a waterfall almost in the foreground ; in the middle distance on the left a hill ; on the right a distant view, with slight elevation of ground and bright horizon ; some clouds in the sky. Of charming effect, and clear and true in the highest degree ; the treatment broad and spirited. From the Denon collection. Artus van der Neer. — A warm sunset over a Dutch canal, with houses and trees along it. Inscribed with the monogram of the master. The marvellous warmth and transparency, and the precise though soft execution, render this one of the finest works of the painter. Willem van de Velde. — 1. A calm sea ; a large vessel on the left is firing a gun ; close by is another vessel ; in the centre a manned boat ; on the right a smaller sailing-vessel. Every part of this picture, including the sky, is of a truly luminous and silvery tone. 2. A fresh breeze at sea. In the foreground small fishing- boats. On the right a large vessel lying on its side. In the tone of this fine picture the influence of Simon de Vlieger is recognisable. Jan Weenix. — Two dead hares and dead birds in the centre. On the right a dog seated, and above, a white dove in the air. On the left a sarcophagus, with two children in high relief. The background a landscape. About 5 ft. high, 6 ft. wide. This is the finest specimen of the master I know. His usual high finish is here combined with admirable keeping. The dog is of peculiar animation. Letter II. ENGLISH SCHOOL. 91 Melchior Hondbkoeter. — A cock, a peacock, and other birds. A good but not first-rate picture by the artist. I here take the opportunity of correcting a few erroneous notices in vol. ii. p. 160, regarding pictures of the Netherlandish school. The landscape by Hobbema, from the collection of the King of Holland, was purchased, not for 1000?. but for 2400?. The two pictures by Vander Heyden, for 1000?. not for 300?. Finally, for the Duval collection " in Ghent," the reader must substitute " in Geneva." ENGLISH SCHOOL. Sir Joshua Reynolds. — Portrait of Nelly O'Brien. Taken quite in front, with a straw hat and black mantle, a reddish-coloured quilted dress, and an apron over it of a transparent material. The background is a dark landscape. To the knees. This picture may be considered a tour de force of the utmost skill, after the manner of Rubens' Chapeau de Paille^ in Sir Robert Peel's collection, for here also the head is in shadow, with strong reflected sunny light, which is treated with exquisite refinement and transparency. The rest of the picture, also, is of bright and harmonious colour, the landscape very powerful and juicy, and the whole a mod^l of taste and complete mastery of the art. This was one of the pictures inherited by Lord Hertford. 2. The Strawberry Girl. See vol. ii. p. 75. Formerly in the collection of Samuel Rogers, Esq., and sold at the sale of that gentleman's pictures in 1856 for 2100 guineas, a proof that no nation so appreciate the works of their distinguished painters as the English. 3. A little girl holding a dog. Background a landscape of enchanting truth and naivete of conception, and of truly sunny effect. Though, in my opinion, equal in beauty to the Strawberry Girl, to which it forms an admirable companion, yet, being less famous, it cost the Marquis only 1000?. Gainsborough. — Portrait of a lady in a white dress seated in a chair. Next her a little dog. Background a landscape. Whole- length figure, life-size. Of great charm of conception, only the disposition of the feet tasteless. Carefully executed in a cool but harmonious tone. Hilton. — Diana and her nymphs bathing, while Venus de- 92 THE GEOSVENOE GALLEEY. Letter II. scends to them through the air. Cupid is upon a tree. Very attractive in composition, and of much feeling for beauty in forms and motives. The colouring clear, though a little pale in some of the figures. The fine landscape is composed in the manner of Titian. From the collection of Lord Charles Townshend, and purchased for 640^. Sir David Wilkie. — The Highland Toilette. An interior, with a girl in a Scotch dress seated at a window dressing her hair : next her is another girl. In the background, next a fireplace, is a man smoking his pipe. Charmingly composed, admirable in lighting, and clear in colour. The treatment shows the later period of the master. Purchased for 567Z. BoNNiNGTON. — A sca-coast, with a grey and a brown horse in the foreground, and chalk rocks in the background. Carried out in a silvery tone, with a delicate feeling for harmony. The price, 231/., shows how much the works of this painter are esteemed. THE GEOSVENOE GALLEEY. YoL IL p. 161. Rubens. — Two children. Spiritedly conceived and slightly treated. This hangs too high to admit of a more decided opinion. Rembrandt. — As regards the fine landscape which I formerly (vol. ii. p. 166) only considered as a work of his school, I am glad to perform the pleasing duty of stating that subsequent close exa- mination has convinced me of its being an unquestionable work by the master. Philip de Koninck. — A landscape, which, in extent, lighting, refinement of sky and linear perspective, and power and trans- parency of colouring, is one of his most important works. Claude Lorraine. — The specimens of this master, of which this is the eighth, are very significant of his course of develop- ment. We here see how much Claude, in his earlier period, formed himself on the model of Paul Brill. In the far more finished execution, showing a realistic tendency and aim at truth in detail, which gradually declined in his later works, a striking resemblance to that master is seen. This is especially applicable to the great transparency of the sky. Letter II. MR. BARING'S COLLECTION. 93 Velasquez. — This portrait (vol. ii. p. 172) does not represent Philip IV. of Spain, as I have erroneously stated, but the son of that monarch, the Infant Don Balthasar. DINING-ROOM. In this apartment are various good pictures of the Italian school of the 15th century, among which I especially noticed the fol- lowing : — Carlo Crivelli. — The Virgin and Child enthroned ; a saint on each side. Altarpiece. Signed " Carolus Crivelli, 1491." The head of the Virgin is unusually noble for him, and the exe- cution as usual very finished. Andrea Verocchio. — The Virgin and Child, with saints. A circular picture. The style of physiognomies, the drawing, careful modelling, and powerful colouring, are all evidences of this rare master, of whom this is an unusually good specimen. MR. BARING'S COLLECTION. Vol. 11. p. 174. No collection in England known to me has, since my visit in 1851, received such numerous and important additions of various epochs and schools as that of Mr. Baring. I continue my account of these acquisitions in the same order I observed in the descrip- tion of the collection. FLORENTINE SCHOOL. Fra Bartolommeo. — The Virgin hol(Jing on her lap the Child, who is in lively movement, and in the act of benediction. On the right is the Baptist stretching out his hand. Upon his right shoulder is the hand of Joseph, who is standing behind a parapet. The two children alone, who are pleasing in the forms and ele- vated in the expression of the heads, are carried out with careful modelling in colour. Otherwise the ground is only covered with a thin surface of brown lake, with the outlines drawn in with the brush in dark-brown colour. In the Virgin are seen indications of grey shadows. The background is black. In a technical point of view this picture is very interesting. 94 MR. BARING'S COLLECTION. Letter II. ROMAN SCHOOL. Julio Romano (?). — The Virgin holding the Child, who is clinging to her. This picture is original and attractive in motive, admirable in drawing, and of powerful,- warm brown tone of flesh ; but the shot stuffs, in the style of fresco-painting, are rather crude. Judging from conception, colouring, and treatment, I consider this to be a very good work by the hand of Perino del Vaga. LOMBARD SCHOOL. Francesco Maria Rondani. — Marriage of St. Catherine, in the style of Parmigianino, with very dark shadows. Judging from authentic works in Parma, I attribute this picture to the above- named painter — a little-known but excellent scholar of Correggio. I know not on what authority it is here given to Pietro Paolini, a Lucca painter who flourished in the 17th century, and who painted, as far as his works are known to me, in a very different manner. bolognese school. Francesco Francia. — 1. Lucretia, with her eyes, which are red with weeping, cast up towards the left, is stabbing herself with the right hand in the right breast, while she touches the other breast with the other hand. Her hair is reddish, her dress violet. A golden armlet with precious stones is round her left arm. The background is a landscape, with a horseman and two male figures on foot. Half-length figure, the size of life. On wood. This picture, which possesses great charm of form and expression, is painted in a bright golden tone in the latest time of the master. 2 (?). — The Virgin enthroned, showing the Child an apple, to which it is pointing. On the right is Joseph, his hands leaning on a crutch ; on the left St. Francis of Assisi, with a crucifix in his right hand. On the throne is the following inscription in golden letters: — " F. Francia Aurifex faciebat anno mdxii." About 11 in. high by 10 in. wide. A very pretty and careful picture, though too cold and crude in colouring, and not intense enough in feeling, for this master. From the colour of the gold I consider the inscription not to be genuine, and the picture rather by the hand of his son, Giacomo Francia. Letter II. ITALIAN SCHOOLS. 95 This is the fitting place to introduce two pictures of the school of Romagna. LoDOVico Mazzolino. — The youthful Christ teaching in the Temple. A rich composition of the often-repeated subject by Mazzolino. A baboon and an owl are here introduced. The Berlin Museum possesses the same composition of almost the same size by the master. Mr. Baring's picture is, however, far deeper and more glowing in colour. Marco Palmezzano da Forli. — I am inclined to consider an undraped figure of John the Baptist drinking out of a bowl the work of this master. The motive is peculiar and pleasing, and the execution careful. About 2 ft. high, 1 ft. 3 in. wide. VENETIAN SCHOOL. Carlo Crivelli. — 1. The Virgin holding the Child, who tands before her on a parapet, and is pressing towards himself a goldfinch with both hands. Behind the Virgin is a curtain, and on each side views of a landscape. Signed " Opus Karoli Cri- velli, Veneti." The Virgin, who is of his usual type of feature, is here very refined hi expression, and delicately finished. On the other hand, the head of the Child is without expression, and also badly foreshortened. The fruit also, upon a festoon before the curtain, is too large for the figures, which are about a fourth the size of life. The same may be said of a fly, otherwise of the utmost truth, upon the parapet. 2. The Ascension, with three sleeping guards. Seldom has this master attained the elevation and grandeur remarkable in the head of the Saviour. At the same time every portion of the work shows a greater attention to truth, while the execution is very care- ful. The strange form of this picture, which is shaped below like a heart, has doubtless some symbolical meaning. Titian. — Charles V. in complete armour on a black horse, with a lance in his right hand. The horse is in gallop, with a crimson saddle-cloth. The figure of Charles is about 2 ft. high. A warm evening light is in the landscape. Spiritedly conceived, and exe- cuted with a marrowy touch in a solemn and deep tone. From the collection of Mr. Rogers. Giovanni Battista Moroni. — Portrait of a general in armour. The left hand on the hilt of his sword, the right on his helmet, 96 MR. BARING'S COLLECTION. Letter II. which lies on a broken pillar, on which is the inscription, " Marius Benve*^ sub Carolo V. imperat. dux." The background consists of architecture and sky. To the knees. The action easy, and the animated head coloured and conceived much in the feeling of his master Moretto. The hands of great truth, and the armour of masterly treatment. GiACOMo Bassano. — A picture in which, as usual with him, cattle play the chief part, and with a particularly fine landscape background. SPANISH SCHOOL. Velasquez. — Philip IV. of Spain galloping on a brown horse. A picture of moderate size, but of clever conception and solid execution. From the collection of Mr. Rogers. Alonso Sancheo Coello. — Portrait of a small sickly-looking child, probably an Infant of Spain, in a splendid white patterned dress. In the left hand a wooden horse. Full-length figure, life- size. I am acquainted with too few specimens of this master, who is seldom seen out of Spain, to pronounce as to the correctness with which this is named. The truth, however, of every portion, and the care of the execution, are worthy of the high reputation as a portrait-painter which Coello bore at the court of Philip 11. ZuRBARAN. — A monk, with his face entirely shaded by his cowl, is contemplating a skull which he holds in his clasped hands. About 2 ft. high, 1 ft. 4 in. wide. This is quite a congenial subject for the chief painter of Spanish asceticism. It is admirably conceived and of broad and masterly rendering in a solid impasto, with strong contrasts of light and shadow. Ai.ONSO Cano. — The Virgin and Child. Of very realistic treatment, but pleasing and animated. The excellent drawing of the hands reminds us that this master was sculptor as well as painter. At the same time the colouring is as powerful as it is clear, and the execution careful. FRENCH SCHOOL. Watteau. — 1. Pierrot, in his white dress, surrounded with ladies and cavaliers. The background a garden. This picture, which is about 2 ft. high by 3 ft. wide, is of such vivacity in the heads, clearness and warmth of colouring, and carefulness of execu- tion, that I do not hesitate to pronounce it one of the most remark- Letter II. OLD GEEMAN, ETC., SCHOOL. 97 able works of the master I know. It recalls the picture in my friend M. de Lacaze's fine collection in Paris, only that there the figures are as large as life. 2. A landscape, animated with numerous figures. In the foreground is a .carriage drawn by three grey horses. Their trappings, however, are not indicated. This picture, which is of considerable size, is treated in a clever though sketchy manner. 3 and 4. Two smaller pictures, which for composition, transpa- rency and power of colour, and spirited and careful finish, belong to his best works. OLD GERMAN AND OLD NETHERLANDISH SCHOOL. Jan van Eyck. — See vol. ii. p. 78. From the collection of Mr. Rogers. Hans Holbein. — 1. Portrait of the painter Joliann Herbster, with a powerful beard, a cap of a fine red colour, and a black dress. At the sides are two pillars, with a winged boy on each, holdino- two festoons fastened too^ether in the centre of an arch. Upon a parapet, sustained by the pillars, is the inscription " Johann Herbster, pictor Operini pater." Also, above the heads, on two other festoons, are two little tablets, one containing the date 1516, the other doubtless the now obliterated monogram. This picture is most carefully executed, especially the beard, in those yellowish flesh-tones formerly peculiar to Holbein, and is of great animation. The architecture is of a golden tone. It has much affinity to the altarpiece of 8. Sebastian, dated 1512, in the gallery at Augs- burg, although of more delicate rendering. Historically speaking, also, it is of interest, as we gather from it that the migration of Holbein from Augsburg to Basle took place at latest in 1516, for the painter Herbster was a native of Basle, and his son Operinus the famous printer of that city. Lucas Cranach. — 1. " Suffer little children to come unto me." This is one of the many examples of the treatment of this subject by Lucas Cranach, and in point of richness of composition, happy infantine motives, power and clearness of colouring, and careful finish, it is one of the best. From the collection of M. de Bamme- ville. 2 and 3 (?). — The small portraits of the Electors of Saxony, Frederick the AVise and John the Constant. These are two spe- VOL. IV. H 98 ME. BARING'S COLLECTION. Letter II. cimens of the numerous portraits of these two princes executed in the school of Lucas Cranach in 1532. The German verses, setting forth the merits of these individuals as leaders of the Reformation, are here, for once, perfectly preserved. These superficial and mechanically painted pictures were decidedly never touched by the hand of Cranach. JoHANN Mabuse. — 1. The Virgin with the Child, enthroned beneath a canopy of the latest and most mannered Gothic taste, with pleasing sculpture. Six angels are around, one holding flowers, while the others are engaged in music. The heads are more attractive than is usually the case in the later pictures by Mabuse ; the colouring of a fine warm brown tone ; and the exe- cution of uncommon precision. 2. The Virgin and Child on a throne of the richest forms of the Renaissance. The heads are here of very indifferent feeling, but the colouring of the flesh and of the architecture very warm, and the numerous details of the latter of masterly execution. FLEMISH AND DUTCH SCHOOL OF THE 17tH AND 18tH CENTUEIES. Rubens. — A landscape, with a cart and two horses in the fore- ground. The evening light is expressed with marvellous warmth and transparency. From the collection of Mr. Rogers. Vandyck. — A male figure in black dress, with a plain white collar and cuffs, seated in a chair in an easy position, with his feet crossed, and playing the lute. A room is faintly indicated in the dark background. Whole-length, life-size. In conception and colouring this picture is as original as it is attractive. The feeling in it is refined and elevated, the colours very harmo- nious, but unusually broken for Vandyck, and the treatment quite masterly. Rembrandt. — 1. Portrait of an aged Rabbi. Half-length. Painted in a delicate and clear, but for him cool tone. The sha- dows only are very dark. 2. A small landscape with buildings, overshadowed with rain- clouds, leaving one portion only of foreground and background in light. Highly poetical and melancholy in feeling, and of great power and depth of chiaroscuro. Gerard Dow. — A room by candlelight, with a man looking close into the face of a laughing girl. Of admirable truth in the Letter II. FLEMISH AND DUTCH SCHOOL. expression of the light, and especially in the subdued gleam of a lantern. Peter de Hooghe. — On the left a man sitting at a meal, and about to drink. A maidservant, who is taking care of a child with a go-cart, is reaching a glass to another gentleman^ who is coaxing the head of a parrot in a cage. This picture is treated in a very cool tone, which in the figure eating is almost dark, but has, nevertheless, a great charm. The maidservant, who is seen in profile, is unusually pretty for the master. The execution is very careful. Adrian van Ostade. — An uproar at a card-table. Six per- sons are round the table, two of whom have seized knives. One of them, who is already on his legs, is held back by his wife, — the other is kept down in his chair by a man. All the other individuals are in great excitement as well. In the foreground is a child. Signed. Seldom has such a scene been treated by the master with such animation. The chiaroscuro is also unrivalled in warmth and depth, and the execution shows a breadth, a softness, and a care seldom seen united. Jacob Ruysdael. — 1. A windmill in the foreground, close to a piece of water. In the background a church with a tower, and two other towers. Although somewhat dark in general effect, this picture has a bright sky, recalling Hobbema, which gives it a won- derful charm of nature. The slight reflections of the objects in the smooth water are quite incomparable. 2. View of the plain before Haarlem, with buildings on the right, and a bleaching-ground, on which a gleam of sun is falling. The clouds in the sky are somewhat grey, but light, and illuminated by the sun. This picture takes a high place among this class of Ruysdael's works. It possesses great truth of effect, and the execution, though careful, is free and spirited. 3. A landscape, with a waterfall in the foreground, and fir-trees in the background. A cloud in the partially clear sky is lighted by the sun. The whole composition shows the influence of his somewhat older contemporary Everdingen. The effect is some- what cold, the execution careful. Van Kessel. — A landscape, with a tree on the right hand, a dark piece of water in the foreground, and a bright gleam of sun- H 2 100 MR. BARING'S COLLECTION. Letter II. shine in the middle distance. This is an excellent work, in the taste of Ruysdael. EXGLISH SCHOOL. Sir Joshua Reynolds. — A landscape. To the left, in front under trees, are cattle and sheep reposing. In the middle dis- tance a piece of water, houses, a wood, and a hill. In the distance a slight indication of mountains. Sir Joshua, it is well known, very seldom painted a landscape. Here, in the glowing tone and warm reflection of an evening sky, we are reminded of Rembrandt. The treatment of the detail is conventional and slight. From Mr. Rogers's collection. Sir David Wilkte. — Dead stag, with a huntsman, a boy, and a girl, on the left. A piper in highland dress, blowing his bag- pipe, on the right, and a woman with a child on her arm. Behind are slightly indicated hills. Signed and dated 1821. A very spirited sketch. MuLREADY. — 1. Two girls, with their elbows on their knees, are watching a little boy who steps timidly forward to give a penny to two gipsies, one of whom is stretching out a hand. The back- ground a landscape. The motive is very animated and true, the colouring very lively, and the execution extremely careful. 2. Girls bathing. The chief figure is a girl seated in the fore- ground, arranging her hair. The next in interest is one rising from the water, and one sitting on the bank looking on. Two others are seen already dressed, and also a woman with a child. In the distance on the rock is a man, whose presence disturbs some of the girls. The heads and forms of the figures are very pretty, and are conceived in a purely artistic and modest taste. They are most carefully modelled, in full daylight. A red dress near the chief figure recalls Paul Veronese, both in colour and form. The painter has not availed himself, however, of the resources of oil- painting in this picture, which has the effect of a very lightly treated water-colour drawing. The execution also is stippled in the shadows. 3. The companion to the foregoing, only that the chief figure is here seen from behind. This is also most carefully studied, and of masterly modelling in the details. It has the same characteristics as its companion. Letter II. ME. HOLFORD'S COLLECTION. 101 COLLECTION OF R. S. HOLFORD, ESQ. Vol. II. p. 193. Although Mr. Holford has not continued to add to his treasures of art of late years in the same ratio as formerly, yet some pictures of so fine a quality have been acquired, that I cannot pass them over in silence. ITALIAN SCHOOL. Fra Bartolommeo. — The Virgin and Child. The heads, forms, and motives of great elevation, and in a high degree cha- racterised by the warm colouring peculiar to him. Titian. — A female portrait, purporting to be Catherine Cor- naro. Of animated conception, and carefully carried out in a somewhat subdued flesh-tone. Paul Veronese. — A portrait ascribed by me to this master (p. 197) is also said to represent Catherine Cornaro. LoDovico Carracci. — Our Saviour healing the blind man. The well-known picture from the Giustiniani Gallery, and more recently from the Gallery of the Duke of Lucca. The composition is very skilful, and the forms, namely, the Saviour's head, ot uncommon beauty. Agostino Carracci. — Christ raising the Widow's Son. Com- panion to the foregoing, and also from the same collection. This picture shows the profound knowledge and masterly execution of the painter, and is the more valuable from the rarity of his works. The only reason why I did not previously mention these two pic- tures is because I was under the erroneous impression in 1851 that the purchase of them had not been concluded with Mr. Buchanan. FRENCH SCHOOL. Nicolas Poussin. — A landscape. The elevated poetry of com- position which renders Nicolas Poussin the greatest master of land- scape-painting is here combined with very powerful colouring and an unusual carefulness of execution. Antoine Watteau.— a very attractive party of ladies and cavaliers in the open air. 102 LORD WARD'S COLLECTION. Letter IL NETHERLANDISH SCHOOL. Rubens. — 1. Portrait of a young woman, with hands ; purporting to be that of a poetess. The thoughtfiilness of the expression well corresponds with this title. This picture is also characterised by a very delicate and pure feeling for nature ; the modelling is very careful, and the colouring combines great transparency with a truthful and subdued tone. The sketch by Rubens mentioned p. 199 is not of the Descent from the Cross, but of the Elevation of the Cross at Antwerp. Karel Dujardin. — A landscape, with a cow and some sheep in the foreground, and a wood in the middle distance. The ani- mals exhibit a truth and solidity of impasto approaching Paul Potter. The keeping has, however, been somewhat disturbed by the after-darkening of the mass of trees, and bubbles have appeared on many parts of the surface. Backhuysen. — A very agitated sea, with numerous vessels. A remarkable work in every respect — composition, effect, and execution. ADDITIONS TO LORD WARD'S COLLECTION. Vol. II. p. 229. Raphael. — The Three Graces. Not having seen this little picture when compiling my work on the Treasures of Art in Eng- land, I only made a slight allusion to it (p. 233). Since then, in 1856, I have had the opportunity of inspecting it in the possession of Mr. Munro, to whom Lord Ward intrusted it for a time. Most completely can I confirm Passavant's statement of its being taken from the well-known antique group of the "Graces in the Libreria of the Cathedral at Siena. The delicate feeling of the painter has however led him to treat his subjecf according to the laws of pictorial style. Though preserving the slender proportions of the figures, he has yet given them somewhat more fulness, while the effect of the fine flesh tones is heightened by a golden ball in the hand of each, and by the coral which he has placed in the hair of two of the figures, and round the throat of the third. In the heads also, which are of marvellous beauty, all the peculiar type of Raphael is apparent. The group is admirably relieved by the landscape background. From the character of the modelling. Letter II. MR. SEYMOUR'S COLLECTION. 103 which is in a fine impasto, I agree with Passavant in assigning the date of the work to 1506. This precious little picture belonged to the Borghese Gallery, and was purchased from it in Rome by a M. Reboul. It passed later into the possession of the Messrs. Woodburn, who sold it to Sir Thomas Lawrence. After his death it was acquired by the late Lord Dudley and Ward; from whom the present Lord Ward inherited it. Razzi. — The Virgin, with the Child lying on a parapet before her, and grasping with his right hand her right breast. On the right is the little St. John. This very attractive picture is most arbitrarily assigned to Schidone. Bagnacavallo. — St. Augustin. Whole-length figure, life- size. This picture displays the energy of conception and power of colouring characteristic of this scholar of Raphael. The flesh tones however, as usual with him, are somewhat too red. Finally, I have a mistake to rectify. After renewed and careful study of the fine picture of Christ on the Mount of Olives, which I attributed to Mostaert, I have come to the conclusion that it is a work of the best time of Joachim Patenier. COLLECTION OF HENRY DANBY SEYMOUR, ESQ., M.P. VoL IL p. 241. Garofalo. — St. Christopher. A very clever fresco painting. LucA BELLA RoBBiA. — A statuc of Charity, with a child u])on her arm and another at her feet. Purchased from the collection of M. de Bammeville. As the clay of which this is formed has from some reason not been glazed in the flesh parts, the forms have remained more delicate and sharp, while, in point of naivete of feeling, slendemess and delicacy of proportions, and infantine grace, the whole work may be classed as one of the most attractive specimens of the master. I take this opportunity of correcting a mistake which I have com- mitted in my former notice of Mr. Seymour's -collection — namely, in attributing to Sir Joshua Reynolds a beautiful female portrait by IIoGARTH. The fact of such a mistake having been possible proves that in point of colouring this picture is a particularly choice work of the master. 104 MR. LABOUCHERE'S COLLECTION. Letter IL ADDITIONS TO THE WORKS OF ART BELONGING TO THE RIGHT HON. HENRY LABOUCHERE. VoL 11. p. 287. Since the publication of my work I have had the opportunity of inspecting some new acquisitions made by this gentleman. DRAWING-ROOM. Garofalo. — The Circumcision. A very choice cabinet picture by the master. The composition is as original as it is fortunate, the heads are noble, the draperies of very pure taste, the colouring harmonious and of uncommon power, and the execution delicately felt and careful. Jan Mabuse (?). — The Mass of Pope Gregory. A small pic- ture, very animated and expressive in the heads, of great force of colour, and masterly execution in a solid impasto. The rich archi- tecture is in the taste of Bernhard van Orley. Decidedly unlike Mabuse, but by some excellent painter of the Netherlandish school, soon after the beginning of the 16th century, unknown to me. Martin Schafner. — 1 and 2. Two very delicate pictures of religious subjects by this clever master, who flourished at Ulm at the end of the 15th and beginning of the 16th century. RoMNEY. — Portrait of Lady Hamilton as Cassandra. The mar- vellous beauty of her features is especially seen in this spirited sketch. Greuze. — Head of a young girl. A drawing of the most tender charm. A small picture of a girl resting on her arm, from the school of Madame Lebrun, shows a very pure and delicate feeling for nature. I also found here, in 1856, the fine Baptism by Francia, and the portrait by Moroni, which I formerly described at Stoke (see vol. ii. p. 419). DIXIXG-ROOM. Alonso Cano. — Portrait of Calderon. From the Louis Philippe Collection. The noble and intellectual features are admirably rendered. The large pictm^e by Sebastian del Pio3ibo, which I have only slightly mentioned, represents Amerigo Vespucci submitting maps of his discoveries to various gentlemen. One of these indi- Letter II. MR. MORRISON'S COLLECTION. 105 viduals is seated in an arm-chair ; three others are standing. The head of Vespucci, seen in profile, shows features of noble character, expressive of resolution and enterprise. The table and the table- cloth are rudely executed, and betray the hand of a scholar. I profit by this opportunity to correct some mistakes in my de- scription of Mr. Labouchere's collection at Stoke (see vol. ii. p. 417), which I greatly regret. 1. The Virgin and Child, with the little St. John and four singing angels, which I consider a youthful work by Michael Angelo, is not circular but quadrangular in form. 2. The statue of Venus, which on very slight examination I mis- took for an original repetition by Canova, is a very faithful and careful copy by Rossi. On the other hand, the bust of Napoleon, by Canova, is here ; and the head of the Vestal Tuccia, as we are informed by an in- scription. 3. The boy on the dolphin, which I attributed to Canova, is by Thorwaldsen, and represents one of the four Elements, the re- maining three being also at Stoke. CATALOGUE OF THE COLLECTION OF OBJECTS OF ART BELONGING TO JAMES MORRISON, ESQ., In his house, 57, Upper Harley Street. A short notice of this collection appeared in vol. ii. p. 260. Subsequent opportunities, however, have enabled me to give the following and fuller account. DINING-ROOM. Jan van Huysum. — A bouquet of flowers, comprising roses, tuhps, poppies, hyacinths, and convolvuluses, in a bronze vase, decorated with a relief of pretty amorini. Other flowers, especially auriculas, are lying on the table on which the vase stands. A niche forms the background. On wood, 2 ft. 10 in. high, 2 ft. 1^ in. wide. The flowers are executed with the usual skill of this eminent master, and the whole picture exhibits a greater certahity in the distribution of the masses of light and shade than is usua. with this painter. 106 MR. MORRISON'S COLLECTION. Letter II. Sir Joshua Reynolds. — The portrait of Dr. Johnson, at an advanced period of Hfe, and evidently suffering from illness. He is seated in an arm-chair, dressed in black ; a pen in his right hand, and his left resting on a sheet of paper on a table. On canvas, 4 ft. 1 in. high, 3 ft. 3 in. wide. The suffering state of the lexicographer is strongly expressed both in the features and in the colouring. The treatment is broad and masterly. Peter Paul Rubens. — St. Francesco de Paula is rising through the air in the presence of a large number of people, most of whom are gazing at him with signs of adoration. Many figures are on a bridge ; others stand somewhat lower. Quite below are three persons — two men and a woman — possessed by evil spirits, who are writhing in convulsive movements. Several persons are endeavour- ing to restrain them. On wood, 3 ft. 6 J in. high, 2 ft. 6 in. wide. This sketch is rich and dramatic in composition, and also exhibits careful drawing, and a more than usual power of colouring. LIBEARY. On a dumb waiter, and protected by a glass, is a painted Greek vase, with a complete representation of the combat for the body of Achilles. This belongs to the so-called archaic style, the heads as well as the figures being, according to a uniform antique type, black upon a yellow ground. The chief group represents the body of Achilles lying on the ground, his name, as well as those of all the other personages, being inscribed in large capital letters close by. This vase, which is about IJ ft. high, and in excellent preservation, is one of the most interesting of this style known to me. The motives are very speaking and animated, and the execution very careful. On the bookcases are eight vases from the province of Basilicata, in the kingdom of Naples, some of them large, and with ruder paintings. FRONT DRAWING-ROOM. Francesco Albani. — A pleasing landscape, with a woman seated beneath a tree, from which she is plucking fruit. A boy with fruit in his hand is clinging to her, while another child lies sleeping at her feet. On the right is a palm-tree with a child seated upon it, and two more standing below. On the left is a Letter 11. MR. MORRISON'S COLLECTION. 107 superb fountain surmounted by the figure of a child. On canvas, 2 ft. 4 in. high, 3 ft. 2 in. wide. Of pleasing motives and attrac- tive heads ; warm and soft in colouring, and careful in execution. Teniers. — A crowd of country people are amusing themselves in various ways before a village tavern. On the left, next the door, are some couples seated, and some more standing. In the centre are three couples dancing ; behind them lookers-on. On the right, on a tub, is a piper ; around him are other groups, with two women, who are supporting their drunken husbands. In the background is the village, with the church. A portion of a rain- bow is in the sky. Signed. On wood, 2 ft. high, 3 ft. 2 in. wide. Formerly in the collection of Lord Ashburton. Very happily ar- ranged, full of speaking and animated motives, and carefully and spiritedly treated in a light, warm flesh tone. Gaspar Poussin. — A landscape, with a large tree to the left in the foreground ; in the centre a shepherd with some sheep and goats. In the middle distance is a still piece of water with build- ings reflected on its smooth surface. A lofty chain of rocks ter- minates the horizon. On canvas, 3 ft. 2 J in. high, 4 ft. 4 in. wide. The noble character of the composition is here combined with great clearness, softness, and delicacy of tone. Adrian van Ostade. — A lawyer in black dress and velvet cap reading a letter thoughtfully in a room. Writing materials, docu- ments, and a book, on the table. A map of Europe on the wall. Signed and dated 1671. On wood, 8 in. high, SJ in. wide. Very true and animated in expression, admirable in the clear day- light effect, and the flesh harmoniously executed in a subdued golden tone. Isaac van Ostade. — A man on a grey horse is halting before a village tavern. Another on a black horse is paying the ostler. A group of five persons are at the door. On the road, quite in the foreground, are two dogs. In the landscape is a peasant on a cart, and two on foot. Inscribed. On wood, 1 ft. 4 in. high, 1 ft. 3 J in. wide. Of fine and powerful effect, especially the man on the grey horse, and carefully executed in an excellent impasto. Il Parmigianino. — The Virgin seated, and holding with her left hand the Child, who is standing before her, supported by a female saint, and worship})ed by the little St. John. The back- ground is formed by a landscape of thick foliage, with a view 108 ME. MOREISON'S COLLECTION. Letter IL of a hilly distance. On wood, 3 ft. 5| in. high, 2 ft. wide. An admirable picture by this very unequal master. The heads pleasing, especially that of the female saint ; the motives happy, carefully modelled in a warm tone, and in excellent preservation. Gerard Dow. — A sage writing in his study. On the table is a large open book resting against a globe ; also a skull. Signed. On wood, 9^ in. high, 7^ in. wide. Of the highest finish, and admirable keeping in a subdued light. Jan Wynants. — Two men and a woman driving four cows along a road skirting a sandhill. Trees in the middle distance, rising ground behind. On wood, 1 ft. 3^ in. high, 1 ft. wide. The har- monious effect, the style of lighting, the careful execution, and the admirable figures by Adrian van de Velde, render this picture highly attractive. Leandro Bassano. — The Adoration of the Shepherds. The cattle, as usual, play a conspicuous part. On canvas, 2 ft. 6 in. high, 4 ft. 6 in. wide. A picture remarkable for clearness of colour and careful execution. Philip Wouvermans. — A tent on the sea-shore ; before it a horse being laden ; also a baggage-waggon. Several persons con- versing before the tent. On the shore are two washwomen, and a rude pole on which is a lantern. Signed. On wood, 1 ft. 9^ in. high, 2 ft. 8^ in. wide. A very picturesque composition in his second manner, executed in a tone which is rather dark in the foreground. Jan Steen. — Saying grace. On a table, on which falls a bright light from an open window, is seated a woman with her back to the window in a grey jacket and white cap, with a child on her arm. Opposite to her sits her husband saying grace, with his hat held before him. Bread and cheese are on the table, and a ham close by upon a barrel. On the window-sill a jug ; and written on the wall a verse from Proverbs, ch. xxx. ver. 8. Signed and dated 1660. On wood, 1ft. 9 in. high, 1ft. 6^ in. wide. A remarkable specimen of the fact that this uproarious master could also occa- sionally represent the touching scenes of humble but happy domestic life. In other respects also, excellence of drawing, decision of forms, equal carefulness of execution in a solid impasto, and great transparency, this picture belongs to the finest works of the master. It was brought to England by Mr. Chaplin, 1831. Letter II. MR. MORRISON'S COLLECTION. 109 William van de Velde. — A sea-coast scene, in a perfect calm. On the left a small Dutch vessel-of-war ; on the right, in the distance, a large ship. Also a number of larger and smaller boats. On canvas, 1 ft. 91 in. high, 2 ft. 1 in. wide. The reflections of the vessels in this charming picture are of the utmost transparency. The execution is very careful. Vandyck. — The infant Christ caressing the little St. John, who worships him. Both standing figures. On wood, 2 ft. 1 in. high, 1 ft. 51 in. wide. Of beautiful motive and intense expres- sion ; warm and powerful in colour. The glass which protects the picture allows, however, no opinion on treatment and preser- vation. Nicholas Berghem. — A woman on a mule in the centre of the foreground ; a man near her ; another man engaged in loading another mule. Behind are a cow, a goat, and sheep. On the right is a man with a donkey ; close to a gate, through which a landscape is seen, another man and a woman. On the right are grand ruins of a classical character. On wood, 1 ft. 9| in. high, 2 ft. 2 1 in. wide. Formerly in the collection of Lord C. Townshend. A rich and picturesquely arranged composition of careful execution, of the later time of the master. Claude Lorraine. — A sea-coast. On the right, through trees, buildings are seen, with a hill behind. In the distance above the line of the sea are other hills. On the left are trees. In the foreground is Europa on a white bull, approaching the sea, and followed by an attendant, who is joined by another female. Two others are seated near the stems of two trees. Three cows are feeding, and two are resting. On canvas, 1 ft. 10|- in. high, 2 ft. 7^ in. wide. The freshness of morning seen in this beautiful picture is admirably expressed in silvery tones of the utmost deli- cacy and transparency. Although this picture agrees in many respects with a larger work by the master of the same subject in the Royal collection, yet it has also many points of dissimilarity. It was originally executed for M. Courtois, and is dated 1658. Rubens. — The four Evangelists setting forth on the divine behest to preach the Gospel. Foremost are St. Matthew and St. Luke ; St. Mark follows with the open book ; and St. John is last. On wood, 2 ft. in. high, 2 ft. 3 in. wide. This very spirited sketch for the large pictures in the Grosvenor Gallery 110 MR. MOERISON'S COLLECTION. Letter II. confirms the opinion expressed in my work that no part of them was touched by Rubens' own hand. Formerly in the collection of Edward Gray, Esq. Albert Cuyp. — A landscape with rocks on the right, and more in the centre a rising ground with trees, and a flock of sheep re- posing ; a cow and a shepherd. On the left a misty distance, with a ruin and a piece of still water with three cows rising from it. In the foreground are three shepherds, and a shepherdess who is speaking to a peasant on the right of the trees. Between the trees and the rocks are another flock of sheep and some figures. On wood, 1 ft. 7J in. high, 2 ft. 5 in. wide. We see in this picture the union of truth, transparency, and a treatment of admirable body, with that felicity of composition for which this master is particularly esteemed. Vandyck. — A male portrait in middle life, with moustache and pointed beard, and white collar. Bust picture. On wood, 1 ft. 7J in. high, 2 ft. 5 in. wide. This fine picture unites a spirited and animated conception with an unusual warmth of tone, approaching Rembrandt. The head is of admirable body ; the dress only slightly treated. Jan van der Heyden. — View of a village lying partly .on rising ground. On the left in the foreground is a fine tree. On the right are various trees which skirt a plain. Two horsemen ad- vancing through a gateway, and other figures, are by the hand of Adrian van de Velde. Signed. On wood, 1 ft. 9 in. high, 2 ft. 4J in. wide. This picture, which is unusually large for the master, belongs to his warmest and most harmonious works. The execution of the details is, as usual, most minute. Titian. — ^The portrait of the painter with his mistress, who wears a furred garment over a red and yellow striped dress. She is pointing to herself, while Titian lays his hand on her person. In the foreground is a skull. The background is dark. Figures more than half-length. On canvas, 2 ft. 11^ in. high, 2 ft. 7 J in. wide. The situation of the lady and the presence of the skull intend to express the contrast between life and death. This picture, of which there is an etching by Vandyck, is treated, espe- cially the female figure, in a broad and masterly tone. The head of Titian is tamer and flatter, and indicates the hand of a scholar. Letter II. MR. MORRISON'S COLLECTION. Ill Teniers. — St. Peter delivered from prison. The whole fore- ground represents a guard-room. On the right are two soldiers and a peasant playing cards ; a peasant stands looking on. In the middle distance are four other peasants. On the left, armour, weapons, a drum, a trumpet, a red dress, and on the wall a sword and two pistols. In the background, lighted by the glory, is the figure of Peter, with the angel delivering him. Signed. On wood, 2 ft. high, 2 ft. 10 in. wide. Of admirable keeping, and carefully executed in warm flesh tones. Rubens. — The Emperor Charles V. enthroned beneath a canopy in a stately apartment, is conferring commercial privileges on the town of Antwerp. A kneeling figure supported by Minerva is receiving the document. In the foreground on each side are a large number of official personages and guards. On wood, 1 ft. 9 in. high, 4 ft. 1 in. wide. Of great skill of arrangement, ad- mirable in keeping, and of broad and masterly treatment. Claude Lorraine. — The Adoration of the Golden Calf, in a large and rich landscape. On the right hand are large trees extending to the middle distance. On the left are huge masses of rock ; near them are trees, which unite in the centre with the above-mentioned trees. In the foreground is seen the calf, very small, upon a stout pillar partially twisted, and adorned above with reliefs ; Aaron is pointing to it. On the altar is a sacrifice burning. Around are a multitude of Israelitish men and women ; some of them kneeling in adoration. Others are dancing. The background consists of a hilly distance of beautiful lines, with Moses and an angel upon a I'ock. On canvas, 3 ft. 9 in. high, 4 ft. lOJ in. wide. This picture, painted 1659 for M. Goly, agrees in the leading feature with that painted five years earlier for Carlo Cavillo, and now in the Grosvenor Gallery. It dificrs, however, in many respects ; for instance, in the circumstance of there being no water in the background, and in its being considerably smaller. It was formerly in the possession of Sir R. Child. The keeping of this fine picture is somewhat disturbed by the over-bright figures. Jacob Ruysdael. — A mill on the left in the centre of a stream which is dashing impetuously along. On the right a wall with high trees above it ; and further behind a tower. A hill in the distance. The sky is covered with rainy clouds. On canvas, 2 ft. 10 in. high, 3 ft 11 J in. wide. The general gloomy efl[ect of this 112 MR. MORRISON'S COLLECTION. Letter II. broadly and finely treated picture is somewhat relieved by a gleam of sun which falls on the water and the mill. Teniers. — The Seven Works of Mercy. In the representation of this subject the painter has adhered to his usual peasant life. The composition is rich ; the feeding of the hungry, the clothing of the naked, and the giving drink to the thirsty, being made the prominent works. Signed. On wood, 2 ft. 3^ in. high, 3 ft. 11^ in. wide. Five pictures of this subject are known by Teniers, the finest of which is that in the collection of Baron Steengracht at the Hague. Two others, very admirable, are in the Louvre and in the collection of Lord Ashburton. This example is less luminous in tone ; but the colouring is warm, and the execution minute. Formerly in Sir Thos. Baring's collection. Jean Baptiste Greuze. — Upon an easel. A young girl in a white dress, with a straw hat with flowers in it hanging on her left arm, is plucking the petals from a white flower in order to tell her fortune. On canvas, of oval form, 2 ft. 2| in. high, 1 ft. 11 J in. wide. The serious expression with which she is performing this important operation is very becoming to the pretty face. The execution is in a solid body, and of very delicate and transparent tone. An enamel portrait of Flaxman in this room is a good and careful work by the well-known W. Essex. LucA dellaRobbia. — A moderately raised relief in terracotta with coloured glazings representing the Virgin with the Child on her lap, who with the left hand is drawing a stalk of hlies at the foot of the Virgin towards him, while with the right he is also grasping at it. Of admirable style, attractive motive, pleasing forms, and careful execution. BACK drawing-room. This apartment is adorned with water-colour drawings by eminent English artists. Prout. — View of the Doge's palace, of the Piazetta, and of the Zecca, taken from the canal close to the Riva de Scliiavoni. 2 ft. 5^ in. high, 3 ft. 5 in. wide. This is one of the best spe- cimens I know of the master, for the great power of foreground peculiar to him, is here combined with singular transparency, and an unusual delicacy of gradation in the various distances. Copley Fielding. — A stormy sea with a vessel in danger of Letter II. SIK CHAELES EASTLAKE'S COLLECTION. 113 being wrecked. 3 ft. Of in. high, 3 ft. 3| in. wide. The large size of this picture, the truth of the waves, and the effect of the dark masses of clouds, render this one of the best productions of this well-known master. Turner. — Mountains round a lake, crowned with fine buildings. On the left a wooded hill, and a tree before it. The whole scene floats in a warm sunny glow. 2 ft. 2J in. high, 3 ft. 8J in. wide. Of masterly treatment, and conceived in a Claude-like taste. PICTURES BELONGING TO SIR CHARLES EASTLAKE, P.R.A. VoL II. 1^. 263. Andrea Mantegna. — The Virgin is supporting with both hands the Child, who stands entirely undraped on her lap. He holds the thumb of her left hand with his right, and has his right arm round her neck. She is looking at him with earnest love and adoration, while he, taken almost in front, and with his head slightly inclined to one side, is looking thoughtfully straight before him. On the right, seen quite in front, is Joseph, represented as a bald-headed old man ; on the left Elizabeth, of about the same age, with a grey cloth over her head, arm, and shoulders. Before her is St. John the Baptist as a child, pointing with the right hand to Christ, while he looks at the spectator and directs his attention to the motto " Ecce Agnus Dei." The dress of the Virgin is a vermilion red ; her mantle a dull green watered stuff : the back- ground dark. In body-colour, on cloth. Small life-sized figures. About 3 ft. high, 2 ft. 4 in. wide. But rarely did this great master attain such a combination of beauty and softness of form, with the purest and most elevated feeling, as in the head of the Virgin. This, with the masterly drawing and modelling of the Child, and the delicate rendering of reflected lights and cast shadows, suffices to prove that the execution of this admirably preserved picture belongs to his ripest time, and can hardly be assigned to an earlier period than 1500. The saints on each side arc more realistic, but of earnest and dignified conception. I entirely agree with Sir Charles Eastlake in believing this to be the picture mentioned by Rldolfi, in his ' Life of Mantegna,' vol. i. p. 72, where he says, — " 11 Signor Bernardo Giunti, gentilhuomo Fiorentino, invaghito VOL. IV. I 114 SIR CHARLES EASTLAKE'S COLLECTION. Letter IT. della pittura, coiiserva del Mantegna una Madonna col Bambino in seno, e due Santi a lato, con San Giovanni, in mezze figure, delle eccellenti opere sue." Giovanni Bellini. — A large landscape, with a thick wood in the middle distance extending tow^ards the left ; through the stems is seen a bright light ; in the background are buildings, and hills behind. In the foreground is the death of Peter Martyr, who is seen on the right, pierced by a murderer in chain armour, while another pursues his fleeing companion more in the centre. On the border of the wood, undisturbed by this tragedy, are some figures occupied felling trees. On a scroll on the left is the name " Joannes Bellinus." On wood. If the cultivated lover of art takes pleasure in tracing in every great masterpiece one link of that chain which each painter receives from his predecessors and transmits to those coming after him, he will especially trace it here. That the painter's chief object in this picture was the thorough rendering of the landscape is obvious ; nor need we wonder at this fact when we consider the antecedents of his father and master Jacobo Bellini, on which the remarkable book of which we have given a description, in the British Museum, throws additional light. At the same time the high degree of development which this land- scape displays is well calculated to excite our admiration. The trees not only show an extraordinary detail in every portion — stems, branches, and foliage — but they also form a mass which impresses the spectator with the idea of a thick wood. The distance also already falls back from the eye in a certain degree. In this land- scape we recognise the type of the landscapes of the scholars of Giovanni Bellini, and not only of those who like Clma da Cone- gliano adhered strictly to his forms of art, but even of the founders of the golden age of Giorgione and Titian ; for it is evident that this picture served as model for the wood in the celebrated land- scape in the Camuccini collection, now in the possession of the Duke of Northumberland. It is remarkable that, while the propor- tions of the fiofures hewino- wood are slender in treatment, those in the foreground are rather short. The motives are very animated. In excellent preservation. CiMA DA CoNEGLiANO. — 1. St. Sebastian, with only a cloth round his loins, standing in a niche, transfixed with two arrows, and with his hands tied behind him. The portrait-like head is Letter II. Sm CHARLES EASTLAKE'S COLLECTION. 115 dignified in expression. The figure is unusually slender, refined, and of graceful action. The modelling is very careful, in a full and warm tone. 2. St. Mark. Companion to the above, and also standing in a niche. Dressed in red tunic and blue mantle, holding his Gospel in his left hand, and in the right hand, which hangs by his side, a pen. The head is of dignified character, the drapery of pure taste. Both are on wood. PiETRO DEGLi Inga?^nati. — The Child seated on the lap of the Virgin, giving the benediction to St. Catherine, who stands on the left with a palm-branch in her left hand, her right upon the wheel. Opposite to her is St. Joseph. Behind him and the Virgin is a green curtain, behind St. Catherine a landscape. Judging from the mild and pleasing character of the heads, and from the only slight development of the forms of the Child, I am in- clined to ascribe this picture to this little-known scholar of Gio- vanni Bellini. The warm colours are harmoniously arranged. The features and right hand of St. Catherine are of beautiful form. On wood. Palm A Vecchio. — The Child seated on the Virgin's lap, in the act of caressing St. Joseph, who kneels before him. Behind St. Joseph is the donor, standing with folded hands. On the left of the Virgin, seated, is the Magdalen, holding the box of ointment in her left hand, her right hand inclined towards her breast. Next to her is St. Francis kneeling. The background, landscape. Whole- length figures, the size of life. On canvas. About 8 ft. square. Pleasing in the heads, wann in the flesh-tones, and harmonious in the rest of the colouring, The less strict treatment shows the later time of the master. DoMENico Ghirlandajo. — The Virgin, with downcast eyes, is supporting with her right hand the right leg of the (Jhild^ who is standing on the right, on a parapet covered with a carpet. AVith her left hand she holds a slight gauze veil, which passes in fi'ont of the Child. The background is a landscape. Ilcr head expresses a decorous, modest, and maidenly character — that of the ( 'hild the innocence of infancy. The full forms of his body, tlie legs of which are, however, too short, are carefully modelled, and the colouring clear and blooming. Above terminating in a semi- circle. On wood. About 4 ft. high, 2 ft. 4 in. wide. I 2 116 MR. BALE'S COLLECTION. Letter IL CosiMo TuRA, called II Cosme. — The Virgin seated on a richly-adorned throne below an arch with two pilasters, supporting with her left hand the head of the Child, who has fallen asleep with the music of six angels. Of four of these angels — two and two on each side of the throne — the two standing behind are playing on small violins, the two kneeling in front on the lute, the one on the right accompanying with his voice. Two other angels are below, the one playing on an organ of very peculiar form at the foot of the throne, while the other blows the bellows with his left hand. A sky of a fine blue forms the background. On wood ; about 10 ft. high, 4 ft. wide. This is an unusually good work by this master, who is rare even in Italy, and who introduced the style taught by Squarcione in Padua into his native city, Ferrara. This form of art is especially recognisable in the Renaissance taste which prevails in the architectural portions and in the puffy folds of the drapery Both in the heads and in the other nude portions a decidedly realistic feeling is seen. The colouring is incomparably clearer and warmer than in other pictures by the master. Finally, the preservation is of rare excellence. •ADDITIONS TO THE WOKKS OF AKT BELONGING TO C. SACKVILLE BALE, ESQ., 71, Cambridge Terrace, Edgeware Road. Vol. II. p. 329. This gentleman, with the highly cultivated feeling for art which I have already described, has, during the last four years, added to the various departments of his collection with as much success as zeal. I must limit myself to the description of the most important objects. Considering the extreme rarity of antique pictures beyond Naples and its vicinity, I may first mention a small circle of about 8 or 9 inches in diameter, representing the half-length figure of a triton holding with the right hand a young sea-bull of greenish colour by a red bridle, and in the left a reed wand. The water is very well indicated ; the ground is black. The motives are very animated, the flesh of dark brown tone, the treatment light, broad, and decorative, and the preservation good. This picture was Letter II. MR. BALE'S COLLECTION. 117 formerly in the well-known collection of Dr. Meade, and is de- scribed in 'Turnbull's Ancient Paintings.' Benozzo Gozzoli. — The Virgin and Child enthroned, with nine angels. This beautiful little picture, already described as belonging to Miss Rogers (vol. ii. p. 267), was purchased by Mr. Bale at the sale of the Rogers collection. Adrian Ostade. — A lawyer reading in his room. Less bril- liant in colour than other pictures of this kind by the master, but highly attractive in decision of drawing and delicacy of chiaroscuro. Mr. Bale has also greatly enriched his collection of admirable drawings. Sandro Botticelli. — Study for his picture of the Calumny of Apelles in the Gallery of the Uffizj at Florence, comprehending the figure of the judge, the figure next him, and that of the female who is dragging Innocence by the hair. Spiritedly drawn with the pen ; the shadows in Indian ink, and the light heightened with white. Lorenzo di Credi. — A female head of moderate size. Charm- ing in feeling, and lightly and delicately drawn on coloured paper with a silver point. Parmigianino. — 1. Heads of children of uncommon beauty, in red chalk. 2. Study of trees in sepia, with the pen and brush. Very spirited. Titian. — 1. A grand landscape, with the chain of Alps at Friuli. Of broad and masterly drawing with the reed-pen in bistre. 2. A landscape. Very broadly treated with the pen and bistre. 3. A landscape, with a shepherd in the foreground ; in the background the chain of Alps and a town. Very poetical and masterly ; with the reed-pen and Indian ink. 4. A head. Broad and masterly ; with the pen. 5. Study of a donkey, in chalk. Of the utmost truth. From the Ottley collection. Vandyck. — 1. The Mocking of Christ. This is not the same composition engraved by Bolswert. In Indian ink and sepia, with pen and brush. ' From the collection of Plos van AmsteL Very spirited. 118 MR. BALE'S COLLECTION. Letter IL 2. Venus and Adonis. In sepia. Good. 3. A study of armour. In sepia, with pen and brush. Of masterly and careful execution. Albert Cuyp. — 1. On the left a wood ; in the distance a piece of water. Of broad and masterly drawing in chalk, and washed in with sepia. 2. Study of a cow in sunshine. Masterly. In Indian ink. 3. A shepherd boy. Similar in treatment and value to the foregoing. Backhuysen. — An agitated sea, with a sailing-boat. Broad and masterly. In Indian ink. Berghem. — 1, 2, 3. In the foreground a man on horseback, with cattle in sunshine. In the centre a piece of water, in the background a hill. Signed. Of great effect, and spiritedly drawn in bistre. The two other drawings by this master belong to his choicest specimens. "A. Renesse, /. 1669." — This is the inscription on a portrait of a boy of great truth of conception, and delicate but masterly drawing, in black and red chalk, in the taste of Rembrandt. This is the first specimen I have seen of this painter, although he is far more entitled to a place in the dictionary of artists than many who figure in it. Jane r. — A male portrait. Of very pronounced character, and of masterly drawing, in his usual style, with black and red chalk. Rembrandt. — 1. The Annunciation. Cleverly composed, and of great effect. Carefully executed in bistre. 2. A girl looking out of a window. Very pleasing, and of mas- terly execution, with the pen and brush, in Indian ink and bistre. 3. A sheet with various subjects, among which a child crying is remarkable. Broad and vigorous, with pen and bistre. 4. A landscape, with water in the foreground, on the banks of which are houses. In Indian ink and bistre, and so carefully exe- cuted that it has the effect of a picture. 5. A distant view. Lightly and spiritedly thrown on the paper with sepia. Lenain. — Various figures. Of animated conception, and power- fully drawn in sepia. • Adrian van de Velde. — A shepherd, shepherdess, and horse- men under a tree. Signed, and dated 1667. The chiaroscuro of Letter II. ME. BALE'S COLLECTION. 119 the general effect excellent, and the details rendered in black chalk with much feeling. Jan Steen. — A peasant looking into a drinking-vessel, which he is holding aloft ; also a woman and a man. Signed. Slightly but very spiritedly drawn with pen and brush in sepia. Drawings by this painter seldom occur. Jan van Huysum. — 1. A duck. Carefully and spiritedly drawn in the freshest water-colours. Formerly in the Verstolk Collection. A present from Mr. Hawkins of Bicknor. 2. Study of a poppy, two convolvoluses, and a rose. Highly masterly ; also in water-colour. 3. Flowers in a jar. A study. In Indian ink. Broad and spirited. 4. Tulips, in water-colour. Masterly. Artus van der Neer. — View of a canal. Picturesque and broad, in black chalk. Jan van Goyen. — A sea-coast. Signed, and dated 1649. Of pure feeling for nature, and broad and spirited. Backhuysen. — View of the coast of Scheveningen, after the departure of the fleet of William of Orange. Many figures are introduced. Spiritedly executed in Indian ink. ScHOTEL. — A sea view, with a fresh wind. The waves of great truth. The execution in Indian ink is very careful. Albert Durer. — 1. Study of buttercups, trefoil, &c., in water- colour. On parchment. Of singular truth, and marvellous exe- cution of detail. 2. A bird. In similar style. Very broadly treated. Dated 1509, and with the earliest form of his monogram. A proof that even at this late period he occasionally employed it. 3. A large beetle. In the same style, and also admirable. The following miniature portraits I found the most remark- able : — Holbein.— Portrait of the Princess Mary, afterwards Catholic Queen Mary, as a young girl. From the Rogers collection. Of rare delicacy. Isaac Oliver. — Portrait of Lord Southampton, in black dress and white collar. An oval, about 1^ in. high, and 1^^ across. Inscribed with the monogram of the artist and 1623. Very careful. How highly the miniatures of remarkable per- 120 MR. BALE'S COLLECTION. Letter II. sonages by celebrated artists are still prized is proved by the sum (50/.) which Mr. Bale gave for this work. Among the antiquities the following objects most struck me : — An Egyptian idol, about 2^ in. high, of earthenware. Thousands of this class occur, but the delicacy with which the head in this instance is executed, and the fine turquoise blue colour, are quali- ties seldom seen, and which sufficiently explain the sum of 201, given for it. A golden circle, probably the setting of a brooch. The pattern shows a delicacy of taste, and the workmanship a completeness, such as I have scarcely seen in the antique. At the same time this specimen is in perfect preservation. From the Rogers col- lection. An antique necklace of great beauty, from the De Bruges collection. Two rings with glass enamel ; one of them with a fine piece of aventurine. These are very remarkable. Of the mediaeval and later period the following objects struck me as most worthy of note : — A mediaeval ring, from the De Bruges collection, of consider- able breadth ; in design, enamels, and filigree work the finest specimen I have seen of this kind. It contains a small case for relics or an amulet. The Crucifixion, with the Virgin and St. John, on a small Limoges enamel, by Pierre Rexraon, set as a little altarpiece. Of uncommon refinement of heads, showing the influence of German art, and particularly harmonious in effect of colour. The profile of a young man in relief, in the Pappenheim slate- stone, now employed for lithography. On the reverse the date "Ao 1658," and the initials G. P., probably those of the artist. The conception is fresh and animated, and the execution excellent. From the Woodburn collection. A very beautiful example of the so rare " petition-crown of Thomas Simon," executed in order to show King Charles II. that native artists were capable of sinking the dies for his Majesty's coin — a service in which foreigners were employed. The royal head, crowned with laurel, is very flatly treated ; the flesh parts, hair, and drapery, very softly worked in the dotted manner. The reverse contains in the centre a circle, and St. George on horse- Letter II. SIR JOHN SOANE'S COLLECTION. 121 back, very small, with the inscription around, Honny soit," &c. ; three armorial bearings and a harp are in four compartments, and between each the cipher x, and the inscription, "Magnse Bri. Fr. et Hib. Rex. 1663." For this crown Mr. Bale paid the sum of 154/. Another great rarity is a large gold medal, with the true and animated portrait of General Monk on the obverse, and his name, titles, and dignities in Latin on the reverse. Finally, I must call attention to two vessels with lids of Japan lacquered ware, which show great beauty and originality of orna- mentation. SIR JOHN SOANE'S COLLECTION. Vol. II. p. 320. Through the kindness of Mr. Bealey, keeper of the Soane Museum, I was enabled, in 1854, to devote a careful examination to the MSS. with miniatures it contains. They are of Italian, French, and Netherlandish origin. As the Italian are of the most importance, I take them first, and also in chronological order. The Vulgate. Large octavo. Written in two columns, in a very small and beautiful minuscule letter ; judging from the cha- racter of the accompanying cotemporary pictures, about 1250. The Days of the Creation are in two stripes. The pictures in the initials are exceedingly small. The Trinity is represented in the Italian form — the Almighty holding the Saviour on the Cross, the Holy Ghost, as a dove, hovering between them. A larger, but unfortunately ruined picture, represents the Root of Jesse. The motives of these pictures are very animated and speaking, the proportions generally very short, the execution, with black outlines, simple but very precise. Combatants are represented in chain armour. The grounds consist of burnished gold. The ornamentation which proceeds from the stripes with the Days of the Creation has a particular Italian character. The forms of the initials are in gold ; the fillings out, of a dark red and dark blue with simple flourishes, are very tasteful. Single figures in prayer also occur here and there, probably introduced by the proprietor of the MS. in the second half of the 15th centmy, and by a very skilful hand. He is thus probably represented himself, 122 SIR JOHN SOANE'S COLLECTION. Letter 11. immediately at the begimiing, in the garb of a knight. Two weapons below doubtless refer also to him. On the page with the Root of Jesse is a kneeling monk, with a weapon below, who is particularly remarkable. Prayer-book. Small octavo. In two columns, in a large and powerful minuscule letter, wTitten on fine parchment on 433 leaves, the twenty-four of the unornamented calendar included. This book contains the Office of the Virgin, the Office for the Dead, for the Cross, for the Holy Ghost, the Seven Penitential Psalms, and the Psalmi graduales. The cover in itself deserves notice. It is adorned on both sides, in the centre, comers, and clasps, with very tasteful decorations on red silk, of silver gilt, with fine filigree work and nielli. On a small plate in a circle in the centre of the upper side is the Virgin with the Child, in tolerably good workmanship. On the lower side, in similar shape, the I. H. S., and on the clasps the words " Dominus tecum " and " Ave gratia plena," all in niello- work. The pictures in this volume are ascribed, in the first place, to the hand of Girolamo dai Libri, who is, in the second place, stated to be the son of Francesco dai Libri, instead of exactly the reverse. They do not, however, correspond with the authentic works of either of these painters, but bear rather a Florentine character, in the manner of the well-known Attavante, and may have been executed about 1480. Of this kind are especially the rich and tasteful decorations which ornament the borders of both the first pages before the Office for the Dead and the Penitential Psalms. Also the more simple border ornamentation which sometimes occurs has quite a Florentine aspect. The same may be said of a portion of the pictures, namely, of the twelve figures on the first two pages, and of the Virgin and Child on the second. Although these exhibit a skilful hand, they are surpassed by another, by whom the Annunciation, David cutting off the head of Goliah, with a pretty landscape, and David as a tender youth with Goliah's head, were executed. Particularly characteristic is the picture of Christ's Entry into Jerusalem, in which two female figures kneeling in the foreground are the principal objects ; and on the page opposite the half-length figure of a skeleton, through which a serpent is twisting, in the attitude of prayer ; as also below, the Fall, symbolically represented, in a circle. But by far the most celebrated manuscript here preserved is the Letter II. MSS. WITH MINIATURES. 123 Commentary on St. Paul's Epistles by the Patriarch of Aquileja and Cardinal, Marino Grimani, nephew to the well-known Cardinal Domenico Grimani, and decorated by his commission with minia- tures by Don Giulio Clovio. Large folio, one column, beautifully written on the finest parchment, in a still somewhat Gothic minu- scule letter. As the border had somewhat suffered, a new border has, with great skill, been so joined on in parchment as to form one with the old original. The superb cover is probably of the same period as the above described restoration, and is of green velvet. The high reputation of Don Giulio is here far more justified in the arabesques and pictures of this work, which belong to his earlier time, than in most of the examples of his art which I have seen in different European collections. The execution in this instance must be assigned to a period between 1527 and 1546 ; for in the title-page Marino Grimani is already designated as Cardinal — an appointment bestowed on him by Pope Clement VII. in 1527 — while he died in 1546. The following circumstances, however, render it highly probable that Don Giulio executed these miniatures in 1531 and 32, which, as he was born in 1498, makes him at that time 33 or 34 years of age. Vasari tells us, namely, that in consequence of a vow formed when in the hands of the Spaniards, by whom he was taken prisoner at the sack of Rome by the army of Charles V., in 1527, Don Giulio Clovio entered the monastery of S. Ruffiilo in Mantua, where he remained three years ; but that having, in a journey to another monastery of the order, broken his leg, and received very unskilful treatment in the Abbey of Candiana in the Paduan territory, his case came to the knowledge of Cardinal Grimani, who was a great admirer of his art, and who therefore obtained permission of the pope to take him into his service and cure him of his accident. Being restored to health, and having laid aside his monastic robe, he proceeded to Perugia, where the Car- dinal resided as Legate, and executed for him four pictures in an Office of the Virgin, and also " in uno Epistolario tre storie grandiose di San Paolo Apostolo." That this is the MS. so designated appears not only from an inscription I will give further on, and from the circumstance of the subject being identical, but also from the fact that Vasari adds that one of the three large pictures had recently been sent to Spain. At this time indeed there is but one . large picture left in the work, which proves that a second must also 12i SIR JOHN SOANE'S COLLECTION. Letter II. at some time have been abstracted. Having thus supplied all the information at my command as regards the painter, the patron, and the time and place of the execution of this work, I proceed to a nearer description of the miniatures themselves. The border immediately on the first page is in the style of the Raphaelesque arabesques, and is distinguished for delicacy of taste, and great elegance and refinement of execution. On the broad side border are seen masks, cameos, small landscapes, satyrs, children, &c., in gay succession. A head of Minerva especially, in a circle, executed in colour, is of the highest finish. On the narrow border appear beautiful birds, among which a cock is conspicuous, as also three satyr masks, and, quite below, a very successful old woman with a spindle, probably meant for one of the Fates. Finally, the lower border consists of an extensive landscape, with three shepherds conversing in the foreground. This is somewhat cold and crude in tone. At the place where the initial letter usually occurs, is seen instead, in brown heightened with gold, a man in a contemplative position, excellent in motive, drawing, and drapery. At the beginning of the Preface to the Commentary on the Epistle to the Romans is a very beautiful C, in similar style, with two male figures in the spaces, one of whom is pointing to the superscription. The outer border is decorated with golden ara- besques of the rarest elegance, in the centre of whicfi, in an oval, is an onyx cameo with a fight of horsemen, admirably imitated. Tlie superscription preceding the Commentary itself is in golden capitals on a dark-green ground, and makes a splendid effect. The leaf opposite contains by way of title-page the Conversion of St. Paul, in which Don Giulio Clovio has entirely adhered to Raphael's cartoon of the same subject. The two figures only, with St. Paul's horse, are here rendered smaller, and placed more in the background. The whole landscape also is altered. This picture is of wonderful finish : the border also is very richly ornamented. Above, in the centre, in brown and gold, in a horizontal oval, is the Trinity — the First and the Second Persons enthroned, with secular crowns on their heads, holding one sceptre in the centre between them ; above them hovers the Holy Ghost in the form of a dove, of unusually large size. At the sides are youthful angels blowing their trumpets. Next to this oval are splendid weapons, armour, &c. In the upper angles are two figures freely copied from Michael Angelo's figures in Letter II. MSS. WITH MINIATURES. 125 chiaroscuro in the Sistine Chapel, and here executed in beautiful and warm colouring. One of them is holding armour and shield as a kind of trophy. Below this one, on the narrow side, is St. Paul, represented as a statue of bronze gilt, and again weapons, particularly a shield with the head of Medusa. Also above, on the broad side, are weapons, and directly below, in an oval, St. Paul preaching at Athens, in somewhat too crude colouring. At the end is the figure of Peace, lightly attired in a green chlamys, and in the act of setting fire with a torch to weapons at her feet. This figure, the fine profile of which plainly shows the scholar of Giulio Romano, is in every respect, in grace of motive, beauty of forms, charm of colouring, and marvellous delicacy of modelling, one of the most successful efforts of this painter. As a companion, on the narrow side, is a boy carrying a suit of armour. In the centre of the lower border are four others, two of them holding a circle, in which is represented the Stoning of St. Stephen, a rich coloured picture conceived by the painter himself, but rather exaggerated in some of the motives. Near the boy holding the armour is the following highly important inscription in golden capitals : — " Marino Grimani Car. et Legato Perusino, Patrono suo Julius Crovata pingebat." The last word but one shows the painter to be a native of Croatia. On the following page, on the upper border, in a horizontal oval, in brown and gold, is the Cardinal, seen at his writing-table in eager discourse with two standing men ; another figure of excellent motive in the background. On each side of the oval are two white doves and a scroll with the word " Simplices." Finally, at both the corners are again figures holding weapons, taken from Michael Angelo. On the broad side border, above, in a circle, is the por- trait of the Cardinal in colours, still tolerably youthful, with delicate clever features and a long brown beard. This is a perfect marvel in the union of truth, animation, and tenderness of execution, and incomparably the best portrait by Giulio Clovio I know. The figure of Mars below this, leaning on his shield, in gorgeous armour, is also masterly, but does not equal the figure of Peace before-men- tioned. On the narrow side, in an upright oval, in brown and gold, is an elderly man with a stafl' in his right hand, a vessel in the left, with the inscription " Pastoris muuus." Below him again, weapons and a boy carrying armour. On the lower border are two frightful dragons of gay colours ; in the centre a circle with a 126 SIR JOHN SOANE'S COLLECTrOX. Letter IT. landscape of very tender gradation, with six charming children occupied around the coat of arms of the Cardinal ; four of them supporting it, while an angel holds the Cardinal's hat above. Below the arms, and between the dragons, a scroll with the word " Pru- dentes," which, with the word " Simplices " above-mentioned, was evidently the motto of the Cardinal, signifying the text "Be ye wise as serpents and gentle as doves." This superb MS. was bought from the Duke of Buckingham, father of the present Duke, with some other MSS., various intaglios, and some engravings by Lucas van Ley den, for the sum of 2000?. Independent also of the beauty of the miniatures, this work possesses a two-fold interest. It shows, firstly, how the inventions of the greatest geniuses, such as Raphael and Michael Angelo, were adopted in the subordinate branches of the art, and set forth with the highest exercise of tech- nical skill ; and, secondly, it proves the taste for classical reminis- cences to have been so deeply rooted that even in a work of religious import, by a high ecclesiastic, he authorised the mixture of mytho- logical and scriptural representations in its decoration. I now proceed to the MSS. with French miniatures. The second volume of the well-known French translation of the History of the Jews by Josephus, beginning at the 16th book. Folio, in two columns, in a strong minuscule letter, and at the heading of each book (the last and 27th excepted) adorned with a large miniature, in which three different hands may be distinguished. The first hand, by whom the picture preceding the 16th book was executed, is that of a careful and skilful miniature-painter, but one of inferior rank. The second hand, to whom the picture preceding the 17th book belongs, is more powerful in colour, and bolder and broader in treatment. The third, which is the author of the picture pre- ceding the 19th book, is by far the best. The heads are animated, the motives speaking, the colouring warm, and the execution care- ful. By this hand is also the picture representing the Roman camp before Jerusalem, entirely in the forms proper to the period of the painter. Among the tents, that belonging to Titus is distinguished by being rose-coloured. The execution is in every part peculiarly careful, as seen in the hems of the dresses, in the weapons, and in the buildings, which are heightened with gold. The borders of all the pictures are quite in the French taste, with single flowers and tendrils on a pale gold ground. The initials are small, but graceful. Letter II. MSS. WITH MINIATURES. 127 The arms of the House of Lancaster, p. la, show that this book was executed for a member of that family. From the style of the miniatures, the date 1470-80 may be assigned to this work, which may therefore possibly have been executed for Henry VII. before he ascended the throne. Prayer-book, small octavo, written in one column, with a small minuscule letter, and richly bound in red velvet worked in gold. This contains a number of very delicate miniatures, agreeing so strikingly with those in the celebrated Hours of Anne of Bretagne, that they may be assigned to a somewhat earher period of the same painter. The stage of development, and the style of the very commonplace sloping stripes which form the border ornaments, point to 1480 as the most probable period of execution. Of the four Evangelists, each on a separate page at the commencement of the Gospel, St. Mark is the most remarkable. He is represented as an old man writing, of portrait-like character. In the picture of the Annunciation the angel is of great delicacy ; also the Virgin in the Presentation, and in Glory. The heads of Christ and of Pilate are distinguished by originality and refinement. Prayer-book. Octavo. Part is failing at the beginning. It is written on fine parchment, and contains pleasing border decorations of flowers and fruits, hke those mentioned in a former MS., and which ornament many French and Netherlandish MSS. from 1480 to 1530. The pictures themselves, some of which are in chiaroscuro, are of very inferior value. Tiie work belongs without doubt to the North of P'rance, and to the termination of the 15th century. I proceed finally to the MSS. with Dqtch miniatures. Prayer-book. Wide octavo, written in Dutch in one column, in a vigorous minuscule letter. This Is a work of second-rate order. The two first pictures — the Annunciation, and the Virgin and Child in the initial — alone deserve notice. The heads of the Virgin are of pretty round forms, and delicate in feeling. The borders of these two pages are also rich and careful, like those of the two last men- tioned MSS., though not of great refinement. Many of the other borders still display the olden style, with rich flourishes drawn with the pen, golden knosps, and the gay, acanthus-like tendrils. Upon the whole the date may be assigned to about 1490. A Latin Missal, bound in red velvet. Large octavo, written in one column, in a strong minuscule letter, on fine parchment, with 128 SIR JOHN SOANE'S COLLECTION. Letter IT. very wide borders. It contains 356 pages, and is a very rich and splendid volume. In the beginning is an inscription, both in Italian and German, stating that this book was presented by Wolfgang Wilhelm, Pfalzgraf of the Rhine, to Johanna, Duchess of Villenosa, his mother. This is a fresh proof of the influence which the style of art proper to the French miniature-painters exercised even upon the Dutch artists, for both the technical process and the combination of colours show the French manner. Nay, even the mode of conception is frequently so alike that one would be inclined to ascribe these miniatures to French artists, if the following reasons did not decide them to be of Dutch origin. The tendency is throughout realistic ; the proportions of the figures very short. In the Calendar, such saints as Lievin, Quentin, Lambert, Medardus, Gildardus, Gudula, point to Belgium, and Wolfgang, Christine, Columban, and Kuni- gunde to Germany. From these facts, and from the style of the pictures, I should conclude that this work was executed, both text and pictures, in Holland. The Calendar, which occupies 12 pages, is one of the richest I know ; the text of each page being framed in the following manner. Above, in colours, upon a blue field, is the sign of the Zodiac ; below, occupying the whole width, and care- fully finished, the appropriate occupation of the month. On the wide border, in brown and gold, are events from Bible history ; on the narrower border, two saints as statues, in the same style. Thus on the page dedicated to January the v/ide border contains the Presentation, the Adoration of the Kings, and the Conversion of St. Paul. Of the various miniature-painters engaged in the de- coration of this work, the author of the pictures in the Calendar may be considered the most frenchified. In the essentials of the art he is weak, the compositions are tasteless, the motives tame, the heads spiritless, and the drawing insignificant ; while, on the other hand, the colouring is lively, and the execution very skilful and careful. By his hand are the majority of the other pictures ; for instance, the Visit of the Queen of Sheba to Solomon. Among the other painters, some are far superior. I may mention at once the first picture, representing Christ in Glory, and occupying a whole page. Here the old mosaic type, though somewhat softened, is adhered to, wliile the execution, in colours of unusual force, is very careful. Chi'ist on the Mount of Olives, and Christ betrayed by Judas, are both, as in the French school, treated as night-pieces. Judging Letter II. MSS. WITH MINIATUEES. 129 from the architecture, and from the whole style of art, particularly as seen in the already developed aerial perspective, the period of this MS. can scarcely be pronounced to be earher than 1520. For beauty of feeling and tenderness of harmony the Visitation, and the Virgin and Child adored by St. Augustin, may be considered the best pictures ; for elevation of expression, the Mater Dolorata supported by St. John, and the Seven Sacraments. The Dutch character is most strongly seen in the Adoration of " the Kings, in which the colouring is very powerful, and the expression of space, the house, and the landscape, all of admirable delicacy. The same may be observed in other backgrounds. Here and there the arrangements of the objects are borrowed from the Biblia Pau- perum ; as, for example, the Annunciation, and Gideon before the Fleece, to which an angel is pointing, in a very beautiful landscape. The very rich decorations of the borders, in the same taste as those of the foregoing MS., are in point of delicacy almost of the first order. The preservation of the whole is all that can be desired. This missal was purchased in 1821 at the sale of Edward Knight, Esq., by the Duke of Buckingham. VOL. IV. K 130 LORD OYERSTONE'S COLLECTION. Letter IIL LETTER IIL Lord Overstone's collection — Lord Caledon's pictures — Dowager Lady Wal- degrave's pictures — Mr. Gladstone's pictures — Two Gaspar Poussins belonging to the Hoare family — Mr. St. Jolin Mildmay's collection — Mr. Robarts's collection — Artus van der Neer belonging to Lord Shaftesbury ■ — ^.Mr. Davenport Bromley's collection — Lord Wensleydale's pictures — Mr. Edward Cheney's collection — Rev. Mr. Townshend's collection — Earl Stanhope's pictures — Mr. CoruAvall Legh's pictures — Mr. Mar- shall's pictures — Mr. William Russell's collection — Mr. Beresford Hope's collection — Mr. Field's collection — Manuscript belonging to Mr. Boxall — Mr. TuUoch's collection — Mr. Henderson's collection — Collection of late Mr. James — Objects of art belonging to Mr. Felix Slade. LORD OYERSTONE'S COLLECTION, 2, Carlton Gardens. This choice collection contains more especially a series of chefs- d'oeuvre of the Dutch school, proceeding, in great measure, from the well-known gallery of Baron Verstolk at the Hague. Lord Overstone also possesses admirable specimens of the Italian, Spanish, French, and English schools, which are seen to great advantage in the fine apartments of his London residence. THE LIBRARY. Peter de Hooghe. — View of the back court of a house, having an open door at the end of it, with an ascent of two steps to enter a garden. Near the centre of the court is seated a gentleman about to enjoy his tankard and pipe, with which a woman standing before him has provided him. He has invited her to take a glass, which she is in the act of drinking. At the same time a child is crossing the court with a pot of embers in her hand. On canvas. 2 ft. 4 in. high, 1 ft. 11 in. wide. This master, who is the painter of sunlight par excellence, appears in this beautiful picture in the highest perfection of his powers. Although treated upon the whole on a scale of cool harmony, yet he has happily avoided all monotony by the introduction of the red petticoat of the woman, which is repeated in delicate gradations in the different planes of distance by the window shutter and by Letter III. LORD OVERSTONE'S COLLECTION. 131 the red tiles. The chiaroscuro of the view beyond, with the steps and trees, is admirable. Formerly in the collection of Mr. Wells of Redleaf. Teniers. — 1. An alchemist in his laboratory, seated before his hearth blowing the fire beneath a crucible. In the background are two other alchemists. 1 ft. 6J in. high, 1 ft. 1^ in. wide. Of masterly treatment, and of the utmost delicacy of the cool tones which pervade the whole picture. Formerly in the possession of Baron James Rothschild of Paris, Rembrandt. — 1. A landscape exhibiting an extensive view over the flat country of Holland. A river, commencing from the foreground, winds through the scene and is lost in the distance ; in the foreground, on the left, are cottages surrounded by trees, and farther back a windmill under the deep shadow of dark rainy clouds, with which the sky is covered, A few clouds and the horizon are dimly lighted by a gleam of sunshine, which falls also on a sandy hill ; a loftier hill is in the distance. The solitude of the scene is only disturbed by a few figures. One figure is standing before the nearest cottage, another stands in the doorway, and in the river in front are some men in a boat. The scene is enriched in its different planes of distance by a multitude of details — trees, bushes, meadows, &c. On canvas. 4 ft. 3J in. high, 5 ft. 5 in. wide. Of the twenty landscapes, or thereabouts, which are known to be by the hand of Rembrandt, this is far the largest, and at the same time one of the finest examples. The spectator scarcely knows whether most to admire the poetic feeling of a melancholy grandeur which pervades this picture, or the masterly execution with which it is expressed. The transparency with which every portion, and even the deepest shadow, is rendered, shows Rembrandt to be the greatest master in chiaroscuro of the whole Netherlandish school ; at the same time the treatment is as marrowy as it is juicy — as broad as it is careful. This landscape doubtless served as model to Philip de Koningk and Ruysdael in those pictures in which they have expressed the peculiar charm of a widely-extended flat distance. In 1825 it was in the collection of Count de Vence at Paris. Engraved by De Marcenay. Isaac van Ostade. — 1. View of a country inn, at which a gentleman has just arrived and dismounted from a grey cob horse ; his back is turned towards the spectator, and he appears to K 2 132 LORD OVERSTONE'S COLLECTION. Letter IIL be giving his orders to a man who stands before him with a can in his hand ; a trough, with hay in it, is placed before his horse. The hostess is at the door taking up a child, which has clung to her knees as if frightened. A peasant sits at the other side of the door filling his pipe. At the end of the house, and leading to an adjoining cottage, is a flight of stone steps with two children at the foot ; a woman sitting at her spinning-wheel, and a man standing at her side, are at the top of the steps. A pig, a dog, and some fowls are near some rude buildings or sheds on the opposite side. In front is a basket lying on its side. The steeple of a church rises above the second cottage, and some trees are at the end of the buildings. Signed and dated 1649. On canvas. 2 ft. 6 in. wide, 2 ft. high. The composition is very picturesque, and at the same time rich in details. The light, which falls with singular power and transparency on the grey cob, is delicately repeated in the middle distance on the clouds, and further back on 'the bright horizon. The tone is very powerful and warm, and all the forms given with great decision. In 1825 this beautiful picture was in the possession of Prince Galitzin at Paris, afterwards in that of Mr. Wells of Redleaf. Teniers. — 2. The interior of a tavern with a young peasant man seated at a table, a pipe in his left hand, a glass raised jovially in his right. At the same table is an old peasant, also seated. Four other figures are in the room. On wood. 1 ft. 1 in. high, by 1 ft. in. wide. Carefully and spiritedly carried out in his cool harmony of colour. DINING-ROOM. DoMENiCHiNO. — 1. A landscape with grand towers on a piece of water, on which is a boat with three figures. Three others are busy fishing, and three more are in the middle distance. On the left is a large tree. Hills in the background. On wood. 1ft. 6 in. high, by 2 ft. 6 J in. wide. Although a genuine picture by the master, the composition is not remarkable, and it is somewhat heavy in colouring and poor in treatment. LuDOLPH Backhuysen. — 1. A stormy sea, with a boat in the foreground ; two larger vessels in the middle distance, and other in the remote background ; a coast on the right hand. On canvas. 2 ft. 1^ in. high, by 2 ft. 9 in. wide. The agitated waves are Letter III. LORD OVERSTONE'S COLLECTION. 133 expressed with great mastery, and the execution is most careful in the delicate cool tones of his best time. Jacob Ruysdael. — 1. A landscape with rising ground on the left hand overgrown with trees ; a road leads over it, with a woman and child in the foreground. On the right is a piece of dark water, and beyond it a hill. The sky is kept tolerably light. Signed with the initials. On canvas. 1 ft. 7 in. high, 2 ft. 1 in. wide. Of the earlier time of the master, and of singular truth. The trees are especially admirable. The execution is highly careful. Formerly in the collection of Edward Gray, Esq. WiLLEM VAN DE Velde. — 1. A calm sea, with a coast near, and another coast in the distance. On the water are two principal groups of vessels, and several single vessels of different sizes, some of which are filled with troops. On canvas. 2 ft. 1^ in. high, 3 ft. 6^ in. wide. A rich picture, of masterly carrying out in a clear cool tone. The reflection of the objects in the water is par- ticularly admirable. Formerly in the Van der Pol collection in Rotterdam. Clarkson Stanfield. — 1. A rocky Italian valley, with houses and a bridge. Macaroni-mills at Amalfi. On canvas. 2 ft. 6 in. high, 2 ft. 1 in. wide. Sunny and clear in the keeping, and carefully executed. Philip Wouvermans. — A fierce battle of horsemen and infantry. The principal group in the centre of the foreground consists of a man on a grey horse aiming at a trumpeter on a brown horse, who, in default of any other instrument, is defending himself with his trumpet. Another figure is between them on the ground. Near them is a horseman firing a pistol at a foot soldier, who is in the act of piercing his rearing brown horse with a lance. More towards the left is a standard-bearer galloping away in fear of the pistol. On canvas. 2 ft. 1 in. high, 2 ft. 8 in. wide. This picture is one of the chefs-d'ceuvre of the second period of the master. The composition, though so animated, is very distinct, the single motives very momentary and true, the expression of the heads most forcible, the figures and horses of unusual size, and the execution of every part very careful. It reminds the spectator in many respects of the well-known battle-piece in the collection of M. van Loon in Amsterdam. Formerly in the collection of the King of Holland. 134 LORD OVERSTONE'S COLLECTION. Letter III. Bernardo Bellotto. — View of the Piazza of St. Mark. On canvas. 2 ft. 2^ in. high, 4 ft. 4 in. wide. A rich and careful, and, for him, transparent picture. Clarkson Stanfield. — 2. A sunny court between rocks and trees, with two figures. A companion to the other Stanfield. Kitchen of the inn at Amalfi. On canvas. 2 ft. 6 in. high, 2 ft. 1 in. wide. Of admirable keeping, great clearness, and careful execution. Artus van der Neer. — 1. A Dutch village on a canal sur- rounded with trees, on a bright moonlight night. In the foreground are two hewers of wood at their occupation. In the middle distance some fishermen. Signed. On canvas. 2 ft. 1^ in. high, 2 ft. 7 in. wide. The efi'ect of moonlight is here rendered with admirable skill in every portion. The treatment is highly solid and free, proving that this picture belongs to his later time. Jan Hackaert. — A view of the woods at the Hague, traversed by a road, with a party of men on horse and on foot. Figures by Adrian van de Velde. 2 ft. 3 in. high, 2 ft. wide. The cool obscurity of a forest, with a few gleams of sunlight falling on the lofty-stemmed trees, is admirably expressed. The delicacy of the aerial perspective is particularly remarkable. All the details are of great truth of nature, and the treatment both free and careful. Formerly in the collection of Baron Verstolk at the Hague. Artus van der Neer. — 2. Moonlight view of the principal street of a Dutch village, with the church and richly-wooded ground. In front, seated upon a felled tree, is a man in conversa- tion with a woman ; more on the right three other figures. In the middle distance are five cows. In the distance a man and woman are seen walking. Signed. On canvas. 2 ft. 4 in. high, 2 ft. 8J in. wide. The composition of this picture is very attractive, and the effect of the moonlight is all that can be desired for truth. The style of the careful execution indicates the middle period of the master. Thomas Stothard. — 1. Jacob's Dream. In the foreground is the sleeping patriarch ; behind him, in a glow of light, is the heavenly ladder, on which are six angels. On canvas, 4 ft. 1 in. high, 3 ft. 3 in. wide. One of the most distinguished pictures by this genial and versatile master. The action of Jacob's sleep is of great truth, and the angels are noble and refined both in form and Letter TII. LORD OYEESTONE'S COLLECTION. 135 movement. The colouring of Jacob also is unusually powerful and clear ; that of the angels delicately graduated. The keeping of the whole is very harmonious, and the details careful. Jacob Ruysdael. — 2. A landscape, with a waterfall of mode- rate volume in the foreground. In the middle distance is a house reflected in the still water above the fall, with a group of trees. On the right is a wood before a hill, which extends in perspective lines to the background. Some clouds are lighted with unusual warmth for him. Signed. 2 ft. 3 in. high, 1 ft. 8 J in. wide. A picture of pleasing composition and very careful finish, of the middle period of the master. Jan Both. — 1. A landscape, with a chain of hills stretching from the foreground on the left deep into the picture. On the right are some trees. On a road in the foreground are two laden mules, with their driver and a dog. On a mountain-path are other figures and cattle. On canvas. 2 ft. J in. high, 2 ft. 7 in. wide. Of great charm of composition and careful carrying out. LORD OVERSTONE'S PRIVATE ROOM. Rembrandt. — 2. An aged lady, styled " The Artist's Grand- mother," having the appearance of being upwards of eighty years of age, of a thin and withered countenance, seen in front. She has on a black velvet cap, which descends in front in a point on the forehead, and wears a full broad white ruff*, and a plain black gown, which is fastened in front. The background is dark. Inscribed and dated 1660. On canvas. 2 ft. 8 in. high, 2 ft. 1 in. wide. Arched in form. The extraordinary truth of life, the decision of forms, the depth and transparency of the golden tone, and the certainty and breadth of the spirited treatment, assign to this picture a distinguished place among the portraits by Rem- brandt. Formerly in the collection of Lord Charles Townshend, and later in that of Baron Verstolk. Jan Wynants. — 1. A landscape, exhibiting a country diversified with hill and dale and clusters of trees. Upon a winding road, over a hill on the right, is a sportsman approaching, followed by his dog. The opposite side is composed of a clayey hill, surmounted by a few light trees and bushes, and fenced in at the side by wooden rails ; some open country and a wood complete the composition. Figures by Adrian van de Velde. 1 ft. 3 in. 136 LORD OVERSTONE'S COLLECTION. Letter IlL high, 1 ft. 7 in. wide. A cool morning effect is most truthfully rendered in this fine picture of the master's middle period. The aerial perspective is of unusual delicacy, the execution of the details highly careful. Sir Augustus Calcott. — 1. View of the river Maas by Rotter- dam, with several large and small vessels, in morning light. On canvas. 1 ft. 6 J in, high, 2 ft. 4 in. wide. This picture is of admirable effect and uncommon transparency, and shows the successful study of Cuyp. 2. The Pool on the Thames, with several vessels. On canvas. 10 in. high, 1 ft. 8 in. wide. Broadly and sketchily treated, but full of spirit. SMALL DRAWrN"G-ROOM. GuiDO Reni. — 1. The infant Jesus asleep upon a couch of a reddish colour, the Virgin gazing tenderly upon him. On canvas. 2 ft. 1 in. high, 2 ft. 6^ in. wide. Oval in the width. An excellent example of this composition, which occurs frequently with unimportant deviations, another of which, also excellent, is in the Grosvenor Gallery. There the Virgin is entirely in shadow, and the Child in a subdued light ; here both are in full bright light. The expression of maternal joy is very tender, the sleep of the iiifant very natural, and the modelling of the nude of masterly execution in a delicate silvery tone. Adam Pynacker. — A landscape, with a piece of water dividing two eminences, and a bridge over it. In the foreground two boats and a cart with oxen, in which are a woman and other figures, and a barrel. The bright morning sun is clearly reflected in the still water. View on the Tiber. On canvas. 2 ft. 6 in. high, 2 ft. 1 in. wide. Of great effect and very careful execution, but some- what cold in the shadows. Formerly in the collection of Baron Verstolk. Adrian van de Velde. — In the foreground is a ford with a herd of seven cows, six sheep, and a goat — a herdswoman driving a white cow. In the middle-ground are a horseman and a man on foot. On the left, rising ground with trees ; on the right, a hilly distance. Signed and dated 1665. On canvas. 1 ft. in. high, 1 ft. 10^ in. wide. Rich and tasteful in composition, delicate in drawing, harmonious in effect, and soft and careful in Letter III. LORD OVERSTONE'S COLLECTION. 137 execution, though without degenerating into that over-smoothness which characterises his later pictures. Jan Steen. — 1. An alchemist seated at his stove is about to commit to the fatal crucible the last gulden belonging to his wife, who stands weeping behind him. Between them is a man reading a receipt aloud to the woman, and endeavouring to inspire her with confidence in the result. Behind her is a boy of sorrowful expression, holding a clarionet. In the background is a coarse reddish man calling aloud something which a thin pale man in profile is dictating to him. On the chimney is a label with the words " Theophrastus Payeselsus."* Signed and dated 1668. On canvas. 2 ft. 5J in. high, 2 ft. 6 in. wide. The tale is admirably told, and the separate figures capitally characterised, without, as occasionally with him, falling into caricature. The colouring, with the exception of the powerfully-coloured woman, is rather dim ; the treatment singularly spirited and broad, and at the same time careful. Jan van de Capella. — A quiet sea, with coast in the fore- ground and on the left hand ; in the centre some small vessels ; on the right a small man-of-war, firing off* a gun ; in the distance other vessels ; the clouds brightly lighted on the left. On wood. 1 ft. 7 in. high, 1 ft. 11 in. w^ide. This picture is in all respects — for example, in the reflections on the water — of such delicacy and transparency, and at the same time so picturesquely composed and carefully finished, that it belongs to the best works known to me of the master. WiLLEM VAN DE Velde. — A marine view in perfect calm weather. On the left three fishing smacks lying at anchor ; beyond these a sloop, and on the opposite side another smack in front of a frigate. Other vessels and small craft are perceptible in the dis- tance. The blue sky is broken by a few light grey clouds. On canvas. 1 ft. 6 in. high, 1 ft. 11 in. wide. This picture suflficiently shows us how justly the master was renowned for his calm seas, for the transparency of the reflections of every object is quite astonish- ing. The execution also is throughout as careful as it is spirited. Formerly in the collection of Baron Verstolk. DoMENiCHiNo. — 2. The Assumption of the Magdalen. She is borne upward by infant angels, and accompanied by two youthful * Hie. 138 LORD OVERSTONE'S COLLECTION. Letter IIL angels. Three cherubim are also in the air. Below on the right is a wooded hill ; on the left the sea. On canvas. 5 ft. 4 in. high, 3 ft. 11^ in. wide. This picture is finely composed, of noble and feeling heads, of delicate drawing, and careful modelling of every part. In colouring, however, it is one of those specimens of the master which are heavy and brick-like in the flesh tones. Formerly in the Palazzo Caprara at Bologna- (See Buchanan's 'Memoirs of Painting,' vol. ii. p. 159.) Jan Both. — 1. A landscape, with rocks on the right, partially overgrown with trees, from which a waterfall is dashing ; on the left a hilly distance. In very warm light. On wood. 1 ft. high, 1 ft. 3^ in. wide. An enchanting little picture. The beautiful composition is here combined with singular depth and transparency of the warm colouring, with great delicacy of aerial perspective, and a very finished execution of marrowy touch. Formerly in the collection of Casimir Perrier. Albert Cuyp. — A flat country, with a shepherdess in a red petticoat standing quite in the foreground. Near her a sheep standing, and a sheep and goat reposing ; in the middle distance three other figures. Signed. On wood. 1 ft. 4 in. high, 1 ft. 2 J in. wide. Very striking in the eftect of the powerful colour and warm lighting, and at the same time more carefully executed than usual in his admirable impasto. Of the middle period of the master. William van Mieris. — A woman selling chesnuts and apples in a window, and a boy about to conclude a bargain with her ; between them a man ; on the sill of the window hangs a string of onions ; in the background is a basket with fruit. On wood. 1 ft. 3^ in. high, 1 ft. 1^ in. wide. Of careful execution in every respect, but somewhat cold and heavy in the over-red flesh tones. Cornelius Dusart. — A peasant family — father, mother, and two boys — loitering at the door of a house, under a porch of vine- leaves. Before them is a hawker off'ering his goods; behind, in the village, two girls. Signed and dated 1680. On wood. 1 ft. 5^ in. high, 1 ft. 2^ in. wide. In this little picture Dusart ap- proaches very near to Adrian Ostade, his master. The heads are very animated, and not, as often the case, caricatured ; the keeping, which is cool for him, is delicate and clear ; the execution very careful. Artus van der Neer. — 3. The moon casting her silver light Letter III. LOED OYERSTONE'S COLLECTION. " 139 over a frozen Dutch canal, with villages on each shore. Numerous figures on the ice. Signed. 1 ft. 6 in. high, 2 ft. 3 in. wide. Admirable in general effect, but hard in the details, showing the earlier time of the master. At the same time the treatment is slight, and the wood is seen through in the foreground. Isaac van Ostade. — 2. A peasant on horseback before a cart, with two other horses; near them are three trees bare of leaf. Signed. On wood. 1 ft. 3^ in. high, 1 ft. 8J in. wide. Carefully executed in an admirable impasto, and of very powerful colouring. Jan Both. — 2. A chain of rocks stretches from the right deep into the centre of the picture ; from them flows a stream, over which a bridge leads into the background ; in the centre of the foreground is a light tree ; on the left two similar trees, and a peasant on a cart drawn by oxen. 11 in. high, 1 ft. 4 in. wide. One of the prettiest little pictures by the master, both in composi- tion and warm, mild harmony, as well as in the delicacy of gradation and beauty of execution. HoBBEMA. — 1. A landscape with trees on the right, and a village in the background, with a light sunny cloud over it. A man and woman on a road in the foreground. On wood. 10^ in. high, 1 ft. 4 in. wide. Of singular power, freshness and transpa- rency, evidently painted under the influence of his contemporary Ruysdael. Artus van der Neer. — 4. A very wide Dutch canal, frozen over, with a village on its banks, on a clear sunny winter's day. On the ice are various figures on a small scale. Signed and dated 1643. On wood. 1 ft. 8 in. high, 2 ft. 2 in. wide. This picture is very attractive for the general brightness, admirable treatment, and delicate aerial perspective, which leads the eye deep into the scene. The date shows it to have been executed in the painter's thirtieth year. The wood itself is here left in the shadows in the foreground. Teniers. — 3 and 4. Two small landscapes in a box, representing country people before their homes : on one of them is a dancing couple. On wood. Each 6^ in. high, 9^ in. wide. Of tender and spirited execution in a light, broken tone. Thomas Stothard. — 2-13. Twelve small pictures illustrating the ' Pilgrim's Progress ;' of oval form. Each 6 in. high, 7^ in. 1^0 LORD OVERSTONE'S COLLECTION. Letter IIL wide. These are slightly treated works, some of them only in chiaroscuro, but clever in composition, and graceful in motive. THE LARGE DRAWING-ROOM. MuRiLLO. — The Virgin in Glory, in a robe of deep crimson, and mantle of deep blue, holding the Child on her arm. The head is surrounded by a warm glow ; otherwise the background is dark. On canvas. 3 ft. 4 in. high, 2 ft. 6J in. wide. This is the piece which was cut by a French officer out of a large picture formerly belonging to Marshal Soult ; a repetition of which, on a small scale, by the hand of the master, is in Lady Overstone's Morning Room. The Virgin is, for Murillo, of unusual elevation of features, and also unusually serious in expression ; at the same time it is finished with singular care in his warmest and most dazzling golden tones. Claude Lorraine. — The Enchanted Castle. A noble edifice, in the Roman style, rises on the extreme verge of a rock in the centre of the middle distance, with the sea flowing at its base. The space from the castle to the foreground presents broken ground overgrown with bushes, amongst which are a few young trees. The view extends hence on the left, over rising ground to the distant hills. On the right rises a beautiful group of trees of various kinds from a bank. A female figure (^styled, in the index of the Liber Veritatis, Psyche) is seated in a contemplative attitude on the left of the foreground. Besides this figure there are a stag and a doe grazing, and a doe leaping. On canvas. 2 ft. 10 in. high, 5 ft. 0^ in. wide. The highly poetic impression produced by this picture corresponds entirely with the name given to it. In the cool keeping we feel the fresh morning breeze. The gradation is as delicate as the execution is free and light. It was painted in 1664 for the Conestabile Colonna, and passed successively through the hands of Messrs. Davenant, Chauncey, de Calonne, Walsh Porter, and Wells, till it reached those of the present owner. Carlo Dolce. — The Virgin, with her eyes cast up, and a torch in her raised right hand, is holding the Infant on her lap. On wood. 3 ft. 1 in. high, 2 ft. 7 in. wide — with blunted corners. This picture is favourably distinguished from many by the master, both by the composition, the noble feeling, and conscientious execution of every part. The head of the Virgin is of beautiful Letter III. LOKD OVERSTONE'S COLLECTION. 141 form, and the strong foreshortening of the Child very well drawn. The modelling of all the flesh parts is also excellent. HoBBEMA.— 2. On the right a mill, with the falling mill- stream faintly reflected on the surface of the dark water below. In the middle distance are houses surrounded with trees, before which are a gentleman and lady ; in the centre a group of trees ; on the left a view on to a field with sheaves of corn and a sunny village. The sky is lightly covered with grey and silvery clouds. On canvas. 3 ft. in. high, 4 ft. 2J in. wide. The contrast of the dark foreground with the light sunny distance is as striking as it is pleasing, and one of the finest efiects I know by the master. The sky is of the rarest transparency ; the execution singularly careful. Formerly in the collection of Baron Verstolk. Jacob Ruysdael. — 3. A Waterfall. A mountainous country, divided on the right by a chasm, through which issues a rapid stream, which falls in masses of white foam amongst large rocks, and flows gurgling in eddies along the foreground, impeded in its course by two rocks. The water is bounded by a high hill, on the summit of which stands a lonely house ; the roofs of several cottages are visible among a thick wood which clothes the ridge of the hill. Another cottage is on the left, and a broken line of bushes extends along the declivity of the hill, on which the painter and an attendant are seated. A church is seen in the distance, and blue hills on the horizon. The clear sky is partially covered with light clouds. Signed. On canvas. 3 ft. 6 in. high, 4 ft. 11 in. wide. This picture is in every respect one of the finest known to me of the master. The whole shows a true and pro- found feeling for nature. The water is of the most admirable animation, with the utmost breadth and softness of execution. The individuality of every portion is more marked, and the number of details more numerous, than in any other picture on so large a scale by Ruysdael that has come before me. Formerly in the collection of Baron Verstolk. MuRiLLO. — 2. The Virgin holding the Child on her lap, who is in the liveliest action. Whole-length figures, life-size. On canvas. 5 ft. high, 3 ft. 7 in. wide. In this picture also the head of the Virgin is of unusual elevation of character for the master, but some- what hard in the shadows. The hands are admirably drawn. The (^hild on the other hand is quite realistic, and of the utmost 142 LORD OVERSTONE'S COLLECTION. Letter III. softness, transparency, and delicacy in the modelling of the figure. The keephig of the whole is very beautiful. Formerly in the Palazzo Santo Jago at Madrid, and afterwards in the possession of Lord Berwick. (See Buchanan's Materials,