iiSii A HISTORY OF PAINTING A HISTORY OF PAINTING BY HALDANE MACFALL WITH A PREFACE BY FRANK BRANGWYN *Tr/?e Renaissance (Edition or THE HISTORY OF PAINTING LIMITED TO ONE THOUSAND NUMBERED COPIES. OF WHICH THIS IS NUMBER : XVI HOLBEIN 1497- 1543 GERMAN SCHOOL OF AUGSBURG "CHRISTINA, DUCHESS OF MILAN'* (National Gallery) Christina, Princess of Denmark (1521-1590), at the age of thirteen married Francesco, Duke of Milan, and in 1535 was left a widow. On the death of Jane Seymour in October 1537, the young widow seems to have been regarded as a suitable bride for Henry VIII., as Holbein, who was then English Court- painter, made a sketch of her in Brussels on March 12, 1538. Three years later she married Francis, Duke of Lorraine, who died in 1545. The picture bears the inscription, which appears to be of rather later date "Christina daughter to Christierne K. of Denark Duches of Lorrayne and hered. Dutches of Milan." Painted in oil on three vertical panels. 5 ft. 10 in. h. x 2 ft. 8 in. w. (i778xo'8i3). Purchased by the National Gallery in June 1909 for ;!f 72, 000. A HISTORY OF PAINTING BY HALDANE MAGFALL WITH A PREFACE BY FRANK BRANGWYN IN EIGHT VOLUMES. ILLUSTRATED WITH TWO HUNDRED PLATES IN COLOUR VOL. IV THE RENAISSANCE IN THE NORTH; AND THE FLEMISH GENIUS DANA ESTES AND GO. BOSTON — Art T -^ -V M/6A. /foo FOREWORD Thus far we have followed the birth and fruition of the Renaissance in Italy, and the mightier fulfilment of a fuller art in later Italy and in Spain. I would now lead the footsteps of the student from the achievement in painting of the South to the beginnings of the mighty achievement of the North. Andjust as Spain and the Tenebrosi increased the artistic utterance of paintifjg of which the Italian Renaissance had no conception, so we shall see the Renaissance in the Low Countries and along the Rhine develop an art that was to come to prodigious increase in modern times ; for, be it remembered always that Modern Art employs a wide gamut and a huge instrument of which even Velazquez and Rembrandt could not, or did not, touch the full music. The best authority upon the early Netherlandish painters is Mr. Weak—in my opinion he is without rival as a guide to the history of the early Netherlandish schools. Dr. Bode is a searching authority on the Dutch and Flemish and German achievement as a whole, and may be read in translations. The native authorities, bei?ig outside the reach of the English-speaking, need not be mentioned, but their profound research is leading to discoveries every year. At the same time, it is necessary to caution the student of art that even the greatest of the experts are essentially men who are expert on the research side of art rather than authorities on art itself—a very different thing. Their opinions are as questionable on the artistic value of a work of art as they are valuable on the antiquarian side ; just VOL. IV b V FOREWORD as the greatest philosophers have always misunderstood the whole function of artfrom the Greeks to Herbert Spencer. There is a publication that I would advise every student of the history ofpainting to possess : Mr, Gerald Parker Smith has published the Dowdeswell Chart of the Netherlandish^ Spanish, German, French and English Masters of Painting in a large pedigree form—as he is also about to publish an Italian Chart. The two Winchester Charts are also useful. The best authority in English on early German painting is the Catalogue of the Burlington Fine Arts Club, which, re- written into simpler form and purer English, and issued with full illustrations, would be of wide service to the student. Of the books on Durer and Holbein, Professor Knackfuss has written two, which are translated by Mr. Campbell Dodgson. Mr. Davies^s volume on Holbein is also ofgreat aid. For the great Flemish period, Mr. Dillon^s large volume on Rubens is excellent, the large number of illustrations greatly increasing its value. Here again the Knackfuss volume is within easy reach, as in the case of Van Dyck, both translated by Madame Richter. The latest edition of Kugler on the whole of this period is an enormous improvement on all old issues, which are practically worthless. Haldane Macfall. VI CONTENTS rAGB Foreword . ..... v Introduction ...... xxi THE EARLY NETHERLANDISH PAINTERS CHAPTER I. Wherein the1400Renaissance flits down the Rhine . 3 II. Wherein the Renaissance bursts into Song in the Cathedral of Ghent . .10 III. Wherein Rogier van der Weyden leads Art into Brussels . .23 IV. Wherein we see the Renaissance enter into Holland by way of Haarlem . .30 V. Wherein a pure Lyric Painter comes out of Holland to make Bruges famous . • 3^ VI. Wherein a Riotous Fellow of Ghent becomes a Monk to keep him from the Bottle—but carries the Bottle into the Cloister . -43 VII. Wherein we see another Dutchman try to keep the Flame of1500Art burning in decaying Bruges . 47 VIII. Wherein Quentin Matsys creates a School in Antwerp, and further thrusts forward Flemish Art from Primitive towards Fuller Utterance . 55 IX. Wherein the Italian Spectacles are brought into Flanders . .61 X. Wherein we turn aside into the Holland of the early Fifteen-Hundreds . .6^ vii CONTENTS XI. Wherein, amidst the general Rout of the late Fifteen-Hundreds, a Peasant holds the Path . 68 THE RENAISSANCE1400IN GERMANY XII. Wherein the Renaissance flits through Cologne and the North of Germany . • ^3 XIII. Wherein German Schongauer brings Art into the Home, and Alsace bursts into Song . .89 XIV. Wherein her greatest Citizen is born to the picturesque1450City of Nuremberg . 96 XV. Wherein we see Augsburg send her greatest Son into the Desert, who thereby comes to Paint the Court of Bluff King Hal of the many Wives . 115 XVI. Wherein we see German Art take two hundred Years to Die in lingering sorrowful Fashion . .141 THE GREAT FLEMISH PAINTERS OF THE SIXTEEN-HUNDREDS1600 XVII. Wherein the Art of Flanders bursts into Full Song . 153 XVIII. Wherein is Hint that there were Giants in those days, not so greatly shorter than the Greatest One . .194 XIX. Wherein the Flemish Genius is brought into England 204 XX. Wherein we see the Flemish Genius Flame in Splendour throughout the great Century of the Sixteen-Hundreds .... 228 viii —— ILLUSTRATIONS XVI. Holbein— Christinay Duchess of Milan . Frontispiece I. Jan van Eyck—Jan Arnolfini and his Wife i6 11. Jan van Eyck— The Man with the Red Chaperon i8 III. Jan van Eyck— T^he Virgin and Child and the Chancellor Rolin 20 IV. Dirk Bouts— Virgin and Child with St. Peter and St. Paul .... 34 V. Memlinc—Virgin and Child with Donor and St George ..... 38 VI. Memlinc— Virgin and Child 40 VII. Memlinc—Martin van Nieuwenhove 42 VIII. Gerard David—The Mystic Marriage of St. Catherine 48 IX. Gerard David— The Marriage at Cana 50 X. QuENTiN Matsys—The Banker and his Wife 58 XI. M ABUSE Portrait of a Man with a Rosary , 62 XII. DuRER Oswalt Krel 102 XIII. Holbein—The Writing Erasmus 122 XIV. Holbein— George Gisze 130 XV. Holbein—Jane Seymour 132 XVII. Rubens— The Descent from the Cross 166 XVIII. Rubens— The Judgment of Paris 178 ix ILLUSTRATIONS AT PAGE XIX. Rubens— Chapeau de Faille . .184 XX. De Vos—Daughters of the Painter . 200 XXI. Van Dyck— The Balbi Children . .ill XXII. Van Dyck—Philippe le Roy, Seigneur de Ravel . 216 XXm. Yah Dyck— King Charles T of England . .218 XXIV. Van Dyck— The Duke of Richmond . 220 XXV. Teniers the Younger—Jn old IVoman peeling a Pear . .230 Map of the Low Countries .... xvii xix Map of Germany • • • • • CHARTS Early Netherlandish Painters , • . xxix The Renaissance in Germany . , . .82 The Flemish Masters ..... 152 LIST OF PAINTERS Adrianssen, Alexander, 200. Brcdael, Jan Frans van, 235. Aelcen, Hieronymus Bosch van, 65. Bredal, Peter, 233. Aertszen, Pieter, 73. Breu, Jorg, 139. Agricola, Christoph Ludwig, 145. Breydel, Karel, 235. "Albert of Westphalia," 88. Bril, Mathews, 77. Aldegrcver, Heinrich, 88. Bril, Paul, 77. Altdorfer, Albrecht, 92, 93. Brosamer, Hans, 95. Ambcrger, Christoph, 140. Brouwer, Adrian, 229. Apshoven, Thomas, 232. Brueghel, Jan, 76, 79. Apt, Ulrich, 139. Brueghel, Peter, 65, 72, 74, 75. AschafFenburg, Simon von, 95. Brueghel, Peter, the younger, 75. Bruyn, Bartholomaus, 86. Balen, Heinrich van, 76. Burgkmair, Hans, 115, 117. Basscn, Bartholomew van, 79. Burgkmair, Thoman, 115. Becic, David, 222, 226. Beham, Barthel, 114. Candido, Pietro, 76. Beham, Hans Sebald, 114. Candit, Peter, 76. Beich, Franz Joachim, 145. Campana, Pedro, 71. Benson, Ambrosius, 52. Campin, Robert, 23. Berson, Ambrosius, 52. Ceulen, Cornelis Jansen van, 202. Bertram, Meister, 88. Ceulen, Van, the younger, 203, Beschey, Balthasar, 235. Champagne, Philippe de, 200. Beucicelaer, Joachim, 73. Chodowiecki, Daniel Nicolas, 144. Bles, Herri Met de, 61. Civetta, 61. Bloemart, Abraham, 76. Claeis, 64. Blbemen, Jan Frans van, 235. Claeissens, Peter, 72. Bloemen, Peter van, 233. Cleef, Hendrik van, 77. Blondeel, Lancelot, 64. Cleef, Joos van, 60. Bocl, Peter, 234. Cleeve, Joos van, 60, 69. Boeyermanns, Theodor, 227. Cnoop, Cornelia, 48, 50, 51. Bol, Hans, 79. Cock, Jerome, 75. Boschaerts, 227. Coques, Gonzales, 197, 228. Bossche, Balthasar van der, 235. Cornelis, Albert, 53. Boudewyns, Anton Frans, 233. Cornelissen, Cornelis, 76. Bout, Peter, 233. Coter, Colin de, 63. Bouts, Albert, 35. Cotes, 226. Bouts, Dierick, 31. Coustain, Peter, 36. Bouts, Dirk, 30-35. Coxis, 64. Bouts, Dirk, Junior, 35. Coxycen, Michael van, 64. Bouts, Thierry, 31. Craesbecke, Joost van, 232. xi PAINTERS Cracycr, Gaspard de, 196, 197. Ferg, Franz de Paula, 144. Melchior, Cranach, Johannes, 95.