C A T A L O G U E ,

DESCRIPTIVE AND HISTORICAL,

UNDE R T HE MANAG E M NT OF

BOARD OF MANUFACTURES .

BY W. B JOHNS TONE . ,

PR INCIPAL C URATO R AND KE E PE R .

11313 fiatfiopitg .

D R H " R BY R Y E INBU G P INTED MUR A AND GIBB,

’ Y FOR HER MAJE ST S STATIONERY O FFICE .

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E132 Ema il o f manufactnxzs.

ALEX AN E f M w an k . R MAC O NOC HIE W ELWOOD E s . o ea o D , q d b T h e E O H K K F B C L E C . G . DU U C U ,

S ir O HN ST ART FORBES Ba r . J U , t T he M I AR S OF BREA ALBANE K . T . Q U D ,

b1° T he R i h Ho n ° ir r g t S G EO RGE C LERK, Ba t . S ir AM H A AY Bar . D , t Sir EO R E AN G G GR T S TTIE Bar . U , t S ir WILLIAM GIBSON-C RAIG B r , a t .

ME K E E s f R is l A S S EN . o u b a J , q w . T h e Ri h B o u ble T he L O R TI E-G ENERAL g t D JUS C . L o rd W O O D . T he EARL F A ITHNE O C SS . T h M M e Lo r A ES S T ART P. d J U , . S ir HN W A S N O T O G O R N R . S R . O P. . A .A J D , Pro fes s o r THO MA S S TE W T T A R RAIL L .

O HN EE L Es . ST L . B S A . J , q , . Th e L o r PANM RE K T d U , . . A I TA I S HIL B V O C V L Es . S A D D U , q , . . . T h e L o r L H M E C O . P. d , Sir AME S M ATHE N r M S O Ba . P . J , t , . A ME S M M P O N RE IFF E s . J C , q , . . T h e K E F R O A GYLL K . T . DU , T he E ARL F I O G O R M . P FF D , . T h e V s o u n N AN M P C . i c t DU , . T h e Ri h B o u ble T he L O R S TI E - LERK g t D JU C C . E E P N G O RG A TTO , Es q . Pro f es s o r LYO N PL AY IR FA , C . B . o E IS O ODE L rd J RV W .

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H n ble B M T h e o . F . PRI RO SE

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NOTI E C .

w EVERY ork in the Gallery is distinctly labelled , with the number, the subject, the name of the artist, and the date of his birth and death . But such meagre particulars as can be put on a label are t i not likely to sa isfy the nterest of Visitors, and therefore, a Catalogue t has been prepared by the Curator, giving a full descrip ion of the

Pictures , with critical and historical remarks, and short biographical t notices of the various Artis s , prefixed to the list of their works . In

n doing this, the general pla and arrangement of the Catalogue of the

w National Gallery in London has been follo ed . The names of the Artists are arranged alphabetically in the Cata logue ; but reference may easily be made from the na m e on the label to the corresponding name in the Catalogue, printed alpha betic a lly at the top of the page . In most instances the names attached to the Pictures are given on the authority of those by w hom the works have been presented or deposited . NATIONAL GALLERY OF SCOTLAND.

T HE Building within which the National Gallery Collection is placed, l consists of two contiguous ranges of ga leries, exactly similar in size , form , and construction , running from end to end of the building .

r m It was designed and executed by the late eminent a chitect, Willia

. f . H Play air, Esq , and has been erected by the Board of Trustees for f f m Manu actures in Scotland, out of their funds, aided by a Grant ro h t e Treasury, the valuable site having been made over for the pur pose by the Lord Provost and Magistrates of the City, on most liberal

f . and a vourable terms The Board, which owes its origin to the

Treaty of Union , and has ever since existed for important national

r purposes, has, by Act of Pa liament, been vested in perpetuity with

u the Trust of this B ilding, which is specially destined for receiving and exhibiting the National Collection of Works of Art— for the - Exhibitions of the Royal Scottish Academy, and for the extension ’ Ar t . . of the Board s School of , etc , etc

as THE N O The Foundation Stone w laid by PRI CE C NSORT, on the h 1 850 30t of August , and the following appropriate and felicitous remarks are quoted from the Address His Royal Highness delivered o n that oc casio n

w The building of hich we have j ust begun the foundation , is a — temple to be erected to the Fin e Arts the Fine Arts which have so important an influence upon the development of the mind and fe elin g of a people, and which are so generally taken as the type of the degree t and character of that development , hat it is on the fragments of the works of art come down to us from bygone nations, that we are wont to form our estimate of the state of their civilisation , manners, customs , and religion . Let us hope that the impulse given to the culture of the

Fine Arts in this country, and the daily increasing attention bestowed

a n d upon it by the people at large, will not only tend to refine

h e elevate the national taste, but will also lead to t production of NATIONAL GALLERY OF SCOTLAND; 7

v works, which , if left behind us, as memorials of our age, will gi e to after generations an adequate idea of our advanced state of

m civilisation . It ust be an additional source of gratification to me to find that part of the funds rendered available for the support of this undertaking should be the an cient grant which , at the Union of

t w the the o kingdoms, was secured towards the encouragement of

ff m n fisheries and manufactures of Scotland, as it a ords a ost pleasi g proof that these important branches of industry have arrived at that — stage of manhood and prosperity, that no longer requiring the aid

— m in de en of a fostering Government they can aintain themselves, p den tl in y relying upon their own vigour and activity, and can now their turn lend assistance and support to their younger and wea ker sisters, the Fine Arts . Gentlemen, the history of this grant exhibits to u s the picture of a most healthy national progress " th e ruder arts connected with the necessaries of life first ga ining strength , then Education and Science supervening and directing f the be urther exertions ; and, lastly, Arts, which only adorn life, ” coming longed for by a prosperous and educated people.

The Building having been completed , measures were taken to provide for the du e conservation of the Works of Art intended to

— m form the Collection , for aking them available to the public by d — ff free admission on certain ays, and for a ording the means of study ’ a i in the G ller es, to Artists, to Students in the Board s School of Art, and to all who m a y be disposed to devote their time to the cultivation

t . of the Fine Ar s , and are qualified to profit by such study The Collection now exhibited in the National Gallery consists of

The Pictures collected by the Directors of the Royal Institution ,

1 1 T n and first exhibited to the public in 83 . he Pictures, Bro zes,

ir etc . , bequeathed by S James Erskine of Torrie, to the College of

w Edinburgh , and deposited ith the Board for exhibition under a

Deed of Agreement . The Collection of Ancient and Modern W 1 82 9 orks commenced in by the Royal Scottish Academy .

Pictures, the property of the Board , acquired either by purchase or l gift for the National Ga lery . Modern Works purchas ed by the

u Royal Association for the Promotion of the Fine Ar ts, with f nds set a f o r a part this purpose by their ch rter . Pictures deposited by the

Mr f r Marquis of Abercorn , and by Raeburn , o fixed periods .

G e f The allery b ing laid out in separate Octa gons, acilitates an A 8 NATIONAL GALLERY OF SCOTL ND .

arrangement by which Ancient and Modern w orks are kept distinct, w ith that proximity which conveniently admits of the intelligent

m student or a ateur drawing inferences by comparison , calculated to hi advance m in the theory and practice of art.

In making these arrangements, portraits by modern artists have

In s titu been classed together . The great importance, as a National tion , of a Gallery of Portraits of eminent public characters, and of m en o a k known by w rks in literature, art, or science, has been c now ledged by Government . Accordingly, a National Portrait Gallery was lately commenced in London , aided by an annual public grant , and by valuable private donations ; and having been opened w ithin these few weeks, it will soon assume a high position among the art col W d lections of the kingdom . ith means no doubt much more limite , but assisted by public spirited proprietors of works of art, a collection of considerable interest has already been made in the National Gallery of Scotland . The maintenance and extension of this National Collection must always , in a great measure, depend on the public Spirit and

u liberality of individ als, there being no fixed revenue or public

u B t ex eri f nds devoted to the purchase of pictures . u from the past p

w ence of the Board , and the number of important works hich have f already been collected , they confidently anticipate that rom the

' v a lu able a ddi i n same and similar sources, many t o s may, from time

m to ti e , be made to the Gallery . I NDEX T L E TO CA A OGU .

David Hume A . Ramsay, more fully described at page

The Artist ; W . Aikman ,

John Gay ; do .

Richard Cooper ; J . Davidson ,

The Artist ; J . Runciman ,

Do . T . D uncan , i . S r . W n Sir Wm Gibson Craig ; J atson Gordo , kirvi n Archibald S g ; George Watson , m Lady Bury ; Sir Tho as Lawr ence , t The Artis ; David Allan ,

A Lady ; Sir H . Raeburn ,

Sir Wm . Johnston Sir J . Watson Gordon ,

The Artist ; George Watson , l Do . Sir Wil iam Allan ,

al . Admir Maitland ; Sir H Raeburn ,

Bust of Sir David Wilkie Samuel Joseph ,

Bust of the Right Hon . Henry Brougham do . ,

A Scotch Lassie Patric Park, n David Scott ; Joh Steell,

Sir J . Watson Gordon ; Graham Gilbert,

Hon . Lord Cockburn Sir J. Watson Gordon ,

John Gibson Graham Gilbert,

Benjamin West ; George Watson ,

William Simson Robert Scott Lauder, ’ a The Artist s Son Sir H . R eburn , n a . Peter Sp lding ; Sir J Watson Gordo , l m H . W . Wi lia s ; William Nicholson , w Lady Hamilton Sir Thomas La rence,

o f . Right Hon . L rd Ruther urd ; Sir J . W Gordon ,

. T t Rev John homson Rober Scott Lauder, f Mrs R . Scott Moncrie f Sir H . Raeburn,

Hon . J . Hope, Lord Justice Clerk ; Colvin Smith , D w avid Hume ; Unkno n ,

Honourable Lord Cockburn ; John Syme,

Saint Peter ; Guercino , i Inter or of St Peters Pannini , D m a eposition fro the Cross ; Rembr ndt, z Don Baltha ar Carlos Velasquez , X T 1 0 INDE O CATALO GUE .

Landscape Tavella, more fully described at page

A Venetian Senator ; Tintoretto ,

Holy Family ; Cambiaso,

A Duchess of Savoy ; Vandyck ,

Landscape and Figures Huysman ,

A Venetian Senator ; Tintoretto , ’ Interior of the Basilica , St Paul s Pannini ,

The Hon . Captain Hamilton ; Reynolds,

Saint Christopher ; Lanfranco, Head of Saint Sebas tian ; F u ri n i

A Senator ; Bassano , M t S a n o le to A a hematician p g t , H ead ; Veronese, Fu ri n i A Poetess ; ,

Seaport, with Figures ; Miel, r Ma riage of St Catherine ; Albano,

Landscape ; R . Wilson ,

. Os ta de Interior ; A V . ,

Anthony and Cleopatra ; Tiepolo, m Head ; Par igiano ,

Landscape ; Both , n Elevatio of the Cross Unknown , A S u s term a n s lesandro Farnese ,

Architectural Subject, with Figures ; Van Delen , Of Death Abel ; Caracci , S a n o l etto Saint Sebastian ; p g , a Adoration of the M gi Titian ,

Ruins and Figures ; Ferguson ,

X . Secretary of Leo Unknown ,

Adoration of the Shepherds ; Palma, Ho ek ees t Architectural Subject ; g , ’ Request of the Mother of Zebedee s Children ;

Tintoretto,

Bacchus and Ariadne Sebastiano del Piombo,

Saint Jerome ; Franceschini ,

Saint John ; Sirani ,

Landscape and Figures ; Grimaldi,

Boar Hunt ; Snyders , a The Student ; W. S . W tson , - u . A The Stirrup C p Sir W llan ,

Sentinels R . S . Lauder, f ’ Grand ather s Lesson Sir J . Watson Gordon , u Col mbus ; G . Harvey , m Craig illar Castle ; R . Gibb,

. T . w Group of Trees E Cra ford , — w . Sol ay Moss Sunset ; W Simson , t Bor hwick Castle ; R . Gibb, ” X 1 INDE T o CATALO GUE . 1

Q é e b a n d more fully described at page 88 figig g fifogl figgn 3

Leith Pier ; D . 0 . Hill , 7 5 95 Landscape ; W . Simson , illus

of W . Etty, by Judith ; Glen fi hi R s e ev . . ; J Thomson ,

View near Edinburgh R . Gibb,

Coast Scene J . Wilson ,

Summer ; A . Geddes,

o ff . Venus Carrying Ascanius ; H Howard , I ‘ n verlo c h . M C u llo c h y Castle ; H , D u n s ta n bu r h . . g Castle ; E T Crawford ,

The Black Dwarf ; Sir W. Allan ,

Reconciliation of Oberon and Titania ; J .

Paton ,

Coast Scene ; J . F . Williams, G o w barro w Park ; J. Stark,

The Weird Wife J . Giles , - A Ferry Boat ; J . Wilson , m d The Porteous Mob ; J . Drum on ,

u i x t . Don Q o t e attacking the Windmill ; W . S

Watson ,

Landscape Composition P . Gibson ,

Standard Bearer ; J . Stevens,

The Bracelet ; D . Macnee,

View at Tivoli ; A . Wilson , al o bl em a n It ian N J . Graham Gilbert,

Jew Rabbi ; F . Grant,

Rosalind and Celia ; J . Archer, ’ Ruins of Hadrian s Villa A . Wilson , 1 Scene in Holyrood , 56 6 W . B . Johnstone,

Cain Degraded ; D . Scott , Ro — me Sunset ; D . Roberts,

Oberon and Titania ; J . N . Paton ,

Jeanie Deans and the Robbers T . Duncan ,

Turnberry Castle ; Rev . J . Thomson ,

James I . at Windsor ; J . Drummond,

Christ Teacheth Humility ; R . S . Lauder,

Benaiah ; W . Etty,

The Hermit G . Watson ,

The Battle of Bannoc kburn Sir W . Allan ,

Hagar ; J . E . Lauder,

A Rocky Glen ; D . 0 . Hill , H The Good Samaritan J. A . ouston ,

Cottage Scene , with Figures ; W . Geikie, 1 2 INDEX T O CATALO GUE .

Stirling Castle A . more fully described Nasmyth ,

Al . The arm ; G Harvey, h C rist on the Mount of Olives ; Pordenone , a Landsc pe, with Figures ; School of Poussin ,

St Peter ; Unknown , Mo rin ello Shepherd with a Pipe ; , n Autumn ; Ti toretto, an d Landscape Figures ; Scorza,

Portrait ; Giorgione, r Portrait in A mour ; Vandyck,

L o m ellin i Family do .

St Sebastian ; do .

Peter Delivered ; School of Guido ,

Battle Field Spanish School,

Mars and Venus ; P . Veronese,

Portrait ; School of Titian , a Landscape and Figures Scorz , Christ driving the Sellers from the Temple ;

Garofalo,

Cupid ; Procaccini ,

Summer ; Tintoretto ,

Winter ; do .

The Finding of Moses ; Tiepolo, a View in Venice ; C naletto , Virgin and Child with St Joseph ; School of n Titia , Res c hi Battle Piece ; , R s epo e ; Paggi , Christ drivin g the Sellers out of the Temple

Bassano, z The Last Supper ; Bonifa io ,

Landscape ; Titian ,

Portrait ; Bol , w Landscape, ith Monks engaged at Devotion

B ern az z an o , l Lady at her Toi et ; Bordone,

Portrait ; Tintoretto,

A Head supposed by Vandyck ,

A Burgomaster and his Wife Vander Werf, f Madonna, In ant, and St John Guercino ,

Two Heads ; Giorgione, S t Virgin , and Child , and Catherine ; Titian ,

Landscape and Figures Salvator Rosa,

Venus and Adonis Veronese, w D Martyrdom of St Andre omenichino,

Dead Christ ; Procaccini, X T E INDE O CATALOGU . 1 3

Land Storm Poussin , more fully described at

Ecce Homo ; Guido ,

Landscape ; Domenichino ,

Battle Piece ; Giulio Romano, l Wo f Hunt ; Snyders,

Landscape and Figures ; Both ,

Sea Piece ; Dutch School,

Party at Cards Le Duc,

Landscape ; Hobbema,

Fishing Boats in a Calm W. Vandevelde, the Yo n r A Pasticcio David Teniers u g e ,

a . L ndscape and Figures ; A Vandevelde, B c kh u n Sea Piece ; a ys e ,

Physician and Patient ; Steen , H S Boar unt ; nyders, e D u Landscape and Figur s ; Jardin ,

Landscape ; Ruysdael, u P n aker Landscape and Fig res y ,

Figures at Door of an Alehouse Lingelbach ,

Wood Scene Vander Heyden ,

Landscape ; R . Wilson ,

Landscape and Figures Both ,

Small do . do . School of Berghem ,

r l c . A chitectura Composition of Ruins, & , & c . ;

Ghis o lfi,

Woodland Scene Rembrandt, — Dutch Landscape Sunset ; Ossenbeck ,

Landscape ; Rembrandt,

Landscape and Cattle ; A . Vandevelde,

Do . do . ; Berghem , u Landscape and Fig res ; Ruysdael , ’ D u Farrier s Shop Jardin , l n Peasants p ayi g at Skittles D . Teniers the Younger f Interior of a Cathedral Nee s, Ghis o lfi Ruins and Figures ,

Interior and Figures ; Greuze,

Landscape and Figures Vander Meulen , E The Combat ; W . tty,

John Knox dispensing the Sacrament ; Wilkie,

Temple of Minerva ; H . W . Williams,

Ariel and Caliban ; D . Scott,

Infant Hercules ; W . Dyce ,

Ariadne in Naxos after Titian, u The Marriage in Cana ; St dy from Veronese , do St John Preaching do . e H Woodland Scen ; obbema, 1 4 INDEX TO CATALOGUE.

Rocky Landscape, with more fully descri bed at page 1 9 Figures ; Both , 1 8 Battle Piece ; Borgognone, 1 8 h . Skirmis of Cavalry do ,

— n 56 58 Marbles and Bro zes,

D 7 8—86 rawings by J . F . Lewis,

Landscape ; Doughty,

Decollation of John the Baptist ; Feti , i Dead Christ ; Gu do Reni ,

The Crucifixion Copy from Rubens,

Edmund Burke ; Sir J . Reynolds, m The Entomb ent ; Copy from Titian , The Marquis di Guasto and his Mistress ; Copy m fro Titian ,

Figures of Saints A . Christie,

St Peter , and another Apostle ; after Guido ,

The Marriage in Cana after Paul Veronese,

The Transfiguration Copy from Raphael ,

Professor Wilson Raeburn ,

The Hon . Mrs Graham Gainsborough ,

The Disobedient Prophet Graham , m Dr Ada ; Raeburn , Medallion in Bronze of Sir Francis Chantrey ; ff n He er an ,

Viscount Melville Smith , a The Virgin in Glory ; Zurb ran , m Nine Drawings, by Tourny, fro the picture

of the Coronation of the Virgin , by Fra

Angelico da Fiesole, CATAL GUE O .

' The difieren t collections and Contributions distinguished the Catalogue as follows Royal Institution Torrie Collection

B A Royal Scottish Academy . S . .

B M Property of the Board . .

. Association for Promotion of Fine Arts Marquis of Abercorn

R . Henry aeburn , Esq

ANCIENT MAS TERS.

N B O i n 1 5 8 a t FRA CESC O AL AN , born at Bologna 7 , was first a l va r t w placed under Denys C , but after ards became, along with

Guido , a pupil of Ludovico Caracci . He enj oyed a high reputation e in his day, and execut d many important commissions in Rome and

i n 1 6 6 6 . Bologna . He died in his native city

M . 54 . arriage of St Catherine

i n . 4 6 . 3 . Canvass, 8 ft . in . by ft , upright t This is a very impor ant specimen of Albano, and his style is

favourably represented by it .

BA CK HUYSEN.

L A K HUYSEN BAC K UIZ EN 1 6 1 UDOLF B C or was born at Embden in 3 . ’ m ffi He was sent to Amsterda , and placed in a merchant s o ce . His h draw ings of shipping having attracted muc attention , he devoted

. a n his time entirely to art, studied painting under Everdingen d H .

D bbe lls m i . u , and attained e inence as a pa nter of sea pieces In

. ha ff s u s . representing stormy e ects , none but Ruysdael s rpa sed him

His etchings of shipping, thirteen in number, are , for truth and spirit , about the best that have been executed of subjects of that class . He i n 1 died 709.

t 1 83 . Re urn of Small Craft into harbour during a brisk gale ; “ n figures on the j etty are observi g the entrance of a. T vessel . .

1 1 1 1 5 i n . O . Canvass , ft . in . by ft . , blong l 6 B NO— B HEM ASSA ERG .

BASSANO . AC OPO O E IL O J DA P NT , usually called BASSAN , was born at Bassano, 1 1 in the Venetian State, in 5 0 . He received his first instructions in art from his father, Francesco da Ponte , and afterwards studied f under Boni azio at Venice . His best works are his portraits, which are remarkable for broad and simple treatment. After attain ing considerable celebrity at Venice , he returned to Bassano, and became the founder of a school that a imed at rendering Nature He in her commonest aspects . was also noted for the quality of his — i n - colouring, which his greens particular had a kind of v itreous

Sparkling appearance . But, with the exception of his portraits, his w orks, and those of his school , have fallen in estimation , as, in the style of art he chiefly cultivated , he has been greatly excelled by — . 1 592 . n the D utch Masters He died in His four so s Francesco, — w u Giambattista, Leandro, and Girolamo ere all brought p by him as painters . Francesco, the eldest, was the most distinguished .

n The Portrait of a Se ator .

4 ft . 2 i n . u h Canvass, . by 3 ft , prig t .

A work of the highest excellence, in execution , and for truth

and simplicity of treatment . Purchased from th e Marchioness of Pallavicino

1 55 . Christ Driving the Buyers and Sellers out of the Temple

. . f . O Canvass, 7 ft 6 in by 6 t , blong .

BERGHEM .

H M GH M Ha erlem 1 4 NIC HOLAS BERG E or BER E , born at , 6 2 . He seems to have taken the surname of Berghem , for his father, an a rtist of little H erle m a . note, was named Pieter Claas van He was instructed by i n i . . W e en x h s father, Van Goyen , and J B , and excelled in painting landscapes with figures and cattle , many of which have been a dmir

r . ably eng aved His etchings are much prized by collectors . From the kind of scenery of which many of his landscapes are composed, it H erlem a . a 1 is probable that he visited It ly He died at in 6 83.

1 99. A small highly finished Cabinet Picture, in which cattle are i - represented stand ng in the water, tended by a herd boy . — n 1 2 9 in . u . Pa el , 5in . by % , pright T .

E BERGH M, SCHOOL OF .

1 93 . A small Landscape, with Figures .

1 in . 2 . 9 . Panel , in by }1 , oblong

fl 1 8 B ORGOGNONE B OT H.

a years ago, p rt of his collection was inherited by the Mar

w a s . c hio n es s Pallavicino, from whom this picture purchased The subject is probably meant to represent Judith preparing to

go to the tent of Holofernes .

BORGOGNONE .

A P IL O O E J C O O C ORTESE, called BORG GN N , was born at St Hippolyte,

1 2 1 1 6 7 6 . in Franche Conté, in 6 , and died at Rome in This artist was m v sometime in the army, and see s to ha e imbibed a taste for battle w pieces, hich he painted with the dash and Spirit appropriate to such

f ee . subjects . He etched a set of eight battles, Signed Giac . Cortese, ,

d . and a set of four, signed J . C . They are freely and cleverly execute

- 2 1 7 . A very Spirited Battle Piece, representing a skirmish of

cavalry ; in the foreground , a fallen white horse is

conspicuous . T . 1 1 1 1 . 1 i n . O . Canvass, ft . 05in . by ft 3; , blong

2 1 8 . A Skirmish of Cavalry , in which the combatants in the - central group use fire arms . T .

i n . n . 1 . 1 1 . 1 O Canvass, ft 0% in . by ft 21 , blo g

BOTH .

AN O H 1 6 1 0 AND REW BOTH J B T was born at Utrecht in , his brother,

. w n d about two years afterwards They ent together to Italy, a executed many pictures of the scenery of that country, enlivened with

figures and cattle . The elder brother painted the landscape, and the younger the figures, and their pictures are highly prized for clearness, ff . a t 1 4 glowing colour, and atmospheric e ect When Venice in 6 5, one of the brothers, returning home one evening, fell into the canal and was drowned . The surviving brother returned to Holland, and five a s died about years afterwards . Some writers maintain that it w w w a s Andre who drowned , and Jan returned to Holland and em e Po le m bre ploy d g to paint figures in his landscapes ; others, that the fi u re - — number of pictures in Holland of g subjects by Andrew fairs, m a - erry makings, charlat ns, etc . prove that he was the survivor .

They executed several very Spirited etchings .

59. A Landscape .

a 2 . 4 i n . 1 . in . n . Canv ss, ft by ft 7; , oblo g M B A - O CA I SO CANALETT . 1 9

2 1 6 . A rocky Landscape, with Figures . Sunset .

I R in . O 1 . 1 1 . 6 . Canvass, ft in by . , blong An dre w B o th .

1 7 6 . Landscape and Figures . i 3 . 5 . . n . . Canvass, ft 2 in by 3 ft 35; , upright

Ja n B o th .

1 2 9 . A rich , warm Landscape, with mounted Fig ures, of consider

able size . T .

1 ft. 1 0 . 1 . 4 i n . Panel , }3 in by ft , oblong.

Ja n B o t"z .

MB CA IASO .

MB A NGIAGIO 1 2 LUCA CA IASO , or C was born in Genoa in 5 7 . He ‘ 1 w s in i ed to enjoyed a high reputation , and in 583 a v t Madrid by

P II. w h O . M 1 85 hilip , employed him in the Escurial Died at adrid in 5 .

4 1 . A Holy Family .

4 . 8 . i n Canvass, ft in by 3 ft . 6 . , upright .

m Purchased from the Cambiaso fa ily .

N CA ALETTO .

A e 1 ANTONIO C NAL, call d CANALETTO , born in Venice, 6 97 . He practised under his father as a scene painter, and went to Rome , w d B accompanied by his nephe and pupil , Bernar o ellotto, who painted i n m pictures quite the style of his uncle, and is known by the sa e name . m w D n Bellotto also etched a nu ber of large plates of vie s in resde . i n Canaletto lived chiefly Venice, and executed numerous pictures of the striking points in that remarkable city . He visited England in

1 4 a n d . w i n 7 6 , painted various scenes in London Many of his vie s f m Venice are engraved ; but a set of etchings by himsel , re arkable a t m for their sh rp and clear style of execu ion , convey a uch truer m n impression of his anner than any e gravings from his pictures . He died in Venice in 1 7 6 8.

n w - s h e 1 51 . View in Ve ice, looking to ards the Custom hou e, on t n Gra d Canal . R . I .

- i n f . . 2 1 i n 2 t 8 . . . Canvass, 5 by ft , oblong

Though not important in point of dimension , this is a very

good example of the style of the painter . — 2 0 CARACCI D OMENICIIINO .

CARACCI .

L 1 555 1 6 1 9. OD OVIC O CARACCI , born at Bologna in ; died in He w a s a pupil of Prospero Fontana . With the aid of his relatives, h e Agostino and Annibale Caracci , founded the later Bolognese School , or, as it is generally termed, the School of the Caracci . The reputation of the founders and pupils of this school stood for a long period very high , but for the last thirty or forty years it has been gradually sink i n R th e g . Sir Joshua eynolds has classed works of Lodovico Caracci w h O d it those of the highest excellence, and his pinion , no oubt, has tended very m uch to support the reputation of the school ; but Sir Joshua was trammelled i n his writings by the notions on art that were u s niversal in his day . He even attempted to paint the class of subject m bu t to which the Caracci had devoted the selves , the genius of the hi m painter forced , as it were, in spite of his preconceived maxims, ff to practise a di erent and far better kind of art . The consequence of the excessive admiration in this country of the pictures of the late r

Bolognese School is, that among the Italian works imported , in point of number they far exceed anything like a due proportion , and so productions of a far superior kind have been excluded by them . This is painfully apparent by the numerous examples of h t is school in most of the collections in this country ; but, however, o n ff n o w to a the other hand , vigorous e orts are being made rep ir this misfortune by the acquisition of works of art of a higher class .

6 3 . The Death of Abel .

4 6 . 1 . 4 . i n . . Canvass , ft in by ft 75 , upright

x h n t Presented by Sir Ale ander Cric to , Physician to the la e

Emperor Alexander I . of Russia .

DOMENICHINO .

M M M H D O ENIC O ZA PIERI, called D O ENIC INO . He was born at 1 1 n Bologna in 58 , and was the most disti guished of all the pupils of the In m School of the Caracci . that school a revival of art w a s atte pted on the principle of co m bining the chief qu alities in the productions of previous masters, and Domenichino seems to have directed his atten th e tion mainly to those evolved in works of Raphael . He executed m Of a any important commissions in Rome . His fresco the Fl gella In — m f 1 10 tion of St Andrew, St Gregorio subjects fro the li e of St N , in a chapel of th e Abbey of Grotto Ferrata— and his frescos in St ra n c es r m — Luigi a F , fro the life of St Cecilia are his most celebrated 1 41 productions . He died at Naples in 6 . I — H H 2 1 DU JARD N DUTC SC OO L .

1 6 9. Martyrdom of St Andrew .

1 4 1 1 i n O . Canvass, ft . } in . by ft . . , blong

n This little finished sketch , in which various figures, Roma

soldiers and others , are introduced, is a good specimen of the

skill of the artist in grouping .

1 w 7 3 . A Thick Wood , in hich is seated a naked figure about to

resume his dress, as if he had been bathing.

1 . 1 i n . . 9 . . Canvass, ft in by ft 5 , upright

w i n The dra ing of the trees is good , and though rather cold u colour, this picture has none of the blackness occasionally fo nd s in land capes attributed to this master.

DU JARDIN . A 1 4 KARE L DU JARDIN or J RD YN was born at Amsterdam in 6 0 . ’ B e r h e m s w He was the ablest of g pupils , and , hen young, went to

Italy, and remained there for several years . On his return to Holland , he met with ample encouragement. Having set out on a second visit 1 6 8 to Italy, he died in Venice soon after his arrival , in 7 , being then t - s only in his thir y eighth year . His pictures bring very large price

they are generally of small dimensions, exquisitely finished, and

m w d. co posed of cattle and figures, ell drawn and skillfully groupe fift - His etchings, y two in number, of landscapes , figures, and animals, are excellent .

1 a - 8 6 . H lt of Horsemen at an Italian wine house door, on the

k. banks of a placid river, with a very steep opposite ban

In the stream are several figures wading. The time is

sunset . T .

2 1 1 — i n s . 0 . . 2 . . Canva s, ft 5in by ft 5 , oblong

2 ’ 0 1 . A Farrier s Shop ; before which the farrier is trimming the

hind foot of an ox . T . — a 1 4 . 1 2 i n Canv ss, ft . 5in by ft . 4; . , oblong .

DUTCH SCHO OL .

- 1 7 7 . Sea Piece .

2 2 . 1 n . Canvass, in by 6 in oblo g This picture is distinguished by the well -broken w a ter of a ro u h g sea in which fishing boats, on the Coast of Holland , appear

s truggling . — A A— 2 2 FETl F I SE LL FIESOLE .

FETI.

M I in 1 89 D O ENICO FET was born at Rome 5 , and died at Venice in

1 4 . 6 2 . He was a pupil of Lodovico Caracci

B . M . 3 2 2 . The Decollation of John the Baptist .

. 5 . 5 i n . n . Canvass, 7 ft by ft , oblo g

Presented by James S . Wardrop , Esq . , Surgeon , of London .

FIA SELLA .

Wa M FIA SELL A IL . s DO ENICO , called SARZANA He born at Sar

‘

1 9. . zana, in the Genoese State , in 58 Was a pupil of Gio Batista

1 6 59. Paggi , and died in

1 1 45 The fig u res in Nos . 36 and are said to have been painted by him .

E FIESOL .

FR A O I E N O GI VANNI DA F ESOLE or B ATO A GELIC , from , as some m allege, the preli inary title to canonization having been conferred on h i m h w a s 1 8 by the C urch , born at Fiesole, near Florence , in 3 7 , and

1 455. are m died in The works of this artist reckoned by any, par i u l a rl n t c y by those of the moder German school of painting, to be the purest and highest exam ples of what is deno m inated Christian m Art . By those who followed this style, the early types and odes w w by hich religious subjects ere represented are preserved , not from w an t O f technical pow er to e m body such subjects in new and varied — w m phases, for Masaccio and others , who ere conte porary w ith a t — m Fiesole , successfully aimed this , but fro the idea that, by doing so , unity of feeling is pres erved, and a degree of ideality and grandeur imparted , and thus a sentiment of a higher kind attained than that w w involved in orks here the attempt to realise the actual, results in their becom ing historical co m positions rather than works suited for o f m religious services . The mind Fra Angelico was deeply i bued with reli io u s en th u s i a s m a n d m v g , though he ight ha egained great wealth and honours by his art, he chose rather to dedicate his talents as a painter to ff the service of the Church ; and the more e ectually to do so, he a m m entered the Order of S int Do inick, and never painted for oney, his application for his works being always made through superior . A great number of pictures were executed by him they a re generally of tem era w small dimensions and in p or .water colours, blended with onder h ful delicacy, the gayest and most c eerful colours, and a profusion of gilding, being employed by him . He aimed at imparting grace and o f x re sweetness e pression to his figures, and succeeded admirably in E H — F RINI FRANC SC INI U . 2 3

presenting angels and saints in glory . He executed many works in

fresco . The best of these are in the church of his order, St Marco,

Florence ; in the Cathedral of Orvieto ; and at Rome, whither he

was called by the Pope, and where, in the Chapel of S t Laurence

in the Vatican , his frescos, illustrating the history of that saint, for m n o w i any years neglected, are h ghly prized .

w 3 3 9. A series of Nine Dra ings, executed by M . Tourny for and ' c h efier under the superintendence of Ary S , from the celebrated picture in the Louvre of the Coronation of the

Virgin . R . I . The picture from which these drawings were made is one of ’ A n elic o s f t Fra g most celebrated works, and was ormerly in S th e Domenico at Fiesole . The drawings are of the same Size as m a picture, and embrace the whole subject, as y be seen from ’ A n eli o s the coloured print placed along with them . Fra g c

works are rarely to be met with in this country , and they are so i m highly appreciated abroad , that opportunities of acquir ng the

seldom occur . But this series of drawin gs from a picture of such .

high excellence, executed with great care and skill, under the direction of an artist who so thoroughly appreciated th e deep ’ feeling and expression for which Fra A n g elic o s works are so m remarkable, will serve to convey a tolerably clear i pression of those qualities on accou nt of which this ancient painter is n ra ked so highly .

FRANCESCHINI . O H CAVALIERE MARC ANT NIO FRANCESC INI, who was the favourite

i n a n i 1 4 1 2 9. pupil of Carlo C g , was born in Bologna, 6 8, and died in 7

7 2 . Saint Jerome .

f . 2 t . 2 ft . . Canvass, a; in by , oblong

Purchased from the De Franchi Family .

FUBINI .

F URINI l 1 04 in FRANCESCO was born at F orence in 6 , and died ’

w . 1 6 49. He studied Guido s orks The two examples by him in the

Gallery are well coloured , and touched with m uch delicacy .

4 8 . A Head of St Sebastian .

1 . . 1 . 3 in . . Canvass, ft 8 in by ft , upright

52 . A Poetess .

l a 4 1 1 i n u . Thick paper laid on Panel , ft . in . by ft . . . , pright — — G AROFAL O GH ISOL FI GIORGIONE .

GAROFALO .

E O T ISIO R O O his l BENV NUT , called GA FAL , from usua ly painting a illifl o w er th e g as a monogram in corner of his pictures, was born at 1 481 1 Ferrara in , and died in 559. He was a scholar or assistant t w o f in the School of Raphael for a year or , and le t it to return to

w w a . Ferrara, here he s fully employed Painted fresco and easel i n m pictures, and , the latter, in feeling someti es approaches Raphael .

His colouring is warm and rich .

1 4 d m e 6 . Christ riving the Sellers fro the Templ .

1 . 6 . 1 . i n . Panel , ft in by ft 3 , upright .

m Bought fro the Duke of Vivaldi Pas qua .

GHISOLFI .

HI L FI 1 2 1 6 8 . GIOVANNI G SO . Born 6 3 ; died 3

m 1 94 . Architectural Composition of Ruins of Ro an Buildings, with

fragments of Sculpture, and intermingled with figures,

w d . ell designed and intro uced T . L 1 . 2 i n . . 3 . O . 3 Canvass, ft 5, in by ft , upright

en da n t 2 0 4 . Classical Ruins, intermingled with figures the p ofNo

1 4 . 9 T .

3 . 1 0 . 3 . 2 i n . . Canvass, ft 4in by ft , upright

GIORGIONE .

O BARB ARE LL I O a t GIORGI , called GI RGIONE , was born Castel 1 4 1 1 1 franco , 7 7 , and died , some say of the plague in Venice, in 5 . He

a a t . was, long with Titian , a pupil of Giovanni Bellini Venice His m m pictures bear the i press of great power, and have a lu inousness

w . and internal glo , contrasted with a solemn and dignified repose The

figures give the idea of an elevated race of beings, and he invested his portraits w ith a grandeur and beauty never surpassed by Titian . f e w His works are very scarce . There are genuine examples in this

. 2 1 country . No 7 is a spirited study, by J . F . Lewis, from one of — e . his bes t works the Fete Champ tre, in the Louvre

1 37 . Portrait .

1 6 . 1 . 1 i n . u . Canvass, ft . in by ft , pright

n . 1 6 5 . A You g Noble, on whose Shoulder leans a beautiful Girl T .

in s 2 . n . 2 . 3 . t. Canvas , ft i by ft g , uprigh

— H BB M 2 6 GUIDO O E A .

3 5 . The Repentance of St Peter .

4 2 . 9 in . . Canvass, 3 ft . in . by ft , upright

1 6 4 . Madonna, Infant , and St John .

2 . i n . . Canvass, 3 ft . 7 in . by ft 9 , oblong

Purchased from the De Franchi family .

GUIDO .

E 1 5 . GUIDO R NI, generally called GUID O, was born at Bologna in 7 5 be One of the most celebrated of the pupils of the Caracci , attained m t w a n d high distinction in Ro e, where he resided abou t enty years, m executed any important works . On leaving Rome, he settled in

Bologna, lived in great splendour, and established a school . He died

B l n in 1 42 . i n o o g a 6 Guido lived expensively, and the demand for his w orks being great, and having great facility of execution , painted rapidly to obtai n money . He displayed more origina lity in his works h t an any other pupil of the Caracci , and was the great opponent a m of Caravaggio, and the n turalisti ofthat period , ai ing at lightness in m m n his colouring and elegance in his for s . He executed so e etchi gs .

H n m o w w . 1 7 2 . An E c c e o , or Christ cro ed ith Thorns

1 . i n h 1 . 1 4 . 0 . . Canvass, ft in by ft § , uprig t This w a s a favourite subject of Guido ; for several pictures ff extremely similar to this are in di erent collections in Europe .

3 2 3 . The Dead Christ in the arms of the Father . 1 2 . 4 2 i n . u . Canvass, 6 ft . 5 in by ft . , pright n n is h U fi ed. )

Presented by Edward Cruickshank , Esq .

1 4 1 . Peter Delivered . School of Guido .

3 . 5 . 3 . 1 i n . U . Canvass, ft 5in by ft , pright

3 2 9 . St Peter, and another Apostle . A copy after Guido ,

by S . Williams .

6 . . 4 . 5 i n . . Canvass, ft 5 in by ft , upright

M. P . Presented by Henry Drummond , Esq . ,

HOBBEMA . BB M MINDERHO UT HO E A . Little is known regarding the history of this distinguished painter . Neither the place nor date of his birth bu t has been clearly ascertained , it seems to be generally admitted

u w a 1 6 2 9. that he was a native of Holland , and it is s pposed s born in Ruysdael and Hobbema are the two greatest landscape painters of H E KG E E — H M AN— F O ST UYS LAN RANC O .

u the D tch school , and they hold about an equal rank . Many of their

fi n est works are in this country . It is conjectured that Hobbema died in 1 6 70 .

1 7 9 . Woody Landscape, with the remarkable light pencilling of w a s the foliage for which this artist celebrated . T .

1 1 1 i n n 2 . . . 9 . Panel , ft 2 in by ft 5 , oblo g .

d n 2 1 5 . A Woodlan Scene , with a river ba k in the foreground, on

which appear some small figures . T .

2 . 2 1 . in n . Panel, ft in . by ft 6 . , oblo g

HOE K GEE ST .

H M AC HIM HOE K G EE ST HOGE EST T w o GIOV A C I O or JO or . pictures

t he M u . 1 1 by this artist are in use m of the Hague One is dated 6 5 .

6 9 . An Architectural Subject .

5 . 4 . i n . . Canvass, ft by ft 3 , oblong

Purchased from the Cambiaso family .

M HUYS AN . CO RNELIUS HUYSMAN or H O USEMAN was born at Antw erp in d 1 6 48, studied under Artois at Brussels, and afterwar s settled at

1 2 7 . Mechlin . He died in 7 His pictures possess considerable breadth

and eff ect, and the figures and cattle are introduced with Skill .

h . 4 3 . Landscape, wit Cattle and Figures

1 0 . 2 . 8 in . . Canvass, 3 feet in by ft 5 , oblong

Presented by Robert Clouston , Esq .

LANFRANCO .

m 1 581 . GIO VANNI LANFRANC O . Born at Par a in Studied under w u n Agostino Caracci , and after ards worked in Rome nder A nibale m m Caracci . He executed many important co missions in Ro e and

Naples, and was the bitter rival of Domenichino . In the latter part

of his life he indulged in the violent light and shade of Caravaggio .

The specimen in the gallery is one of his works of tha t cl a ss . He died 4 in 1 6 7 .

4 7 . Saint Christopher . A .

4 . 2 . in . . Canvass, 3 ft . in by ft 6 , upright A G R . . Presented by Sir John Watson ordon , 2 8 D U — l N ELBA H— M LE C L G C IEL .

LE DUC .

JAN D uo B r 1 1 6 95. LE or UCQ , bo n at the Hague in 6 36 ; died in

At first a pupil of Paul Potter, but changed from painting cattle pieces, to corps de gardes, soldiers at cards, etc . He executed some etchings of animals, and other subjects .

1 7 8 . Party at Cards .

2 1 i n Panel , ft . by ft . 55 . , upright . The grouping is good, and the tone clear .

LINGELBACH.

OH B H -o n - - 1 J N LINGEL AC was born at Frankfort the Maine in 6 2 5. w a s It is not known who his master . He worked two years in Paris m m m 1 0 and six years at Ro e, and went to A sterda in 6 5 , where he practised with considerable success . His subjects generally were a It lian seaports, with figures, fairs, carnival scenes, etc . He was occasionally em ployed by Ruysdael and Wyn an ts to introduce figures in their la n dscapes . There are several etchings by him of views of - 1 sea ports, etc . He died in 6 87 .

1 89 . Halt of a Waggon at the door of an Alehouse, placed on u m n a rising gro nd , and overlooking a cha paig country,

several persons being grouped around the door. T .

1 . 4 . 1 . 2 in . . Canvass, ft 5in by ft , upright

MIEL . AN t O J MIEL, also called BICKER, and by the I alians, GI VANNI DELLA i n 1 599 VITE, born at a village near Antwerp , and was a pupil of t w Gerard Seghers . He af er ards went to Rome , and became pupil and assistant of Andrea Sacchi . Various large pictures for churches were painted by him , but his talent lay in another direction , his best

f . works being easel pictures of airs, markets, huntings, festivals, etc m e Invited to the Court of Turin , by Charles E anu l, Duke of w h o his 1 6 6 4 Savoy, retained him in his service till death in , he painted numerous hunting subjects for, and was knighted by , that w m a re t prince . His orks have uch force and character, bu t ra her i n m a m heavy tone, fro his painting on a dark ground , practice co mon among the Italian painters of the time . He executed some spirited etchings.

w 53 . A Seaport, ith Figures .

2 . 4 1 . i n . . Canvass, ft in . by ft 75 , upright MO RINELLO— — B — 2 NEEFS OSSEN ECK OSTADE . 9

M R L O INEL O .

ANDREA MORINELL O .

a Pi e 1 34 . Shepherd with p in his Hand ; and who appears to be

singing . R . I .

. 1 2 4 i n 3 . . . Canvass, ft in by ft , upright .

Geri n i Purchased from the Marquis at Florence .

NEEFS . E 1 PET R NEEF or NEEFS, born at Antwerp in 57 0, was a pupil of n i k S tee w c the elder . He is reckoned one of the most successful n t h T amo g hose artists who painted interiors of c urches . he figures 1 1 in his pictures are generally put in by others . He died in 6 5 .

2 0 a 3 . Interior of a Cathedr l , with the choir in deep shadow . The clear light throw n on the transept gives eff ect to a group of figures moving to the baptistry for the pu rpose of fa a n d christening an in nt, strongly resembling those fro m

Th u lden . the hand of Van T .

1 5 1 1 i n . Panel, 5by 5 , oblong.

OSSENBECK. A AN B 1 2 J N or JO SSE V OSSEN ECK was born in Rotterdam in 6 7 , 1 m and died in 6 78. He painted any years in Italy . The picture bu t in the Gallery is not one of the class usually treated by him , w ff seems an exact vie of some place in Holland , and the e ect is re markable for its truth . It was for a long time attributed to Cuyp, t m a but the signature and da e , which y be recognised without much f di ficulty , and a certain coldness and hardness never seen in genuine

v n o th e e . works by Cuyp, lea e doubt as to paint r

ff . fl 1 96 . Scene, a Dutch Landscape ; sunset e ect A a t scene with

a river . In the foreground and middle distance are

cattle, bathers in a river, and a town in the distance .

1 i 2 . . 2 2 n . 0 . . Canvass, ft in by ft 5 , oblong

OSTA D E . T E 1 1 ADRIAN V AN O S AD w a s born at Lubec in 6 0 . He came to Ha erl e m h n d Fra n c rs a n d B ra u w er w en very you g, to study un er Hals, w s w a his fello pupil . His subjects consist of scenes from the every th e u day life of Dutch peasantry, treated with great truth and h mour, t a s and painted in the most fascinating s yle regards grouping, light 3 — M 0 PA GGI PAL A .

and shadow, and colouring . His pictures have great depth and trans a ren c p y, produced by an unctuous mode of working, exactly the O pposite of Teniers, his worthy rival in the same walk of art, whose w a s w — touch sharp, and the texture of his ork crisp, thus proving ff that excellence in art may be attained by di erent means . He died 1 6 85 m m S 1 2 in , at A sterda , where he had been settled ince 6 6 . His m 4 etchings, which are much ad ired, amount to 5 .

. N. S . A 56 . Dutch Interior .

1 . 1 1 . 8 i n . Panel , ft 0 in . by ft , oblong . B A Presented by W. Shiels, . S . .

PAGGI .

1 . GIOVANNI BAPTISTA PAGGI, born at Genoa in 554 He was a

. a pupil of Luca Cambiaso Obliged to leave Geno , on account of having w unfortunately killed his antagonist in a quarrel, he lived t enty years m 1 in Florence, protected and e ployed by the Court. In 6 00 he was a b invited to return to Geno , where, according to Lanzi, e assisted ar t h a d very much to revive , which at that time greatly declined

1 6 2 9. a there . He died in P ggi seems to have studied the style of

Coreggio , or rather his imitator, Barroccio . This Specimen , and th e some other works in Gallery , were obtained from one of the m villas of the Doria family, near Genoa . They are arked on the

back with a Ducal coronet, surmounting the letter D .

1 54 . Riposo .

2 . 1 0 . 2 . i n . u Canvass , ft in by ft 3 , pright.

PALMA .

P M IL H O JAC O O PAL A, called VECC I , to distinguish him from his

a CO o Il . He great nephew, J p Palma Giovine was a native of Seri

B er a m es e . n alta , in the g territory Mistakes have occurred regardin g the date of his birth , but it seems now to be ascertained that he was ’

abo u t 1 5l O. w i born The orks of Giorg ione, and T tian s earlier pictures, were studied attentively by him , and his productions are remarkable for m their rich tone and colour . The exa ple in the Gallery ascribed to

Palma is more like a production of one of the Flemish painters who, in the sixteenth century, attempted to introduce Italian art . Several Of these devoted themselves to the study of the Florentine and Ro m an De n Schools, but Vos, Van Bale , and others modelled their style on that of the Venetians, and this picture is probably by one of these artists .

6 8 . The Adoration of the Shepherds .

1 . . 1 3 i n . . Panel , ft 6 in by foot , upright — M — P D N NE PANNINI PAR IGIANO OR E O . 31

PANNINI .

' O O O 1 1 GI VANNI PA L PANNINI , born at Piacenza, 6 9 , went early L lli u c a te . 1 . to Rome , and studied under Pietro He died in 7 6 4 a His position as painter of architectural subjects, is deservedly high .

’ 3 6 . Interior of St Peter s at Rome .

i n . 5 . . . Canvass, ft by 7 ft 3 , oblong

’ 4 5 . Interior of the Ancient Basilica, St Paul s, beyond the walls .

A B .

i n Canvass, 5 ft . by 7 ft . 3 . , Oblong . A Picture of great interest and value as an admirable and

truthful representation of the interior of this celebrated edifice, i n 1 2 which was destroyed by fire 8 3. This Basilica was an object w a s of interest to English Travellers, for it the church in Rome of w hich the Sovereigns of England, previous to the Reformation ,

were protectors, as the Sovereigns of Austria, France, and Spain ’ n are now of St Peter s , St John Latera , and Sta . Maria Maggiore .

PARMIGIANO .

O l IL M O FRANCESC O MAZZU LI , ca led PAR IGIAN , born at Parma i n He m 1 50 1 540 . 3 ; died in distinguished hi self when very young,

and successfully imitated the style of Coreggio . At the age of tw enty

he went to Rome, and , by the study of the works of Raphael and m Michael Angelo , aimed at i parting more vigour to his style . He

w a s m . e ployed by Clement VII , but on the sack of Rome by the

a Of w . 1 531 m a rmy Bourbon ent to Bologna In he returned to Par . Being thro w n into prison for breach of a contra ct he had entered

into to paint frescos in Sta . Maria della Staccata , after his release, O f w m instead prosecu ting the ork according to pro ise, he fled to

a a w . C s l Maggiore , here he died at the age of 37 It is said that he was His ruined by a mania for the study of alchemy . endeavour to impart w m t grace and grandeur to his orks, though to so e ex ent successful, a led him to much ex ggeration in the proportions of his figures . m One of his best and ost noted works is the Vision of St Jerome, in w a s hi m the National Gallery, London . It executed by in Rome .

A. . 58 . Head

1 . 7 . 1 . 1 i n . u . Canvass, ft 5in by ft , pright

PORDENONE .

O O I O O E RC I IL O E GI VANNI ANT N LICINI IL O, called P RDENON , the

. w a s 48 . In name of a small town in Friuli , where he born in 1 3 32 POUSSIN .

w w h o Venice he formed an intimacy ith Giorgione, painted a well w D o lia h kno n portrait of him as avid with the Head of G . He held so high a position as an artist, as for a considerable time to have maintained a course of ri valry w ith Titian . He died at Mantua in

1 . 1 31 m w 550 . The specimen (No ) in the Gallery is not one fro hich m a fair esti ate of his talent can be formed ; but if, as some maintain,

. 6 5 the Adoration of the Magi (No ) is by Pordenone, the anxiety n n said to have bee evinced by Titia during the contest, may easily be accounted for.

M 1 31 . Christ on the ount of Olives .

5 . 1 0 . ft. . Canvass, ft 5in by 3 less 5, oblong

e Purchas d from the Doria family .

POUSSIN, G .

D U HET GASPAR G , better known by his adopted name of POUSSIN . n His father was a Frenchma , settled in Rome, and Gaspar was born

1 1 1 6 75. 1 there in 6 3, and died in Some make the dates 6 0 6 and s m 1 6 6 0 . Nichola Poussin , who had married his Sister, having re arked w his taste for landscape painting, advised him to follo that walk, and fi gave him th e bene t of his able instructions . He became an excellent a painter, and imp rted to his style, modelled at first on that of his dis ti n u is h e d -i n - g brother law, striking peculiarities entirely his own . In

Italy, landscape painting received its first impulse from Giorgione and o n Titian ; they bestowed great attention their backgrounds, and occasionally painted pictures in w hich the interest attached to the landscape is nearly equal to that given to the figures . N0 direct w consequences, ho ever, followed from their example till Annibale ff Caracci , in his e ort to revive art at the close of the sixteenth cen d d tury, irected attention to that fascinating epartment of it by w executing several landscapes, hich by many are more highly prized m than his more ambitious figure co positions . In this direction he was follo w ed by Domenichino, Albano, Guercino , and Grimaldi . Land scape painting w a s carried still higher by Nicholas Poussin ; and as w ho m treated by Claude and Gaspar Poussin , introduced a closer i ita tion of Nature, and reduced the figures to the rank of mere accessories i n - m their compositions, landscape painting beca e an independent line ’ of art. G . Poussin s landscapes are composed in general from studies in the compagna of Rome and surrounding country, worked out with e m bu ed w the feeling of a mind largely ith classical associations, and t b c o n tra s ti n ending towards melancholy reflection , y, g the glory of the s pa t with the decadence of the present ; while Claude, rejoicing in f f the never ading beauty o the Italian sky, from the scenery around th e m him , and architectural re ains of the past, endeavours to realize

EL 34 RAPHA .

ffi bu t ff the collection , has some a nity to those of John Both his e ects ’

a s h . and colour, are greyer and greener, and not so tender Bot s

w ff h 1 88 . Recesses of a Forest, ith a fine e ect of morning lig t

descending through the interstices of the trees , and

Shewing a picturesque mountain background . On the

i n c o w . right, the foreground , are a , a boy, and his dog

The foliage is richly handled . T .

1 8 In . u . Canvass, 3 ft. by ft. , pright

RAPHAEL, COPY FROM .

H O O n RAP AEL, or RAFFAELL SANTI or SANZI , bor at Urbino, in

1 4 83 1 2 0 . m h ; died at Rome in 5 By al ost universal opinion , Rap ael ranks as the greatest of painters . After the death of his father, w h o h e Giovanni Santi , was his first instructor, was placed under

Pietro Perugino , the most distinguished painter of the period . In 1 504 a t he visited Florence, where, as is proved by his cartoons h e w Hampton Court, studied assiduously the orks of Masaccio in the Of v ff Church the Carmine, and impro ed his style in colour and e ect m m by the exa ple of Fra Bartolomeo , w ith who he was on terms of E intimacy . xcept during the periods occupied by three short visits P eru io n h e i n to g , Bologna, and Urbi o, seems to have lived 1 4 1 5 w m i n v i Florence from 50 to 08, hen he went to Ro e on the m ta tio n of Pope Julius II . He then co menced his celebra ted m frescos in the Vatican , and executed numerous other com is 1 1 m sions . On the death of Julius in 5 3, his employ ent on the w a various important works in hich he was eng ged, was continued , and his great powers kept constantly in exercise . The works of

Raphael are divided into three classes . His first style when under ’ u m h e the infl ence of Perugino s anner . His second when painted in Florence from 1 504 to 1 508 ; and his third style which is distinguishable in works executed by him soon after h e had m m settled in Ro e . Each of these styles has its devoted ad irers . w Those who incline to art, ith reference to its being employed in the n service of religion , prefer the first manner as embodyi g purity and

. m religious feeling His last anner, perfected at a time when the taste for classical learning and art was strongly incited by the di s c o v er y of important examples of the classic period, is held by many W connoisseurs as the only kind of true art ; hile his middle, or t Florentine style, is admired as the resul of a harmonious combina t a ll ff ion of all his artistic qualifications . In these di erent styles he w has left orks of high excellence . The Coronation of the Virgin G S o z a liz io in the allery of the Vatican , and the p , or Marriage of the

Virgin , in the Brera Gallery a t Milan , belong to the first period . S t i n The Catherine, in the National Gallery London the Entomb h B i ment of C rist, in the orghese Gallery at Rome ; La Belle Jard M B RE RANDT . 35

e d. ni re, in the Louvre , to his second perio While the St Cecilia, at

Bologna ; the Madonna di San Sisto , at Dresden ; the Cartoons, at m Ha pton Court ; the Transfiguration , and all the Vatican frescos,

except Theology, or the Dispute on the Sacrament, the first he exe o o n m — m uted his arrival fro Florence , are in his third anner, or that which peculiarly marks the Roman school in its highest develop

. a 6 th 1 2 men t R phael died in Rome on April 5 0 , the anniversary of his birthday . The example in the Gallery (331 ) is a copy of the n i same Size as the original, executed with great care, and very c o s dera ble n success by Gregor Urquhart, and its acquisition was stro gly recommended by Sir David Wilkie .

3 3 1 . The Transfiguration by Raphael .

Copied from the original in the Vatican , by G . Urquhart .

1 ft 4 . . 2 9 . Canvass , 3 . in by ft in , upright

MB RE RANDT .

MB ERRITZ MB H RE RANDT G , commonly called RE RANDT VAN R YN ( 1 6 0 6 or 1 6 08 His father was a miller on the banks of the

L e derdo r . Rhine, between y p and Leyden He attended, for a short m h ti e , the Latin school at Leyden , and after studying art t ree years w a n en bu r under Jacob van S g , and for a very limited period with La s tm a n m Ha e rl em Pieter at Amsterda , and Jacob Pinas at , he returned home and devoted himself to the study of Nature . He settled

m 1 6 in 1 6 9. in Amsterda in 30, and died there October 6 Rembrandt holds the chief place among the masters of the Dutch school ; his power and originality are exemplified in al m ost every branch of art ; a ll he carried light and shade farther than any other painter, at events - he made more use of this important art element, introducing it as the leading principle into all his compositions, whether scripture subjects,

f t s . scenes in ordinary li e , portrai s or land capes His etchings are more highly prized than those of any other artist, being remark able as evolving, by apparently simple means, much expression , ff character, and e ect ; and for embracing a great variety of subjects, ff in di erent walks of art . He had many pupils . Eeckhout was one m m B0 1 of his ost successful i itators, and Ferdinand and Flink have i n 3 been classed as his rivals portrait painting . No . 7 is from the

. 1 1 9 are collection of the Marquis of Abercorn No . 95 and 7 speci 04 mens of his style as a landscape painter, and Nos . 3 , 305, 30 6 , and - 0 . . 3 7 , are spirited studies by Mr J F Lewis, from well know n examples in the Louvre .

‘ h 3 7 . The Deposition from t e Cross .

1 i n 6 . 5 . 0 . O . Canvass, 6 ft . in by ft , blong 1 95 . A close Woodland Scene .

2 . . 1 i n . . 9 . O Canvass, ft 3} in by ft , blong The light is streaming down through the openings in a thick ‘ w w c fiec t ood , the deep shadows of hich give to the strong u gleams of sunshine th s partially admitted . In the foreground

are mendicants ; in the middle distance , a lady and gentle man walking are followed by a coach drawn by two white

horses .

1 97 . A spirited sketch for a Mountain Landscape , in which grand chiaro -scuro is produced by a f e w touches of a rapid

pencil . T .

1 . 3 . 1 1 i n . . Panel, ft 5in by 5 , oblong

RESCHI.

B E HI D a n tz ic 1 6 43. PANDOLFO SO , born at in He went to Italy

w a s . . when young, and an able pupil of Giac Borgognone He died 1 in 6 99.

- 1 53 . A Battle Piece .

4 1 i n . Canvass, ft . 9 in . by 3 ft . . , oblong

M . RO ANO , GIULIO

G O M . w a s IULI PIPPI, generally known as GIULIO RO ANO He 1 4 2 h born at Rome in 9 , and being placed in the school of Rap ael , m w beca e his most distinguished pupil . He a s entrusted by Raphael a c O - with the execution of many of his designs, ppointed his heir along w Il m m ith Penni , called Fattore , and recom ended to be e ployed to complete his unfinished works in the event of surviving him ; a c r n l m c o di g y he was so employed . His ost important compositions

u a . were executed at Mantua , for the D ke Gonzag All his aims were directed towards trying to realize ancient classic art, for which , in the sixteenth century, in Italy in particular, there was great enthusiasm . His designs were mostly illustrations of the mythology 1 4 6 . and poetry of the Greeks . He died in 5

- 1 7 4 . Battle Piece .

2 . 1 1 . 6 i n . . Canvass, ft in . by ft 5 , upright This is a finished sketch for the left-hand group in the vast r M a x en tiu s n f esco of the Battle of Constantine and , in the Vatica ,

. ff which was commenced by Ra aello, but finished by Giulio ,

upon the premature death of his master. — B RO SA RU ENS . 37

ROSA .

SALVATOR RO SA was born in the neighbourhood of Naples in 1 6 1 5. Fr n z n firs t i n s tr uc to r r a c a a o , His , in a t was Francesco who had

married his sister . Some of his landscapes attracted the notice L w ho n of anfranco , , purchasi g them , enabled and encouraged the

young artist to pursue his studies . He became a pupil of Aniello - w S a n o le to . Falcone, a painter of battle pieces, and after ards of p g t o m - Having gone t Ro e , he was employed to paint an altar piece and some other works by the Neapolitan Cardinal B ra n c a c c i and he a c u companied Prince Carlo de Medici to Florence, and exec ted several

i m portant works for him . After a residence of nine years, he returned

m 1 6 3. v to Ro e, where he died in 7 Sal ator has a great reputation as w w a painter, and he o es this mainly to his landscapes , hich , though

faulty in many respects, arrest attention by originality in s u b j ec t and treatment, being generally representations of wild an d m savage scenes, calculated to call forth romantic i pressions, and s executed with a freedom and deci ion remarkably appropriate . Salvator etched numerous subjects highly characteristic of his peen

liar style .

1 6 7 . Landscape and Figures .

. 2 . 1 8 i n . Canvass, 3 ft 5in by ft . , oblong .

The scene is the shore of a wild Lake, on which appear d several armed Bandits . A rocky boun ary, on the further side , i occup es the middle distance on the right, and declines, so as to

i . g ve a distant view towards the left hand In the foreground ,

left side, there is a group of trees .

M RUBENS, COPY FRO .

B 1 . PETER PAUL RU ENS, born 57 7 , at Siegen , in Westphalia His s w t parent were natives of Ant erp, which they had lef on account of u 1 religious dist rbances . They settled in Cologne in 578, and re ’ m 1 58 m r e ained till 7 , when Rubens father having died , his other m w w a s u turned with her fa ily to Ant erp . He first placed nder V erh a a t a w i g , a landsc pe painter ; ho ever, nclining more to historical m painting, he beca e a pupil of Van Oort, but soon quitted V e n i u s his school for that of Otho Van Veen or , who then enjoyed a w high reputation , and after studying four years ith that painter,

1 6 00 . th e Vi n c en z io went to Italy in He entered service of Gonzaga , a n d m D uke of Mantua, but spent a considerable time at Venice Ro e O i 1 w a s studying, and making c p es for the Duke . In 6 05 he sent

on a mission by the Duke to Philip III . of Spain , and on that occa

sion painted several portraits of Spanish noblemen . After an

absence of upwards of eight years, Rubens returned to Antwerp in 1 6 8 0 , on account of the illness of his mother, but she died before he had 38 B — RU ENS RUYSDAEL .

m bu t acco plished the journey . He intended to return to Mantua, he was induced to remain by the Archduke Albert, Governor of the 1 2 Netherlands . In 6 0 he visited Paris by invitation of Maria de 1 2 Medici , and in 6 5 completed the series of sketches for the pictures n w destined to adorn the e palace of the Luxembourg . Rubens was sent by the Infanta Isabella, widow of the Archduke Albert, a n 1 2 an d on a diplomatic mission to Philip IV . of Sp i in 6 8, in the following year on a similar mission to Charles I . of England , by 1 d whom he was knighted in 6 30 . He ied very rich at Antwerp

4 . i n 1 6 0 . Rubens was the acknowledged head of the Flemish school By the expression of pow erful and energetic action and strongly u m arked character, dexterous exec tion and brilliant colouring, he successfully embodied the tendencies of the age in which he lived to u pleas res of sense, strong passion , and stirring action ; and criticism , w hile j ustly condemning the coarseness and almost grossness of the conception of his subjects, especially where the nude figure is intro d e d u c , is in a manner carried away by the Spirit of joyousness and animal vigour conspicuous in his works, while the truthful manner in which he viewed Nature confirmed his success . The style of Rubens has had very great influence on the English School , and has operated in a w a y partly beneficial and partly hurtful . For though brilliancy of n colouring may have been gained , deficiency in tone, and a tende cy O i n the carnations to an excess of red and w hite, perate as draw ’ o f backs . The only example Rubens style in the Gallery is a Rein a le C copy by g (whose opies are noted for fidelity), from the original, and of the same size, of the celebrated picture of the

Crucifixion in the Museum at Antwerp . This solemn and touching event is represented under the eff ect of bright sunshine— with a dis — play of vigorous action and no attempt is made, by form or expres n sion , to embody the solemnity of an occurre ce in which these quali 2 4 1 4 1 ties must have been leading points . Nos . 7 , 3 , and 3 5, are spirited studies from celebrated works of Rubens by J . F. Lewis .

3 2 4 . The Crucifixion ; by Rubens . Copied from the original in M i . . Re n a le R A the useum at Antwerp , by R R g , .

1 4 1 . 4 in . u Canvass, ft . 6 in . by 0 ft , pright .

Of H Presented by Mrs Robertson Ednam ouse, Kelso .

RUYSDAEL. — JAC OB RUYSDAE L or RUISDAEL was born a t Ha erlem the date 1 1 6 of his birth is uncertain , some make it 6 36 , others 30 ; he died

1 6 81 . in It is said , that for some years he directed his attention to w a s the study and practice of surgery, but advised by his friend ,

Nicholas Berghem , to devote his time to painting . In his pictures the a trees are excellent in form , the foli ge is touched with sharpness and

SCORZA . 39

a n d . precision , and the skies are light floating His style of composition is entirely original , and may be said to be characterised by a certain a a compactness in the rrangement . The It lian landscape painters have generally groups of trees at the sides and running out of the picture ; ’ in R u ys da el s compositions the trees are al m ost al w ays massed within

the picture . Ruysdael and Hobbema hold about an equal position , namely, that of the best landscape painters of the D utch School , but a l m - Ruysdael was lso equal y e inent for his sea pieces . His etchings , seven in number, are much prized by collectors .

1 8 7 . A Wood Scene on the banks of a sluggish river, with small

a . figures ngling. T f 2 . . 2 t . Canvass , ft 5 in by , oblong .

0 . IS w 2 0 . Landscape There a river in front, a richly ooded and

broken bank in the middle distance, and the Spire of a church

m ; more re ote . On the left is a group of those gnarled oaks for

delineating which Ruysdael was so famous . The figures are W o e rm n . . painted by Ph . u v a s T

4 . 4 . i n . 6 . . Canvass, ft 5in by ft 55 , oblong

SCORZA .

B l a io G SINI ALDO SCORZA, born at V a t gg , in the enoese State, in

1 89 1 1 . . 5 , died in 6 3 He was a pupil of Batista Paggi The two 1 36 w a R In s titu pictures ( , when they ere cquired by the oyal w Fia s ell a— tion , were stated to be joint orks by Scorza and the land de s c ri e . m scape by the former, the figur s by the latter But fro the p ’ o rz a s tion given by Lanzi of S c style, it rather appears that they are entirely his production . Lanzi says of Scorza, that he was an excel lent painter, and enlivened his pictures by figures and animals in the f style of Berghem , and it would be di ficult to n ame an artist in Italy who so successfully engrafted the Flemish style on his own . He in s a c r ed mentions, that in collections there are specimens by him s u b ec t a n d c la s s ic a l a ble a i n j s f s . That he lso painted in miniature, if, - m m deed , his oil paintings , fro the care bestowed on the are not them ’ a S c o rz a s selves to be c lled miniatures . This description of style w applies most exactly to the above two pictures , hether the landscape, Fi a s ella or the figures be considered . Whereas is said to have been much employed in painting Scripture subjects for churches, and , from w t m impatience, often to leave neglected his orks, or lef the to be hi s finished by pupils .

1 3 6 . A Landscape , with Figures . (The Story of Baucis and

. Fi a s ll Philemon ) The Figures said to be by e a . R . I .

2 4 1 . i n n Canvass, ft . 5in . by ft 6 5 . , oblo g . 4 — 0 S EBA STIANO DEL PIOM BO SIRANI .

1 4 5 . A Landscape and Figures . R . I . The Figures (the Story of the Peasants of Lycia Fi a s ell a turned into Frogs) said to be by .

i . 2 . 4 . 1 . 6 n . O Canvas, ft 5in by ft 5 , blong

SEBASTIANO DEL PIOMBO .

A B I N MB FR SE AST A O DEL PIO O . His original name was Luciano, but the Pope having bestowed on him the office of Keeper of the ' zo m bo Seal of his Chancery (it is impressed on lead, p ), to fill which it was necessary for him to take the religious habit, he assumed 1 485 the above name and title . He was born at Venice in , and studied under Bellini and Giorgione . He was invited to Rome by m u n ific en t n Ghi i the Patro of the Arts, g , the banker, and executed m him many i portant works there . Michael Angelo aided with ’ — i n designs for his pictures, colouring being Sebastiano s forte, the u hope of enabling him s ccessfully to rival Raphael , of whose immense m reputation that great artist was somewhat jealous . In this co petition z his powers were tasked by his picture , the Raising of La arus, now in L w the National Gallery of ondon , and one of the most valuable orks ’ in the Kingdom ; it is of the sa m e di m ensions a s Raphael s T ra n s fig u ra m tion , and both were commissioned at the sa e time by Cardinal Giulio a m de Medici , and though , by gener l opinion , the pal was adj udged to ’ m His Raphael , Sebastiano s picture created very great ad iration . portraits are of the highest class, and , like his other works, bring very 1 4 m w large prices . He died in 5 7 . A correct i pression of the po ers of this great artist c annot be formed fro m the Specimen ascribed to him in this collection .

7 1 . Bacchus and Ariadne .

4 . 6 In . O . Panel, ft . by 3 ft , blong

Purchased fro m the Collection of the Duke of Vivaldi Pasqua .

SIRANI .

B ANI ELISA ETTA SIR , daughter of Giovanni Andrea Sirani , born at

1 . he Bologna in 6 38 S was instructed by her father, but devoted herself assiduously to the st u dy of the works of Guido . She was possessed of great perseverance, for though her career was very w - short, not having survived her t enty sixth year, she left about one hundred and fifty pictures, including portraits and several etchings, h e a dm i n is all evincing much taste and talent . S died from poison t re d e by her servant .

7 3 . St John .

2 . 2 . 1 in . u . Canvass, ft 5 in . by ft 5 , pright fl S NYDE RS S PAGNO LE TT O . 4 1

SNYDERS .

n 1 57 9 . FRANCIS SNYDERS, bor at Antwerp in , was a pupil of H Van f Balen , and at first painted ruit and still life, but afterwards attained the m highest e inence as a painter of animals . He w a s much employed d by Rubens in painting animals in his pictures, and that istinguished master again occasionally introduced figures into large composi tions by Snyders, of dead game, fruit, etc . His colouring is clear and transparent , and his style and execution most admirably adapted to his subjects . The demand for the works of this painter has given rise to numerous copies and i m itations being passed o ff as his genuine m productions . He seems to have lived on ter s of the closest inti macy and friendship with Rubens and Vandyck ; the two celebrated half-length portraits of Snyders and his w ife (exhibited in the Art n Treasures Exhibitio , Manchester), are reckoned by j udges to be Van ’ d k . ff yc s best works of that class There is some di erence of opinion , as to whether some etchings, executed in a bold and vigorous style, a n d hi m F t m ascribed to Snyders, are by or by y , a very able ani al u w painter, but it appears from some others, ndoubtedly by him , hich possess a peculiar clearness and delicacy , that the disputed etchings F i t . n 1 are by y Snyders died at Antwerp 6 57 .

7 5 . Bear Hunt .

6 . . ft . . Canvass, ft 6 5in by 5 , oblong

1 7 5 . Wolf Hunt .

a . 1 0 . . i n . . Canv ss, 7 ft in by 5 ft 9 , oblong

1 85 . Boar Hunt . f t 4 n a 8 . . . 1 i . . Canv ss , in by 5 ft 0 , oblong

SPA GNOLE TT O .

B L PA G OLE TT w a s Xa tiv a JO SEF RI ERA, called O S N O , born at , in

1 88 i n 1 6 56 . the Kingdom of Valentia, in 5 , and died at Naples He f e w studied a years with Francesco Ribalto, a Spanish painter of w eminence ; but resolved to visit Italy , and after orking hard m at Rome, and studying the greatest asterpieces in some other

States, he went to Naples , where, attracted by the novelty and bold ’ a rra va io s m ness of C g g style , he adopted it, and beca e the ablest of the naturalisti painters . He settled in Naples , and executed nume m a rous important co missions in that city, and it is there th t his best works are to be seen . Salvator Rosa and Guercino are numbered m n a ong his pupils . He executed about eighteen or twe ty etchings n all marked by force a d freedom .

B S . A . 50 . A Mathematician . .

4 . 2 4 i n . . Canvass, ft in . by 3 ft . , upright

6 4 . Martyrdom of St . Sebastian .

. 4 . i n u Canvass , 6 ft . 6 in by ft 9 . , pright . ’ O Ne il Presented by Charles , Esq . H — — U TERM 42 SPANISH SC OOL STEEN S S ANS . H SPANISH SC OOL . - - m . 1 4 2 . Battle Field . Tru pets Sounding a Recall after the Battle

. 6 . 3 . 4 i n . . Canvass, 7 ft in by ft , oblong

Presented by James S . Wardrop , Esq . , Surgeon , of London .

STEEN . 1 1 JAN STEEN was born at Leyden in 6 36 , and died in 6 89. He w a s o n e . of the most distinguished painters of the Dutch School for besides ranking high for his m astery over the technica l difficulties of art, his drawing being good, his colouring rich , and his execution — i n firm and careful, his subjects taken from occurrences in daily life around him , he displays a wonderful knowledge of human character, which he brings out in numerous scenes by ingen ious combinations and with great force and individual expression ; his genius a ppro x i M m ating closely to that of Hogarth . any sca ndalous stories are told w of his habits of life, hich are said to have led him into low de u h er a re da ba c y ; but these little credited in the present y, for the f n o w a e 5 act, ascertained , that though dying at the g of 3, he has w a left up ards of three hundred works, all c refully painted, and m n many of them co posed of umerous figures, at once exposes a the absurdity of these stories . In truth , the painter bec me identified m in the minds of ost people with the subjects he treated . In the m w a sa e y many imagine, from his pictures, that Teniers was a a n d n Flemish boor, lived in a hovel, the furniture in which co sisted m erely of rude benches, stools, and empty casks, and feel disappointed h w en they are informed that he inhabited a handsome mansion , lived in good style, and entertained people of rank and fortune .

1 84 . Physician and his Patient . 1 1 i n 2 . 3 . . 0 . . Canvass, ft 5in by ft 5 , upright m h The patient is a sick lady in bed, for who the p ysician

appears to have prescribed a glass of wine, w hich is being

brought by another lady .

RMAN SUSTE S .

USTE RMANS 1 9 1 1 JUSTUS S , born at Antwerp in 5 7 , died in 6 8 . He — w a s a pupil of William de Vos went in early life to Ita ly and settled w a s a in Florence, where he made painter to the Gr nd Duke, Cosmo III IL, and afterwards received a similar appointment from Cosmo .

When Vandyck visited Florence, he painted his portrait, and there is an etching of it by hi m published w ith others of the em inent painters of the Flemish School . His portraits have very considerable merit .

6 1 . Portrait of Alessandro Farnese .

a 4 . . 2 in . . Canv ss, ft by 3 ft , upright

Pu rchased from the Gentili family . — 4 TAVELLA TENIE RS . 3

‘ f fI AV ELLA . M 1 CARLO ANTONIO TAVELLA, was born at ilan in 6 6 8. He was Mo l n l w a th e a pupil of Peter y , cal ed Tempesta, but after rds studied w orks of Castiglione and Gaspar Poussin . The picture in this col n H lection is an imitation of the style of the later pai ter . e died at 1 8 th e Genoa in 7 3 , and is classed among painters of the Genoese school .

3 9 . Landscape .

2 ft . 2 . 1 . Canvass, ft 0 in by , oblong .

TENIERS .

I IE ' 1 6 1 0— i n DAV D TEN RS the younger, born at Antwerp in was th e structed by his father, elder Teniers . Some say that he also re c ei v e d instructions from Br a u w er ; but this is disputed . His works soon came to be in great request, and he entered on and maintained u hi m a most s ccessful career . The Archduke Leopold appointed his

Court painter and one of his chamberlains . Don Juan of Austria t occasionally resided with him at his country sea at Perth , a village bet w een Antw erp and Mechlin , for the purpose of receiving lessons w in painting, and he was patronised by Christina of S eden , the m m s Elector Palatine, and the King of Spain , who co is ioned a vast

1 90 1 6 94 . number of his pictures . He died 6 or In that branch of r l o w g en e painting which exhibits scenes from life, no painter of the

Flemish School approaches him , and he holds an equally high position w ith Os ta de or the best of the Dutch School . There is considerable m m w m hu our so etimes displayed in his orks, but they charm ostly by their truthful representation of nature, and their qualities of technical execution . Sir Joshua Reynolds says, The works of David Teniers are worthy the closest attention of a painter who desires to excel in the mechanical knowledge of his art . His manner of touching, or what we call handling, has, perhaps, never been equalled ; there is i n his pictures that exact mixture of softness and sharpness, which ” ’ is difficult to execute . Most of Teniers works have been engraved — m m many of the by Le Bas, in a manner so ad irably adapted to express the sharpness and clearness by which they are distinguished , that it would seem al m ost impossible m ore perfectly to express these G B0 1 qualities yet this, perhaps, has been done by oryn in his etch ings after Teniers . Teniers executed several etchings, but it is said that considerable difficulty is experienced i n identifying those by hi m from the works by his father and Goryn Bol ; but the only doubt on the

subject must arise from the name . Several in a loose and undecided ’ m a G style y be by old Teniers, or imitations ; and oryn Bol s name him occurring on various etchings identifies those by . But in the — etchings Peasants Playing at Bowls , Peasants Shooting at a Mark , a n d and Peasants Dancing, the sharpness clearness produced is so re i t markable, that can scarcely be doubted that they are by his own hand . TIEPOLO

' as tzc c io 1 8 1 . This is a p , or imitation of a Venetian picture of the

Bassano School . T .

1 . . i n . Canvass, ft 55in by . , oblong

a a . 2 0 2 . Pe s nts playing at Skittles 1 1 i 1 . n . 1 . 0 . . Panel, ft in by ft 5 , oblong The simplicity of the composition is so well set o ff by the h clear, silvery tone of the picture , t at it may be considered a

favourable specimen of this master .

TIEPOLO .

O O 1 6 97 w a s GIO VANNI BATISTA TIEP L , born at Venice in , a con ’ m n l m te porary Of C a a etto s . The last na ed painter, however, choos ing a comparatively humble walk , relied on representing natural s a w m — scenes as he them , while the for er attempting to follow the h footsteps of t e great Venetian artists of former days , particularly w — Veronese, at a period hen art was at its lowest ebb though pos h a s n sessed of much talent, left works that mai ly exemplify the fan ta s ti c m anneris m to w hich art of that class in his time had sunk . w i m - Mixed up, ho ever w th uch that is bad , an intelligent art stu i n 3 w a dent may, Tiepolo orks, find technical qu lities of manipulation ,

w . texture and colour, from hich benefit may be derived Tiepolo died at Madrid in 1 7 70— h e had been e m ployed there on the new i t a a palace, and may be s id , that on his death dis ppeared the last Spark

n m . emitted by that o ce mighty lu inary, Venetian art

h 57 . Anthony and Cleopatra . A Sketc .

1 i n . 2 2 . . Canvass, ft . in by ft 3 . , upright

1 50 . The Finding of Moses . i n v 1 1 . 1 6 . 6 . . Can ass, ft 5in . by ft 5 , oblong P resented to the Royal Institution by Robert Clouston , Esq .

T RETT TIN O O .

O O OB IL I O O his f JAC P R USTI , called T NT RETT , from ather being by r 1 1 2 w t ade a dyer (tintore), was born in Venice in 5 . He a s a short ’ Rido l i time a pupil of Titian s, p says , only ten days, and that Titia n d m seeing some very Spirited rawings in his studio , on being infor ed w that they ere by Tintoretto , ordered one of his pupils to conduct the boy home but the story is not a very probable one . Possessed O f m u im ense energy and perseverance , he tried to nite with the colour ’ O f d w Titian , Michael Angelo s large style of ra ing . By all accounts w da he studied ith great diligence and success, painting during the y, and draw ing from ca s ts fro m the antique and the w orks of Michael

Angelo at night . Before the age of forty he had attained a hig h a position as an rtist and some of his most important pictures, such d u as the Miracle of St Mark , now in the Aca emy at Venice, ere

46 TITIAN .

TITIAN .

VE ELLI O . TIZIANO C DA CAD RE This great painter, who is allowed to have excelled all other artists as a colourist, was born at Cadore, in h n i n S 1 4 m t e V e et a tate, in 7 7 , and was, at the sa e time with Giorgione, a a pupil of Jan Bellini . In the biogr phical notices of Titian it is said, that at the age of eighteen he painted a portrait of one of the B a rba rig o family that elicited great adm iration ; that he was employed al ong w ith

Giorgione in decorating with frescos a building in Venice, and o n 1 1 1 hi m the death of that artist in 5 , succeeded in various important commissions in which he was engaged . Titian does not seem to have attained complete mastery over his art till he was betwixt thirty and a e 1 51 4 forty years of g , for it was in that he painted, when at the I Court of Alphonso . , Duke of Ferrara, among other works for the G n Duke, Bacchus and Ariadne, now in the National allery in Londo — this picture is in his best manner, and all his other important works appear to have been executed subsequently . His great picture Of V of the Assumption the irgin , now in the Academy at Venice , was painted in 1 51 6 St Peter Martyr in 1 52 8 the portraits of the ff V . Emperor Charles , who sat to him on two di erent occasions at 1 1 5 2 Bologna in 530, and again at the same place in 3 , immediately after which it is said , he accompanied the Emperor to Spain . Of this, however, there is no distinct proof, and it is disputed , apparently on - n . good grou d Titian was sixty eight before he saw Rome . His 1 4 visit was in 5 5, and when there he painted an admirable group composed of portraits of Paul III. and his relations, the Cardinal and - Duke Octavio Farnese , and the well known painting of Jupiter and

Danae . When engaged on this last picture, he was visited by Michael m Angelo, acco panied by Vasari . Titian executed many works after hi m 1 56 6 hi m this . Vasari visiting at Venice in , found busy with m his pencil, and records that he derived great pleasure fro his con - versation , he was then aged eighty nine . He died of the plague in ’

1 6 . Venice in 57 Titian s portraits are of the highest class, and it was hi m from that landscape painting, as an independent branch of art, received its greatest impetus . It is mainly to Titian that Venetian art owes the high place assigned to it the great and glowing power of Giorgione imparted to it a deg re e e of grandeur ; but the ff a n d m e orts of Titian were more complete longer sustained . He ade no attempt by his creations to infuse into art anythin g Spiritual or heavenly ; but aimed at the exaltation of earthly existence by the representation of beautiful and dignified forms, heightened by all the charms and attractions of colour .

. R . S . A 6 5 . The Adoration of the Magi .

. f t . 9 . Canvass, 7 ft . in by 6 , oblong This noble work was formerly in the Collection of the Marquis T of Balbi at Genoa, where it was always held to be by itian ; it w a s afterwards acquired by the late Lord Eldin of this city . ’ Some connoisseurs have considered it a work of Titian s rival , I T TIAN . 47

Pordenone and others , Palma Vecchio, or Bonifazio Veneziano . firs t- m There is no doubt, however, that is a rate speci en of the

Venetian school, in which expression and individuality are l a united with the most bri liant colouring, and technical qu lities

n s & c . i execution , such as impa to , , so useful to the student who

j udiciously applies them . The anachronism in this picture of most of the characters being represented in the costume of ’ n Venetian nobles of the artist s time, though , strictly speaki g,

reprehensible, in some respects gives value to the work , for the

& c . representation of statesmen , senators, captains, , who figured

in an era when great historical events occurred , is placed before h us with suc truth , that, whether designated as Magi or Saints, they embody elements that can be turned to better account by the art-student than most of the conventional representations of figures generally met w ith in works styled Scripture subjects

1 57 . A Landscape .

6 . 6 . 1 i n . O Panel, ft in by 5 , blong . m Bought fro the D uke of Vivaldi Pasqua, to whose family it

had belonged for centuries . The history of this picture accounts for the unusu a l scale w w a s u upon hich it has been painted . It one of fo r panels m painted by Titian to ornament the bed of his patron , the E peror - V . Charles , representing Morning, Mid day, Evening, and Night . - The subject of this picture is that of Mid day, which the clear ff ness of the tone, particularly in the sky and distance, su iciently

. re indicates During the disturbances of the late war, this m w a s arkable bed taken possession of by Joseph Buonaparte, m who removed the panels, and had the framed as pictures .

After his departure from Spain , the bed and the four pictures

were restored to their original owner, the Duke of Vivaldi m Pasqua , from who the present picture was recently purchased n for the Institutio .

1 6 6 . Virgin and Child , and St Catherine .

1 f t. 1 in . Panel, 7 in . by ft . 35 , upright .

St Catherine is presenting flowers to the Infant Saviour .

i n . . R S . A 2 1 2 . Ariadne Naxos After Titian . .

. 2 . . 1 . O . Canvass, 7 ft in by 5 ft 6 n , blong An old copy from the celebrated Picture in the Gallery at — Madrid the co m panion Picture to the Bacchus and Ariadne In

. w a s In the National Gallery, London It long the possession of

. E R A W tty, . . He thought it a duplicate of the one in Madrid , - a portion of the composition being left out, the Madrid picture is 6 - inches wider on each side, and he himself supplied the defi ei en c y .

1 4 4 . Portrait . School of Titian .

2 . 3 . 1 . 1 i n Panel , ft 5in by ft 05 . , upright . th e Purchased from Duke of Vivaldi Pasqua . 4 — — H 8 UNKNOW N VAN DELEN VANDER EYDEN .

1 52 . Virgin and Child with St Joseph . School of Titian .

4 i n . 1 8 . 1 . . Panel , ft . in by ft 5 , oblong

Formerly in the Collection of Count Covina, of the family of Al a r i g o tt s .

3 2 6 . The Entombment . After Titian , by the late Thomas Duncan ,

R R J . . S . A .

i . . 9 . 2 . n . Canvass, 3 ft in by ft 7 , oblong

the M V u . 3 2 7 . Portrait of arquis di Guasto, and his Mistress as en s

After Titian , by the late Thomas Duncan ,

B A . . . S . . R I

1 . 1 1 1 i n . h Canvass, ft in . by ft . 75 , uprig t . — 2 6 2 6 6 . 9 (For Studies after Titian , by Lewis, see 0 , pp 7 ,

UNKNOWN .

Th e . 6 0 . Elevation of the Cross

1 . . 1 1 i n . . Canvass, ft 6 in by ft . 5 , upright E m s . . Presented by Ja es Johnston , q of Straiton

- X L . 6 7 . Half length Portrait of the Secretary of Pope eo

4 . 1 i n Canvass, ft . by 3 ft . , upright .

Presented by Robert Clouston , Esq .

1 3 3 . St Peter .

2 . 8 . 2 . 2 in . . Canvass, ft 2 in by ft 5 , upright

This picture possesses great Simplicity and grandeur of style .

'

VAN DELEN . H O O V AN DIRK or T E D RE DELEN, a native of Heusden , born about

1 6 35. . the year He was a pupil of F Hals, but became a painter of

architectural subjects .

6 2 . An Architectural Subject, with Figures . 1 1 9 . 1 . 6 i n . . Panel , ft. in by ft 4 , upright

VANDER HEYDEN . H Go rc u m 1 6 JO N VANDER HEYDE or HEYDEN, born at in 37 , is noted for the fidelity and minute finish of his street scenes . He n travelled professionally, and took many interesti g views of remark L able monuments and country seats at Cologne, Brussels, ondon ,

1 1 2 . and other places . Died 7

1 90 . Wood Scene with Deer . 1 1 1 8 in . . Panel, 1 in . by } , oblong M — A— VANDER EULEN VANDEVELDE , VANDEVELDE, W .

E N VANDER M ULE . HO 1 4 ANT NY FRANCIS VANDER MEULEN, born at Brussels in 6 3 . S n a ers w as Peter y his instructor . Lebrun recommended him to XI V . Colbert, the minister of Louis , as well qualified to r epresen t the military achievements of that monarch , and he was accommodated a i n with ap rtments the Gobelins . He attended the king o n his

various campaigns, and painted for the Chateau of Marly the prin c i al p battles and sieges in Flanders . His pictures of this description a re e executed with v ry considerable ability, and are interesting as conveying a vi vid impression of a marked phase in the history of his

. a He i n period Many of them are engraved on a large sc le . died 1 Paris in 6 90 .

2 0 XI 6 . L V . r A prog ress of ouis , in which that monarch is epre a sented in a state Carri ge, surrounded with a numerou s e cort ge . The figures are carefully drawn , and well

a . grouped , in the landsc pe T .

v 2 9 . 1 . 1 1 i n . . Can ass, ft . 5in by ft 5 , oblong

A . VANDEVELDE ,

1 9 W n a n ts ADRIAN VANDEVELDE , born in 6 3 , was a pu pil of y , the w - m ell known landscape painter, but devoted hi self chiefly to painting

small and very highly finished pictures of cattle and figures . Many n a n ts o f the pictures of Wy , and other landscape painters, were His t enriched with figures by him . pic ures are in great request, and bring very high prices . There are about twenty etchings by him ,

1 6 2 . executed in a very masterly style . He died at Amsterdam in 7

1 82 . Landscape and Figures.

i n . . 5 . 2 . 8 . Canvass, 3 ft 5in by ft 5 , oblong

c . 1 98 . Cattle and Herdsmen , in a small highly finished lands ape . T

1 . 3 . 1 ft . . Canvass, ft 5in by , oblong

Th r e cattle are well drawn and ichly coloured but, from the

carefu l finish of the trees, it is probably one of his early pictures, before he had attained the facility of handling which many of

his pictures eminently display .

DEVELD E . VAN , W

I M D E w a s r d W LLIA VAN EV LDE the younger, born at Amste am in f 1 6 33. He received his first instructions from his ather, William ' S d e Vandevelde the elder, and afterwards studied under imon - Vlie er . his g , an eminent painter of sea pieces He joined father, who D — 50 VANDER W ERF VANDYCK .

-fi h ts had been sometime established in England , as painter of sea g to 1 6 5 Charles II. ; and by an order under the Privy Seal issued in 7 , “ a yea rly pension of £ 1 00 w a s granted unto William Vandevelde -fi h t the elder, for taking and making drafts of sea g s ; and the like 1 m m salary of £ 00 per ann u unto Willia Vandevelde the young er, ” u for p tting the said drafts into colours for our particular use . The a younger V ndevelde ranks very high as a marine painter, and his In works are in great request . He exc elled particularly representing

m . 1 cal s The elder Vandevelde died at Greenwich in 6 93, and the younger Vandevelde at London in 1 7 0 7 .

1 - 8 0 . Fishing boats in a Calm , finely grouped , with much clearness

and transparency of the water . T .

1 . . 4 n 8 1 i . . Canvass, ft in . by ft 5 , oblong

ND W VA ER ERF .

F 1 6 59 1 2 2 . ADRIAN VANDER WER , born near Rotterdam in , died 7 i w a Pi l ett w H s first master s c o , a portrait painter, and after ards he n al became a scholar of Eglo Vander Neer . He was liber ly patronised l by the Elector Palatine, and painted many pictures for the gal ery f at Dusseldor . His cabinet pictures are noted for high finish and a m m - — s ooth and ena el like surface the lights being relieved by, or

c . rather softened into, a dark ba kground

1 6 3 . A Burgomaster and his Wife .

i n 4 . 1 4 . 5 . . Canvass, ft 0 in . by ft 5 , oblong

VANDYCK. I H S R ANT ONY VANDYCK . This celebrated portrait painter w a s H w i n 1 599. o u bra k en born at Ant erp His father, according to , w a s w as a glass painter, and it is said that his talent fostered by w a s m his mother, who painted landscapes and Skilful in e broidery . m a After aking very considerable progress under Van B len , he was, 1 1 S w a r e in 6 5, admitted as a pupil of Rubens, who was not lo to pp 1 1 2 ciate his great talents . In a letter dated 7 th July 6 0 , addressed r w ll to the Earl of A undel , kno n historica y for his patronage of art, “ the writer states, Vandyck lives with Rubens, and his works are beginning to be esteemed little less than those of his master . He - - a a r e f is a young man of one and twenty, whose p rents persons o f u considerable property, and it will be di ficult, therefore, to ind ce ” 1 2 1 hi m to remove . Soon a fter this, namely, in 6 , by advice of

R ubens, he visited Italy . The works of the great Venetians were

h . w a t e first to attract his attention After leaving Venice, Genoa s i n — the next city he resided then Rome, and he went a second time m to Genoa, from whence he ade a short visit to Palermo . Vandyck VANDYCK . 51

a a was five ye rs in It ly, and from the number of portraits painted by — — hi m in Genoa m any of his best works are still there h e must have lived a considerable portion of the period in that city . On his n A w 1 6 2 6 retur to nt erp in , he executed various pictures for churches, an d the portraits classed am ong those painted in his Flemish n style ; the series of cabinet portraits of the painters of his day, e

o s term a n s . graved by V , etc , and most of which are now in the m possession of the Duke of Buccleuch , were also painted at this ti e . a It is stated , that about Vandyck visited Engl nd , and, m m Ho w meeting with no encouragement, re ained only a Short ti e . f o f 1 2 ever, there is no satis actory proof this ; but in 6 3 , he came to England by invitation of the Earl of Arundel , at the command

a . of Ch rles I He was lodged at Blackfriars , was soon afterwards

2 . knighted , and had a pension of £ 00 a year settled on him His w commissions ere now numerous, he was enabled to live in great style, entertained people of high rank , and had a country house at m u w Eltha in Kent . His wife, Marie R thven , by hom he had one s o n daughter, was the daughter of Patrick Ruthven , physician , fifth 1 6 4 1 of Lord Gowrie . Vandyck died in London in , leaving property to the amount, it is said, of about Only twenty years are w the included ithin time when Vandyck left the studio of Rubens, till m the period of his death , and during that Short career, the nu ber of hi m pictures executed by , on what is thought to be good authority, ’ m m see s al ost incredible , for in Smith s Catalogue Raisonné of the o f Works the Dutch and Flemish Painters, there are descriptions and ’ interesting particulars of upwards of 950 . This artist s works may be classed as executed in three di stinctly marked styles— those painted in 1 6 2 1 1 6 2 6 Italy during his residence of five years, from till ; they are distinguished by deep tone and colour, and dignity of character 1 6 2 6 1 6 31 w and expression . His productions between and , hen he lived in Flanders, are known as done in his Flemish style ; these w orks are executed with much impasto or body of colour in th e h a d w . lights, transparency in the Shado s And his portraits painted in l 1 1 1 41 Eng and between 6 3 and 6 , noted for grace and elegance, but m a any of them often Slight in execution , or done partly by assist nts . ’ V a n dyc k s biographers and critics generally dwell at great length be on his Scripture subjects, and express regret that devoted so m uch of his ti m e to portrait painting ; but different notions seem n o w to be gaining ground . No Scripture subjects by Rubens or

Vandyck , or produced in any of the later schools, will stand com parison , for purity of feeling and appropriate technical execution , with the works of the earlier masters ; and the allegorical pieces so v th t re much in ogue in e seventeenth cen ury, a little in accordance w ith the ideas of the present time . But the portraits by Vandyck all m l are interesting and valuable histories, recorded with arve lous w h a n truth and vividness, of characters o played important parts in era noted for great events . ’ V a n d c k s a re th e y etchings admirable . Several of plates in the 52 VANDYCK

b h im . m i collection of portraits of artists, are etched y The i press ons a w w o ff w n w of those th t ere thro n , he the heads merely ere etched , an d are of great value, indeed, in expression spirit, they have never been equalled .

u . 4 2 . A D chess of Savoy

2 i n . u i . Canvass , 7 ft . 3 in . by 5 ft . , pr ght

m An excellent speci en of Vandyck , painted in Italy .

1 3 8 . An Italian Nobleman in Armour ; full length .

8 . . ft . . Canvass, ft 75in by 5 , upright

u m P rchased fro the Gentili family .

L o m elli n i 1 3 9 . The Family, one of the most distinguished in

the Republic of Genoa . R . I .

9 . . Canvass , ft square

Purchased from the Marquis Luigi Lomellino . ’ T his and the preceding picture are also in V an dyc k s Italian l - w m manner, and both wel kno n i portant works of the master .

m 1 4 0 . The Martyrdo of St Sebastian .

i n . u Canvass , 8 ft . 6 in . by 5 ft . 6 , pright .

Purchased from the family of the Marquis Balbi , of Genoa,

namely , the Marchioness Spinola and the Marchioness Adorno

Balbi . The m artyrdom of St Sebastian is a subject which has ex er c is ed l i n the ski l of many of the greatest painters but, admiring a re the excellence of their art , we not unfrequently compelled to Sh u dder at the horrible details of suffering they have chosen

to . represent The present composition , on the contrary, may be m n d conte plated without repugnance . The atte ants, five in m tw o nu ber, are binding the martyr to a tree ; are Roman soldiers

on horseback . This is the sketch for the finished picture n o w in P i n a c o th ek the at Munich , which Sir Joshua Reynolds saw at eldo rff He a w D ii s s . He says never fter ards had so brilliant a l manner of co ouring ; it kills everything near it . Behind are ’

w . V a n d k figures on horseback , touched ith great skill This is yc s w m w first manner ( hen he i itated Rubens and Titian), hich sup

m . w re re poses the sun in the roo In his pictures after ards , he p f l sented the effects O common daylight . Both w ere equa ly true m w to nature ; but his first anner carries a superiority ith it, and seizes our attention w hilst the pictures painted in his latter ” manner run a risk of bei n g overlooked .

1 6 2 . A Head . Supposed to be by Vandyck .

4 . 1 1 i n 1 . . . Canvass , ft in by , upright

1 2 a n d 1 . . Nos . 3 3 3 are studies by J F Lewis, taken from celebrated

. . 85 86 . pictures by Vandyck See pp ,

VELASQUEZ . 53

VELASQUEZ . D ON GO V E LA S UE z 1 DIE Q DE SILVA was born at Seville in 599.

He received his first instructions from Herrera the elder, but entered the academy of Francisco Pacheco , where he soon distinguished himself. After being five years with that artist, Pacheco gave him In z In 1 6 2 2 his daughter marriage . Velasque went to Madrid , where his talents having attracted the notice of the Conde de Olivarez, the favourite minister of Philip IV . , he was introduced to that monarch , and taken under his protection . His portrait of Philip on horseback w l (see Study, by Le is, having been judged eminently successfu , m n commissions and honours showered upon him , and he beca e a

h . In 1 2 especial favourite wit the king 6 7 , Rubens visited Madrid , m w and for ed his acquaintance . Conversations ith this great artist v w 1 2 9 probably increased his desire to isit Italy, here he went in 6 , fully accredited by the King of Spain . Returning, after a year and ’ v a half s absence, he was recei ed with renewed favour by Philip, hi m a n d who made one of the gentlemen of his wardrobe, assigned him a painting room in the palace, of which he kept a key, that he hi m might visit without the forms of ceremony . Velasquez paid a second visit to Italy, where he painted various pictures , among X others the celebrated picture of Pope Innocent . , now in the Doria Palace ; and also purchased various importan t works for the royal i n collection . After an absence of nearly three years, he returned 1 1 6 5 with a valuable freight of works of art . The king conferred hi m on him the order of Santiago , and gave the appointment of ’ A o s en tado r M a o r p y , a post involving constant attendance on the king s w w a s m person hen he left the capital . He thus distracted fro his n art, and the discharge of arduous and unco genial duties, it is thought,

S f 1 a 1 . T . 6 0 6 hortened his li e He died in 6 , ged he Spanish School of the l 6 th century deservedly ranks high ; thou gh to som e exten t m n a a re re odelled on that of the Italian School of the tur listi , yet p m senting, as it did , the arked religious feeling of the people of Spain w (in hich austerity was a leading element), and the grandeur of a w rich and po erful monarchy, its tendency led to a far higher eleva tion and combining to so m e extent the delicate tones of colour of the h w cotemporary Flemis School , ith the power of that of the Italian r naturalisti , the result has been the production of wo ks remarkable for ff m n d w powerfu l e ect, united to rich and har onious colouring, a in hich m the hazardous experi ent of idealizing form has been prevented , by the Spanish church conde m ning in general the introduction of the n ude in Scripture subjects— and by the encouragement given to portrait w w painting by the Court, here the courtiers ere celebrated for stately w a bearing and rich costume . The orks of Vel squez and Murillo m u h far excel those of other asters of the Spanish School , tho g there m l d him are many e inent painters belonging to it . Muril o evoted t self chiefly to Scrip ure subjects, and Velasquez to portraits ; his e works of that class ranking w ith thos of Titian and Vandyck . The Spanish School is greatly admired In this country m any i m 4 5 U . VERONESE, PA LO

M o portant specimens of Velasquez and urill have been imported ,

v . . and they bear a very high value . Se eral studies by J F Lewis in this collection , well illustrate the general richness of colour, and light 8 and Shade of the Spanish School ; and the portrait, No . 3 , is an excellent example of Velasquez .

3 8 . Portrait of Don Balthazar Carlos . He was son of Philip

IV. w by his first ife, Isabel of Bourbon , daughter of

. 1 9 1 45. A B . Henry IV was born in 6 3 , and died in 6 i n . 3 . . 7 . . Canvass, 5 ft in by 3 ft , upright

VERONESE , PAULO . O ALIARI I R l ONE PAUL C or CAGL A I , cal ed PAULO VER SE , was born

1 2 1 . at Verona in 5 8, and died at Venice in 588 His father ,

Gabriele Cagliari , was a sculptor, but Paulo , preferring painting, w a s i n placed under his maternal uncle, Antonio Badile, a painter

Verona . Soon acquiring distinction in his art, he settled in Venice , w where he occupied a distinguished position , along ith Titian , Tin t o retto , and other great painters . When the Procurator Grimani w a s m appointed a bassador to the Pope, he accompanied him to h Rome, but his examination of the works there do not appear to ave

ff . a ected his style The colouring of Titian is characterised as golden , or as if the objects represented by hi m were seen under the effect Of the light of the setting sun , while that of Veronese is silvery or w ff bright, his figures being al ays brought out under the e ect of — light at m idday and so his style was admirably calculated to represent the gorgeous processions and spectacles always identified m with historical i pressions of Venice in prosperous days . There are various studies in the collectio n fro m the works of this

2 1 . distinguished colourist . From Nos . 3, by E Leahy, and 330 , by ’

R A . m T . D uncan , . , an idea may be for ed of this master s great i n work, the Marriage in Cana, in the Louvre ; and other studies,

S . 2 1 4 . E R.A . 2 2 6 . . NO , by W tty, , and 7 , 3, 5, , by J F Lewis,

his general arrangement of colour is exemplified .

51 . A Head . 1 1 i n 2 . . . . u . Canvass, ft in by ft 8 , pright

1 4 3 . Mars and Venus . 4 f 1 i t. . f . 4 n . in by 5 t . , upright

v This picture is in excellent preser ation , and for colouring and those qualities of manipulation and texture which produce depth a n and brilliancy, is not surpassed by y other work by the artist

in this country . As a genuine example, therefore, of one of the l greatest of the Venetian masters, free from the s ightest retouch

ing or restoration , it is very valuable, and of the greatest use to the student in enabling him to appreciate those qualities w hich were carried higher there than in any other School . B ZUR ARAN . 55

1 6 8 . Venus and Adonis . f 2 . 2 i n . t 8 . . 0 Canvass , 5in by ft 5 , upright .

This is a favourite subject with the painter.

1 2 3 . Study of the celebrated Picture, The Marriage in Cana of

. B S A Galilee After Paul Veronese, by E . Leahy . . . .

2 4 . 1 . i n O n ft . in by ft 8 . , blo g .

2 - 1 4 . Study from the well known Picture in the Borghese Palace ,

. W . St John Preaching After Paul Veronese , by Etty, R A . . R . S .A .

2 4 1 1 in Canvass, ft . in . by ft . 0 . , upright.

3 3 0 . Study of the Marriage in Cana of Galilee . After Paul

Veronese, by Thomas Duncan , A R . A. R . I .

a 4 . 2 . i n . . C nvass, ft by ft 95 , oblong

ZURBARAN.

B A w a s Es tra m a FRANCISC O DE ZUR AR N born at Fuente de Cantos, in

1 Ro c la s . dura, in 598, and was placed as a pupil under Juan de

Like most of the Spanish painters of that time, he modelled his style

on that of Caravaggio, the leader of a School in Italy, where, in ra opposition to the conventionalism of the art of that period, the p c tice was introduced of a close copying of natural obj ects under

strong light and shadow . He attained to great reputation , and m executed many important co missions . He was appointed painter i n 1 to the king 6 50 , and employed in the Palace of Buenretiro,

where he painted a series of pictures of the Labours of Hercules . His works are noted for effective light and shadow and powerful d 1 6 2 colouring . He died , it is sai , in 6 .

3 3 8 . The Virgin in Glory . i 2 . 8 n . . 8 ft . in by 5 ft . , upright ’ i n L From Louis Philippe s Collection the ouvre . This picture occupied a prominent place among the works of the Spanish School at Manchester ; and in a recent publication

. et n by E La Forge Des Arts des Artistes en Espag e, Lyon , 1 859 the author, while noticing the principal works of Zur ’ f L E x hibitio n baran , re ers to this picture de Manchester, a révélé de Zurbaran des oeuvres restées longtemps inconnues et

‘ que possede la Grande Bretagne a u detrim en t de la France ; c c " t du M sont une Sain e Catherine, de la collection aréchal u n d a n Rein e des Soult ; Saint Suaire, u Musée Esp g ol ; une ” A n es a u . g , de la Galerie Standish , autrefois Louvre MARBLES AND BRONZES,

Bequeathed by S IR JAME S ERSKINE of Torrie .

’ 2 2 1 9. Miniature Copy of John of Bologna s Mercury . 05 inches — . 3 . high . On a pedestal of antique green porphyry inches

2 2 0 . Antique Draped Female ; without head or arms . In Parian — l . marble . 3 5inches high

I n 2 2 1 . Antique Torso of a naked Venus . serpentine on a marble — 4 pedestal about half the size of life 3 inches high .

— Athletae . 1 6 2 2 2 . Miniature copy of the Group of inches high ,

2 2 3 . Miniature copy of a Youth , with one arm on his head, and

th e other behind his back . 8 inches high on a serpentine

pedestal 2 inches high .

z 2 2 4 . Small Group of Dirce . A bron e cast after the famous Toro fi u res — 1 Farnese, and its concomitant g 2 inches high .

He- 2 2 5 . Antique bronze figure of a Goat, scratching its side with — 8 . one foot . inches long

2 2 6 . Miniature of the Rape of the Sabines . After Giovanni di

Bologna .

— 2 2 . . 3O 7 Miniature of Samson slaying the Philistines inches high .

illa B o r h 2 2 8 . Very elegant Chased Vase, from the V g es e. The “ — . O O I 1 — plinth inscribed G Z FF L f. 2 inches high 6 3

inches wide . Y 2 2 9 . Antique small statue of a outh . Of Greek marble ; a — o ff fragment legs broken at the knees, arms at the shoulders, - . 2 O and head j ust above the lower jaw inches high .

rde A n i a . e t c o . 2 3 0 . Elegant V se Of V porphyry

’ O To m 2 3 1 . Miniature of Michael Angelo s AUR RA ; from the bs of tbe M edic i in the Sacristy of the Church of San Lorenzo at - . 2 1 1 Florence 3 inches long, and inches high .

M B A B 58 AR LES ND RONZES .

— Ro s s o An tzc o e 1 6 . 2 50 . Small Vase. Of marbl 5inches high

Ros a An tic o s — 1 2 51 . Fine Vase of porphyry, with handle 95inches

1 2 m o n th . high , and inches in diameter at its

Its w . . 2 52 . fello Ditto

2 53 . Fine antique bronze Head of Plotina, Empress of Trajan ; — 42 fitted to a bust of oriental alabaster heroic Size . inches

high .

2 54 . Copy, in Carrara marble, of the Crouching Venus . About - — 2 9 . two thirds the size of life . inches high

Gia llo An tic o . s u o rtin a h a n ds o m e 2 55. Column of Fluted , and pp g Ta z z a o n - 4 square , a pedestal of the same . Column 6

inches ; Tazza 1 7 by 1 4 inches .

th e 2 56 . Copy, in Marble , of Antique Fragment of Psyche, in the

. R . . A Neapolitan Museum S .

L . S o la r t.

th e Ho n . Bequeathed by Right . Lord Rutherfurd BRITIS H ARTIS TS .

— M IRMAN b 1 2 d 1 1 . i WILLIA A , orn , 6 8 ied , 73 This Scottish art st th e re is - was the friend of Allan Ramsay, and a well known engraving He i n of his portrait of the poet . was proprietor of Carney Forfar shire, and intended for the legal profession , but preferring that of

1 u . art, he sold his paternal estate , and , in 7 07 , went to Rome to st dy n On his return he succeeded Sir Joh Medina, and practised in Edin burgh , with great success, for thirteen years ; afterwards settling in

London , by advice of John , Duke of Argyll, he received full employ o f i men t there as a portrait painter . He was on terms ntimacy w — ith most of the distinguished men of the period Arbuthnot, Swift,

Pope , Gay, Sir Godfrey Kneller, etc . , and introduced the author of “ ” r the Seasons, in his ea ly career, to Sir Robert Walpole . Thomson , S v ommer ille (author of the and Mallet, have com m em o ra te d his virtues and talent . His portrait, by himself, is in the

Gallery of Painters at Florence .

R . S . A . 2 . William Aikman ; painted by himself.

2 . 2 . 1 0 i n . . Canvass, ft 5 in . by ft 5 , upright ’ At one time in the possession of Mrs Forbes, the artist s - m . daughter, and presented by Ja es T. Gibson Craig, Esq

’

B . S . A . 3 . John Gay, author of the Beggar s Opera .

2 . 1 . i n . . Canvass, ft 3 in . by ft 9 , upright

Gay resided occasionally in Edinburgh , with the Duke and

Duchess of Queensberry . E Presented by Andrew Grieve, s q .

ALLAN .

DAVID ALLAN was born at Alloa in 1 744 . He studied at the F o u lis academy established in Glasgow by Robert and Andrew , the 1 4 w s celebrated printers ; and , in 7 6 , a sent to Rome to follow out h o ff his studies . He distinguished imself there by carrying the S t gold medal of the Academy of Luke, for the best historical com — n position his picture, the Inventio of Drawing, was equal to any work of that class executed at the period , and was engraved by 6 0 ALLAN .

n C u eg o in his best manner . But though esteemed in his day w a s i n as a painter of what is called high art, it by his success a s low art, as it w then termed , that his fame depends ; he was the w h o m i t first in Scotland i parted to a national feeling, and intro d u e d w c the style that Wilkie follo ed out so successfully . Before h he entered on this new path , however, he had , like ot er artists of his day, spent much time and labour in the practice of the class and Style of art which it w a s then the fashion to hold up for adm iration w re that which arose in Italy in the seventeenth century , hen a — v i va l was attempted by the Caracci s o the real bent of his genius w a s a was deprived of free scope till he bou t forty years of age, and - fift . he died at y three His really original works, therefore, take w the shape, not of paintings, but merely of dra ings or engravings . m These, however, are ad irable for their expression of Scottish char m acter and manners, and his designs, engraved by hi self for ’ ” m G u 1 88 Fo u lis Ra say s entle Shepherd , p blished , in 7 , by the of

w m . w a s Glasgo , are of very high erit Allan appointed Master of ’ w 1 the Trustees Dra ing Academy , Edinburgh , in 7 86 , a post be 1 7 96 occupied till his death , in , and there can be no doubt that his d j udgment as an artist, and the style he had latterly adopte , had great influence on the rising school of art in Scotland .

A R . S . A . 1 0 . David llan painted in Rome by himself.

4 in . 3 . 2 . . Canvass , ft by ft , upright

ALLAN . M R SIR A . a s WILLIA ALLAN, . , w born in Edinburgh in - 1 82 . h ri h o n 7 He was apprenticed to C c t , the coach builder, probably ’ m with a view to painting coats of arms , attended the Trustees Acade y at the same time with Wilkie, and afterwards studied in London in the a school of the Royal Academy . Possessed of great ctivity and energy, w m m e and not meeting ith uch e ploym nt in London , he determined , w n m with a vie to professional occupatio and improve ent , to travel by a route which had not been taken by any of his brother artists . w m e t Accordingly, he ent to St Petersburg, where he with a friend C hric hto n m m in Sir Alexander , physician to the I perial fa ily . He painted portraits in that city during a considerable period, and a n d m visited Tartary Turkey, aking sketches, and collecting materi a ls u m for subjects ill strating these countries, and the life and anners of ’ the people . The Circassian Captives (now in the Earl of Wem yss - m m collection) Exiles conveyed to Siberia, and si ilar subjects, so e w w of which ere purchased by the Emperor Nicholas, ere the

. 1 1 4 h e fruits of his labours Having returned in 8 , settled in Edin w a s a h burgh , elected member of t e Royal Academy of London in 1 835 m 1 , president of the Royal Scottish Acade y in 838, and , on ’ W d n d ilkie s death , was made limner to the Queen for Scotlan , a ALLAN . 6 1

42 u knighted in 1 8 . Allan has with great j stice been much com c mended for his perseverance and energy in arrying out, at a time when there was little encouragement, a variety of subjects from striking incidents in Scottish history, which involved much elabora a n tion , and knowledge and taste regarding costume d matters of d etail, when such matters were only beginning to be understood by w a s artists . Allan on terms of friendly intimacy with Sir Walter m Scott and other distinguished men of his ti e . He held the appoint ’ ment of Master of the Trustees School from 1 82 6 till within a fe w years of his death , and his artistic feeling, and the high walk of art he In followed , operated favourably stimulating the students, by whom ff In he was looked up to with a ection and respect . He died February 1 850 , having been engaged , till within a short time of his death , on — 1 2 4 his picture of the Battle of Bannockburn No . in the Catalogue .

. E S . A . 1 4 . Sir William Allan painted by himself . i 2 i n . Canvass, 3 ft . by ft . 3 . , upr ght E s . Presented by D . R. Hay, q

- R S . A . 7 7 . The Stirrup Cup . .

1 . 1 in Panel , 2 in by 0 . , upright .

98 . The Black Dwarf.

1 1 . 1 i n . . Panel , ft . 5 in . by ft , oblong

R . . A . 1 2 4 . The Battle of Bannockburn . S

i n n . 1 4 . 6 . 1 1 . Canvass, 6 ft . in by ft , oblo g

Presented by Herbert C . Blackburn , Esq .

The picture represents the turning point of the battle . The d four ivisions of the Scots under the king, Edward Bruce,

Douglass, Randolph , and the Steward, are pressing forward and n uniti g . The king is on the right , distinguished by a circlet of

gold on his head , and behind him , on an eminence, is Maurice, In c ha ffra Abbot of y, attended by two monks, holding up a cross and blessing the king and his troops On the little hill to the ’ w le right, still kno n as the Gillies Hill, is the crowd of s u tt rs - — and camp boys, the gillies, hasting to see the fray, and who , m taken for a reinforce ent to the Scots, Spread dismay in the

English ranks . Across the middle of the picture are the ’ — English a n d Scotch knights in wild melee among the former

Aymer de Vallance, who played a distinguished part in the Scot

tish wars, may be distinguished by a blue and pink striped ’ — surcoat, and crest, a swan s head and neck his cognizance

still preserved in Westminster Abbey . On the left the English — knights are giving way, while the archers try to rally and

w hi e . behind them is Edward on a t horse, surrounded by his nobles

In the distance the tents of the English a re visible . 2 A HE — H TIE— — DA ID 6 RC R C RIS CRAW FORD V SON.

’ — This w a s Sir William Allan s last w ork h e w a s enga ged on w m it till ithin a short time of his death . He had long conte t w plated painting the subjec , besto ed much study and labour o n on it, and made various careful studies of the field of battle S the ppt .

ARCHER.

— R . A . M H . JA ES ARC ER, S Native of Edinburgh .

. A . 1 1 2 . Rosa lind and Celia R . S .

Cel W h c o u s in w h Ro s a i n " . y, ; y, l d — ” C u pi d h a v e m erc y l n o t a w o rd ? N t n e h ro w a t a Ro s . o o t o do t g . Y u L I A s o ike t.

1 . 2 i n . Canvass, 3 ft . in by ft . 5 , upright .

CHRISTIE . X H — ALE ANDER C RISTIE, Native of Edinburgh .

. i n 3 2 8 . Figures of Saints On a Decorated Gold Ground , the

Byzantine style .

F . d The igures painted by T Fac , and the Decoration by J .

Macdonald, pupils in the School of Design of the Honourable f m the Board of Manu actures, etc . for Scotland , fro the designs of

Alexander Christie, Director of the School .

Presented to the Board of Manufactures by Alex . Christie, Esq .

CRAWFORD . M B A — S . . W . O . ED UND T CRA F RD , Native of Edinburgh .

8 2 . Group of Trees . 1 1 i . 3 . 0 n . Panel , ft in by , oblong .

D n s ta n bu r . . u R . S . A 97 y Castle .

1 . . 1 1 i 3 h . O . Canvass , ft in by 5 , blong

DAVIDSON .

D J . DAVI SO N practised as a portrait painter In Edinburgh in the m iddle of last century . He painted the portrait of President Duncan — H T D MM D . DO UG TY , . RU ON 6 3

w a s R illia be Forbes which sent to o u b c , when modelled the statue n o w in the Parliament House .

R . S . A . 4 . Richard Cooper, Painter and Engraver .

OO er . C p was born in London , and bred under Pine, the engraver

Having inherited considerable means on the death of his father, ' he went to Italy to study painting, and Spent several years at m Ro e, where , forming a friendship with Mr Guthrie, a Scotch m a n , he was induced by him , on his return , to visit Scotland ,

where he finally settled as an engraver . He was the master i n of Sir Robert Strange, who was bound apprentice to him

1 . t 735, and served out his term of six years Cooper inhabi ed a m m a n n a te large and co odious house in St John Street, C o g ,

where he died in 1 7 6 4 .

1 1 in 2 1 . . 2 . . . Canvass, ft in by ft 5 , upright

Presented by David Laing, Esq .

DOUGHTY, T .

w S c u lkill m 3 2 1 . Vie of the Flat Rock on the y , eight miles fro

. R J Philadelphia . 4 2 . . . Canvass, 3 ft . 3 in . by ft in

T dd m a n . Presented by Philip e y , Esq of Charleston , United

States .

M N DRU MO D . B S A — M MMO . . . . JA ES DRU ND , Native of Edinburgh

1 0 4 . The Porteous Mob .

5 . . i n . . Canvass, ft by 3 ft 7 , oblong

This tragical event, to which increased interest has been given i n - by its being so vividly described the Heart of Mid Lothian, took

th 1 . place on the night of the 7 September, 736 The moment ’ n P o rteo u s s chose for representation is, when one of slippers o ff having fallen , it was sought for, the mob, as if by one consent, ’ P o rteo u s s stopping until it was coolly replaced upon his foot, courage at the sam e time failing on seeing the preparations made at ’ a dyer s pole for hanging him . In the foreground is the incident r related by a lady, that going to a party her chai was stopped by

one in the disguise of a baker, who , having handed her out and h bo w showed her home , took leave wit a and an air which could hardly have been lea rned beside the oven and that of 4 — — 6 DUNCAN DYCE E TTY .

m n the servant of a noble an who , coming tipsy out of a taver ,

was by one of the conspirators armed with a halbert, and made n to act a conspicuous part on the occasio , etc .

. i 1 2 0 . King James I of Scotland , while a pr soner at Windsor,

first sees his future queen , Lady Jane Beaufort, as she

. R S . A . is walking in the garden of the Castle .

s . 4 i n . 2 . 1 0 i n . Canva s, 3 ft 5 by ft 5 , upright

DUNCAN . H M T O AS DUNCAN, and was born at Kinclaven ,

2 4 1 80 7 2 5th 1 845. Perthshire, May , ; and died at Edinburgh , May ’ He studied in the Trustees Academy, under Sir William Allan , and was one of the most distingu ished members of the Royal Scottish

Academy . His portraits, and historical and fancy subjects, evince a delicate feeling for female beauty , and keen appreciation of the humorous in Scottish character . He was elected an associate of the i n 1 84 m Royal Academy 3, but in the course of a ost successful

w a s . career, seized with an illness which terminated fatally His

. . 1 1 8 portrait is one of his latest works No , though a spirited , is not an important specimen .

B A 6 . Thomas D u ncan ; painted by himself . S . .

4 2 . 4 i n . . Canvass, ft. in . by 3 ft , upright

.

Presented by Fifty Scottish Artists .

. R . S . A . 1 1 8 . Jeanie Deans and the Robbers

2 . . 1 . 8 in . . Panel , ft 3 in by ft , oblong

DYCE .

W M R. A . ILLIA DYCE, , and Native of Aberdeen .

2 1 1 . Infant Hercules .

i n a . 2 . . . Canv ss, 3 ft by ft 35 , upright

Presented by the late Sir John Hay, Bart.

ETTY.

M R A . Y 1 0 1 8 WILLIA ETTY, . , was born at ork, March , 7 7 . His as father was a miller and Spice maker . Before he w twelve years of age he was apprenticed to a printer, and served out his dreary term of seven years, the irksome drudgery being often soothed by dreams s of, on some future day, being an artist . Free at la t, and assisted 1 805 by some relatives , in , at the age of eighteen , he entered on the ’ a rt study of , and , after a year s probation , was admitted as a

6 6 ETTY .

No w u dith ha d c o m m a n de her m a id to ta itho h r m er J d s n d w u t e bed c ha b , a n d o w a it o r her c o m in o rth a s h e did ai " f o r s h s a i s h u t f g f , s d ly e d e w o ld o o r h to h e r a e s a n d s h s ake t B a o a s a c o i n h s a m g f t pr y r , e p o g c rd g t o t e e ur o s e p p . “ S o a ll w en o r h a n d n o n e w a s e t i n th e bed-c h am be n ei h t f t , l f r, t er i e n r re a Th en Ju i h s a n din b hi s be d s a i i n h er h e a rt l ttl o g t. d t , t g y , d , 0 rd o d o f all o w er o o k a t hi r s n u n t rk s f i n e L o G p , l t s p e e t po h e w o o m h a n ds f o r th e a i n f J ru s a m e xalt t o o e l e . F o r n o w i s th e i m e to h e hi n e i n h e i a n c e a n d t o e x ec u m i n e t lp t r t , te n e r h c i n o f h n em i s h i h r ri a a i n u e t rp i s es t o t e de s tru t o t e e e w c a e s en g s t s . “ ’ T h n s h c a m e to th i a f h e bed w hic h w a s a t Ho o e n es e e e p ll r o t , l f r h e a an d o o k do w n hi s a u c hi o n o m h en c e d , t f fr t , An d a r a c hed to his bed a n d o o k ho ld o the ha r his hea d a n d pp o , t f i of , s a id S tren then m e 0 L o rd o d o Is ra el this da , g , G f y A n d s h s m o i e u n hi s n k i h a ll h m i h a n s h e o o k e te tw c po ec w t er g t, d t w a hi s h e a d r m h im a y f o , “ A n d u m b h is bo d do w n o m th e bed a n d u e d o w n th e t led y fr , p ll d c an o f o m th e i a s a n d a n o n a r s he w en t o rth a n d a ve Ho lo ern es py r p ll r , fte f g f his hea d to her m a id " “ A n he her a o ea t " S o h e w a in n o e h e d s p u t it in to b g f m t y t w e t t g t r, a c c o i n to h eir c u s o m u n o ra er a n d w h en h e a s s e th e c a m rd g t t , t p y ; t y p d p, h e c o m a s s ed th e a e a n d w en u th e m o u n ai n o f B e h u ia a n d t y p v ll y, t p t t l , ” c a h e s h e eo m e to t g a te t r f.

r Cen tre Pic tu e (No .

1 1 . 1 0 ft . O . Canvass, 3 ft . in by , blong

m r By having chosen as the point of time, that i mediately p e edin c g the decollation , the artist has been enabled to embody

the highest feelings of heroism , and devotion in the action by w hich Judith delivered her country, and to avoid those revolting features brought out when the subject is treated in th e man

ner that has usually been adopted by the Old Masters . h f m Judith , armed wit the auchion of the ene y of her country , is in the act of supplicatin g the God of Israel to strengthen m - her . Holofernes, unconscious of his i pending fate , giant like

reposes in profound slumber, surrounded by the tokens of his

recent revelry . m i Co bined with the r ch and masterly colouring, for w hich

Etty was so distinguished , there is an amount of historical accuracy in the details rarely to be met with in subjects of this

class . Pi tu r S ec o n d c e (No .

1 0 . 9 ft. . Canvass, 9 ft . 5in by , upright

h e T action in this picture precedes that of the principal one . ’ u dith s The figure In the foreground is J maid , waiting at the

outside of the tent by order of h er mistress . She is Sitting by w a tc hfires w the dying embers of one of the , listening ith the

most agonising attention . The guards are represented as over m — m come by sleep . The ti e, past midnight the oon , sinking n m towards the horizo , gleams faintly fro behind a dense cloud , - th e revealing dimly the date tree of Palestine , sleeping guards ,

and the distant landsca pe . 6 7 ETTY .

Thir i ur d P c t e (No .

9 . 1 0 . b 9 ft. . Canvass, ft 5in y , upright h Judith has escaped from the tent, bearing with her the ead m of Holofernes , which she is in the act of delivering to her aid . w u d Her face is turned to ards the guards , and her attit e strikingly w indicates haste, and intense anxiety lest they should a aken .

Thus the interest of the tragic scene is kept up to the last .

The morning is now somewhat advanced , and besides the — principal fig u res the guards and the tent— w e see a solitary w d w a tc hfires aning star, the hills, and the istant towers and of

Bethulia .

’ . R . S . A 1 2 2 . Benaiah , one of David s mighty men .

- Mo a h h a d n He s w tw o io n k e m en o f . W o do e m an y a c ts . le l li b 1 Ch i ro n . x . 2 2 .

1 f . 1 . 1 . t. Canvass, 3 ft in by 0 , oblong

— h . . . 2 0 7 . T e Combat Woman pleading for the Va nquished . R S A

1 1 . . . 4 in . . Canvass, ft 3 in by 8 ft , oblong When Etty exhibited this picture (1 844) it was admitted by all his professional brethren that no work in that walk of art had ever been executed in England equal to it in vigour f of composition and o r colour. In proof of this it may be i r mentioned that t was fi st purchased by a brother artist, w a r e and Chantrey the sculptor, hose works thoroughly e m bu ed with British feeling, and who has dedicated the fruits of his talent and ind u stry to the perm a nent enc ou ragement of e ar t Rec o llec tio n s British Art, wrote r garding it to a patron of ( — o Cha n tre R . A 1 849 f y, by Jones , . , ) My dear Sir, You h aving done me the honour to consult my judgment in the selec

tion of a picture for your staircase, I can now most c o n s c ien tio u s l w y say, that you will not readily meet i th so fine a picture ’ as Etty s (Combat), if you like the subject . The merit of the l — picture is unquestionable, and its price surprisingly o w three

hundred guineas . Artists and judges of art expected he would have asked six hundred guineas AT LEAST ; its size alone stood th e o f in way various purchasers. I have strongly recommended

it to Mr Watt, and I wish some of my friends may have the — ” i t. H good fortune to possess Sincerely yours, F . C ANTREY . It w a s purchased by a brother artist , John Martin , and was after

w a . ards acquired by society of artists (the R S . Academy) , who a f ew years ago refused to part w ith it for a sum more f r than eight times greater than the sum E tty first asked o it, £2 namely, 500 . — GAIN B H FERGUSON S ORO UG .

FERGUSON .

I M f n WILL A FERGUSON was a native of Scotland . A ter lear ing the t rudimen s of his art in his own country, he went to the Continent, where he remained some years . He returned home, and painted dead game and still life in the manner of Weenix, whose works ’ Ferguson s, in many respects, nearly approach . However, he seems to have often chosen subjects in which ruins and sculpture are intro d u c e d ff , under a strong e ect of light and shade . Walpole says he died L 1 in ondon about 6 90 .

R A 6 6 . Sculptured Ruins and Figures . . S . .

2 . 2 . 1 . 9 in u Canvass, ft 5in by ft 5 . , pright.

Presented by Alexander White, Esq .

GAINSBOROUGH. ff H M B O O H R A . T O AS GAINS R UG , , was born in Sudbury, Su olk , in 1 m u 72 7 , and educated at the Gram ar School there under his ncle, the

e . R v . Humphry Burroughs At an early period he evinced talent for art, and , on attaining his fifteenth year, was sent to London to follow m out his studies . He lodged in the house of a Silvers ith , who intro d u c ed s o m e i n him to Gravelot the engraver, from whom he received struction Gravelot also got him admitted into the St Martin ’s w Lane Academy, hich had been founded about twelve years previously w a by Hogarth , and was the school here the most of the rtists were w h o educated afterwards formed the Royal Academy . Gainsborough next became a pupil of Hayman , who, at that time, had considerable reputation as a historical painter . After studying three years, he commenced on his own account to paint landscapes and portraits in ’ z small or cabinet si e . The results of a year s trial, however, were so u nsatisfactory, that the young artist returned to his native town , and devoted himself chiefly to landscape painting , studying diligently from n e ature . Gainsborough marri d at the age of nineteen ; his wife was m m m a Scotchwo an a year younger than hi self, pretty and a iable, and m possessed of some fortune . After his arriage he settled in Ipswich , 1 and in 7 6 0 removed to Bath , where he was very much employed as

. 1 7 6 1 a portrait painter In , and subsequent years, he sent a variety of — u — works portraits, landscapes, and figure s bjects to the Society w s of Artists, instituted in London the previous year . He a one of the a u 1 7 6 origin l members of the Royal Academy fo nded in 8, and con t r ributed a g eat many pictures to the Annual Exhibitions . In 1 7 7 4 he n v w — removed to Londo , where pre iously his talents ere well known he m £ n rented a portion of Scho berg House, Pall Mall, at 300 a year, a d m h a d h i mediately a long list of sitters, many of them in the ighest rank ,

King George IH . being one of his first employers . He died in his

70 GEDD ES .

- L n edo h 1 4 e o f . Lord y c died in 8 3, at the ag ninety four He f o . was a man very great strength , the model of a warrior The e h titl became extinct on his death, and is estates were inherited

r E s . by his nea est relation , Robert Graham, q , who, by the bequest o f a work of so great value , being universally acknowledged to be ’ o n e u ff of Gainsborough s most successf l e orts, has given ample proof o f his great liberality and right appreciation o f the benefits the public will derive from the elevating infl u ence of the Fine

Arts . B B A 1 When Robert urns visited lair thole in 7 87 , he had an

o f n . Opportunity meeti g Mrs Graham and her sister, the Hon Charlotte Cathcart ; he was charmed by the amiableness o f the w h o sisters, , it is recorded, were delighted with his talent and

conversation . He admired their beauty so much , that he wished o f f o r the pencil o f Guido to embody it . In wishing fo r th e pencil i n a o f Guido, the poet spoke the langu ge the period, Guido being the n reckoned the artist who had m ost successfu lly em bodied female grace and beauty ; but there was n o need to evoke the

h f o f . s ade o any fo reign painter past times In that very year, 1 8 a e u m 7 7 , R burn had ret rned and established hi self in Edin o n u ro burgh , and in London , Reyn lds and Gai sboro gh were p du c in o rtra it i n l g works (and the p , this Co lection , of Mrs Graham , 1 7 8 f painted in 7 , was one of them), which , seventy years a ter o f wards, when tested with those Guido and his native contem o ra ries o f p , were pronounced worthy the palm by the most com f petent j udges from all quarters o the world . ’ n After Mrs Graham s death , her husband, unable to look o

her portrait, had it enclosed in a case, which, being deposited ” n o n in Londo , was lost sight of for fifty years ; but Lord ’ L n edo c h s m y decease, search being ade, it was discovered , a n d m e o f , in the sa e cas , another portrait Mrs Graham by

o f z . Gainsborough a smaller (kitcat) si e This, it is supposed , w a s a m u the first tte pt previous to the larger work, as the attit de a n d f th e a r expression o head e identical, though executed in a o r slighter more sketchy manner, but with great dexterity and

. f aem clearness It is in the possession o the Misses Gr e, the sisters - o f Mr Graham . The full length portrait was exhibited in B i n 1 848 the ritish Institution , where it attracted very great a 1 ttention , and again in 857 at Manchester, among the Art T o f reasures which, by the general voice , it was pronounced o n e f e o the chi f.

GEDDES .

DR GEDD E . . AN EW s , A . R A He was born in Edinburgh about ’ 1 7 89 w a s th e u , educated at Tr stees Academy, and commenced as an a portrait painter, and painted m y excellent portraits ; he ’ f er a r n o f a t w ds w e t to London , and was elected an Associate the — — 1 GEIKIE GIBB GIBSON . 7

Royal Academy . Geddes also painted fancy subjects . His copies and studies from the works o f the o ld masters are excellent ; and o f 5th he published a series clever etchings . He died in London , 4 May 1 8 4 .

94 . Su m mer . 1 2 . 7 . 2 i . Canvass, ft 5 in by i , uprig ht

K GEI IE .

e o f 1 95. WALTER GEIKIE , was a nativ Edinburgh , born in 7 ’ He was educated at the Trustees Academy under Graham , painted u — figure s bjects scenes in every day life , into which he infused much 1 1 truthfu l and humorous expression . He first exhibited in 8 5, was a 1 1 elected an Associate of the Roy l Scottish Academy in 83 , and

1 834 . h he o f Academician in T ough deaf and dumb, was a cheer

ful and social disposition . He published a series o f spirited etchings,

f 1 . illustrative o Scottish character and scenery . Died 837

. R S . A . 1 2 8 . Cottage Scene , with Figures .

2 . . 1 . 7 i n . n . Panel, ft 3 in by ft , oblo g

BB GI .

B . A u . ROBERT GIBB , S . . Native of D ndee His landscapes have l u i n 1 3 great truth , and are carefu ly manip lated . He died 8 7 , after

a short career .

m . 8 1 . Craig illar Castle

1 f t. 4 . 1 f t . . Panel, in by , oblong

B . R . S . A . 8 4 . orthwick Castle

1 . 2 . 1 i n Canvass , 3 ft . in by ft . , oblong .

w . R . . A . 92 . Vie near Edinburgh S

1 . f . 1 t . . Panel , ft 6 in by , oblong

B GI SON .

R G S o n e th e PAT ICK IB ON, was of members of the Society of Artists who exhibited in 1 808 and published in various periodical s u o f Ar t some val able notices on the History . He generally painted o n landscape compositions based the style of Claude and Po u ssin . 1 He died at Edinburgh in 830 .

1 0 6 . Landscape Composition .

2 . . 2 . i h 5 . . Panel , ft 5 in by ft 7 , oblong 2 — — 7 GILBERT GILES GORD ON .

GILBERT. — H G R B . A . Of w . JO N RAHAM GILBE T, . S Native Glasgo

R A . 2 0 . Sir John Watson Gordon, . , President of the Royal

Scottish Academy, and Limner to Her Majesty for Scot

land ; painted fo r the and presented by the Artist .

B . S . A .

1 . 4 f t . 1 0 i n . . Canvas s, 7 ft. 0 in by , upright

A . . R . S . A . 2 R. 2 . John Gibson , , Sculptor

2 5 . 2 ft. . Canvass, ft. in by , upright

Presented by the Artist .

. R . S . A . 1 1 0 . An Italian Nobleman

2 . . 2 f t . Canvass, ft 5 in by . , upright

GILES . — A E S R. .A . Of J M S GILE , S Native Aberdeen .

f R S A . 1 0 2 . The Weird Wi e . . .

. 9 2 . 7 i n . . Canvass, 3 ft in , by ft , oblong

GORDON . — RD .A I W R . S R JOHN ATSON GO ON, Native of Edinburgh .

- ~ i r n B W R c c a to . fo r 7 . Sir illiam Gibson Craig, of , art ; painted

. S . A . the and presented by the Artist B .

i n . 1 . 4 . 1 0 . . Canvass, 7 ft 0 in by ft , upright

No s . 1 2 2 0 2 1 2 9 O f This and , , , and , are portraits the gentle m e n w ho z fo r , ealous the advancement of art in Scotland, were m e mainly instru ental in getting these G alleries er cted .

1 2 . W m o f K , Sir illia Johnston irkhill, Lord Provost Of the City A f B . . B . . A . O Edinburgh in 1 850 painted for the S . S

1 . 4 1 i a Canvass, 7 ft . 0 in by ft. 0 . , upright .

A f r B . o . . . R . A 2 1 . Honourable Lord Cockburn ; painted the S S .

1 . b 4 . 1 i n . . Canvass, 7 ft . 0 in y ft 0 , upright R — G AHAM GRANT . 73

Es hi s 2 6 . Portrait of Peter Spalding, q . , who bequeathed whole Fortune to the Directors Of the Royal Institution for

B A . R . I the enefit of Decayed rtists .

1 1 . f Canvass, 3 ft. in by 3 t. , upright .

2 9 . Right Honourable Lord Rutherfurd ; painted for the

R S . A . and presented by the Artist . .

. 1 . 4 . 1 i n . . Canvass , 7 ft 0 in by ft 0 , upright

’

f . R . S . A . 7 9 . A Grand ather s Lesson

1 » 4 . 3 . i n . . Canvass, ft by ft 32 , upright

GRAHAM .

R 1 4 r JOHN G AHAM was born in 75 . He was app enticed to a coach painter in Edinburgh , and afterwards went to London , and for some time followed out that trade . However, having Obtained admission u o f m as a st dent the Royal Acade y, he was encouraged to enter on the arduo u s path of historical painting . In 1 788 he was appointed ’ - e s o f joint master, and soon aft rward sole master the Trustees m Academy, and, while under his direction , any able artists were u A B a n d ed cated there, among whom , Wilkie , W . llan , urnet, Watson o f r e Gordon , may be mentioned . All these eminent artists have e dl p a te y spoken highly of his talent as a teacher and historical painter . His picture Of the Funeral Of Gene ral Fraser at Saratoga was a work Of a u t lent, and the pict re in the Gallery, the Disobedient Prophet, con o f veys a most favourable impression his powers . He held his situa o f i n 1 1 tion Master the Academy until his death in November 8 7 .

R A 3 3 4 . The Disobedient Prophet . . S . .

1 1 f t. f t. Canvass, by 8 , Oblong .

A n d h e w en an d o u n hi s a a s e as i n th e w a a n d th a s s a n d t f d c rc c t y, e th e l o n s a n n th e a a s e — th e o n h a d n o t ea en th e a as n o r i t di g b c rc , li t c rc e ”— n th a s s l i n s . 2 8. to r e . g xii

GRANT . — R R.A . v . F ANCIS GRANT, , Nati e of Perthshire

e . R . S . A . 1 1 1 . J w Rabbi

2 . 4 in . . Canvass, 3 ft . by ft , uprig ht — FF 74 HARVEY HE ERNAN .

— R E R R. S . A . e . GEO G HA VEY, Native Of Stirlingshir

w . 8 0 . Da n Revealing the New World to Columbus

h a n th e ee n s Of h e u o i n th e m o s A s t e day d w ed, f li g t crew b rs t f rth t n T e h a d e en o n s e e em s e es e xtra v a g a n t tra s p o rts . h y r c tly c id r d th lv m n u n o w a t o e s u o n e n o w l o o e u o n d evo te d e , h rryi g f r rd d tr cti ; th y k d p m l s h a o u es o f o u n e an d a em s e es u t o th e th e s e v e s a t e f v rit f rt , g ve th lv p T e o n o u n th e a m al w o v er o w m u n n o . fl o s t bo u d ed j y h y thr g e d r d d ir ith

i n z ea o m e em a n h im o e s k s s n h i s an s . T o s e w h o h a d g l , s br ci g , th r i i g h d h b e en m o s t m u tin o u s a n d tur bu l en t d u rin g th e vo ya g e w e re n o w m o s t

e e a n d en u s a s . S o m e e e a o u rs o f h im a s h e h a d d vo t d th i tic b gg d f v , if n d o n o u s i n h i M a n a e s s w h o h a d a lre a dy w e a lth a h r s g ift . y bj ct pirit , u a e h im e n s o en e n o w o u e a t h is ee e n o tr g d by th ir i l c , cr ch d f t, b ggi g a n f r a ll th o u e e h a d a u s e hi m a n d o m s n th e p rdo o e tr bl th y c d , pr i i g ” ’ h u — A IIIN T R ING L i e o bli de t Ob edien ce f o r t e fu t re . W S G ON I V S f f

0 0 pu m gus . f 4 t . Canvass, 5 ft . by , Oblong .

m R . S . A . 1 3 0 . The Alar .

1 . 6 . 1 . 1 i n . . Panel, ft in by ft , upright

A HEFFERN N .

’ FF R Ch a n tre s J . HE E NAN was long y principal carver, and had a considerable reputation for his skill in that department .

B z R A 3 3 6 . Medallion in ron e Of Sir Francis Chantrey, . .

B . S . A . E . B s . S . A Presented by John Steell, q , .

Francis Chantrey was born at Norton , in Derbyshire , in 1 w a s a s ffi 7 82 . He placed an apprentice to a carver in She eld , w e and after ards practised as a modell r in clay in Dublin , Edin

burgh , and latterly in London , where he was employed by Nolle u kens, and settled as a sc lptor . He attained high eminence in h z d t is profession , and reali ed a han some fortune . He tried o n e portrait painting at time, but with little success . His fame m a i n l o n u o f was achieved y ‘ acco nt of the excellence his busts, and in sc u lpture he a ttained a position somewhat analagous to that w hich in painting was arrived at by Reynolds and Rae h u w o e t m . t o f b rn , hose w rks grea ly ad ired I was by his bust m Ho e Took that his talent was first brought into no tice , and m u hi m it was the eans Of proc ring orders to a large amount . His bu st o f Walter Scott is generally allowed to be the m ost u successf l embodiment of the features and expression of the poet . m u m He executed nu ero s important co missions for public statues . B Several of them are in this city, namely, President lair, Lord IL — T — II A D 5 II L HOIJS ON OW R . 7

e W G M lville, George IV. and his statue of James att in lasgow ’ ha n tre s is one Of his best works . C y sepulchral monuments are

u a n d m Of m a re e . n merous, any the distinguished for taste and f eling The m o n u ment to tw o children in Lic hfie ld Cathedral is o n e of o f w a s th e best them . Chantrey elected a Royal Academician in

1 81 8 m . 1 8 . e 1 841 . , and knighted by Willia IV in 37 He di d in f w His feeling o r a rt a s thoroughly national, and he has dedicated u B o f his fortune to the f rtherance Of ritish Art. On the death o o f his widow, the reversi n Of the greater portion his property is bequ eathed to the Royal Academ y for the promotion of B s A u riti h Fine rt in painting and sculpt re, including an annuity

o f £ 0 f o r £1 5 . 3 0 the President , and 0 for the Secretary The m w £2 50 w a ount available ill be about 0 per annum , hich , after e 2 00 deduction of the above annuities, will l ave upwards of £ 0 to be spent ann u ally on the purchase of paintings and scu lpture “ ” w G B executed ithin the shores Of reat ritain , towards the B s u formation Of a riti h Gallery of Art . The f nds cannot be accum u lated for more than five years ; and no commission can n All o n d de be given to a y artist . purchases must be b fi pur

chases Of finished w orks .

L HIL . — B A . Of D . S . . DAVI O. HILL, Native Perthshire

8 6 . Leith Pier . f 1 . 1 . 1 t . . Panel , ft 5in by , Oblong

R . B . S . A . 1 2 6 . A ocky Glen

in . 1 . 2 9 . Canvass, 3 ft . 0 in by ft. , Oblong

HOUSTON . — . N B . S . A . JOHN A HOUSTO , Native Of Wales .

. R . A 1 2 7 . The Good Samaritan . S .

4 . 1 1 i a 2 . . . . Canvass, ft in by ft 0 , Oblong

HOWARD .

HNR ARD R . A . n 1 6 9 E Y HOW , He was bor in London in 7 , and R i n l f i n 1 84 . u e a e died in Ox ord 7 Was a p pil of g , and studied at

u ll . the Royal Academy . His s bjects were genera y classical, and — P 7 6 JOHNSTONE JOSE H .

r evince ta ste and feeling . He was Secretary and Professo of Painting to the Royal Academy .

‘

Ofi . 95 . V enus carrying Ascanius

1 in . . 2 . . Canvass, 3 ft by ft 35 , oblong

JOHNSTONE .

B T — W . . E R . . A . . JOHNS ON , S Native Of Edinburgh

— 1 l . R S . A . 1 4 . Scene in Holyrood 56 6 .

2 1 i n . Canvass, 5 ft . by ft . 0 , Oblong .

n h th f M a a o u u m e D a B z o th e a a n O t e 9 O rch ( b t s pper ti ) , vid i i , It li , n am e th e F en S e e a w a s s a n i n th e Ga e th e K n s a n d r ch cr t ry, l i ll ry ( i g , t yi g i n th m h u een o l h er a th e es n a s o n t a e e ro o w ith t e Q , t d th t d ig w ly o t k o e w a a n a e a h e h a d e en a en o en o m th e rd r ith th t vill i ) , ft r th t b t k vi l tly fr ’ u e n s s n e w h o e u es e m o s e a n e s f o r th e s a n Of hi s Q e pre e c , r q t d t r tly vi g e w a c t w a o n e th e E a e o f M o o n th e L o u en th e lif ; hich s d by rl rt , rd R thv , h M f n w n L o L n s a t e a s e o u e e s o e n em e . rd i d y, t r R thv , ith div r th r g e tl T e fi s o o to a e a n e h i m a n d h a d o e o s f o r h y r t pr p s ed h v h g d , pr vid d c rd th e s a m u o s bu t th e ea a s e w e h a d m o e m t o e p rp e g r t h t hich th y , v d the ” ’ s a i w n e s o r a e s —K n x s His to r edi t L a n de p tch h m w ith hi g r d gg r . o y, ed by i g .

’ A D arn l e s w a s ware of y vacillating disposition , it Ruthven and Morton ’ s chief care to keep watch that he performed his w a s e part, which to take charge Of the Qu en during the struggle . o f z z The body Ri io, the feet having been bound with cords, was ’ o f - dragged along the floor the Queen s presence chamber, and K ’ hurled down the stair into the ing s lobby .

JOSEPH .

R S . A . S P . SAMUEL JO E H , He practised his profession as a sc u lptor fo r several years in Edinburgh w ith success but afterwards settled 1 in London , where he died in 850 .

1 6 B o f R .A . R . ust, in Marble , Sir David Wilkie , , . S . A .

1 7 . D O . . B A , in Marble, of the Right Hon Lord rougham . B . S . .

78 LEWI S . w a s A o f al a - elected an ssociate the Roy Ac demy when twenty two , ’ o n w a s and , in a year afterwards, Reynold s death , appointed limner n — i n 1 98 1 81 5 to the ki g, elected Royal Academician 7 , knighted in , ’ B e 1 82 0 u e o f and , on enjamin W st s death in , s cceed d him as President e u n f the Royal Academy . Lawr nce was the favo rite portrait pai ter o the

m III. m m es o ti e of George , and had an i ense prof si nal practice . a u u His t lent as a painter was do btless overrated d ring his life , o n e t but, the other hand, j ustic has scarcely been done to it Of la e u years . For his style, though in many respects meretricio s, was d th e o greatly influenced by the fashion and ress of peri d , and it can i n not be denied that, tim e to come, impressions Of the principal n characters W h o figured duri g the Regency and in the reign o f G e o .

u n . IV. , m st be taken mai ly from his works His portraits in th e Waterloo Gallery at Windsor are Of the greatest v al u e as historica l m u o f e on ments . He was a man great urbanity and fine tast , and left a w at his death a most v luable collection of dra ings by the Old masters , n o w u nfortunately broken u p.

l B d u . 9 . La y Charlotte Campbe l ( ry)

. 1 . 4 . 1 0 i h . . Canvass, 7 ft 0 in by ft , upright

W f o f . 2 8 . Lady Hamilton , i e Sir W Hamilton , Ambassador at

Naples . AB . 1 1 i n . 1 . 4 0 . . Canvass, 7 ft in by ft . , upright

B u NO . 9 The picture of Lady ry, , is an excellent specimen

2 8 . Of the artist . No . is an earlier work

LEWIS .

S e J . F . LEWI , and lately President of the Old Wat r Colour — a o f n . . 2 57 32 0 u a re Society, native Londo Nos to incl sive , studies hi m b i n water c olours by Mr Lewis, acquired from y the Royal m Scottish Acade y. They exemplify, as it were, in a condensed u o f a s m anner, the more striking pec liarities the Venetian , Sp ni h,

. o l o Mr w Dutch , and Flemish Schools The c l ecti n was made by Le is, o f s u e fo r his o w n use, in the course his profes ional st di s, and in doing h d al m o f a so, he a to visit sever Of the ost important the Art G lleries in Europe .

The dim en s io n s here g iven a re of the Pic tu res f ro m w hic h the S tu dies a re

m a de.

F . 2 57 , 2 58 . rom Frescos in the Choir of Sta Maria Novella at Of Florence, illustrative of the Life the Virgin Mary . hir a n da o G l j . LEWIS . 7 9

’ K n 2 59. Peter and Paul restoring the ing s Son to Life . Simo Magus had challenged th e Apostles to resuscitate a dead

person , and this was done by them after he had failed . The skulls and bones on th e gro u nd had been used by the

Sorcerer for his incantation . The incident is apocryphal . This study is from o n e of the frescos by Masaccio in the Church w Of the Carm ine at Flo rence . These ere studied by Raphael f and many O the greatest painters, and are Often referred to by f A e n ti rel to historians o rt . Though by many ascribed y Masaccio , n e but they are o w ascertained to have b en by Masolino , Masaccio ,

e . and Filippino Lippi, but the most cel brated are by Masaccio

m . 2 6 0 . Our Saviour and His Disciples at E maus . In the Louvre

8 . 5 . 6 . Canvass, ft by ft in

Titia n .

This celebrated picture w a s in the collection Of Charles I . The Pilgri m on the right o f the Saviour represents the Em peror V o n e X Charles . ; the on the left, Cardinal imenes and the ’ Page, the Emperor s son , afterwards Philip II . Of Spain .

o 2 6 1 . The Entombing of Christ. In the L uvre .

1 1 . b 4 . . 6 ft . in y ft 9 in

Titia n .

’ m e u This Picture , one of the artist s ast rpieces , was in the D ke ’

a I. a n d o f Mantua s collection purch sed by Charles , was sold along with his other treasu res o f Art at the Revol u tion ; it n e w

forms one o f the chief orna m ents of th e Louvre .

’ A d A v a lo s u Li eu ten a n t 2 6 2 . Portrait of lphonso Marquis de G asto , m i s General Of the Ar ies Of Charles V . in Italy . He d represented standing beside his Mistress, to whom Cupi , Z Flora, and ephyr render homage .

1 . 6 . 3 ft . 1 in . by 3 ft in

Titia n .

f . . 2 6 3 . Portrait o Francis I In the Louvre 4 2 . 1 1 . 3 ft . in . by ft in

Titia n .

F - Uffiz i . z . 2 6 4 . Flora . In the Gallery Of the at lorence Life si e

Titia n .

2 6 5 . From a Fresco in the Scuola di St Antonio at Padua .

Titia n . E L WIS .

One of a series of frescos illustrative of the miracles perfo rmed u e by this Saint . It represents the m rder of a lady by her j alous u s u n h sband , who having di covered that he had accused her u j ustly, applied to St Antonio to restore her to life . The gro p o f fig u res in the distance represents the Saint complying with

the prayer o f the husband .

2 6 6 . The Adoration of the Magi . In the Museum at Madrid .

. 4 . 8 . 7 ft. 3 in by ft in

o f h e 2 6 7 . Study Of a Portion the Picture Of the Adoration Of t

Shephe rds . Purchas ed in May 1 853 at the price o f

L . 2 O5O O f , by the Trustees the National Gallery, at the u Sale of the Spanish Collection Of Lo is Philippe , for wh om it h a d been acquired from the Conde de Aquila o f Seville . as u Vel q ez .

l

Hu n tin a t . M . 2 6 8 . g El Pardo Gallery, adrid la s u z Ve q e .

2 6 9. The Doge in Council . Gallery at Madrid .

7 ft . by 5 ft . 7 in . Pietro M a lo m br a .

The Doge is here repres ente d su rrounded by his Grandi o r v u n i n l o r re Pri y Co cil the Sal a del Collegio, room in which he c ei ve d foreign ambassadors ; and accordingly in the Pictu re we fin d an am ba ssador or some high foreign dignitary seated at the

right hand Of the Doge . The room is in perfect preserv ation at h n o o f the present day, wit the w unoccupied seats the Doge and Cou ncillors ranged next the walls ; and the paintings on the V r ceilings by Paul eronese , which artists from every count y are f constantly studying, are now as resh and sparkling as when

first executed .

o f T ribu n e h e fli z i t 2 7 0 . Interior the , an apartment in U at Florence , where are concen tra ted s o m e o f the finest Works o f Art e u a " in that Coll ction , partic l rly the following Statues — — The Ve n u s de Medici the Apo llin o the Dancing Fau n ’ e — L A rro tin o w n K the Wrestl rs , or the Slave hetti g his nife n s a ll e o f and amo g t the Paintings , choic works the respective th e o f artists , most whom are Of the highest rank in art, are the del C a rdin ell o n u w Madonna , and a other eq ally celebrated ork — — Of the same class, by Raphael his Fornarina Portrait of Julius 81 LEWIS .

‘ — Of n Fa m il o f II . and Portrait Maddale a Doni ; the Holy y A o n e o f u Michael ngelo , the three recognised easel Pict res by ’ n w u hi m ; Titia s Venus ; and admirable orks by Per gino, Fra m D ii rer Bartolo eo , Andrea del Sarto , Albert , Correggio, and

other great Masters .

e . . 2 7 1 . Fete Champ tre In the Louvre

4 . . ft 7 in . by 3 ft 7 in . i or i n e G g o .

o f . u . o f 2 7 2 . The Martyrdom Sta J stina In the Gallery the fli z i U , Florence .

V . P . er o n es e

o f th e o f 2 7 3 . A Study the Principal Group in picture Christ in

the Temple disputing with the Doctors . In the Gallery

M r z . at ad id . Figures, Life si e

P . Vero n es e.

Of 2 7 4 . Sketc h from a Picture in the Museum at Madrid , Rudolph

Of Hapsburg, who placed on his Horse a Priest who is r n h ea i g the Host.

Ru ben s .

Man . 2 7 5 . A Young led by Virtue from the Seductions of Vice

In the Gallery at Madrid .

1 4 . 5 ft . in . by 3 ft . in

P . Vero n es e.

i 2 7 6 . Cain and his Family . The Compan on Picture to the above,

and in the same Gallery . 1 4 5 ft. in . by 3 ft . in .

P . Veron es e.

F F . z e. 2 7 7 . Holy amily igures, Life si

This drawing was m ade when the Picture was in the posses

Do n W B . sion of Julian illiams, ritish Consul at Seville

B o r . . 2 7 8 . Los ebedores, the Drinkers In the Gallery at Madrid

5 . 5 . 4 7 ft. in by ft in

A mock coronation o n the occasion o f a festival at the termi Of nation the v intage .

Of - 2 7 9 . Embarkation the Doge . This study embraces two thirds o f n the Picture , which is about 1 2 feet long . I the

Gallery at Madrid .

Bas s a n o . 82 LEWIS .

2 8 0 . Portrait Of the Infanta Maria Margarita . 4 1 7 ft . by ft . 0 in .

Velas quez .

- P o f IV . m 2 81 . Half Length ortrait Philip Fro the Picture at z D u l w ich . Life si e .

Velas qu ez .

B z 2 82 . The Surrender of reda, or Las Lan as . From the Picture

in the Museum at Madrid .

1 4 . 1 1 . 7 . ft 6 in . by ft in

Velas qu ez . B 2 d u 1 2 reda was surrendered on J ne 6 5, the garrison march u f ing o u t the following day with the hono rs O war . The painter w has chosen the moment hen the governor, Justin de Nassau , f delivers the keys to the Marquis O Spinola . m K o f This place having been regarded as i pregnable, the ing

Spain , Philip IV. , Wished that so great an event should be com

m em o ra ted in painting as well as in poetry . Calderon celebrated o f m o z m m it in one his dra atic p ems, and Velasque was co issioned

to execute it for the Palace Of the Retiro . The Picture was ’ m I r i co pleted in 1 6 46 . t is reckoned to be the a t s ts s master i p ece .

o f A u 2 83 , 2 84 . Portions Of the Picture St Thomas q inas . In m the Museu at Seville . F ra n c is c o de Z u rba ra n .

A z th One portion represents the rchbishop Diego de De a, under f o f m o the College St Tho as Aquinas, who kneels o n the right m n hand ; and on the left the E peror, and a trai of ecclesiastics . ’ m c he d ceu vre This Picture is estee ed the f of the painter .

o f th e f 2 85 . A portion Picture representing the Adoration o the

Sta . Forma . In the Sacristy of the Escurial .

Clau dio Co ello .

2 86 . Landscape . In the Museum , Madrid .

1 6 . 1 . 4 . ft . in by ft in elas u ez V q .

2 87 . St Paul the Hermit, and St Antony the Abbot, fed by a the Raven in the Desert . In background t w o Lions ' o f are excavating the Grave Paul, whilst Antony is

praying over the Body.

a . 8 . 6 in . by 6 ft . 3 in

u ez .

o f z . 2 88 . Landscape in the Gardens Aranj ue Gallery, Madrid .

1 . 1 ft 6 in . by ft . 3 in . elas u ez JV q . I LE W S . 83

B o f z n . 2 89. Portrait Don altha ar Carlos o Horseback In the

Museum at Madrid .

. b 7 ft y 5 ft . 8 in . u ez Velas q .

a o f the M . 2 90 . Equestrian Portr it Philip IV . In useum at Madrid

1 . 5 . 1 1 . 0 ft in by 9 ft . in ’ Iv s o f f m Philip . love art orms a ost important feature in his A history ; and the fact that Spanish rt, when at its height, is w hi m associated with the name Of this monarch , ill give a far ’ higher place in the world s history than he w ould have Obtained

by all that ever has been written o f his other acts and deeds .

B f z B . 2 91 . eggar oys . In the Dulwich Gallery . Li e si e

z . 2 92 . A Flower Girl . In the Dulwich Gallery . Life si e

o z . 2 93 . Portrait, supposed t be Of Velasque u Vela s q ez .

2 4 . w 9 A D arf standing beside a Dog . 4 ft . 8 in . by 3 ft . 6 in . Vekzs quez . A portrait of o n e of the many dwarfs maintained at the Court o I f Philip V .

2 95. A Dwarf Reading . From the Picture in the Gallery at

Madrid .

. 2 . . 3 ft . 6 in by ft 9 in

Velas qu ez .

o f B z n e 2 96 . Portrait Don altha ar Carlos o Foot. In the Gall ry Of

Madrid .

4 . 4 . ft in by 3 ft . 5 in .

o f I o f B n He was son Philip V . by his first wife , Isabel ourbo ,

1 1 6 45. daughter Of Henry IV . ; was born in 6 39, and died in

V z . 2 97 . elasque painting the Portrait o f the Infanta Margarita In

the Museum at Madrid .

1 2 . 4 ft . 6 in . by 9 ft in .

Part Of the upper portion o f the Picture is omitted in the

Drawing . 8 4 L E W IS .

a The young Princess here represented was Ma ria Margarit ,

. 1 1 daughter of Philip IV , born 6 5 her portrait was also painted V z 1 8 by elasque in 6 5 , to be sent to Leopold, who had then been m m elected E peror of Germany, and to whom she was arried in

1 6 6 6 .

This celebrated Picture , well known in Spain as Las Meni ” o f u nas, the Maids Hono r, may justly be classed as a great w historical ork, for it vividly embodies and places before us a ffi variety of personages, who, from their exalted station and O cial m a rank , indicated by their attendants, costume, etc . , y be taken as correctly exemplifying the life and manners in the court Of a

great monarchy two centuries ago . This interesting work is de ’ ” scribed with graceful vivacity in Mr Stirling s Artists of Spain .

2 ta Of 98 . St John as a Child with a Lamb . In the Hospi l Charity, l z Sevi le . Life si e . M u ril lo .

2 o f z 99. Study a Mendicant . Portion of the Picture of St Eli a

beth Of Hungary . M I u rillo .

m his 3 0 0 . St Tho as Of Villanueva giving Alms at the Door Of

Cathedral . In the Museum at Seville . Figures, Life z s i e .

M u rillo .

B B 3 0 1 . A eggar o y. In the Louvre .

4 . . 3 . ft 3 in . by 3 ft in

3 0 2 . The Dream Of the Roman Senator . In the Academy Of San

a . z . Fernando t Madrid Figures, Life si e

This is from o n e Of fo u r Pi c t u res painted byM u rillo for the Church f 1 B u t a o f o u r o . a Sta Maria lanca at Seville, to ill s r te the history

Of o r e o f . Lady the Snow, the d dication Of the Church Sta Maria

Maggiore at Rome . The Virgin is represented appearing to a n Roma senator and his wife in a dream , to signify her acceptance o f the bequest Of their fortune, and to direct its appropriation to o f n o n h the erection a church o the Esquiline hill, the spot whic she would indicate n ext day by its being covered with m ira c u

lous snow, Au gust being the month when the event occurred .

f D u o f 3 0 3 . The Charity o San Juan de i os . In the Ch rch the

Of z . Hospital Charity, Seville . Figures, Life si e M u r ill o . The Saint is represented relieved by an angel w hen sinking

under the weight of a sick man he had been carrying .

‘ 86 M C ULLOC H .

1 . . w . 3 3 The Entombment In the Museum , Ant erp

9 ft. by 6 ft .

o f B o n e Painted for the Church the eguines at Antwerp , and ’ of the painter s most celebrated works Of this class .

f f o . Of o 3 1 4 . The Visit Mary to Elisabeth One the Wings the - e celebrated Altar piece, the D scent from the Cross . In

w . z the Cathedral at Ant erp Figures, Life si e

Ru ben s .

f u o . . 3 1 5. The Comm nion St Francis In the Gallery at Antwerp

1 . 5 . 6 . 3 ft in by ft in .

Ru bens . This Pictu re w a s executed in 1 6 1 9 for the Convent of th e w u u o Recollets at Ant erp, and is now in the M se m f rmed in the T h e m Ch u rch o f the Convent . Fa ily of Vander Werf o f Ant w er u n 1 1 6 1 9 p possess an acq itta ce dated May 7 , , wherein Rubens acknowledges to have received from Ga s part Charles h e u m flo ri n s w r u h i h h t s 50 o t w t n ha d of 7 for a picture g is o w n , n d i n placed the Church of St Francis at Antw erp .

E 3 1 6 . mbarking for the Island of Cythera . In the Louvre .

4 . . 6 ft . 3 in . by ft 3 in Wa tt a u e .

e . 3 1 7 . F te Champetre

a . 2 a . 7 in . by 2

Wa ttea u .

F e e . 3 1 8 . te Champ tre W u a ttea .

u 3 1 9. G itar Player .

Wa ttea u .

o f a 3 2 0 . Decapitation the Doge M rino Faliero .

D e la Cro ix .

M ‘ LL H CU OC .

R M ‘ L R A — UL OC H . . . f HO ATIO C , S Native o Glasgow .

In r ve lo h a . 96 . c y C stle

5 . ft. . Canvass, ft by 3 , Oblong — — N— P R 8 MACNEE NASMYTH NICHO LS O A K . 7

MACNEE . M A — B . . . DANIEL ACNEE, S Native of Fintry, Stirlingshire .

B 1 . R S . 0 8 . The racelet . A. i . . 2 . 8 n . . Canvass, 3 ft 3 in by ft , upright

NASMYTH .

X D R S 1 8 ALE AN E NA MYTH was born in Edinburgh in 7 5 , and died l o th 1 84 e 82 o there on April 0 , a g d . After studying s me time in a Edinburgh , he went to London , and was an pprentice or pupil o f

Allan Ramsay . He studied sometime in Italy, and on his return , a practised successfully as a landscape painter . Occ sionally he — painted portraits and the best and most au thentic likenes s O f B urns, with whom he was on most friendly terms, is by him . He m — had any pupils his son , Patrick, was an eminent landscape painter — f and the la ndscapes o his daughters are well known .

s . 1 2 9 . Stirling Ca tle

. b s ft . 1 2 . in . Canva s, 3 0 in y ft 8 . , oblong

NICHOLSON .

S o f w - - WILLIAM NICHOL ON, a native Ne castle upon Tyne, n 1 84 w a s o n e m fo r m and bor in 7 , of the original me bers, and so e

s m . t time Secretary, of the Royal Scotti h Acade y His portrai s in u m water colo rs were uch admired , and in that style he painted Sir e o f — Of e o f Walter Scott, and oth r eminent men the day sev ral which

1 44 . there are etchings by himself. He died at Edinburgh in 8 W . . l G 2 7 . Portrait of H Williams, artist, genera ly known as recian

W m 1 H. . A . 1 . S illia s . See notice, p . 0

2 . 1 1 . 2 . 6 in u . Canvass, ft in by ft . , pright

Presented by Mrs Nicholson .

K PAR . B A R R . . . 1 PAT IC PA K, S He was born at Glasgow in 809, and n died at Manchester o 1 8th August 1 855. In the earlier part Of his fo r career he studied in Italy. His busts in general are remarkable

NO . 1 8 fo r m expressing great energy, and many, as in , e bodying a feeling o f much tenderness .

B . B . S . A . 1 8 . A Scotch Lassie ; ust, in Marble — R 88 P ATON RAEBU N .

A P TON . — R S . A u m . J . NOEL PATON, . Native of D nfer line

a n d 1 849. The Quarrel between Oberon Titania, painted in

Ober n - Wh s o u l T an a o s s O e o n o . y h d it i cr her b r I do bu t beg a li ttl e chan g eli n g bo y b m n m a n T O e y he ch .

Tita n i a . S et o u m n a t es y r i d r t, h a -l a n u n h o m m e T e f iry d b ys o t t e child fr . ’ His m o ther w a s a vo t res s o f m y o rder " A n d i n th e s c e d n an ai r n i , py I di , by g ht, F u n a h e o s s e m s e ll o fte h th s g ip d by y id , ’ n A n d s at w ith m e o n Neptu n e s yello w s a ds . l O

B u t s h e e n m o al o f a bo die , b i g rt , th t y did A n d f o r h er s a e do ea u h er bo , k , I r r p y ;

A n d f o r h er s a e i n o t a w him . , k , I w ll p rt ith — - ’ Mid m m er Ni h s D rea m A Sc en e 1 . su g t , ct II

n . in 5 . . . Ca vass, ft by 3 ft 3 , Oblong

o f a 1 846 . The Reconciliation Oberon and Tit nia, painted in Thi s picture Obtained o n e Of the Government Premiums at

1 R . S . A . the Westminster Hall Competition of 846 . — Tita ni a My Obero n " w ha t vis io n s h a ve I s een " ’ M e o u w as en am o u r d o f a n a s s th ght I . - er n T e e es o u o e . Ob o . h r li y r l v — Tita n ia Ho w ca m e thes e thi n g s to pa s s ? h o w m n e e es d o o a hi s v s a e n o w i 0 , i y l th i g b — — n fl“ hi 0 e o n . S en e a w e o a e O s ea r il c hil R bi , t k h d T it a n i a m u s ic ca ll ; an d s trike m o re dea d

T a n o m m o n s ee o f all e s e five th e s en s e . h c l p, th — Tita n ia Mu s h o 1 m u s s u a s c h a rm eth s ee . ic, ic, ch l p — ’ ’ P a o la n o u a s t n n s e es . No w w he th w k , w ith thi e o w fo o l y p eep ’ M m m e - i ht r ea m n 1 r A V . e i ds u N D e . g s , ct I , Sc

4 2 . in . . Canvass, ft . by ft 6 , Oblong

o f fi ta n i a . B . S A . 1 1 7 . The Quarrel Oberon and .

1 2 . 1 . 1 . 5 i n . . Canvass , ft 5in by ft , Oblong

A B N R E UR .

IR R R R. A . 4th 1 S HEN Y RAEBU N , , was born On March 756 , at Stock a bridge, Edinburgh , where his f ther was a manufacturer . His parents W e died when he was little more than six years Old . hen about fift en tO Mr e w eller years of age he was apprenticed Gilliland , goldsmith and j f o f ro fe in Edinburgh , and soon gave proo s taste and ingenuity in his p s s ion , besides assiduously devoting his leisure time to miniature painting, u m m in which he made such progress, that he obtained n merous co is s a ions, and was enabled to m ke an amicable arrangement with his m aster, by which he was freed from his apprenticeship on paying a

90 RAEBURN . he gives the characteristic expression in a simple but a decided and ’ Ra ebu rn s f impressive manner . reputation was very high in his li e time , and it is still rising, his pictures being now much sought after .

His style was manly and vigorous, well calculated for the representa Of a t tion Of the marked physiognomy his countrymen , a period when m any distinguished characters stood prominently before the public . l Wilkie, when in Madrid , studying the works Of the Spanish Schoo , z e in noticing those of Velasque , rep atedly alludes to his simple and ’ f m w hi m f Ra ebu rn s powerful mode o treat ent, as al ays reminding o works it w ould be difficult to pay any higher complime n t to a portrait painter .

1 1 . Portrait Of a Lady .

. 9 i n . 4 . 1 in . . Canvass, 7 ft by ft 0 , upright

1 5 . Admiral John Maitland .

1 . 4 1 in . Canvass , 7 ft . 0 in by ft . 0 , upright .

’ S o n o n . 2 5 . The Artist s , a Grey Pony

. 4 1 1 i n . 9 . . . Canvass, 7 ft in by ft , upright

“

n ri fl. Mo c e R A S . . 3 1 . Mrs R . Scott .

2 . . 2 f t Canvass , ft 6 in by . , upright . ’ V B M o n ri eflV el d c w o o E s . equeathed by Robert Scott , q , Of

Pitli v er .

— f i a t o f 2 0 . B 1 85 d 3 3 2 . Pro essor W lson the age orn 7 , died 3 April 4 1 85 . B . S . A .

4 1 i h Canvass, 7 ft . 9 in . by ft. 0 . , upright .

s o n W Es . Presented by his , John ilson , q This is a picture of great interest as a portrait by Raeburn o f o n e f m e o our most celebrate d men . It see s to have be n painted i t a about the t me Wilson en ered at Magd len College, Oxford , as m m a gentle an co moner, where he was distinguished by carrying o ff w z 0 m s the Ne digate pri e Of £5 for an English poe , and a taking the lead in all those manly sports and exercises that form l u t T he so marked a feature at th e Eng ish niversi ies . Professo r s is represented as a yo u ng ge ntle m a n in the riding costume of the — day standing beside his h o rse the a ttitude Of the animal indi m s d firm s cates i patience to put forth his pee , but the yet ea y position and decided expre ssion Of the young horseman Show his m u n perfect astery . Raeb rn , at this very time, has thus striki gly ’ indicated the Professor s character ; fo r in all portraits o f him in s after life, when his great talent were fully developed , the same n firm a d decided expression is al w ays aimed at . T O e Scottish artists, whatever recalls the memory of Prof ssor

Wilson , has a peculiar interest, for he keenly entered into all R ‘ AEBURN . 91

— measures calculated to advance national art h e was an almost h daily visitor Of the Exhibitions, was personally acquainted wit ’

a . most of the rtists, and, as a member Of an artists club (the St ’ e Luke s) , he very Often presided at their meetings, wh re his bril S u liant conversation , and peeches abo nding in the most poetical — descriptions, attracted the best talent Of this city Cockburn , ff — t t o Je rey, Dick Lauder, and others and made an invi ation a ’ s f o r a meeting Of the St Luke to be eagerly sought .

A 3 3 5. Alexander dam , LL . D . , Rector Of the High School Of Edin

1 7 6 8 1 80 9. R M . burgh , from till

4 . 1 . . i n . u Canvass , ft in by 3 ft 3 , pright . ’ Painted for fourteen of Dr Adam s pupils, placed many

years in the High School, and now presented to the National H n th e u o . Gallery by s rvivors , the Right Sir George Clerk , i i k f B . o f P en n c u c . o Bart , , Henry Home Drummond , Esq lair

m o m . . Dru mond , J hn Ca pbell, Esq of Craigie , Wm Macdonald ,

o f P o derh all . Esq . w , and John Cockburn , Esq This picture has long been reckoned an excellent exam ple of those qu alities ’ h Ra ebu rn s — by whic style is distinguished , breadth and sim

m z z . plic i ty Of treat ent . It was well engraved in me otint by C

u n 1 809 . T r er, in , shortly after it was painted e 1 4 1 This emin nt scholar and teacher was born in 7 , in the ‘ f Ra fio rd parish o , Morayshire, where his father rented a small f m ar . His progress at school was so rapid that his father was i m persuaded to give h a learned education . This required an ’ m m e h effort beyond his parents eans but reco m nded to t e Rev . o n e e o f C a n o n a te n o f James Watson , Of the minist rs g , a cousi ’ m yo u ng Ada s mother, he was sent to the University of Edin M m b u rgh . aintaining hi self chiefly by private teaching, pro o m w o n cured through Mr Wats n , by rigid econo y he ent with u 1 6 his st dies , and in the spring Of 7 0, when only nineteen years m Of age, after a strict co petitive trial, was elected head master ’ e in George H riot s Hospital, and at the same time he entered u f himself as a St dent o Divinity . In order to have more leisure i n for studying, he resigned his situation the Hospital , after having a held it three years and a half, and eng ged as tutor in the family ’ K fo r o f Mr incaid , His Majesty s Printer Scotland , afterwards 1 m Lord Provost o f Edinburgh . In 7 6 8 Ada was elected Rector O th f f o f the High School . T e du ties o this O fice be devoted him

self with great enthusiasm , besides composing several valuable th e works for facilitating study Of classic literature . His Latin and English Grammar was adopted as a text-book extensively

. 0 o f LL l) . c o n in Britain and America In 1 7 8 the degree . was hi m the f h i m ferred on by University o Edinburg . The most “ ” w t u portant of his orks, the Roman An iq ities, fully established w a s n e his reputation as a scholar, it tra slated into the Fr nch , w s f o r German , and Italian languages, and hen publi hed , and

o n . long afterwards , it was accounted the best work that subject — D R AMS AY REYNOL S .

Dr Adam died in 1 809. The works he published prove his — high rank as a scholar, while numerous pupils some Of whose n — names have o w become household words, Dugald Stewart, ff B — Sir Walter Scott, Je rey, Cockburn , and rougham have born e

testimony to his eminent qualifications as a teacher . The high character given of him by Sir Walter is recorded in Lockhart’ s o f 1 Life Scott, vol . .

RAMSAY.

A AM SA ALL N R Y . This eminent artist, the son of the poet, was n u 1 a n d o f born at Edi b rgh in 7 09, commenced his studies at the age twelve ; w hen about o n e and twenty he seems to have visited London , H fii d 1 6 and had some instructions from a Mr y g , and in 7 3 , he left f r e Edinburgh o Rome, where he studied three years . He then return d to h Edinburg , and painted various portraits, but not long afterwards B removed to London . He was much patronised by Lord ute and

o f W o n . Frederick , Prince ales, and, the accession Of George III , a n d t obtained increased Court employment, was appointed pain er to An n the king . accomplished li guist, he wrote with great vigour and f n acility, and was known to be the author of many i genious pieces in history, politics, and criticism , signed Investigator, and afterwards collected into a volume ; he corresponded with Voltaire and Rous seau , and painted the portrait of the latter for Hume the Historian . Dr Johnson expressed the foll owing Opinion o f him Yo u will not

find a man in whose conversation there is more instruction , more ’ ” o r information , more elegance than in Ramsay s . He died in Paris 1 4 o n in Augu st 7 8 , his way home from Italy, where he had resided f for se veral years on account o his health .

E . M . 1 . David Hume the Historian .

2 5 . 2 ft . u i Canvass, ft in by , pr ght . 1 Painted in 7 6 6 ; an d engraved by Martin , as a companion

to his print Of Rousseau , whose portrait was also painted by

Ramsay for Hume .

Presented by his grandniece, Mrs Hume Macdonald of

Ni n ew ells .

. B M 3 3 . Portrait o f David Hume in Early Life Painter u nknown . . .

Small oval . E Presented by Robert Chambers, s q .

REYNOLDS .

IR J S D S . . A . w h o S O HUA REYNOL , P R This distinguished artist,

. f was the son of the Rev Sam uel Reynolds, rector o Plympton St

— ‘ R O BERT S R UNC IMAN S COTT .

r fo r some reason o other, he laid aside this portrait ; so it has been left in a state in which his manner of commencing a head

u u . may be studied with facility, and m ch usef l insight obtained The firmness and decision w ith which the features are put in

evince the hand o f a master.

ROBERTS . — AV D RTS R A . v o f . D I ROBE , . , Nati e Edinburgh — e . B . S . A . 1 1 6 . Rome Suns t , from the Convent Of San Onofrio

’ Ro m e n e m e al o w T o u a s th e s u n s e s o w , thi i p ri br h h t t g l , N a s o m e f o r o w e ever s h ll ri e R , thy d r, W a a o ef n w F u s n al es s o u h h t h s t th u l t the e o l hi g t l cypr b g ,

T em e a n d o w e . T ho u ha s t thy s ki es . pl t r 1 f 4 . t. . Canvass , ft by 7 , Oblong

Presented by Mr Roberts in 1 857 .

M RUNCI AN .

A w a s 1 44 JOHN RUNCIM N born in Edinburgh in 7 , and died in

Naples in 1 7 6 6 . His career was so short that he executed few

w Of m . orks, but these were the highest pro ise Alexander, his elder 1 6 — o n brother (born , 7 3 died , also studied in Italy, and , his s e b u f o r return , ttled in Edin rgh , and practised his art there many years . P en i c u i c k w a s m a House adorned by him with subjects fro Ossi n , and he painted various Scripture pieces for the Episcopal Chapel

w . o f in the Co gate He was an artist very considerable talent, and m m etched a nu ber of designs, which evince uch freedom and taste . S o f B Of i n As Master of the Drawing chool the oard Trustees, he fl h u en d u t e c e very favo rably taste for art in Scotland .

m f B M 5 . John Runciman painted by hi sel . . . f 2 . 6 . 2 t . . Canvass, ft in by , upright

E s . Presented by Robert Chambers, q

SCOTT .

DAV D S TT 1 I CO , was born in Edinburgh in 806 . His f father was an engraver, and at a time when engraving, as a ine art, w a s u s w h not much enco raged in Scotland , made most prai e ort y ff a n d m e orts to elevate it, reared many able pupils, a ong whom were h B ’ t e u . urnets, James Stewart, and Horsb rgh Scott s father intended n o that his son should be an e graver, but he had a decided aversi n f n to O . 1 that branch art, and soon left it for painti g In 830 he — SIMSON SMITH . 95

became a member Of the Royal Scottish Academy , and was a regular contributor to the exhibitions till the year of his death , which took 1 849 pla ce at Edinburgh in , his last and most important work ,

- d. 1 832 34 . Vasco de Ga ma, then being exhibite He visited Italy in

ar t. Scott h a d a poetical imagination , and high aspirations in A

W . B . memoir of him , written with deep feeling, by his brother,

1 850 . Scott, also a painter, was published in

B . S . A . 1 1 5 . Cain Degraded .

5 . 1 1 . 5 . i n . t . Canvass, ft in by ft 3 , uprigh

. R . S . A . 2 1 0 . Ariel and Caliban

. 1 0 . 2 . 3 i n . u . Canvass, 3 ft in by ft , pright

SIMSON . 1 0 . WILLIAM SIMSON , was born in 8 0, at Dundee He was ’ A A c a de m E di n r h educated under ndrew Wilson , at the Trustees y, bu g , - and showed great talent in his landscapes and sea pieces, in which b e u generally introd ced figures, touched in a very spirited manner . 1 8 n Having visited Italy in 35, he settled in London , o his return i n

1 v to . 838, and de oted himself chiefly figure subjects Though he u w o f m e exec ted several good orks this class, it is uch to be regr tted a th t he abandoned landscape painting, as he possessed so true a feel ing for nature, and such admirable execution , that had he devoted m e u w m i hi s lf to it excl sively, he ould have attained the highest e n 1 4 NO n e c e . . 8 in that walk He died in London in 8 7 . 3 is a good

m . NO . 8 m speci en of his style 7 is a s all and unimportant work .

— . s . 8 3 . Solway Moss Sunset R . A

2 1 i n 3 . . . . Canvass , ft by ft , Oblong

. R . A 8 7 . Landscape S . .

1 . 1 1 i n . Canvass, 7 in by , Oblong .

— V IT B . S . A . o f COL IN SM H, Native Forfarshire .

3 2 . The Honourable John Hope, Lord Justice Clerk, when Dean

o f F . A aculty B . S . .

2 f t. Canvass, ft . 5 in . by 2 , upright . — — T E E — 96 STARK STEELL S V Ns SYME .

T P . K E f u . C . & c . . M o . 3 3 7 . Portra it Visco nt Melville, ,

i n . 1 . . Canvass, 5 ft . in . by 3 ft 3 , upright m Presented by Willia Hope, Esq . t D e B Du n eira Rober undas Viscount Melvill , aron , was born 1 4th 1 1 u u March 7 7 , and s cceeded his father, the first Visco nt, 1 1 ffi es — in 8 1 . He filled various important State O c among h o f e Of B others, t ose Presid nt the oard of Controul , Chief m al Secretary for Ireland , First Lord Of the Ad ir ty, Lord Privy o f B o f Seal in Scotland , Governor the ank Scotland , and f o f Chancellor o the University St Andrews . He gave his talent and infl u ence to va riou s p u blic m a tters specially affecting Scot hi s land . He represented Midlothian before he su cceeded fa ther ; and the erection Of the present building for the Scottis h National Gallery was o n e of the v arious measures in which he

o n l th 1 1 . z took an interest . He died 0 June 85 A bron e f f E O o s . statue his Lordship, the work John Steell, q , h a s been placed in Melville Street .

K STAR . — ' A R . J MES STA K Na tiv e Of Norwich .

Go w ba rro w 1 0 1 . Park .

1 1 . i n . . Panel, in by 9 , Oblong

STEELL . — B . . A . . JOHN STEELL, S Native of Edinburgh

B o f 1 9 . ust, in Marble , David Scott, the intimate friend

4 . . . . R A . o f the Sculptor See notice , p 9 . S

STEVENS . — HN S B . S . A . . JO STEVEN , Native Of Dumfriesshire

B A B . . . 1 0 7 . Standard earer . S

4 . . in . u Canvass, ft . 3 in by 3 ft 3 , pright .

SYME . — B S . A Of h . JOHN SYME, . . Native Edinburg

- G 1 8 3. B . S . A . Ho n . 3 3 4 . Lord Cockburn , when Solicitor eneral in

4 2 . 3 i n . u . Canvass, ft . in . by 3 ft , pright

98 WATS ON .

WATSON .

’ R S 1 7 6 GEO GE WAT ON, was born in 7 , at his father s pro perty o f O v e rm a i n s in B erwickshire ; he re ceived som e elem en tary m m f instruction in drawing fro Nas yth , and at the age o eighteen ’ e u r went to London , and paint d in Sir Josh a Reynold s stu dio fo abou t

. e d a e two years He aft rwar s settled in Edinburgh , Obt in d extensive m a e employment as a portrait painter, and long aintained an honou r bl m 1 1 1 rivalry w ith Raeburn . Fro 808 to 8 2 he presided over the o f As s o c ia ted Artis ts a n d 1 82 6 w Society Of Scotland ; , in , hen th e h w a s Scottis Academy was instituted, elected President, and held that o ffice till his death in 1 837

ki i n A rv . R S . A . 8 . rchibald S g , Artist . i 2 . 4 n u . Canvass, 3 ft . by ft . , pright

m o f Presented by the fa ily Major Yule .

Skirv in 1 4 1 1 g was born at East Lothian in 7 7 , and died in 8 9. m Though so ewhat eccentric, he was a man of taste and con id r le s e a b talent . He had a high reputation in his day as a e o f m u painter in crayons, a styl art then uch in vog e .

A 1 3 . George Watson painted by himself. R . S . .

a . 2 . in . u C nvass, 3 ft by ft 3 , pright .

. E s . R A Presented by his son , W Smellie Watson , q , . S . .

f B o . R A 2 3 . enjamin West, President the Royal Academy . S . .

. 2 i n u h Canvass, 3 ft by ft . 3 . , prig t .

. Es . . . A . Presented by W Smellie Watson , q , B S

i i n West was born in Pennsylvan a 1 738. He showed an e a rly n fo r r liki g drawing, and received instructions in art f o m m He Willia s, a painter in Philadelphia . commenced in th a t

city at the age Of eighteen , as portrait painter, and after w ards New w o m 1 removed to York , from hence he went to R e in 7 6 0 , e n l and after studying about three years, visit d E g and , and e w a s s ttled there . George III . his steady patron , and m u fo r employed him , al ost excl sively, thirty years . On the ’ m m w B u illness of the king, West s court co issions ere stopped . t o f he still c ntinued to paint large Scri pture subj ects . Several o

these he sold at very large prices , and he Obtained considerable u u sums by their exhibition . His pict res, tho gh much admired

in his day, are now little valued . The notions held at present ’ o n art a re very different fI Om those that prevailed in We st s h e o time . There was t n a great admirati n in this country for th e B o m olognese Eclectic Scho l, the artists of which atte pted a revival o f art by combini n g many o f the qualities of the earlier m c o m masters ; and , for carrying out si ilar views, Government m m e u issions, and employ nt by the Ch rch , were then loudly — — ATS . S LL ATS w . ST WART IL W ON, W ME IE W ON, E W KIE .

. Bu t ff demanded in our time, the e orts of the Bolognese m asters are placed com paratively lo w in the scale by which art m a n d e i s e is esti ated, ther great r reliance on originali ty and u u individ al exertion , stim lated by remunerating sales to private

collectors and publishers .

Th 1 2 3 . e . Hermit E . S . A .

8 f t. 5 . Canvass, by ft upright .

WATSON .

— L IA L ATS R . S . A . WI L M SME LIE W ON, Native of Edinburgh .

7 6 . . A The Student R . S . . 2 2 f . 5 . t. . Canvass, ft in by , upright

WATSON .

R A N — WILLIAM STEWA T W TSO Native of Edinburgh .

u ix tte 1 0 5 . Don Q o attacking the Windmill .

2 . 2 i n . . Canvass, 3 ft . by ft , oblong

WILKIE . f IR D R. A . o S DAVI WILKIE , , was born in the parish f u e s i n 1 85. o t C lts, Fif hire , 7 His father was the clergyman tha The o parish . early predilecti n he showed for painting induced his ’ e e hi m to u o f par nts to s nd the Tru ste es Academy at Edinb rgh , which

o m o f . J hn Graha , an artist very considerable talent, was master (See page Wilkie often referred in after life to the benefit he derived ’ m n u u s u fro Graham s i str ctions . He competed s cces f lly for the pre mi u m Of ten g u ineas for the best painting of “ Callisto in the ” B a f a n u u e ff th O Di a . S ch a s bject may hav a orded good prae t e bu t h i m ff ic in drawing, his genius inclined to a very di erent f ’ o . u style art The infl ence Of David Allan , Graham s predecessor th e o o h e n o u t in sch l, was still felt in it ; had poi ted a road that led to a kind o f art a ltoge ther distinct from the one that aimed ' n e fie te m m m — m at resuscitati g e bodi ents of classic ythology, na ely, a e w t x r e e art based on nation l f eling, he her e p essed by the repr s nta o f u u u tions occ rrences in every day life, made interesting by tr thf l e n e -o r th e u o u o u t i n o u r d li ation , by illustration of the s bjects br ght e W r u . national po try, or chronicled as the history of o u co ntry ilkie e th e a soon schewed grand mythologic l , and adopted the simplest of o be h nati nal styles, which , however, elevated to a higher point t an o any f rmer artist had carried it . When at the Edinburgh Academy, he c painted some small fancy subjects , and a few abinet portraits, but \V1 LK 1 E .

— — his first important painting Pitlessie Fair was awork fu ll o f humour 1 80 w u and character . In 5, he ent to London , and entered as a st dent a He of the Royal Ac demy . exhibited his Village Politicia ns in 1 806 o a t a o e this w rk once est blished his reputation , and h e f llow d — — u p his success with the follow ing works The Blind Fiddler the — — ’ — C a rd Players Ren t Day Je w s Harp— C u t Finger Village Fes ti va l . In 1 809 m , etc he was elected an Associate of the Acade y, and 1 81 1 r an Academician in . From this period he g adually began to a a n d a i m ch nge his style , to at greater richness of colour . The V — — Rabbit o n the V a ll the Gentle Shepherd the Penny Wedding — n — the Whisky Still the Readi g of the Will the Chelsea Pensioners, B e m u and the Parish adle, are all excellent exa ples , prod ced o u t n 1 82 5 e e e in carrying this i tention . In he sp nt thr years w h m h e e on the Continent, in hic ti e visited France , G rmany, a s u h i It ly, and Spain . After this he till f rther changed s style, e a a n m and, it is gen r lly said, not with dva tage, devoting hi self a m e u v e l ost xcl si ly to historical and portra it painting . On the de o f w e c e 1 8 0 w a s m a i n ath La r n in 3 , W ilkie no in ted Painter ’ r o e e K O dinary t G org IV. He had been appointed ing s limner ’ o n Ra e bu rn s 1 2 e for Scotland death in 8 3, and he was knight d in

1 836 . a u m 1 840 s e t o u t In the ut n of , he for Constantinople , the d n th e Holy Lan , and Egypt ; died o his way home in Oriental m r O ff 1 s t 1 41 o n stea e Gibraltar, on June 8 , and was buried at sea m the sa e day . ’ e o m a Wilki s w rks y be classed into those produced in his early,

m a . z u iddle, and l st styles His early works are highly pri ed for tr th o f u u m r B u t o f fulness, and the expression q iet h ou . the works his m m 1 81 1 1 2 t iddle period , fro about till 8 5, are his bes , as, in most s m n instance , co bini g the individual character and expression found

e w e e u . in his arlier orks, with superior t chnical ex c tion His latest

h a s m h to o . period been uc censured, and often far severely In striving to attain th e depth and richness o f colo u r he admired in m o f so e the ancient masters, he occasionally exhibited a looseness s n m o f and indeci ion in his drawing, tending to feeble ess ; but so e his works o f that period are re m arkable fo r q u alitie s of te xtu r e and ’ hi s u a colour, and in Cottar s Sat rd y Night, for instance, he rivals n ff e n Rembra dt in e ct and transparency . His chief failures were whe he tried to represent historical events i n past ages, he knew little o r o o f u m a n d m n n e o f o u r s n thing the c sto s a rs ance tors , and intro d u c ed m atter-o f-fact Life G u ardsmen to represe nt the am bitio u s e Murray and the relentl ss Morton . His portraits have been very l u o f m general y decried , bu t unj stly, as many the are of high excel

h f f K Du o f . lence, suc as those o the Earl o elly and the ke Sussex

K n e . B . S . A . 2 0 8 . John nox dispens i g the Sacram nt at Calder House

f . 5 . 4 . 4 t . Panel , ft in by , Oblong, unfinished

u o n This picture is nfinished . Wilkie was engaged it when

he set out for the East .

W S J. 1 02 IL ON,

n No . o f 6 5 . and the Adoration the Magi , by Titia , in this Collection e i u When in Genoa, he was elected a memb r of the L g rian Academy, h a d to u B u and in that capacity wait pon Napoleon onaparte , when e B u a o n he inspected the works of mod rn artists onap rte , pausing to ’ m f m exa ine Wilson s picture , was in ormed by an acade ician , who bore th e artist no good will, that it was by an Englishman , upon which “ ’ Napoleon sternly said to the envious academician , Le talent n a ” 1 5 be pas de pays . Returning in 80 , exhibited occasionally in the u a Royal Academy, and devoted m ch Of his time to p inting in water u S colo rs . He held for a hort period a professorship in the Royal u 1 1 w a Military College at Sandh rst, but resigned in 8 8, hen p o f B e p inted Master o the School Of the oard of Truste s in Edinburgh . There he w a s the friend and instructor o f many artists who have since Obtained distinction . He contributed to the Edinburgh ex hibitio n s a number of landscapes remarkable for refin e d and delicate B u t treatment and colour . his predilection for Italy, the scene o f u o his early labo rs , increasing, he left Edinburgh , al ng w ith m 1 82 6 1 84 his wife and fa ily, in , and resided there till 7 , when , u anxio s to revisit his native country, he returned, and died in f r 1 848. His pencil was peculiarly adapted o delineating the soft ness and glowing colour of Italian scenery . He painted many o pictures in Italy, where they were in much request both by f reigners and English visitors ; and he w a s again instr u mental in bringing to u Old m m this country many val able works by the asters, now in so e of o u r - most noted collections, those acquired by the Royal Institution m w ere mostly selected by hi .

. R . A 1 0 9 . View at Tivoli ; painted on the spot S . .

1 1 1 i a . . Canvass, ft. 5 in . by , oblong

’ o n 1 1 3 . The Ruins Of Hadrian s Villa, near Tivoli ; painted the

. R . A spot S . .

1 1 1 i n . n . Canvass , ft. 5 in . by , oblo g

I . W LSON, J

S 1 4 JOHN WIL ON, born in Ayr in 77 , was apprenticed a s - — i n s tru c to Norie in Edinburgh , a house decorator , received some ’ m m i n n tion fro Nas yth la dscape painting, and after two years resi de n nce in Montrose, painting landscapes and teaching drawi g, went 1 98 w w a s - about 7 to London , here he employed as scene painter at e e e o f u u C s veral of the principal th atr s . One the s ccessf l ompetitors for pre m i u m s off ere d by the British Institution for the best paint i n o f B l t w a s g the attle of Trafa gar, his pic ure purchased by Lord o m e n o n e o f u N rthwick , an e in nt co noisseur . He was the fo nders B s ff S Of th e Society Of ritish Arti ts, Su olk treet, and throughout o n e e u h e of its abl st s pporters . Though settled in London , still i n continued his connex on w ith Scotland, bei g a constant exhibitor R . WILSON, 1 03

r A . with , and hono ary member of, the Royal Scottish cademy Gifted with keen observation , a most retentive memory, and great conversa ti o n a l e powers, his anecdotes of the many c lebrated men he had seen in

da m B o f . his y, and a ong them Of urns, were the highest interest He d e 1 855 o f i d in April , at Folkstone, in the house his son , John

Wilson , also well known as an artist.

. R S . A . 93 . Coast Scene . 1 1 1 i h . . Panel , 35 in . by 0 , oblong

- R . S . A . 1 0 3 . A Ferry Boat .

. 2 . 6 i n . . Canvass, 3 ft . 5 in by ft , Oblong

R. WILSON,

Pin e a s RD S R . A . 1 1 3 RICHA WIL ON, , was born in 7 , at g , Mont He o m er hire e . g ys , where his father was a cl rgyman was sent to d e London , and place with Thomas Wright, a portrait paint r of little i n note . He practised London , with considerable reputation , as a i w m portra t painter, and ent to Italy for his i provement in that branch o f bu t is Z w ho e art, being adv ed by uccarelli and Vernet, had se n some ’ o f be e n Wilson s attempts at landscape , d voted his sole atte tion to it, and must have attained considerable eminence in Italy, for Mengs, o f the leading artist the time, painted his portrait in exchange for a

e E 1 55. In 1 6 0 u landscape . He r turned to ngland in 7 7 , his pict re o f th e n . Niobe attracted marked attention at exhibition , Spri g Gardens The works o f this e xcellent artist do n o t seem to have been much u bu n o w u e o appreciated d ring his life , t bear a high val ; and, d ubt s m e m le s, the ad irabl engravings, from so any of his pictures, by

W o o ll ett u o f . , have contrib ted to enhance the value his works

He . painted with great breadth , and his colouring was very good m a m i n e m m a Fro the two ex ples the Gall ry, a tolerable esti ate y be f m m or ed Of his style . A legacy, fro a brother, in his latter years, e Lla n v eris nabled him to retire to , in Denbighshire, Where he died 1 in 7 82 .

55 . A Landscape . i 1 . 2 . 5 n . . Canvass, ft . 7 in by ft , Oblong

I . 1 91 . An talian Landscape

i h . . 2 . 4 1 . 7 Canvass , ft in . by ft 4 , oblong

n o f m The scene is o the borders a s all lake , beyond which a - o r rises a steep bank, covered with wood , and a f rm house ,

u f fi . V illage . A gro p o gures is well introduced in the foreground H Y INDEX OF ARTISTS ARRANGED ALP ABETICALL .

Pa g e Pa g e Pa g e A m an a m 59 a a m Jo n 73 Re n o s S ir o s u a ik , Willi Gr h , h y ld , J h ,

A ba n o a n es o 1 5 n 3 P . R. A . 92 a an s R . A 7 l , Fr c c Gr t, Fr ci ,

A. 4 A a n D a 59 eu z e ean Ba t s e 2 5 Ro b e s D a R . . 9 ll , vid Gr , J p i t rt , vid, 6 A a n S ir P . R . S . A . m a 2 5 R o m a n o u o P 3 ll , W , Gri ldi , Gi li ipi

R . A . 6 0 u e n o Gio a n es o Ro s a S a a o 37 G rci , Fr c c , lv t r

A am es R. S . A 2 Ru b en s Pe e Pau 37 e J . 6 B a e 2 5 rch r, , rbi ri , t r l, 2 Ru n m a n o n 94 G u ido R en i 6 ci , J h B a c kh u s en L u o f 1 5 Ru s a e a o b 38 y , d l y d l, J c s n a o m o 1 6 4 B a s a o Ha e e A . o e R S . 7 , Gi c rv y, G rg , . ' B e e m Ni o a s 1 6 Hefie r n n 4 S o z a S n ba o a . rg h , ch l , J 7 c r , i i ld

Ber u a z z a n o 1 7 H 5 S o D a B . S . A . D . R S . A. 7 ill , O . , . c tt, vid, B o l e n a n 1 7 Ho bbe m a M n e o u 2 6 S eba s a n o a e Fra , F rdi d , i d rh t ti , c ll d n f e n ez a n o 1 S ebas a n o Del P l o m bo 40 B o i a z io , V i 7 Ho ekg ees t 2 7 ti

S m S . A . 5 n a v a s 1 H s s o n i am B . 9 B o e C . P 7 o o u o n o n B . S . A . 75 rd , ri t , J h , i , W lli , B o o n o n e Ja o o Ho w a H n 5 S a n E s a b e a 40 e R . A . 7 rg g , c p rd, ry, ir i , li tt

C o es e Hu s m an C o n e u s 2 7 S m C o n B . S . A . 95 rt y , r li ith, lvi , B o A n ew S n e s an s 41 th , dr yd r , Fr ci S a n o letto u s e e B o Jan o n s n A . 76 o e B. R . S . th, J h t , W . , p g , Gi pp RI r 41 o s e S a m u e R . S . A . 76 be a J ph, l,

a m s o L u a S an s S o o . 42 C bia , c p i h ch l C a n a A n o n o a e Il Lan f a n o a n n 2 S ta am es 96 l , t i , c ll d r c , Gio v i 7 rk, J

C a n a e o 1 9 L a u e a m es E fo S e e " o n R . S . A . 96 l tt d r, J ck rd, t l , J h , a L o o o 2 0 S een Ja n C a . S . A 7 r cci, d vic R . 7 t ,

s e A e . 6 2 S e en s o hn R . S . A 96 C Lau e R S o R . S . . 77 hri ti , l x , d r, . c tt, A t v , J ,

C a w f o E . T . B .S . A . 6 2 La u en e ir T o m as S u s term a n s u s u s r rd, , r c , S h , J t S m e o n B S A 96 P R . A . . . . . y , J h ,

D a s o n . L u e vid , J e D , Ja n D o m e n o Z a m e L ew s Ta e a C a o An o n o 43 ic pi ri, i , J . F . v ll , rl t i

al e D o m e n n o 2 0 L n e a Jan T en e s D . th e o u n e 43 c l d ichi i g lb ch, i r , , y g r

D o u T . 6 3 T o m s o n th e Re v . . 97 g hty, h , J ‘ T e o o o n n B . 44 6 3 M u llo c h Ho n B S . A . 8 a C , , . 6 i p l , Gi v i

D u a n K a e 2 1 e T in to rettO Gia c . R o b u s 44 M a c N e n R . A S . 87 J rdi , r l , D a iel, . , ti T n S . A a n T z a n o ec elli 4 D u a n T o m a s B . M e Ja n 2 8 V 6 c , h , i l, , iti , i i

A . R . A . Mo rin ello An ea 2 , dr 9

D u S o o U u a . tch ch l rq h rt, G

D e a m R . A . Nas m A e an e 7 yc , Willi , yth, l x d r 8 Neef o r Neefs Pe e 2 9 Va n D e en D , t r l , irk He n n E m N s n A . a n e e Ja a R . A . V o o W m . R . S . 87 tty, Willi , ich l , , d r yd , Va n e M eu en An o n d r l , th y Fer u s o n Willia m O s s en e Jan 2 a n s 49 g , b ck, 9 Fr ci e D o m en o 2 2 O s ta de An a n an 2 9 Van e e e A an 49 F ti , ic , dri V d v ld , dri i s e ll m e n Ic a 2 2 a n de e e a m 4 F a a, D o V v ld , Willi 9 es o e Fra o an n 2 2 a o a n n Ba s a 30 Va n e e f A a n 50 Fi l , Gi v i P g g i , Gi v i ti t d r W r , dri a n e s n Ma A n a m a a o o Il ec V a n S Ir A n o n 6 0 Fr c chi i, rc P l , J c p , V dyck, th y t o n i c o 0 Ve a s u ez D e o Ro dri chi 3 l q , i g Fu r in i F a n es o Pan n n o a n n Pa u o 31 u ez de S a 53 , r c c i i , Gi v i l g ilv a a Vc o n es e Pa u o C a a 54 P P t R . S . A . 87 rk , ric, r , l g li ri

a n s o o u T . R . A . 6 8 a m a n o 31 G i b r g h , , P r ig i

f a o Be n v e n Tis io 2 4 a o n e a s o n G eo . 8 a o No B . S . . 88 9 . . A G r l , P t , J l , W t , ,

e d es A n ew A . R . A . 7 0 Po e n o n e G io . An o n o 31 a s o n a m S m e e G d , dr , rd , t i W t , Willi lli ,

e e a e B . S . A . 7 1 o u s s n a s a B u 2 R . S . A . 9 G iki , W lt r, P i , G p r chet 3 9 l n W m te w a G hi s o fi o a n 2 4 o a n u o C 33 a s o n . S 99 Gi v i Pr c cci i , Gi li W t , rt

o e B A 1 k r e S ir D a R . A bb R b t . S . . 7 P n a e A am . 99 Gi , r , y , d 33 Wilki , vid,

H. 1 1 bs o n Pa R . S . A . 7 1 a m s . 0 Gi , trick, Willi , W

R . H a m s . F. R. . A . 1 01 be . S . A . 72 Ra eb u n Sir . R A . 88 S Gil rt, J G r , , . Willi , J ,

es a m es B S . A 2 a m s a A an 2 s o n An ew 1 01 Gil , J , . . 7 R y, ll 9 Wil , dr o o n e o o Bar Ra a e o r Raff a e o s o n o n 1 02 Gi rg i , Gi rg i ph l ll , Wil , J h

b a e S an o r S an z o 4 s o n R a R . A. 1 03 r lli ti i 3 Wil , ich rd,

o o n S ir . a s o n Rem a n Van R n 35 G rd , J W t br dt, hy

. R . S . . R . A . R es e Pa n do l h o 3 Zu b a an an s o 55 P A , hl, p 6 r r , Fr ci c