T HE i NAT I ON A L GAL L E RY L EWI S B EQUE ST

(1 MA W B ROCKWELL U RI CE .

WI TH PR E FAC E BY

SI R CHAR LES HOLROY D

LON DON : GEORGE ALLEN 81 SONS 44 45 R ATH B ONE P LACE I 909

SOLD AT T H E NATIONAL GAL L E RY AND AT T HE NATIONAL GAL L E RY OF B RITIS H ART Pu n t ed b y B A L LA NT Y N At the Ballant yne P

C ON T E N T S

PAGE PR EFACE BY SI R CH AR LES HOLR OYD

INT RODUCTION

W OF MR T D LE S ILL . . . WI

PLAN OF T H E NATIONA L GA LLER Y

Exp LA NATOR Y R EM AR K S

L S OF R ES T HE LE S B E ES I T PICTU IN WI QU T,

arranged acco rding t o Schools xx vii

CA A OG E RA SO E OF RES o di T L U I NN PICTU , acc r ng

t o Sch oo ls

(a ) I N T H E NATIONAL GALLERY

(b) O N LOAN To T HE MUNICIPA L AR T

GA ER D B N LL Y, U LI

. (c) I N T H E NATIONAL GALLER Y

B R ITISH AR T

OF RES i t he o d of PICTU , n r er purchase

vii v iii CONTENTS

APPENDICES

P A G E

A D O M E S R E A G A R E S E E S 1 8 . CU NT L TIN To LF D T V N 4

B COM AR A E T A B E OF E G S A ND . P TIV L N LI H

FR E NCH MEASUR EM ENTS

OM AR A E T AB E OF E NG SH A ND C . C P TIV L LI

F OR EIGN MEASUR ES

T H OR D . T ABLES SH OWIN G E R ELATIVE I M P

TANCE OF T H E NATI ONA L GA LLER Y To

OTH ER PUBLIC GA LLER IES A ND PR IVA TE

CO EC O S R EGAR T O A E LL TI N , IN D UTH NTIC

ITA LIA N PICTUR ES

E . NA TIONA L GA LLER Y E STI M ATES A ND E x

PENDI T UR E

F S OF . LI T T R USTEES OF T H E NATIONA L GA LLER Y

G . S OF LI T DIR ECTOR S OF T H E NATIONA L

GALLER Y A ND K EEPER S OF T H E NA

T I ONA L GA LLER Y OF B R ITI SH AR T

BIBLIOGRAPHY INDEX P R E F A C E

A S o o a Direct r but recently app inted , it is possible for m e t o speak freely and ent husias tically o f the judgment and taste which the Trustees o f the Natio nal Gallery and the fo rmer Directors have expended in the pur chase Oi pictures for the Gallery out o f the interest on the su m o f bequeathed by o om mo Tho mas Denis n Lewis . The inc e a unts t o o 2 6 m one ab ut £ 4 per annu , and any turn ing over these pages will realise what marvell ous results have been achieved with a c o mparatively small outlay. Any private co llecto r who had set such a su m aside annually for the purchase o f pictures wo uld have t o be m ost warm ly o odd o c ngratulated if, after thirty years , he c uld o t o Show such a valuable additi n o his c ollecti n . In it are represented m asters of alm ost all oo m o o sch ls in exa ples which , curi usly en ugh , m t o o bear a certain rese blance each ther . The Lewis Bequest pictures are all so m ehow cl osely identified with the m inds Of the artists who m painted the , and that in a peculiarly quiet X m oo o d . They nearly all Sh w the artist in an m o for o r for intimate anner, w rking study even ’ ” o o f H o arth s fun , as in the P rtraits g Servants NO o ( . This is natural en ugh when we reme mber that the sum s expended have never o has m o been large . Alth ugh it been i p ssible t m o o purchase large asterpieces , the auth rities in the past very wisely acquired the unfamiliar m o of m - w and inti ate w rks aster hands hich , by

oo o n ot m g d f rtune , were very highly estee ed in former days . Such are the drawings and studies acquired by the Trustees o u t o f the Fund bequeathed with such wide c onditions that they can do with it practically anything which they think will be for the general good o f the Gallery . Delightfully free are the decorative designs for o o m o o altarpieces by Tiep l , and st delici us of all is that perfect example o f m edi aeval “ ” m o Castitas NO. pageant painting , the A r and ( I o s o is It is p s ibly a cass ne picture , and a perfect example of the Fl orentine furniture

of o o f piece the best peri d , being such a subtle c o l our scheme that it can only be described m o f : m o -of— in ter s jewels pearls , and ther pearl , o n o of o m a gr und beryl and t ur aline . The picture is always t o m e the ideal s ort of illus t rat ion that I Should like t o see for o ur great o narrative p et Chaucer . PREFACE xi “ The Gainsborough Landscape (No . “ " No I and the Portrait of a Y o ung Man ( . o o are o by Ant nell da Messina , al ne , at present m o o su m of prices , al st w rth the capital the t o Bequest , and when we add it the Frans H V an o o als , the G yen , and the great J hn o m o im Cr e , I really think it w uld have been possible t o expend such a su m t o better pur f r o . our b ene act o o not p se Indeed , c uld but be pleased if he could only see the repeated additi ons of interesting and ad mirable pictures bearing his nam e added year by year t o the

National Gallery he loved t o such good effect . It has o ften struck m e that there is n o better way of com memorating a man than by present ing in his name t o the Nati onal Gallery a su m o f m o t o o n ney , the interest be spent pictures . Every n ow and then some new m em orial o f the generous d o n or appears with his name on o o clearly written a g ld gr und , and his gene rosity is remem bered afresh by all V isitors t o m o the Gallery , and re especially by the Trustees o who t o and the Direct r, are thus enabled add so me work of value t o the Natio nal Collecti on o which might therwise have been lo st t o us . t o Mr . Brockwell has by his industry added the interest of several of these pictures by

t o ne m H bringing light w facts about the . e has also been able in this u noflicial publicati on xii PREFACE t o t o m o act freely, and enti n details which w o uld perhaps hardly fi nd a place in an Offi cial o t o catal gue . I have learnt value very highly his accuracy and system in the preparati o n for the press o f the lat est Ofiicial Catal ogue o f the

Pictures of the British School . Such a b oo k as this is a valuable mem orial t o o so w o m Lewis and his gener sity , let us elc e it . Earnestly let us keep green the mem ory o f o f ur o do o . benefact rs, as we that Lewis We will see t o it that their increasing num ber of name-plates remain bright and Shining as oo their g d deeds .

CHAR LES H OLR OY D . I NTR ODUCTI ON

T o the general p ublic the past achievements of o o the Nati nal Gallery , its present endeav urs , and its h opes for the future are insuffi ciently o of o o kn wn . The very date its f undati n , the m o o f ff o varying i p rtance its di erent acquisiti ns , o or whether by presentati n , bequest , purchase , and the relative positi o n it occupies in co m o o f o paris n with the leading Galleries Eur pe , are outside the range of the average visitor t o who o t oo o o Trafalgar Square , is nly ften c ntent t o get a superficial impressio n of the m ore o o o bvi us features o f the c llecti o n . T o form a just appreciatio n Of the inner o o hist ry Of the Nati nal Gallery , and its general o -five p licy during the last eighty years , it is necessary t o be thoro ughly c onversant with the R o R Annual ep rts , the eturns , the Treasury o o f Ofiicial Minutes , and the past editi ns the o Catal gues . Even if he Sho uld pl od laboriously through the vario us editi ons of the Foreign and British — Catal ogues of the Gallery or so m any as he — can disc over the present existence of the xiii xiv INTRODUCTION layman will find it no easy m atter t o trace the o f or t o pedigrees of so m e the pictures , arrive at a just estimate of the different purchases b e made under the terms of the six private o o o f n ow o . quests, f ur which are in perati n om The resources of the Gallery have fr fol time t o time been increased by the l owing pecuniary bequests for the purchase o f pictures s d 1; . om Mr T om D e i o Lew i 0 I n 1 86 3 fr . h as n s n s Mr R ic C e W e 8 1 878 . hard harl s h eler 4 * Mr F i C k 0 o 1 8 8 1 . ranc s lar e o n L W k 0 0 1 8 8 5 Mr. J h ucas al er * 1 907 Col on el Temple West 6 1 r C E w G o 1 908 M . harles d ard reg * Mackerel] o 9 I 1

o o f The Lewis Fund , by far the ldest these o m o - bequests , has als had the st far reaching fo o o . c nsequences It has , there re , been th ught advisable t o place before the public the full details relating t o the vari ous purchases which ' have been efi ect ed o u t of the interest of the su m o f 1 0 000 t o J£ , bequeathed the Gallery f o . o o a by Mr . T. D Lewis ver rty years g . The Lewis Fund has added t o the Collecti on of on e ten Italian pictures, which is Sienese , o o ne U m t V f ur Tuscan , brian , hree enetian ,

B on i ion of L w is C k Tem We y the c d t s the e , lar e, ple st, an d M k b u th e i e o n f i ac erell eq ests, nt rest ly o the nvested i 15 a ai ab for of i s cap tal v l le the purchase p cture . INTRODUCTION xv

‘ and One of the sch oo l of Parma . Of these the m ost im p ortant are the Co m bat between ” Cast it as o m Am or and , which is evidently fr

of o m o Ro o has the hand C si sselli , alth ugh it hitherto been Offi cially classed as merely of the ” o of Tuscan Scho l the Fifteenth Century , “ ” o o f Y o and the P rtrait a ung Man , by of m Anto nello da Messina , Each the was

o o a o t o- b ught ver twenty years g , and is day worth a very great deal m ore than the £ 5 00 o and £ 1 040 which they respectively c st . A Similar remark applies also t o the Flemish “ o Portrait of a Man (N . which was

o o m . . b ught fr the late Mr W Fuller Maitland , 8 8 r 0 P 1 fo . M . . , in 7 , £ 3 5 One of the m ost remarkable purchases m ade o out by the nati n in quite recent years , either of or o w m the Lewis Fund ther ise , is the s all “ and very early Portrait of a Y oung Lady ” NO 2 1 6 as the Magdalene , by Mabuse ( . 3 , Plate which the Directo r acquired 1 0 for fi su m privately , in 9 7 , the insigni cant of 0 £ 3 . Only o ne German picture has passed t o o of the nati n by the aid this Fund , but Six paintings o f the late Dutch Schoo l have thus o m o m been added . F re st a o ng these m ust be “ ” m o o of o m enti ned the P rtrait a W an , by F s H w e 1 8 6 for ran als , hich was purchas d in 7 INTRO DUCTION

is o t o 1 0 . o nly £ 5 It , indeed , ast nishing fi nd that up t o that date the Gallery did H n ot possess a single canvas by als . The “ No 1 2 1 Portrait o f a Man ( . 5 ) was pre o o sented twelve years later by Miss E . J . W d , o a o t he m but it was nly a year g , when Fa ily ” Gro up passed from the Collecti on of Lord o t o o Talb t de Malahide the Nati nal Gallery , that we at last becam e p ossessed of a thoro ughly

characteristic w ork by this great m aster . It is m uch t o be regretted that the Nati o nal Gallery d oes n ot yet possess a picture by

Watteau , and the fact that the French pictures at Trafalgar Square are in n o adequate sense of of o representative the art their c untry has , o fl o d ubtless , in uenced the present Direct r in his attem pts t o remedy as far as possible the

lac nae t o s existing u . It is safe ay that at n o peri od of the history of the Gallery has the acquisiti on of a French picture been accom anied S O m o m or p by any curi us circu stances , o t o o been br ught such a satisfact ry issue , as “ ” o f in the case the Parade , by Gabriel - o Jacques de Saint Aubin , wh se Oil pictures

o t o m et m are, I believe , nly be with in a li ited m o f o o nu ber French private c llecti ns . The disc overy made by the present writer in the Print R oo m of the British Museum Of a repro ducti o n o f the original sheet of drawings for xviii INTRODUCTION

’ o om o o her br ther s will , bec e nati nal pr perty thirteen years earlier . Several of the paintings bo ught out of this Fund now hang in the Nati onal Gallery of o m of H British Art . Alth ugh the na es url

o o m oo st ne , Ge rge Cha bers, Lancaster, and P le m t o o are , perhaps , hardly as fa iliar the visit rs t o as m o u that Gallery they ight be , the p p larit of m m . M iiller y Ja es Ward , Willia J , and

Ford Mad o x Brown has l ong been assured . The highest p oint reached in the art o f the last half of the nineteenth century in England o m in f - o of is, d ubtless, anifested the li e w rk o o t o the sculpt r Alfred Stevens . In additi n

‘ t w o Oil pictures by him (Plate XXXI . and Plate the Gallery at Millbank has acquired within the last six years ou t o f “ this Fund al one a painting of The Angel announcing the Birth o f our Lord t o the “ o m m Shepherds , a Study fr a standing Fe ale ” o o n e Figure , and ab ut hundred and eighty e sketches , studies , and prints by this ev n yet n ot f m ully appreciated aster . Not the least remarkable feature in con n ect ion with Stevens is the uncertainty which has hitherto prevailed as t o whether he had one or m o m re Christian na es . It will , perhaps , be a m atter of so me surprise that the exact date o f his birth should be given for the first tim e in these pages . INTRODUCTION xix

It will be n oticed that the biographical n otices vary c onsiderably in length . This is

o . intenti nal In certain instances , as in the case of o om m o o o Fra Bart l e , Ant nell da Messina , - e Gabriel Jacques de Saint Aubin , Ducr ux , and o no or bio Ge rges Michel , adequate accurate h s gra phy in English a yet been published . In of Baldun the case Mabuse , g, Lancaster, and Stevens the authorities usually consulted are so c o ntradictory as t o demand rather co pious fo otno tes or bibliographies . Where the lives of the artists are thoroughly o do not ffo for well kn wn , and a rd a subject o o o o ffi c ntr versy , a Sh rt bi graphical Sketch su ces . - This will apply t o such well known artists - as o o H V an o Tiep l , als , G yen , J . L . David , and m of any the English painters .

The Tables in Appendix D , which have been m o n o m t o drawn up with uch lab ur , have clai fi o o o n nality , but thr w c nsiderable light the relative im po rtance o f the National Gallery t o o P ther ublic Galleries . We are apparently , in

of . Italian art at least , still slightly ahead Berlin m so It see s unlikely that Great Britain , being of m rich in Art Treasures , will be denuded the by buyers in t he U nited States for at least two t o o m hundred years c e .

M . W . B .

S e tember 1 1 0 . p 4 , 9 9

E XT RA C T F ROM THE WI LL OF T H OM AS DE N I SON LE WI S

A E OF A DOGA A E I N T HE O OF L T C N PL C , C UNTY

S x S M I DDLE E , E Q.

From a desire to perpetuate the Mem o ry o f o ne o f the best Fathers w h ose private w o rth and public m erit w ere alike deservedly appreciated I give and bequeath to the Trustees o f the National Gallery the full length Po rtrait of m y late dear Father William re Th o mas Lew is Esq painted by Sir Martin Archer Shee and it is m y particular request that in c o nsidera ti o n o f the Legacy hereinafter given t o the Trustees o f the said Gallery they w ill permanently provide some c onspicu ous and eligible situati o n in the National Gallery fo r the said Po rtrait and that they w ill pre serve the same in good co nditi o n I give and bequeath unto my o ld and valued friend Th om as Sm ith Tarleto n o f T hurloe Squa re in the Co unty o f Middlesex Esq Ire and m y friend William Ed w ard Hilliard o f N° 1 5 S outham pto n Street Bloom sbury Square in the sam e Co unty Esquire (w h om I have requested to act as Trustees o f this my Will) their Ex ecutors Adm in is A su m o f t rat ors New 0 . and ssigns the £3 . 5 . per Centum Bank Annuities o r such amount o f other Stock o r Sterling Mo ney t o be taken out of my xxii EXTRACT FROM WILL OF personal Estate as S hall be equivalent t o or be con sidered t o be the w orth o f the sam e Bank Annuities f in case I m ay n ot leave all or any part o such su m of Bank Annuities o r that w hat I m ay possess S hall hereafter be sold o r varied by m e or be substituted or c onverted into Stock o f other den om ination o r value by Act o f Parliament o r my ow n Act o r in case it S hall be held t o be necessary o r m o re ex pedient t o appropriate the am ount or value o f such Stock Legacy ou t of other part o r parts of m y perso nal Estate U pon Trust t o pay the Dividends Interest an d Annual produce of the sam e Bank Annuities (o r o f any Equivalen t substituti o n for the same) Unto my dear Sister the said R osa Frances Lew is or her Assigns for the term of her natural life an d a pro p o rtio nate part o f the same Y early Income t o her Ex ecuto rs o r Adm inistrators calculated up to the day of her decease And from an d im medi ately after her decease U po n Trust t o transfer and assign the said sum of N S ew . 0. m £3 . 5 per Centu Bank An n (or any equivalent or substituti on for the sam e) Unto the f r Trustees o the time being of the said Nati o nal Gallery or any four of them T o the intent that D the ividends i n terest and Annual proceeds t o arise m therefro (but n o t the Capital thereof) may be laid u for o t the use or objects o f the said Gallery o r otherw ise in the im provement of the Fine Arts in m such anner as the Trustees of such Gallery o r om m any C ittee o r Committees fo r the Govern o rs o r D o irect rs thereo f for the tim e being Sh all think fi t and I direct that the receipt or ack n ow ledgement of tw o Trustees or o f any Com m ittee or of the Treasurer or acting Manager for the time being of THOMAS DENISON LEWIS xxiii the said Nati onal Gallery shall be a good an d sufficient discharge fo r the Trust Funds m onies and prom ises w hich shall so beco me transferable and payable to such Trustees as afo resaid

Proved in London 1 9th Novemb er 1 849 .

H H o ne o f o Mr . W . . illiard , the Execut rs

of . om o Mr Th as Denis n Lewis , expressed in a letter t o the Trustees of the Nati onal Gallery a stro ng wish on the part o f Miss R osa Frances Lewis that She sho uld be o t o o o f all wed retain the p rtrait her father, bequeathed t o the Nati onal Gallery by her o o o late br ther , in her p ssessi n during her

f . o o R o f li e L rd J hn ussell , the Marquis o oo Lansd wne , and Sir Charles W d , Trustees o f m o the Gallery at the ti e , c nsequently reso lved at a m eeting o f the Trustees o f o o n the Nati nal Gallery , held Wednesday , m 1 8 o o f Dece ber 5 , 4 9 , that the p rtrait o Mr . Lewis Sh uld remain in the po ssessi o n of Miss Lewis during her life .

on m 1 8 6 2 Miss Lewis died Dece ber 9 , , and was o on 1 1 8 6 her will pr ved January 7 , 3 . o The portrait f Mr . Lewis was received by the o o Nati nal Gallery during the year , and catal gued as Portrait o f Lewis as The Marquis in ‘ ’ " The Midnight H o ur (No .

E XPLANATORY REMARKS

I N the descripti on of the pictures the term s right and left are used w ith reference t o the right and

o f a o he o x o o left the spect t r, unless t c nte t bvi usly m - i plies the contrary .

‘ The surface m easures o f the pictures are given in

an d w as m abb re feet inches as ell in etres . The

o h and t o an d w ti ns indicate height idth .

X > a) o 0 a - ea GH Q4 04 Q4

m E a m “ O o m 0 m s m w a 3 m 3 A m $ a 0 5 0 o 8 3 4 n mA 3 v “ 0 w a a a A 4 n 2 a A O E g O O 0 a O 8 U e O H 5 fl O 5 O 5 O ? 0 £ 5 o m m m 9 3 O 9 c w a Z 2 r 5 m : O 5 —n E 8 a O L 1 m O a 0 0 a A U c m 3 H O 2 m m m m G E E o O m o 1 x o o L 5 0 w R O S E e B “ 6 m H a E fl E c E 5 q m E e m S E o u E a o N c O c u 0 “ b § O o t c t m 3 0 c E 2 H a Q E o o o o m § k C a G D m 4 4 . . o H . m m . w m q m Q e m 0 s a t c o o w > 8 a 0 mv m s O g h c c m u u m m t o w c fl D 8 s 3 a > s m 8 o o u v wm3 h 0 m w m 8 2 4 2 a « e m c M m a r m 5 m A 2 O m 8 > 5 S A m e 0 . 9 $ > O 5 : 2 < U . S E9 O O 8 8 5 m « T 5 N h s 0 3 H A 3 Z

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m m m m 8 o 5 m m . m 0 " 0 0 0 - 0 0 0 0 0 0 0 0 6 0 3 5 0 0 0 0 0 0 0 0 0 0 0 v 0 0 0 0 0 0 0 5 0 0 0 0 $ 0 0 0 0 8 0 5 0 2 0 0 0 0 8 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 8 3 0 0 0 8 0 0 0 0 0 0 0 0 0 0 0 5 0 0 0 0 0 6 0 0 0 0 0 0 0 z 0 0 0 0 0 0 0 5 8 , 0 0 0 0 0 0 0 6 0 w 0 0 0 5 0 0 0 0 0 0 0 8 0 0 0 0 0 0 0 £ 0 5 0 0 0 0 8 2 0 0 0 2 0 2 0 0 0 0 0 0 . 0 0 8 0 0 0 0 0 0 0 0 0 0 0 0 8 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 E 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 0 0 8 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 m 0 0 0 0 8 0 0 5 0 0 0 0 0 0 0 0 0 0 3 0 0 0 0 0 0 0 0 0 0 A 0 0 0 0 0 0 0 0 0 0 0 “. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 6 0 0 0 0 0 0 0 0 0 0 0 0 0 Q 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 9 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 8 0 0 0 0 0 0 0 0 0 6 0 0 0 0 0 0 0 0 0 4 0 0 0 0 0 0 0 0 3 0 8 0 0 0 5 0 0 0 0 0 0 0 0 8 0 0 0 0 0 0 0 0 0 0 0 0 0 5 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 8 0 0 0 0 0 0 0 0 0 8 0 0 0 0 0 . 0 0 0 0 0 Q 0 0 0 0 0 0 0 0 w 0 0 0 5 5 5 4 m 5 0 5 0

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(f f NATI ONA L GALLE RY

T H E ITA LI AN S C H OO LS

S I E NE S E S CH OOL

I

I AM B R O GI O L OR E NZETT I

— ’ ’ (1 2 8 5 P A F I E R

R O O OR E Z E AM B G I L N TTI , the younger brother ,

pupil and assistant of Pietro Lorenzetti , was born in the last quarter of the thirteenth cen

tury . He was strongly influenced by Giovanni

Pisan o and by Giotto . There is no record of

Ambrogio earlier than the year I 3 2 3 . He painted a series of frescoes in the Church of San Francesco at Siena in A much damaged fragment of one of these composi tions in fresco is the only work by him in this

Gallery (No . He is best known for

1 The attributi o n s an d titl es co n tai ned in th i s li st are those en in th e Offi c C o ues of h e Ga giv i a l ata l g t ll ery. ’ Th e dates h ere given a re not in every i n stan ce those o n d in h e ffi o s c n tai e t O ci al Catal gue . 3 T zo S toria S m ese M S in h e B o o un . t l eca C mm a e i i , ib i t l , S ena is the a u h o h da S on o f r s e . ee a so R . La n i , t rity t i t l gt Do H u as istor o S ierra 1 02 0. gl y f , 9 , p 37 3 4 T H E LE WIS BEQUEST his frescoes of Good and Bad Government — which were painted in 1 3 37 1 3 3 9 to decorate the Sala della Pace in the Palazzo Pubblico at A - Siena . nother notable but less known work by Ambrogio is the Madonna and Child with

Saints and Angels, now in the Communal - 1 School house at Massa Maritima . His last “ 1 dated picture is the Annunciation of 344 , o now in the Siena Gallery (N . The latest 1 document relating to Ambrogio is of 34. 5 . He probably perished in the Black Death of

I R I . 1 1 1 . . No . 47 oom Plate

‘ Heads o Four Nuns f . The Four Nuns Wearing Dominican robes are f seen at less than hal length , nearly life size , and turned towards the left .

. 1 1 0 Fresco ft . in . square . Crowe and Cavalcaselle : History of Painting i I tal 8 n R . 1 0 y, edited by Langton Douglas , 9 ,

111 . 1 0 . p 9 . Included by Berenson in his Central I talian P ai t o e ers th R e ai c 8 6 . n n ssan e 1 0 . 1 f , 9 9, p 1 1 Painted in 3 3 .

Purchased from Cavaliere P . Lombardi , at 1 8 8 Siena , in 7 , for £4 5 .

1 B urlin ton M a a zi e n 1 0 vol. . . 8 1 . g g , 9 4, v p Mr C a Mu m e h a . a a has d o m ed . F irf x rr y very k i n ly i n f r t t h s a m en was ak en o ut of th e a a es wh o t i fr g t t w ll by pri t , aced in h is own house pl it .

THE ITALIAN SCHOOLS

TUS CAN S CH OOL II

UN KN OWN FL OR E NTIN E PA INT E R o r T H E FI FT E E N TH C E NTU R Y

1 1 6 R . . No . 9 . oom III Plate II

A Combat betw een Amor a nd Castitas.

T 11 13 picture is now generally ascribed to Cosimo Rosselli (1 4 39

The youthful Amor , with golden locks and wings of many hues , is in the act of shooting Cast it as an arrow from his bow at , who advances

from the right of the composition . The latter defends herself with a steel and gold shield set with jewels and having a large diamond in its ’

. boss , against which Amor s arrows are splintered With her right hand Cast itas swings above her

head a golden chain and fetters , with which she

purposes to enslave her adversary . On her fair

hair she wears a golden tiara . The combat

takes place in a flowery mead , beyond which ,

in the right background , rises a high , rolling

and wooded landscape . In the middle distance e to the left , amidst the foliage , the til d roofs

1 “ The S t . e om e in th e Dese i h S a n s Damm asus J r rt w t i t , E use us P u d E u h w as om a a an s och a No . h c bi , l , t i ( w i fr 1 8 8 un a o u 1 88 offi c a a u ed to Cos m o R osse 7 til b t 9 i lly ttrib t i lli , is n ow ascribed to Fran cesco B o tticin i (1 446- 1 497 ) by B eren

son and Kuh ne in his F ra n cesco B otticini 1 06 . . , by l , 9 , p 5 6 T H E LEWIS BEQUEST of some buildings are dimly visible . To the

Castit as . right , behind the figure of , is a lake

1 . . 1 . 1 . . Wood . ft . in h x ft 3 in w x Formerly in the Collection or the Marchese

di V er a ni . . . . Crosa g g , who sold it to Mr F A Y

Brown , of Genoa .

ime . 2 2 1 8 8 1 The T s . . , Dec , 5 , p 3 Included by Berenson in his F lorentine

Pa inters o the R enaissance 1 0 . 1 f , 9 9 , p 7 9 , as m R a work by Cosi o osselli . “ A picture of The Triumph of Chastity , containing the sequel of the story , painted by the same hand (almost certainly that of Cosimo

Rosselli) is in the Turin Gallery (No . Until 1 84 7 it was in the Collection of the

Marchese Crosa di V ergagni. It m easures

1 . x 2 1 ft . 44 in h . ft . ain . w . x

Purchased from Mr . F . A . Y . Brown , at 1 8 8 OO Genoa , in 5 , for J£5 .

F L OR E N TINE S CH OOL

III

FR A B A R T OL O M M E O — (1 47 2 1 5 1 7)

T H E Pa holo Florentine artist , Bartolommeo di g del Fattorino , who is also known as Baccio

PL ATE I I E H CE N TU I 1 1 6 K OW OR E E PA E R OF TH E E 9 . UN N N FL NTIN INT FIFT NT A C om b a t b e t wee n Am o r a n d Cast i t a s T H E ITALIAN SCHOOLS 7

della Porta , was born at Florence , on March 3 , He was so called from the fact that he lived near the Porta di San Per Gattolino he at Florence . At the early age of nine was R apprenticed to Cosimo osselli , in whose studio he first made the acquaintance of Mariotto A lb ert inelli (1 4 7 4 Fra Bartolommeo

also became a pu pil of Piero di Cosimo . He ’ studied M asaccio s frescoes in the Bran cac ci

Chapel in the Carmine Church in Florence . He was subsequently influenced very strongly

by Leonardo da Vinci and by Raphael .

The fresco of the Last Judgment , now in UfliZI 1 , was begun by Bartolommeo in 4 99 , and l ertinelli finished by A b . Having come under the spell of Savonarola , he took the vows of a 2 6 1 00 Dominican on July , 5 , and went to live at Prato . The following year he returned to

Florence , and took up his residence in the

Convent of San Marco . Although he then relinquished the professional activity of a m painter , he seems to have continued to ake 1 0 8 many drawings . In 5 he went to Venice . About that time he painted the “ Assumption " of the Virgin , now in the Berlin Gallery , the upper part of which is by A lbert inelli. It is “ inscribed with the words O R A T E P R O

PI C T OR E .

T h e da e is s e e uen b ut nco ec en t till v ry fr q tly, i rr tly, giv

as 1 an d o ccas o na as 1 6 . 47 5 , i lly 4 9 8 THE LEWIS REQUEST

1 0 In 5 9 , the year to which belongs the Holy Family in the collection of Lady

Cowper at Panshanger , he went into partner lli ship with Alb ertin e . The two painters to gether achieved “The Madonna and Child ” ‘ with Saints , now in the Vienna Gallery, the picture being signed with a cross between two 1 1 0 interlocking rings , and dated 5 . The paintings which the two artists executed sepa rat ely at this period bear their respective signa tures . Two years later the partnership was 1 1 dissolved . In 1 5 4 Fra Bartolommeo paid a R visit to ome , where the climate seriously H e affected his health . shortly afterwards left Rome for the country hospital of the i i Dom n cans , at Pian di Mugnone . On being restored to health , he painted several large u pict res, including the Madonna della Miseri ” d 1 1 cor ia of 5 5 , now in the Lucca Gallery . The Christ and the Four Evangelists in the “ V Pitti Gallery , the Circumcision in the ienna “ Gallery , and the Madonna and Child , with

St . Elizabeth and St . John the Baptist , in the

1 The deed of th e d sso u on of a ne sh h ch is da ed i l ti p rt r ip , w i t an ua 1 1 2 is ese ed am on th e a ch es of S an J ry 5 , 5 , pr rv g r iv Marco in th e Arch ivi o di S tato a t Fl oren ce it h as been ' pri n ted by V i n cenzo March ese in h is M em orie aeipin in sign i P ittori S cultori e A rolzitetti D onzen ioa n i B o o na 1 8 , , l g 79, — m l . 60 6 0 . r. v 6 8 S e a so a n M H P . H o e o . e o e e e , ii pp l t by rb rt , B in th e u rlin ton M a azi e . 1 0 2 n 6 . . g g , ix , 9 , p 4 5

1 0 T H E LE WIS B EQUE ST

x . face and e pression , and here we have neither

The modelling of the hands and feet , too, is ’ far from satisfactory . The Virgin s hands and ’ foot are positively lumpy , and St . John s feet are coarse and ugly . The picture seems to x have been somewhat e tensively repainted , care has lessly too , for much of the outline been S smudged . But , in pite of all shortcomings , it

is a delightful piece of work , a picture that adds considerably to the fascinations of that already " imposing first room in the National Gallery .

Mrs . Mary H . Witt , on Five New Pictures in " th e Gallerv The Nineteenth Centur National , in y,

1 00 . 6 . 2 8 . . 0 No 4 , Oct 9 , p 5 in That [ picture] the National Gallery is , on

the contrary, fresh , spontaneous , pitched in a im very high key , but defective in modelling , in perfect drawing , and hard in colour , especially - S in the flesh tints ; it is , in hort , immature but

it is , nevertheless , in my opinion , the original

on which the other two are based . “Surely it is intelligible that a man of so

fastidious and modest a temperament , whose

career covers so wide a gamut of achievement , should revert more than once to an earlier com it position , remodelling in accordance with his " — M a ine . a z . . . R changed taste Dr J P ichter, in g — 8 . o /irt 1 02 . 8 f , 9 , pp 3 4 PL ATE I I I

No . 1 6 94. F RA BAR TOLOMME O The n a nd i gi Child wi h t he I nfa t S V r t p t . J oh n

F a ce 1 p 0.

THE ITALIAN SCHOOLS I 1

Included by Berenson in his Florentine P ainters

i a . 2 o the R ena ss nce 1 0 1 . f , 9 9 , p I This is the earliest of the three variants painted by Fra Bartolommeo I 1 6 ( ) This one (No . 94 ) apparently dates 1 8— from about 5 0 9 .

2 . ( ) The Madonna and Child , St Elizabeth ” and the little St . John , in the Collection of Sir R No 0 Frederick Cook at ichmond ( . 4 in the e private catalogue) , is much larger , more a com

lished 1 1 6 . p , and signed and dated 5 The figure of St . Elizabeth is added to make the composi tion triangular . The tone is much darker and 1 richer . (3 ) The version in the Corsini Gallery in

R . ome (No 5 7 9) contains St . Joseph instead of - St . Elizabeth , the figures being life size and reversed . It is late in style . Purchased from Cavaliere Nicola L andolfi at R 1 8 00 1 0 1 3 6d. ome , in 9 , for £ , 4 .

IV

M A R C E LL O V E NU S TI

(1 5 1 5

M A R C E LL O V E NU S TI is said by Vasari to have V R ’ been a pupil of Perino del aga , aphael s

1 These ac s a re k n d f t i ly co mm un i cat ed by Mr. H erbert k Coo . I 2 T H E LEWIS BEQUEST pupil . He also studied under Michelangelo , whose assistant and imitator he afterwards became .

1 1 R . No . 94 . oom I

Ch st ri in o t the trader rom the Tem le ri d v g u s f p . In the centre of the composition the Christ is seen in the act of driving the money-changers out of the Temple . The groups of figures in this agitated composition are derived from de signs by Michelangelo , the tiled pavements , the twisted columns, and the architectural back ’ ground are alone of Marcello s own invention .

1 . 1 . 1 . . . Wood . ft 1 % in h . x ft 31 in w x This picture was In cluded in the sale of Sir ’ 1 1 8 0 Thomas Lawrence s collection , May 5 , 3

(No . It is said to have also been in the Borghese collection and in the Hamilton Palace collection . Purchased at the sale of the collection of

. 1 Mr Christopher Beckett Denison , June 3 , 1 8 8 . 6 6 5 (No for J£9 .

V

. 1 2 2 R . No 7 . oom III

The Vir in the Child Christ slee in St 0se h g , ( p g) , . 7 p a nd the outh ul St t t . ohn he B a ist y f 7 p . “ In this representation of I I Sile nzio the T H E ITALIAN SCHOOLS 1 3 Virgin is seen holding a book with her right hand , and seated on a bench . Behind and to the right St . Joseph watches the slumbering babe .

To the left St . John the Baptist places his left forefinger to his mouth , as he looks down on the Child . A green curtain forms a back ground .

1 . 1 0 Wood . ft . 4 4 in . h x % m . w . x This picture is said to have been formerly in the Borghese Gallery and in the Hamilton

Palace collection .

Purchased from Messrs . Agnew Sons, in

1 8 8 2 . 7 , for £4 5

UMB R IAN S CH OOL VI LU C A SIGN O R E LL I

(I 44 I P- 1 5 2 3) LU C A SIG N OR E L L I was born at Cortona abo ut

1 1 . 4 4 He was the son of Egidio , who was was the son of Ventura Signorelli . Luca a

first cousin of Maestro Giorgio , the famous - potter of Gubbio , and a great uncle of Giorgio ' bio r her o a f . Vasari , the g p Italian artists This ’ relationship perhaps explains why Luca s bio graphy is one of the most graphic in Vasari ’ s ” e Lives . Through the influe nce of his uncl 1 4 T H E LEWIS REQUEST

Lazzaro , Luca Signorelli was sent at an early age to learn the rudiments of his art in the workshop of Piero dei Fran ceschi at Borgo San

lc ro in 1 2 Se o h . p As Lazzaro died 4 5 , Luca can have been but eleven years of age when he entered the studio of the great Umbrian 1 1 2 painter . Before 49 we hear of Luca in n Florence , and he worked in other tow s of in T uscany and Umbria . He was greatly

fl u enced by Antonio Pollaiuolo , and in a lesser degree by Andrea del Verrocchio and Le onardo 2 da Vinci . One of his earliest pictures is the ” Flagellation in the Brera Gallery , Milan

(No . and a similar picture was in the e n collection of the lat Sir Frederick Burto . "

in . 1 1 The Nativity this Gallery (No 3 3 ,

Plate IV . ) is said to have been painted about 1 6 4 9 , the year before Luca was commissioned to decorate the cloisters of Monte Oliveto

Maggiore , near Siena , with frescoes illustrating “ s the Life of St . Benedict . The full ignifi ’ cance of Lu ca s art is chiefly seen in the fres 1 1 0 coes which he painted , between 4 99 and 5 4 , upon the vaulting and walls of the Chapel of

1 e n d M h a t S e o uc o n r R H . B en so n to t e C a lo ue I tr ti by . . g of the E x hibition of the Worhs of L uca S ign orelli a n d his S chool h e d a t th e B u n C u in 1 8 on ne A s . , l rli gt Fi rt l b 93 3 R o e V sch e in h is L u ca S i n orelli un d die I ta lien b rt i r, g ische R en aissa n ce Le z 1 8 su es s ha Luca was , ip ig, 79, gg t t t a so nfl uenced B l i by otti celli an d by Filippi no Lippi .

1 6 T H E LE WIS REQUEST left an angel announces the birth of the Christ to other shepherds in a field . To the right , t — sea ed beneath a rock , is a shepherd boy play ing on the bagpipes . A crowd of figures are dimly seen in the portico of a classical build 1 ing in the distance . Beyond are the walls and buildings of a city .

in the tympanum , and

LVCF Df COR TONA ' P C

T e l in e . on the frieze , of the p in the distance

. x . 7 . . Wood 7 ft . 2 in . h . 5 ft 7 } in w x In all probability this picture was formerly in the Church of San Francesco at Citta di

Castello . It was at one time in the collection of the Marchese Mancini at Citta di Castello . Mancini in his M emorie di zilcuni d rtcyici del D ise no in Citta di Costello 1 8 2 g , Perugia , 3 , vol . ii 6 6 i i O . Cert n . p , says that was of the pinion u that this pict re , which he describes as Tavola N a ” della ativit di N . S . in S . Francesco, was 1 6 painted in 4 9 .

1 The scene h k ere depi cted eviden tly refers to S t . Lu e

11. 1 : An d cam e to ass in h ose da s h a h e e en out it p t y , t t t r w t a dec ee om Cmsar Au us us h a all th e o d shou d b e r fr g t , t t w rl l ’ taxed) staen l g , ph ot o. PL ATE IV

N o 1 1 . 3 3 . LUCA S I GN OR E LLI The Na tiv rt y

T HE ITALIAN SCHOOLS 1 7

Crowe and Cav alcaselle : History of Painting I tal 1 8 a in 6 6 . 2 y, , iii . p 9, under Citt di

Castello , refer to this picture in the following terms “ ’ Signor Mancini owns a ‘ Nativity m 1 signed on the frieze of a round te ple ,

‘ U E DE T ’ L C COR ON/i P C. and . This is a good picture in which the influence of Piero della Francesca may be traced . The Virgin kneels in adoration before the Infant on the ground , with the shepherds on the left ; and

' t he at t endan t angels , with the eagerness with which they take part in the scene , recall the i o works of Fil ppin Lippi . A shepherd on the hill in the distance plays on a pipe , and a market is held near the temple in the back ground . The annunciation to the pastors in the landscape completes the composition . This S Fran may be the piece noticed by Vasari in . cesco o Gittel di Costello f It is well preserved , of a marked brown tone . : L e O ere di Gior io Vasari 1 8 8 Milanesi p g , 7 ,

6 8 6 . iii . p . R This picture was seen by . Vischer in the L uca Casa Mancini , and is referred to in his l i 8 2 0 Si nore l 1 . g , 7 9 , p 5 . 1 “ ” e na e ead n f R o in th e Th e alt r tiv r i g o C . r l signa ture c rea t es n o diflicu ty. Th e pi c ture m ay well have e n n ed at e h e Co t n O b e pai t it r r o a or rvieto. I S T H E LE WIS RE QUEST R Mr . . H . Benson , in his Introduction to ’ the Catalogue of the E xhibition of Signorelli s

works , held at the Burlington Fine Arts Club “ 1 8 xi : in 93 , p . , says Of his larger panel pictures it is not possible to find two better specimens than those in the National Gallery ‘ ’ ’ the Nativity , and the Circumcision from ” Hamilton Palace . This picture is not included by Berenson in his list of the works of Signorelli in his Central I ta lian P ainters o the R enaissance 1 0 f , 9 9 ; it is “ not to be regarded as an autograph work . Purchased from Signor Bardini at Florence

in 1 8 8 2 for £ 1 2 00 .

VE NE TIA N S CH OOL

VI I

A NTO N E L Lo D A M ES S IN A — (1 4 3 0 1 4 79) UNTIL a short time ago it was presumed that

Antonello di Giovanni degli Antoni da Messina ,

a native of Sicily, as his name denotes , was born in 1 444 and died in It is now prov ed

1 ’ P ucci ni : M em orie istorico-cn tiche di A n ton ello degli

A n ton enze 1 8 0 . j, Fir , 9 ’ M e/n orie de P ittori M essinesi orna te cli ritratti Mess na ( ) , i , 1 8 2 1 con a n s a oodcu o f an o a o a of An on e o d , t i w t v l p rtr it t ll a

Mess na n sc ed P e o B eaum on D el. An on no Mina si i , i rib i tr t , t i o t h h t ge her wit a life of t e arti st . T HE ITALIAN SCHOOLS 1 9

that he was born in 1 4 30 and died in ’ d A nt onio He was the grandson of Michele , 1 8 who died before 4 3 , and the son of Giovanni '

o 1 . d A nto ni . Antonello was married in 4 5 5

The earliest record of him is dated March 5 , - 1 . 4 5 7 , and his age is given as twenty seven He was absent from Messina from abo ut April 1 1 60 4 5 7 till 4 , during which time he was probably travelling in North Italy ; it seems probable also that he was travelling on the 1 6 6 1 2 mainland between 4 and 4 7 , and it is conclusively shown that he was in Venice and 1 —6 Milan in 4 7 5 , to which date may be

assigned his best work . It was shortly before this that he finished his famous polyptych of

The Madonna with St . Gregory and St . Bene ” ’ S dict , which bears the master s ignature , and

1 . n is dated 47 3 The picture , which has lo g

been in the Messina Gallery , was not seriously 1 0 damaged by the earthquake of January 9 9 , 2 and is now being restored . Antonello dictated 1 1 his will on February 4 , 4 7 9 , and must have

1 “ ’ Gi oacchi n o di Marzo : Di Antonell o d An ton io da ” Mess na P m documen m ess nes in S ocieta S torica i , ri i ti i i , M essin ese A rchiv io s o M ess s toric inc e Ann o I I I . 1 0 —, , 9 3 16 1 86 . pp . 9 Gazette des B a x -A r e u ts anua 1 0 . 1 con a ns , J ry 9 9, pp 34 5 , t i ” an a c e on An o ne o d M e ess ne M Hen S e n . rti l t ll i by . ri t i A then a’um e ua 2 0 6 1 . 2 6 . , F br ry 7 , 9 9, p 1 “ S ee a n ote by Al eth ea Wi el o n Work s of Art in ” Mess na in B urlin ton M a azin e e ua 1 0 . 0 . i , g g , F br ry 9 9 , p 3 7 2 0 T H E LE WIS RE QUE ST died a few days later, as we find that on Feb . ’ 2 t h acob ello d A n t on io 5 his son , J , under took to finish by Whitsuntide a banner which his father had promised to deliver to the town 1

R . of andazzo , and had left uncompleted Antonello was credited by Vasari with having seen in Naples a picture by one of the Van E x ycks , the e ecution and technique of which made such a profound impression on him that sub t er he set out for Flanders , and there by “ ” fuge learnt the secret , if not the invention , of painting in an oil medium , a medium then - unknown in Italy . It is even to day uncertain what was the method practised by Jan Van ‘ a Eyck , who seems to have used specially m x purified oil , which he i ed with a varnish 2 partly composed of resinous gums . The earliest contract relating to Antonello is 1 6 1 of the year 4 , and refers to a picture which was painted in the following year . His first

1 Gi oacch i n o di Marzo in his N uov i studi ed app un ti su A n ton ello da M essina con 2 docum en ti Mess na 1 0 . 1 2 5 , i , 9 5 , p 4, “ uo es th e of An one o da ed an n o in carn acio n is q t will t ll , t ° ° ej usdem dom i n i m ill esim o CCCC LXXV I I J m en se freb ru I I I ° i a X d e m en s s e usdem X I I n d. rii , J i j , J 1 ’ ’ S ee P ro f. Agosti no d Am ico s rem ark s on Ant on ell o da ’ ” Mess n a le sue o e e e l inven zion e de a u a ad o o i , p r ll pitt r li , ’ u sh ed in A rchiw o S torico M essinese Mess n a 1 0 p bli , i , 9 4, — — - V a . i. . 2 d An n o . sc 0 1 6 an s a c . F ii pp . 7 : F . iii pp . 57 69 . ’ “ ” Anton ello s Po a o f a Y oun Man in h s Ga e rtr it g , t i ll ry is No . en as Oeu h ( giv vre XXI X . in t e Ca talogue a ison ne con ai n ed in h o R t t at w rk .

2 2 THE LEWIS BE QUEST

o 1 1 R . . N . 4 1 . oom VII Plate V Portra it of a Y oung M an (supposed to be the p ainter himself )

He wears a red cap and a brown doublet ; above the collar is visible the edge of a white

- linen under garment . The face is clean shaven - and the hair short . Three quarter face to the left , bust length , dark background . A piece of paper of the eighteenth century attached to the back of the panel contains a memorandum in faded ink , in the handwriting - M olfini of the great grandfather of Signor G . , to this effect “ Antonello of Messina , a city of Sicily, a famous painter . And this is his portrait , painted by himself, as was to be seen by an inscription below it , which I , in order to reduce w ” it to a better shape , sawed a ay .

. 1 . . 1 . . Wood ft in . h x 0 in w x

x Still more Italian , but less carefully e ecuted , is the bust of a man of forty -five with shorn hair , in a red cap and brown vest , belonging to M lfi o n o . Signor , an advocate at Genoa The track of the brush , so much more apparent in x this than in any other e amples, is perhaps only visible because the proportions are larger than ’ A n t onello s usual ones ; but the drawing is less

PL ATE V

1 1 1 A O E O DA M E S S A N o . 4 NT N LL IN " Po rtra i t o f a Y O l lng M an THE ITALIAN SCHOOLS 2 3 precise and the relief less powerfu l than before ; there is not so much impasto , nor is the colour " a as subtly fused or as transp rent in shadow . Crowe and Cavalcaselle A History of Painting in Nort — h I a 8 . 8 . t l 1 1 . 0 y, 7 , ii pp 9 9 The Time 8 8 s 1 1 . . , May 3 , 5 , p 5 This picture is included by Berenson in his Venetian Pa inter o R enaissance 1 0 s the 6 80 . f , 9 , p . As this picture appears to have been painted 1 about 4 74 , it seems impossible that it can bear the features of the artist , who was then , accord ing to the now accepted date of his birth , about - forty four years of age . The painting represents a much younger man . The catalogue of the sale of the collection of Lord Northwick at Thirlstane House , Chel “ tenham , states that a picture entitled Antonello 1 da Messina his own portrait (No . was sold on the Eleventh Day of that sale , May 1 8 3 8 . No further particulars are available . Molfini Purchased in Genoa from Signor G . , i 8 8 1 0 0 n 1 . 3 , for £ 4

VIII

GI OV A NN I B A TTI S T A TI E P OL O

(1 6 9 2 - 1 76 9)

A S A E P O O GI OV A N N I B TTI T TI L , one of the last of the Venetian painters , ranks high as a 2 4 TH E LE WIS RE QUE ST colourist and a facile draughtsman . Although he was a pupil of Gregorio Lazzarini , and was influenced by Giovanni Battista Piazzetta , his inspiration was doubtless derived from Paolo 1 1 decorat Veronese . In 7 5 he was engaged in ing the Palace of the Archbishops of Wilrz u b rg . Towards the end of his life he worked in Madrid , where he died . He is represented in the E dinburgh Gallery by the very fine sketch for the fresco of “Anthony and Cleopatra im in the Palazzo Labia , Venice , and by the “ ” f - i . posing , over large , Finding of Moses

1 1 2 . . No . 9 Room IX D esign fitr an Altarp iece (9)

ihrou h Under a portico , g which is seen the sky , is a group of four persons . A bishop occupies the centre of the composition , a young m an kneels on the left , and a warrior is seated on the right . In the backgrou nd an acolyte ’ bears a bishop s mitre and crozier .

. 1 . 1 1 . . 1 0 . . Canvas ft in h x ft . 3 in w x This picture appears to have been formerly

in the collection of the Earl of Dudley , and is evidently that exhibited at the National E xhibi 1 8 6 8 1 A tion of Works of Art , Leeds , (No . 4 3 ) , under the title of An Oil Sketch for a Large ” Picture . It is also apparently the picture F . H a rc st a en t h oto . / g , p PL ATE VI

N 1 1 o . . . B . 93 G T I F. P O L O D esign fo r an Alt a i -p iec e

2 6 TH E LEWIS REQUEST

1 8 1 . Burlington House (Old Masters) , 7 (No

entitled A Study . Waagen mentions this picture in his Trea B rita i 1 8 1 sures o xirt in Great n 1 . . 2 f , 5 4 , p 3 5 , ’ in his notes on Lord Ward s collection , as “ Tiepolo . A Saint enthroned and adored by u various individ als . Included by Berenson in his Venetian

Pai t s o the R e aiss ce 1 6 1 . n er n an 0 . f , 9 , p 3 3 Purchased with another “ Design for an ” Altarpiece , also in this Gallery (No .

at the sale of the collection of Mr . Christopher 1 8 8 Beckett Denison , June 13 , 5 (No . under the title of “ A Pair of Studies for

1 6 2 1 3 . Altarpieces , for £ , 5 the pair .

S CH OOL OF P A R MA

X

FI L I P P o M A Z ZOL A — (P I sos)

P P O M A zzo L A FIL I , or Mazzuola , of whom

little is known , was born in the latter half of

n 1 0 . the fifteenth century . He died I 5 5 His works are rarely m et with in public galleries ; e two , however , are in the B rlin Gallery . He is not to be confused with other artists of

the same family working at Parma .

T H E ITALIAN SCHOOLS 2 7

1 1 6 . R No . 4 oom VII . Plate VII .

The Vir i d d S g n an Chil with Tw o aints. The Virgin in the centre of the picture ff o ers a fruit to the Infant Christ . To the left is St . Jerome , and on the right another male saint . Signed in the centre of the parapet

“ ‘ ' Pmuft vs M AZ OL A P P

1 . x 2 . . Wood . ft . 92 in h . ft . 5 in w (2 5 5 3 x Enclosed in a richly carved sixteenth century frame , probably its original frame .

Purchased in London in 1 8 94 from Mr . C .

Fairfax Murray for £ 1 2 0 . NETH E RLANDI SH SC H OO L

XI

UNK N OWN FL E M I S H PA INT E R O F T H E E A R L Y SI XT E E NTH C E NTU R Y

1 0 6 R . . No . 3 . oom XI Plate VIII

’ a it A M an s Portr .

T H I S picture is most probably by Joos van Cleve the Elder Joos van Cleve (or Joos van der Beke) was

' 1 8 born either at Cleves or A ntwerp about 4 5 . His art was formed under the influence of

Quentin Matsys . He worked at Antwerp , at 1 1 1 Cologne , and probably also in Italy . In 5 ’ he became a member of the Antwerp Painters l

. 2 1 2 8 Guild On March 7 , 5 , he bought a house in Antwerp . He probably died soon 1 0 1 0 after November , 5 4 , on which date he 2 made his will .

1 R omb outs a nd v n L u e L e e en der A n tw er sche a eri s, D gg r p ’ i t ucas ilae 1 — s n L 86 1 8 2 . . . g , 4 7 , i p 7 5 1 Th e best accoun t of th i s arti st is th at writt en by D r. - ’ Firm eni ch R ich artz in A llgernein es L ex i/eon der B ilden aen s ler L — th e K icn t e z 1 0 . 2 1 2 2 1 . S ee an a c e , ip ig, 9 9, iii 7 rti l by sam e c c o n D er Me s e des Todes Ma ae se n Nam e riti i t r ri , i ” nd ne H e k un in i d K un st 1 8 u se Z eitsch r t ur b l . i r ft if f , 94, “ 1 8 . S ee an c n v n . . p . 7 al so a rti l e o D er F all Cl eve by o C ’ ' J usti in j a hrb u ch aer Kon iglich P reussischen K unstsa rnrn — lu B n 1 . n en e 8 1 . g , rli , 95 , pp 3 33 2 8 NE THERLANDISH SCHOOL 2 9 One of his best works is the “Portrait of a Man in the Richard von Kaufmann Collection s at Berlin . The subject , who may po sibly be the artist himself, holds a carnation between fi the thumb and fore nger of his right hand , 1 and wears two rings on his left . On stylistic grounds it seems most probable that the 1 6 National Gallery portrait (No . 03 ) is x e ecuted by the same hand . Joos van Cleve the Elder is now generally believed to be identical with the “ Master of ” the Death of Mary , who takes his name from " the picture of the Death of the Virgin Mary ,

now in the Cologne Gallery (No . painted 1 1 in 5 5 , and from the very similar but larger painting of the same subject in the Alte

Pinakothek , Munich (No . It is interesting to compare the “ Man ’ s Portrait at Trafalgar Square with the Por " “ trait o f a Man (known as the Man with " the Beautiful Hand ) which , in the Munich

Gallery (No . is given to Joos van Cleve

the Younger . The same characteristics are

’ 1 I t h as been suggested th at th e a rti st s features are al so “ ” een in th e fi u e o f th e se an in th e Las S u e s g r rv t t pp r, wh i ch fo rm s th e predell a to th e l arge Alta rpi ece n o w in the an d h ch was o m e in a ch u ch in L ouvre (No . w i f r rly r

Genoa h e e wa s n o dou a n ed. , w r it bt p i t 2 “ — S ee an a rti c l e o n J o sse van Cl eve Le Maitre de la ” . No and Mo de Ma e in I n de . B ei e S U l. v . rt ri , p g , pp litt , 3 9 , 2 1 90 . 3 0 T H E LEWIS REQUE ST also seen in his “Portrait of Jean Caron 1 delet in the Du chat el Collection at Paris . A middle-aged man of intellectua l appear

ance and clean shaven . He is dressed in a

black velvet vest , over which he wears a dark

mulberry coloured robe , lined with black

damask . He wears a white linen under

garment and a black cap . He rests his right hand upon a skull and in his left holds two 2 - - pansies . Half length figure , three quarter

face to the left . Green background . 8 in . . . Wood . h x } in w . x

Formerly in the possession of Farrer , the

ab o it t 1 8 . picture dealer , until 4 9 This picture was exhibited at Burlington 1 8 2 House (Old Masters) in 7 (No . as “ being by Hans Holbein , and entitled , Por

trait of Dr . Thomas Linacre , Physician to

' Henry VII . and Henry VIII . Founded

1 J o o s van Cl eve th e Y ounger cam e to E ngl an d on th e o ccas on of th e m a a of P I I and ueen Ma o n i rri ge h ilip . Q ry i h O u 2 1 n t e h e o f se n h is c u es at Cou . J ly 5 , 5 54, p lli g pi t r rt As h e m et h no success h e o s his eason an d is h e e wit l t r , t r ” o e k no n as S o e C e e C th e oo His own f r w tt l v l eve F l . a an h f po rtr it d t at o his wife are a t Wi n dsor. ” ’ A . Wau e S ee . t rs Les deu J o sse van Cl eve in L A rt J x — F la ma n d ci H olla n dais 1 0 . 66 , 9 7 , vii . pp 57 . S ee al so Li on el Cust The R oya l Collection of P a in tings t Wi n dsor Ca stle 1 06 a , 9 . 1 A s m a e o f o a b ut of n e o ua is th e i il r typ p rtr it, i f ri r q lity, ” P o a o f a Med ca P o sso N h ch is n o rtr it i l r fe r ( o . w i w “ ” ca a o ued as Ge m an S choo S x een h Cen u t l g r l , i t t t ry.

E NETH RLANDISH SCHOOL 3 1

the College of Physicians , and was its first

President . Exhibited at the National E xhibition of 1 8 6 8 N o . Works of Art , Leeds , ( as a l . H olbein Portrait of Dr Linacre , by . it: If is a portrait of Linacre , it can hardly ‘ ’ . be by Holbein There is another Linacre , R likewise ascribed to Holbein , in the oyal s Collection , which is les like the work of that artist than this picture is : it was probably a mortuary portrait ; the right hand is on a human

skull , to which fact the notion of its repre er o senting a physician , g Linacre , may be due ;

in the left hand is an emblematic pansy . It is " Atb mc um . e 6 a very fine picture , January , 1 8 2 2 1 7 , p . .

Purchased from Mr . W . Fuller Maitland , P 8 M . 8 . 1 0 , in 7 , for J£3 5 .

At Wi n dso r th ere is a Po rtrait of Th om as Li nacre “ uen n Ma s s h ch was in 1 66 8 desc ed as An by Q ti t y , w i rib ’ ” o l d m an s h ead h a e e in h is h and H o b e n . The wit l tt r , by l i e e is da ed 1 2 L nac e d ed o n Oc o e 2 1 2 a nd l tt r t 5 7 . i r i t b r 4, 5 4, it does n ot a pp ear tha t h e l eft E ngland duri ng th e l ast - w . Mr L o n us in h is R o a l en fi v e ea s o f his e . e C t ty y r lif i l t , y “ Collection o P a in tin s : Win dsor 1 06 o n s o ut ha as f g , 9 , p i t t t a end o f E asm us a nd S ir Th o m as Mo e h ere o u d b e fri r r , t w l everyth i n g in favour of Li nacre havi ng been pai nted by H o e n in 1 2 h ad h e ee n a e b ut H ol e n did n o t lb i 5 7 b liv , b i ’ ” each Lo n don 1 26 o n a e Linac re s dea h . Th s r till 5 , l g ft r t i in wa s e n a ed H . Coo k and is e oduced p o rtrait gr v by , r pr ’ ’ T i r w s M edica l P ortra it Ga lle 1 8 8 vo l. . . . l tt e J e g ry, 3 , i ’ ' H k f H a ns H ol S ee a so R N . VVo rn um s L e a n d or s o l . if bein 1 8 2 2 6 . 1 . , 7 , p 3 2 THE LEWIS BEQUEST

XII

J A N M A B U S E

(I 4 7o ?

A N OS S A R J G T , or Jan Mabuse , was born at

Maubeuge , in Hainault , about In the early part of his career he adhered to the art traditions then prevailing in Flanders , but seems to have come under the influence of 1 0 Gerard David . In 5 3 he was entered, “ under the name of J en nyn van H en nego u ” ’ aint re wen , p , as a member of the Painters im Guild at Antwerp , where he was much f pressed by the art o Quentin Matsys . In 1 0 8 5 he was in Italy , Where his style became ' afl ected by the works of Leonardo da Vinci and

Raphael . He subsequently practised his art at Utrecht as Court Painter to Philip of Bur 1 1 gundy , who in 5 7 was appointed Bishop of

Utrecht . He also worked at Middelburg . His pictures show that the Italian influence under which he worked gradually became paramount in his last period , when he usually “ OA N N E S M A L B OD I V S signed his pictures I .

He did not , however , altogether succeed in assimilating his native art with that of Italy . One of his earliest pictures is the Portrait

1 Gossa an d n ot Go h co r ct s ellin . ssaert is t e r e . rt, , , p g NETHE RLANDISH SCHOOL 33 of a Young Lady as the Magdalene (Plate

His best picture in this country is , beyond all question , the magnificent , although “ " early , Adoration of the Magi , which is in o f the collection , the Earl of Carlisle at Na 1 worth , in Cumberland . He is represented at Hampton Court by his “Adam and Eve 1 1 (No . which was painted about 5 7 . Some six years later may have been painted “ the Three Children of Christian II . of Den

in No . mark , the same Gallery ( The e are pictur , replicas of which in the collection R o of the Earl of adnor , L rd Methuen , and the Earl of Pembroke , was formerly wrongly described as the Children of Henry VII . it was in consequence incorrectly assumed that 3 Mabuse was at one time in England . “ One of his best works is the large St . Ru Luke painting the Virgin , now in the do lphinu m at Prague . He is now fairly well

Th s ane c u e h ch m easu es nches b 66 nch es i p l pi t r , w i r 43 i y i , was exh ibited at th e Old Masters E xh ibition at B urli ngton No H ouse in 1 88 5 ( . The oun es of h ese ch d en is Ch i s na a e a ds y g t t il r r ti , ft rw r Duch ess of M an and su se uen D uch ess of Lo a n il , b q tly rr i , wh ose po rtrait by Holbei n was in 1 909 added to the National

Coll ection . I n the Hampton Court pic ture Ch ri sti na is s n th e f w Sh ee at a ou a e o t o . e was o n 1 2 1 and was b t g b r 5 , n at Dover i 1 5 2 3 . 3 R W k n o n : Wi S ee N . . s lton H ouse P ictu res 1 0 il i , 9 7 ,

1 8. i. 3 34 T H E LE WIS RE QU EST represented in the National Gallery , notably by “ ” his superb Portrait of a Man (No . his Portrait of Jacqueline de Bourgogne being a recent acquisition of much import ance . Another good portrait is that of the 1 1 Chancellor Jean Carondelet , of 5 7 , in the

Lo uvre (No . The collection of Sir Frederick Cook at Richmond contains a char " act eristic Hercules and Omphale . w 0 1 Mabuse made his ill on June 3 , 5 3 3 , and probably died Shortly afterwards . No later

is . record found of him His wife , Marguerite ’ M o lenaers S , was already dead in n Mabuse was commissio ed by Christian II . h is to make a tomb for wife , Isabella of Den

2 1 2 6 . mark , who died on January 9 , 5

1 “ A n o a a docum en o f Ma 1 8 1 6 e a d n P e e t ri l t y , 5 3 , r g r i g i rr Gossa fils M neu de ean Go ssa dit M a use dans la rt , i r J rt, b , ” success o n de ses a en s defun ts e a es to a m ade i p r t , r l t will on th e as da o f un e 1 in th e esen ce of H ad an us l t y J 533 , pr ri ’ M n a n o a S ee Ma c o s ea n ssa r e a . u e G s a Go t a rti i , t ry ri rt j

a b e Lille 1 0 . 6 n d . 1 see a so E v an M u eu a . g , , 9 3 , p 5 p 43 ; l ’ ’ E en L A n cien ne Ecole ae P ein tu re de L ouv ain Lou a n v , v i , ’ 1 8 0 . 1 20 . U n ecen Mab use s dea h was usua 7 , p til r tly t lly

aced in 1 1 . saac B a a su es ed th e ea 1 0 pl 5 4 I ll rt gg t y r 5 4 , wh il e D e Pil es and D e J o ngh gave 1 5 6 2 a s the m ost lik ely e da t . F o r u h e de a s o f th e e and o k s of Ma use see f rt r t il lif w r b , ’ ’ ' H H m an s ed on of Ka e van M n e L i'z/re aes P ei . y iti r l a d r s n ’ res 1 88 2 6 n W cler c d s t . . a d u z ach : N ie l in i c/zs , 4, i p 3 ; r b e ’ fi nstler—L m leon 1 6 - 8 K e 0 . 6 9 , pp 7 . , 9

T H E LEWIS BE QUEST

. This is one of the two pictures referred to

in an article by Sir C . Holroyd on Two recent

Additions to the National Gallery , published rlin ton M a azine 1 0 8 x B u . in the g g , April 9 , iii

P 34 0

Purchased from Mr . Thomas H . Mack , in

1 0 0 . 9 7 , for £ 3 XIII

CA TH A R I N A V A N H E M E S S E N — (1 5 1 5

A A R A C TH IN , the daughter and pupil of Jan H emessen o van , painted p rtraits on a small scale . The dates of her birth and death are Christ iaen unknown . She married de Morien 2 (de Moryn) , the musician , on February 3 , 1 5 5 4 . With her husband she was taken in 1 6 5 5 to Spain by Mary Queen of Hungary,

S V . ister to Charles , and widow of Louis , 1 King of Hungary and Bohemia . Catharina acquired much celebrity at the Spanish Court 2 as a portrait painter .

1 0 2 R o No . 4 . o m XI .

P ortrait o a M an f .

A man with light hair and scanty beard ,

1 ’ L . Guicciardini Des t a P aesi B as i I cri tione i tutti i s , n

An e sa 1 8 1 . 1 . v r , 5 , p 45 Max R ooses and Fra nz R eber : Gesc/iic/zte der M aler mle A n tw er en s Miinch n 1 8 scl e 8 1 . 68 p , , , p . NETHERLANDISH SCHOOL 37

e a t he w aring a bl ck slashed doublet , body of

which is trimmed with gold buttons. The sleeves of the under dress are white and also

trimmed with gold buttons , the black sleeves

of the doublet being hardly seen . An under r e e red ga ment is mbroid red with a edging , and from the red cords which hang down over

the chest depends a gold ring . He wears a

black hat . With his righ t hand he grasps the n hilt of his sword , his left resti g on his hip . On the forefinger of his left hand he wears a ring with armorial bearings in the bezel , and another ring on the little finger . More than half length , slightly turned to the left . Signed in full in the top right corner of the panel

CATHARINA . FI LI A J OANNIS DE H EMES S E N PI NGEB AT

W . 1 . 2 . 1 1 ood ft } in h . x } in . w . x

Purchased from Mr . James C . Wallace , in 1 8 8 6 0 7 , for £ . GE RM A N S C H OO L

XIV

H A N S B A L D U N G

(1 48 0- 1 5 45 )

A S BAL D U N G i am H N , who acqu red the n e of

Griin 1 80 Grien (or ) , was born in 4 at the “ village of Weyersheim ( with the High 1 Tower near Strassburg . The home of his - ii 2 a Gm nd. family was , however , Schw bisch

This engraver , designer , and painter was Wander a/zre Diirer trained during his j by . In 1 0 Be 5 9 he became a citizen of Strassburg . tween 1 5 1 2 and 1 5 1 6 he painted the altar

-in - piece for Freiburg Breisgau , which is still in the cathedral in that city . The central subject is the “Coronation of the Virgin ”

1 S ee o a h ca n ot D r ed ande in A ll e bi gr p i l i ce by . Fri l r g ’ ’ ' ' m eines L exi/eon aer B ilaen aen K icnstler L e z 1 08 , ip ig, 9 , - l. 0 0 . vo ii . pp . 4 3 4 5 2 Th e j o i n t auth o rs of th e Ca ta logu e of the E x /zioition of E arly Germ a n A rt field a t the B u rlington F ine A rts Club ’ — in 1 06 . e th d o f B ldun s h as 1 0 e a e a 8 . 9 , p liv, giv t g birt 47 5 3 8 GE RMAN SCHOOL 39 between God the Father , and the Christ ; to the right are St . Peter and the other

. apostles , to the left St Paul and several

r wa riors , the outside being painted with the “ " “ " “ Annunciation , Visitation , Nativity , and ” Flight into Egypt . Another painting by “ Baldu ng of the Crucifi xion is in the same cathedral . Baldu n galso painted portraits , many of which u formerly passed as the work of D rer , whose monogram has frequently been fraudulently added . Thus the Bust Portrait of a Senator 2 in this Gallery (No . 4 5 ) is an authentic work Baldu n 1 1 by g, and was doubtless painted in 5 4 , as the inscribed date states , but the monogram “ " A . D . is clearly a modern addition . From

1 5 1 7 onwards he painted profane subjects . Baldu n g left some engravings , a very large number of drawings and woodcuts , and some - - 1 pen and ink sketches . “ n : D u S ee J . Gé y ie Federzeich n ngen H an s B aldungs ” zu Mum ers U b ersetzun der We esch ch e des S ab ellicus g ltg i t , ’ s /z R a i ustrirte E lsas isc e n nas /zzc 1 8 . n I ll c 0 vol. . , 9 5 , vii . p 5 ’ F o r c ca em a k s on B aldun s o k see Ga e v on riti l r r g w r , bri l ’ Tére : Die H an dzeicli n u n en aes H . B a ldun S ass u y g g, tr b rg, ’ 1 894-96 see al so th e same auth o r s Die Gemalde ties H a n s ’ ' ’ a ldun 1 - 1 0 h r B g, 89 5 9 0 ; and is Verzeiclzn iss o e Gemalae cles

H a ns B a ldun 1 8 . g, 94 ’ F o r th e detail s of B aldung s work as reveal ed by th e ligh t of th e m os ecen esea ches a t e u Ca h ed a see t r t r r Fr ib rg t r l , — F reibu r er M icnsterola tter . 2 and . 86 1 0 0 . g , i 4 iii , 9 5 7 40 THE LEWIS BEQUEST

XV . 1 2 R . No . 4 7 . oom Plate X

d Christ—a Pieta The D ea .

The figure of the Christ , supported by the l Virgin on the eft and St . John on the right , is seen at half length above the edge of a red marble tomb . In the gold background are clouds from which the Holy Spirit descends . In the foreground to the left are diminutive

figures of the donor with his three sons , while t o the right kneel his wife and daughter . In

‘ each of the bottom cornersis a poorly painted coat of arms , apparently of later date than the rest of the picture . The panel is Signed on the edge of the parapet

‘ leiB' BALDWIG

. 2 . 1 0 . Wood . 3 ft . 7 3 in h . x ft 3 in . w x “ In one corner is their escutcheon bear ” - l ing three money bags and a broad bar .

Athena um . 1 2 1 8 , Jan , 95 . 1 8 Purchased from Sir G . Donaldson , in 94 , 6 00 for J£ .

1 Th ese m oney-bags would rath er seem to b e th ree escall ops. sta en l h / g , p ot o. P L ATE X

No . 1 2 H 4 7 . AN S BA LDU NG Th e D e ad C tu is t

4 2 TH E LE WIS BEQUEST

Go ltziu s . , and Karel van Mander His earliest ex tant picture may be the small oval Portrait ” of a Man , now in the possession of Professor

L . Knaus at Berlin . His earliest dated picture “ ” 1 6 1 is the Portrait of Pieter Schrijver , of 3 . 1 6 1 ow In 4 he painted the portrait , n lost , of

Johannes Bogardus . His famous Banquet of

f . the O ficers of the St Joris Shooting Guild , eb 6 1 6 . still at Haarlem , was painted in I On F ruar 2 0 1 6 1 6 y , , he was summoned to appear re ri before the Burgomaster of Haarlem , who p m anded him as to his irregular habits and his ll his H erm ans. cruelty to first wife , -Annette 1 8 She died on September in the same year , and 1 2 1 6 1 on February , 7 , Hals married his second R e niers wife , Lisbeth y , by whom he had a “ large family . The Portrait of a Man and ” n o w Ri k s his Wife in a Garden , in the j

Museum at Amsterdam (No . was painted some seven years later , and the well “ ” known Laughing Cavalier, in the Wallace

1 6 2 . 1 6 2 Collection (No . is dated 4 In 7 Hals painted another Banquet of the Offi cers ” of the Guild of the Archers of St . George , “ and the Offi cers and Under-Offi cers of the A Archers of St . driaen both pictures still

1 Th e d a s r d r W n : L es et il a e given by A . v an e illige ’ A rtistes a e H a arlem W en wh o h as 1 8 0 . 1 . , 7 , p 44 illig , d a n u a ed ee of th e H a s am aces the h o f r w p p igr l f ily, pl birt an s in th e ea 1 8 Fr y r 5 4 . DUTCH SCHOOL 4 3

- remain at Haarlem , where , even to day , the art of Frans Hals can best be studied . With Berest e n the three pictures of the y family , 1 6 2 1 6 0 painted in 9 and 3 , which were bought from the Hospice van Beresteyn at Haarlem ’ 1 8 8 by the Louvre in 4 , the painter s first manner may be said to close . To the master’ s middle period belongs the Assembly of the Offi cers of the Arque i rs b us e . of St Adriaen , still at Haarlem , and 1 painted in 6 3 3 . In the same year also he “ executed the signed and dated Portrait of a ” Man , which was presented to this Gallery

1 2 1 1 8 8 8 . x (No . 5 ) in The superbly e ecuted - - “ full length , life size portrait of Willem van H uythuysen in the Liechtenstein Gallery at “ Vienna , the admirable Portrait of a Dutch ” “ Gen tleman and the Portrait of a Dutch t he m a nifi Lady in Edinburgh Gallery , are g ’ cent e xamples of the artist s second manner . In the same category must be placed the very “ large Offi cers and Under-Offi cers of the ” R Arquebusiers of St . George , and the egen ’ ” ten of St . Elizabeth s Hospital , both of which are still at Haarlem . To his third and last manner belong the e xtraordinarily realistic “ ” Hille Bobbe , now at Berlin , painted in “ ” 6 0 1 No . 5 , and the Family Group ( 1 0 8 acquired in 9 for this Gallery . On 44 TH E LEWIS REQUEST

1 0 1 6 March , 5 4 , Hals had to appear before Gellin ckhu sen Hendrick van y , the public Y k ess notary , at the instance of Jan , the deux cents baker, who sued him for a debt of lorins Carolus 1 f . Among his latest achieve ments must be reckoned the portrait group ’ Six R e enten o the Old M en s Hos ital of the g f p , Fiv e R e entessen and the g (or Lady Governors) , 1 66 both of which were painted in 4 . In that year he applied for and was granted poor relief

by the Municipality of Haarlem , and two years later an allowance of fifty fi orin s a quarter was w made to him . On his death his idow was

allowed fourteen sous a week . Frans Hals ranks as one of the greatest masters of the brush that Europe has ever

produced , and one of the elect company of

superlatively accomplished portrait painters . “ six Frans Hals had sons , all of Whom were

mediocre painters , and a brother , Dirk Hals , whose art is closely allied to that of Pieter

Du st er . . Codde , Willem Cornelis y , and H G

Pot .

N 1 2 1 . 0 R . . o . oom X Plate XI

o t a a P r r it of a Wom n. She wears a black dress with richly brocaded “ 1 At th at date H al s o wn ed a P reach i ng of S t :John ” “ th e B a s V erm an der an d th e s ae i es a h e n pti t by , I r l t g t ri g ” M n n V a n H k a a by eem s erck .

DUTCH SCHOOL 45

ar u ff i sleeves and a White cap , l ge r and wr st

in bands ; almost full face , the body turned to - the left . Half length portrait ; plain back

ground . Signed about half-way down the edge of the ’ re canvas with the painter s monogram , here

produced in half size .

. 2 2 1 6 Canvas ft . % in . h . x ft . 3 in . W . x 8 . 1 6 Purchased from Mr . F A . Keogh , in 7 , 1 0 for 5 .

H E N D R IK A V RR C A M P — (1 5 8 5 after 1 663 )

E R AV E R C A M P 2 H ND I K was born on January 7 , 1 8 5 5 , and was still living in He was

' Wu z a ch : Niederlan disches K n nstler-L exikon 1 06 r b , 9 , ’ . A rcam s d h in 1 660 aces v e eat . p 35 , pl p ’ T v Lerius in B io ra hies d A rtis s uv ersois . an , g p te A , — An e s 1 88 1 v ol. I I . . 1 1 1 2 nco ec aces A e v r , , pp 4 5 , i rr tly pl v r ’ h s la a 1 cam p s birt a te s 594 . S ee a so A ll em eines L exikon der B ilden den K unstler l g ,

Le zi 1 08 2 6 . ip g, 9 , ii . 7 4 6 T H E LE WIS REQUE ST dumb , and as his parents were resident at Kampen he became known as “the mute of

. x A vercam Kampen His mother , Beatri p, in 1 8 1 6 6 f her will dated December , 3 , re ers to “ ” him as her dumb and pitiable son . We have no later record of him . He painted x winter scenes almost e clusively .

. R . 1 . No . 4 7 9 oom X Plate XII

A S cene on the I ce .

To the right is a large red brick house , - with out buildings abutting on to a wide river, ' which is frozen over and covered with groups of figures skating . In the foreground is a - water tank ; a sledging party, and a party of men playing hockey, are seen in the middle distance . On the horizon is seen a large town and trees . ’ Signed with the painter s monogram , com — posed of the letters H and A , on the water tank in the foreground .

1 . I o 2 1 0 Wood . ft i in . h . x ft . 3 in . w . (0 5 6 5 x 8 6 In a private collection in Leeds until 1 9 . e 8 . 1 6 Purchased from Mr J . St . Hens , in 9 ,

8 s. for 9 , 5

DUTCH SCHOOL 47

X VII

J A N V A N GOY R N

(1 5 9 6 - 1 6 5 6 )

J A N J o sersz V A N G O Y E N was born at Leyden

1 1 6 . on January 3 , 5 9 He was the pupil of — E sias van de Velde (1 5 90 1 and occupied himself especially with painting cavalry ch arges and rustic scenes , thus becoming one of the founders of the school of genre painting in

Holland . He was the master of Jan Steen , and may be said to have prepared the way for R Jacob van uisdael , one of the greatest of

Dutch landscape painters . During the last few years of his life Van Goyen resided at The e Hague , where he di d at the end of April

1 6 5 6 .

1 2 . R . No . 3 7 oom X Plate XIII .

A Wi ter Sce e n n .

A number of persons are skating on a frozen river . In the centre of the foreground is a rustic sledge filled with peasants who are gossiping with their friends . In the middle distance to the right are fishing vessels and boats which lie alongside a jetty , above which is m n a high wall , sur ou ted by a tall building. 4 8 T H E LEWIS REQUEST On the left a party of men are sporting on the ice In the distance to the left is a castle

in ruins , and on the right a windmill . Wild

ducks are flying across a wintry sky . Signed z j I

. . . . . 1 0 Canvas 3 ft 9 in h x 4 ft in . w . (1 -1 4 3 x

. St This picture was bought by Messrs P . D . ’ Colnaghi at the sale of Lord H aldo n s collec4 ’ 2 8 1 8 1 tion at Christie s , February , 9 (No . R under the title of A Frozen iver Scene .

‘

8: . o a Purchased from Messrs . P . D C ln ghi in 1 8 1 9 for £ 3 3 5 .

XVIII

H E ND R I K G . POT

(1 5 8 5 - 1 6 5 7)

H E ND R IK GE R R I T S Z POT was born in 1 5 8 5 1 6 1 6 and died at Amsterdam in October , 5 7 .

He was influenced , if not taught , by Frans

. 1 6 1 Hals He came to England in 3 , and

1 Th ese ac s ar M ss s f t e k i ndly comm un icated by e r . Colna h i g . 2 ' Wu z ach :Nzederlandisches K unstler Lexi kon 1 0 r b , 9 7 , p 348 .

DUTCH SCHOOL 4 9

probably remained here some years . His Portrait of Charles which is signed and 1 6 2 inv en dated 3 , is in the Louvre ; in old “N ” tories it was attributed to . Conning , an l “ e unknown painter . The picture ntitled A ” ar l St t ing Introduction , at Hampton Court ’

No . ( bears the artist s monogram , and is s almo t certainly by Pot . It was , however , in s the past attributed by turn to Palamedes , 2

Poelembur . g, and Pieter Codde His Ladies ” and Cavaliers at Cards is in the Wallace

Collection . Pot is sometimes known as The ” 3 Mon o ram m ist P g H . .

1 2 8 R No . 7 . oom X .

A Confvi‘ ial Par v ty.

A group consisting of an old woman , two young women , and three men in military uni form , are seated round a large table . The x table , which e tends from the middle of the room to the projecting chimney-piece to the right , is covered with a red cloth , over which is spread a linen tablecloth on which are viands . The amorous pair to the left seem to afford

Lafenestre :L a P einture en E uro e ou r I p , Le L v e, 893 , 20 p . 4 .

E . La w : The R o al Galler o H a m ton ourt 1 8 8 y y f p C , 9 , 2 6 p . 3 . 3 W B ll s . od : H o a ndi he M ler i e c a e 1 88 . 1 . , 3 , p 5 7 D 5 0 T H E LEWIS RE Q UE ST amusement to the toothless Old woman who is

filling her tobacco pipe . On a chair in the extreme right corner lounges a plumed and l booted cavalier , who al ows a dog to lick his

left hand , which hangs listlessly by his side , while with his right he holds before him an

empty glass . He is addressing a young woman S who , by her gesture , hows that she does not

join in the toast . A man sitting on the far side of the table holds his glass over the woman ’ s

left shoulder in the direction of the cavalier . ’ The painter s monogram , HP, in small d ffi ih characters , is read with i culty on the - side of the chimney piece to the right . ' i 1 2 . n . Wood . 3 in . h x 7& w . x

85 Purchased from Messrs . Lake , Beaumont

8 . CO. 1 8 2 00 , in 9 , for £

XIX

NI C OL A S M A RS — (1 6 3 2 1 6 93 )

O A S A R S enre NI C L M , the Dutch g , history , l re igious and portrait painter and etcher , was

the son of Gerrit Maes . He was born at N 1 6 2 Dordrecht in ovember 3 . From about 1 64 9 until 1 6 5 2 he was a pupil of Rembrandt

5 2 THE LEWIS REQUEST

Trafalgar Square as coming from the same hand . Maes seems to have given up painting towards

the end of his life . The style of his latest — portraits is more Franco Flemish than Dutch ;

they are , moreover , too often the uninspired - productions of a fashionable face painter .

o 1 2 R . N . 47 . oom X Plate XIV

The Card Pla ers y . A young man and a young woman are play t ab le covered ing cards at a small ‘ with a brown

cloth . He is dressed in black velvet with gold a - embroidery , she in gown of deep toned scarlet , - slashed at the elbows . She wears ear rings , a has gold chain and bead necklace , and pearls in

her hair . The young man has just played a card ,

and looks out of the picture at the spectator .

The young woman , whose turn it is to play , is seen on the right in profile to the left , holding her cards high before her face . The figures , which are life -size and seen at three -quarter

length , nearly fill the picture . Beyond the ' b e young woman s head is the base of a pillar, a - hind which is dark olive brown background .

. . . . . 1 2 1 x Canvas 4 ft 3 ft 4 in w ( . 9

Formerly in the collection of Lord Monson . PL ATE XIV

No. 1 2 47 . NICOLAS MAE S Th e Ca rd Players

5 4 T H E LEWIS REQUEST

a Originality is r rely, if ever, met with In 1 pictures .

8 R . 1 1 . NO. 9 oom X

T e M ar/act Pla ce at The Ha ue h g . A large crowd busily occupied in the market place ; to the left are booths , while the rest of the composition is occupied by peasants selling market produce . In the centre is a fountain , red brick houses are seen through the trees , and in the background is t he tower of the Groote

Kerk .

1 ft . 2 . x Wood 9 in . ft . 5 in w . x 0 7 3 7 )

L . Purchased in ondon from the Hon . C - 1 0 00 Sclater Booth , In 9 3 , for J£3 .

1 D / r. A vo n W ch : N i h K u t . urzb a ederla n disc es ns er L ex iho n 1 06 . 2 8 . , 9 , i 5

PL ATE XV R K OW R E C H PA E R OF T H E E E H C E o . UN N N F N INT FIFT NT NTU Y

5 6 THE LEWIS REQUEST feet . Two plants in pots are placed on the - turf covered bench to the left . At the back e of the Virgin is a battlemented wall , b hind which are assembled St . Francis , St . Hubert and St . John the Evangelist to the left, and St . e Catherine , St . Barbara , and St . Mary Magdalen to the right . In the distance are the towers n n a d buildi gs of a walled city . Hovering over the head of the Virgin are two diminutive b cherubim , who hold a gold crown etween them . In the upper heavens , slightly to the

. x left , is a minute figure of St Michael e pelling

Satan from Heaven . 1 1 0 111 1 Wood . 35 . h . x 75 in . w . x M . . 8: Purchased from essrs T Agnew Sons , 1 0 1 08 in 9 4 , for £ 94 , .

XXII GA B R I E L J A C QU E S D E SA INT -AU R IN — (1 7 2 4 1 78 0)

A R E A E S D E A - R G B I L J C QU S INT AU I N , a son of ” - du Gabriel de Saint Aubin , brodeur roi , was 1 1 2 born on April 4 , 7 4 . He was brought up h in t e workshop of his father . He was also a eaurat ran ois pupil ofJ , Colin de Vermont, and F g

Boucher . Through disappointment at receiv ' ing only the second prize in the competition x R 1 1 for the Pri de ome of 7 5 , he broke away FRENCH SCHOOL 5 7 from the Academy and resisted all academic restraint . He exhibited a few works at the 6 . 1 1 Académie de St Luc in 7 74 and 7 7 , but is known as a draughtsman rather than a painter . He gave up most of his time to making sketches of public festivities and scenes of

. Oil Paris life His pictures are very scarce . A ” Portrait of Himself, now in the collection

. and of M Fernandez Patto in Paris , a Scene ” in the Place de la Concorde , in the collection - x of Mme . Agenor Doucet , were e hibited at the ’ e Exposition de l A rt Francais au XVI I I Siécle

. Grou lt held in Brussels in 1 904 . The late M 1 was an enthusiasti c collector of his drawings .

The Louvre contains no picture by him . His “ n painti gs of La Guinguette , divertissement ” du a pantomime The tre Italien , was engraved by F . Basan , and P . F . Tardieu made an “ engraving of his Enfants bien Avisés . “ - a e Gabriel Jacques de Saint Aubin , gargon , g ’ ” e v i 1 i d n ron . 5 ans , ma tre peintre , died on Feb “ 1 0 1 80 s , 7 , leaving in the greate t disorder his linen , his clothes , and four or five thousand ” unfinished drawings . Greuze said that he had

an inordinate passion for drawing . Gabriel , a g , i , who had ‘ youn er brother August n might almost be called the French Adriaen Brouwer .

1 The us a ed Cata o ues of th e Groult D u ess s and ill tr t l g , pl i ,

Doucet sal es th ro w m uch ligh t o n his art . 5 8 TH E LE WIS REQUEST

x An e cellent life of him , from which the n x followi g is an e tract , was written by the De Gon co urt s é Gabriel vit peu avec les gens de son m tier , il v vit a ec des hommes de lettres , des savants, et des grands seigneurs , des comédiens des au comédiennes , dont , dire de la chronique ' il e a e u n l excen secrete , g y parfois souper avec r t icit é de ses idées et de son esprit . Gabriel ’ n en ferm e sa pas vie , comme son frere Augustin , ’ dans u n joli intéri eur bourgeois orné d une jolie l femme . La vie de Gabriel est toute hors e ' 11 foyer ; quand elle est pas dans la rue , elle est cc Ca e de Vendome e dans f , dans lequel j me ’ au représente , milieu d un public de nouvellistes , ' l artist e le parlant pérorant , débagoulant tout bavardage philosophique que ne pouvait contenir

la petite marge de ses dessins . Au bout de ce vagabondage du matin au et du u soir, de cette vie de la rue carrefo r , de a u n cette frénésie de dessin , prenant la fin charact ére il de monomanie , arrivait que Gabriel ’ ’ n av ait plus sou ci de sa personne et s habillait et ’ a et 1 8 0 se laissait vivre l aventure , mourait en 7 ’ ’ - ” 1 de l ab andon nem ent qu il faisait de lui mém e.

1 ’ m S ee E dm ond et J ul es de Goncourt :L A rt da X Vl l l e ' S ecle d uxiém e sé 1 8 2 1 2 M d la B lanch erie i e e 8 . . S ee . e , ri , , p 4 ’ N ouv elles de la R e uhli ue des L ettres et des A rts 1 8 p g , 7 3 , S ee a so A au :L es S a in t-Aubin 1 8 No . . d en Mo e xxvii l ri r , 94, an d Gazette des B eaux A rts A 1 0 . , pril 9 9

FRENCH SCHOOL 5 9

2 1 2 . R . No . 9 oom VI Plate XVI .

Une Pa rade. Groups of citizens are standing about under the trees on a boulevard watching two mounte banks fencing on a platform under the open

sky . In the foreground to the right a drum mer boy has fallen asleep ; in the centre a dog is running about barking . A lady is leaning against the trunk of a tree on the left . A young woman , holding a pink parasol , is look ing out of the window of one of the houses which form the background . Below the é window stands a hatless Abb , looking up at the mountebanks . A crowd is running up from the e x treme left . 8 1 2 x 2 . . Canvas . ft . in . h . ft in w . x

1 0 This very interesting picture was , until 9 7 , in the collection of Mr . Francis Baring , where

en it passed as the work of C . Gillot , and was “ n titled A Street Sce e , with Figures watching ” Mountebanks Fencing . While the collection , 1 0 which was sold on May 4 , 9 7 , was on view ’ t he at Christie s , Director and some of the Trustees of the National Gallery were S O struck with its quality that they were disposed to con sider its purchase . A member of the firm of 8: ff Messrs . T . Agnew Sons generously o ered to 60 TH E LEWIS REQUEST bid up to a certain price for it on behalf of n the Gallery , and the firm was willi g to take it over afterwards for their own account if the Trustees S hould eventually decide against the purchase . The authorities of the Gallery recognised immediately that the picture could not possibly be by Gillot , but they were unable at first to name its author . They , however, ultimately agreed to complete the pu rchase . One of the Trustees happening to possess a ‘ copy of L es Thécitres Lihertins an XVI I I Silele

(Paris , came across in it a modern reproduction of an Old engraving of the picture . Unfortunately it did not make any ' ’ ident ifica reference to the artist s name , and tion seemed as far off as ever . Soon after wards the same Trustee , being in Paris , Schéfer showed the print to M . Gaston , ’ l A rsenal of the Bibliotheque de , who very kindly volunteered to trace the engraving . h fer M . Sc é then discovered in a portfolio of theatrical prints at the Bibliothe‘ que Nationale an unfinished proof of the engraving , which was dated 1 7 6 0 and inscribed in an old handwriting Gabriel de St . Aubin , The Director then examined carefully the drawings by Gabriel de Saint-Aubin and his brother Augustin in the collection referred to O above , and formed an pinion , on general

6 2 T H E LEWIS RE QUEST

XX II A

R E P R O D U C TI O N of a sheet of studies made by Gabriel Jacques de Saint-Aubin for his oil 1 picture Une Parade . Plate XVII . L ’ A d D . rt a ix E . and J de Goncourt , in their ’ "r huitiéme Siecle 1 8 8 0 1 , troisieme edition , , vol . , p . 8 (E uvre é 4 3 , in reviewing the grav de Gabriel - de Saint Aubin , under the heading of Fetes , R éjouissances , Inaugurations , Faits divers de é la rue , Vues , Int rieurs Parisiens , Cafés , Bals , ” Promenades des Environs de Paris , refer to this drawing in the following terms

La Parade des Boulevards , gravée par . ’ ’ m e e u . L esta t D clos p non terminée , qu on et trouve sans nom de dessinateur de graveur, ’ ’ porte écrit a l en cre sur l épreuve du Cabinet

Ga hriel de St - Anhin inx 1 6 0 : . des estampes p , 7 , ’ D clos a sc l d ét es u . u s ud , g. f p . Une feuille

. . 2 6 . e . é u n (H 4 3 c L c ) repr sente , dans pro et portion plus grande que la gravure , largement ’ crayonnés a la pierre d I t alie avec rehauts de bleufit re raie sur papier , plusieurs des person ’ l ét ude nages de la composition . On y trouve ’ ’ d apres nature du Capitan et de l A rlequin ’ ’ a l é ée l ét ude da tirant p , vieil homme en ’ et v u l ét ude manteau en chapeau rond de dos ,

1 Th e reproducti on from wh i ch th i s ill ustrati on was m ade i n s i th e B riti sh Museum . FRENCH SCHOOL 6 3

’ l abb é é x de bedonnant qui regarde bahi , deu études différentes de la fem me assise sur u m ’ le fille banc , avec bras d une petite passé autour

de son cou . Ce dessin fait partie de ma ” collection . The original drawing was included in the Catalo ue de D essins A uarelles et P astels da g , q ‘ ‘ XVI I I Siecle , which formed the Collection Goncourt s des , which was sold at the Hotel 1 1 6 1 Drouot , Paris , on February 5 , , and 7 , 1 8 t - 97 . It was one of the thir y one lots by

that artist in the sale , and was described as follows

2 6 6 A R E D E A — R No . . G B I L S I NT AU I N .

Etude p our la Vue des boulev ards

u n Pitres de parade se fendant pour assaut , ’ le v u gros abbé nez en l air , vieillard de dos u n dans grand manteau , savoyard sautillant u n m un sur pied , fe me assise sur banc soulevant

son enfant pour voir . “ euille risét re a F de croquis sur papier g , la

é . pierrenoire , rehauss s de blanc Vue des B oulev ards Etude pour la , de Gabriel - é de Saint Aubin , grav e sans titre par Duclos x (h . l . “

. 2 6 It also figures as No 3 , La Parade des

Boulevards , par Duclos , in the catalogue of E R 64 TH LEWIS EQUEST eighteenth century engravings sold by De 8 Goncourt s in April 1 97 .

XXIII

J OS E P H DU C R E UX — 1 73 5 1 8 02

J OS E P H DU C R E U X was born at Nancy on June x 2 6 1 , , 7 35 , the son of Charles Ducreu a 1 painter . He became the principal pupil of He Quentin de la Tour . was also influenced

by Greuze , who painted his portrait . Greuze Clém enbe x also painted Antoinette Ducreu , the ’ u painter s youngest da ghter , as his model for “ ’ ” L or e D uc his famous Acc dé du Village . x reu , who is not an artist of the first rank , seems to have laid to heart the advice : given to him by Greuze Soyez piquant , si ” ne x vous pouvez pas etre vrai . Ducreu was

selected to go to Vienna , where he arrived on 1 1 6 February 5 , 7 9, to paint the portrait of Marie Antoinette previous to her marriage

to the Dauphin . Although the first portrait

1 Th e da e wa m M We m a s o e en as 1 . . t f r rly giv 7 37 i r, Cu a o of th e Museum at Nanc d sco e ed th e ce fica e r t r y, i v r rti t of birth an d bapti sm wh ich was p ubli sh ed in th e Gazette des ° B eaux A rts e . r . S e 1 06 . 1 . , 3 p , xxxvi , pt . 9 , p 99

XXIII

PL ATE XV I II

o 2 1 6 2 E H CR E N . J OS P DU UX P ort I a it o f t h e A r t ist

E E 6 6 THE L WIS B QUEST

1 8 02 . 2 4 , ; S other names some never igned , pass under of them have been attributed to Greuze .

a black coat , a partially unbuttoned waist — , coat , and a white neck cloth is seen in full

ou t S . face , looking straight at the pectator

Dark background . 1 1 . . . . . 4 1 . Canvas . ft 93 In h x ft 5 in W x Formerly for many years in private owner

ship in England . Ducreux painted many portraits of himself

(see above) .

. Purchased from Messrs . Shepherd Bros , in

1 0 0 . 9 7 , for £5

1 ° 6 ér vol. . S e . 1 0 s B eaux A rts . Gazette de , 3 p , xxxvi , pt 9 — 1 2 1 6 . pp . 99 in his A lin a nach . B P . L e un Ducreux is i n cl uded by J . br ' iso des a rchitectes ein tres scu l teurs et historique et ra n ne , p , p ’ ’ — t uc 1 6 . ciseleurs de l A ca demie de S a in L , 7 7 7 7 FRENCH SCHOOL 6 7

xx 1v

J A C QU E S LO UI S D A V I D — (1 748 1 8 2 5 )

J A C QU E S LO U 1S D A VID was born in Paris on 8 0 1 . August 3 , 7 4 His father having been e 2 1 kill d in a duel on December , 7 5 7 , young David was to some extent thrown upon his own resources . Francois Boucher , a distant relation and then in middle age , was con sult ed as to his prospects , and advised his being sent to the studio of J . M . Vien , who was then at the head of the neo-classic 1 1 movement . In 7 7 David won the first , but was only awarded the second , prize in the “ Prix de Rome competition with his Combat ” de Minerve contre Mars , now in the Louvre . Three years later he gained the Grand Pri x de R 2 1 ome . He left Paris on October , 7 7 5 , for R ome , Where he remained nearly five years . He was elected a member of the Académie in 1 8 7 3 , in which year he painted the portraits of Péco ul s M . and Mme . , who e daughter he had H “ married in the previous year . is Oath of “ 1 8 the Horatii was finished in 7 4 , his Blind ” 1 x Belisarius being e hibited a year later . His “ works of this period include the Oath of ” a 1 1 the Tennis Court at Vers illes , of 79 , the

1 : S ee . V l o t ce. des T bleaua a vre 1 8 0. F i l t No i a ; d Lou , 9 6 8 TH E LEWIS BEQUE ST

1 Marat Dead in his Bath , of 7 93 , now in

the Brussels Museum , and the portraits of

Seriziat x M . . and Mme , which were e hibited at the Salon of 1 7 95 and are now in the

Louvre . As First Painter to Napoleon , he was Co n se in 1 804 instructed to paint the large ” cration and Enthronement of the Emperor ,

x which was e hibited four years later , and is now In the Lou vre ; his Distribution of the ” 1 8 1 0 Standards was finished in . At the Restoration in 1 8 1 6 he was compelled to

leave France , and took up his residence in Brussels ; the last picture he painted in his native land being the “Leonidas at Thermo ” as pyl . David , who died at Brussels on De cember 2 1 8 2 9, 5 , was the master of a great

number of painters , among whom may be Girodet R -T rioson mentioned de oucy , Gros , Léo Old R e Gérard , Isabey , Ingres, p Louis ob rt , 1 and A . de Pujol .

. 2 2 1 R No 7 . oom VI .

Portrait o E lisa B ona arte Grand D uchess f p ,

o T scan f u y.

x The lady, who has a bright comple ion,

1 “ S ee L R o h : ” . sen a Lou s Da d 1 0 in L es M a itres t l i vi , 9 4, ’ de l A rt se e “ ” s ; and C . S aun e Lou s Da d 1 0 in ri i r, i vi , 9 4, “ L es Grands A rtistes se es S e a so ri . e l an a rti cle on D avid ” Po a s e P os e Dorb ec in th e Gazette d B e rtr iti t , by r p r , i es a ux A rts ° — er. vol. x . A , 3 1 0 . 06 1 . p , x xvii , pril 9 7 , pp 3 33

E 70 THE LEWIS REQU ST landscape and the white of the dress being

S harply relieved by the sash of vermilion . The

very painting , too, lacks the delicate precision

of touch , and the vibrant quality in the

. shadows , which give life and delicacy to Mr ’ 1 illi s s Claude Ph p picture ; the touch , indeed , quite apart from its deliberate repetition of

movement , variety , and emotion , displays an actual insensitiveness to the finer gradations of

form that is just a little disquieting . The

heavy contour of the Cheek , the modelling of

the face, the setting of the head upon the neck ,

‘ and the treatment of the hair, suggest a pos sible explanation for the unfinished state of the u pict re , on the ground that it failed to satisfy either the painter or the sitter . It is curious , too , that the portrait of so important a lady S hould have been started upon a canvas already

used for a study of nude figures . Yet it can k have been no bad li eness , as the Napoleonic traits in the features would not have asserted

themselves so convincingly .

A full length portrait of this lady , wearing

Empire costume , slightly turned to the left and

standing at the top of a staircase, was painted

Pi eot by Gérard and engraved by g . It is repro ’ du ced in Charles Gavard s Galeries Historigues

1 I us a ed in th e B urlin ton M a azine Ma 1 08 ll tr t g g , y 9 , 6 6 . p . FRENCH SCHOOL 7 1

de Versailles 1 8 8 xii . x . , 3 , Tome Série , among ” the Portraits Divers . L et hiére Another portrait , painted by in

1 8 06 . , is at Versailles (No where there is also a marble group representing her with her N daughter apoleone Elisa , Countess Camerata N : L e M usée O . (N . See P de olhac l de Ve ailles 1 6 Nationa rs 8 . , 9 , p . 3 3 5 Del ech A lithographic reproduction , by p , of a bust portrait of her is given in I conographie des Contem o a i s 8 . r n 1 . . p , Paris , 3 3 , vol i Plate 7 ’ A portrait of her, painted by Pierre Prud hon

R . . and engraved by . G Tietze , is given in W ’

Na oleon B ona arte 1 8 6 . M . Sloane s p p , 9 , vol i . R 49 Portraits by Prud ’ hon are also reproduced in ’ Dix-Neuv ieme Sitele 1 0 1 Centur , 9 , and in the y M a azine 1 8 xx 2 2 g , 95 , vii . p . 3 . A portrait by Quenedey is contained in ’ ’ Da ot s Na oleon ra conté ar 1 I ma e Armand y p , p g , I 8 0 9S. P 4 7 . Canova made a statue of her representing

Knackfuss her seated upon a throne See , ” Kitnstler-M ono ra hien g p , volume on Canova ,

. . 1 8 8 . 8 1 by A G Meyer , 9 , p .

Purchased from Dr . Paoletti , of Florence , in 1 0 8 1 6 0 9 , for £ . E 7 2 TH E LEWIS REQU ST

A TTR IB UTE D TO IN GR E S

XXV

J EA N AUGU S T E D O M INI QU E IN G R E S — (1 78 0 1 8 6 7)

J E A N AU GU S T E D OM INIQU E IN G R E S was born 2 at Montaubon on August 9 , Ingres ,

whose father was a drawing and music master , “ ” said that he was brought up in red Chalk . He recei ved his early training from Joseph 6 R u 1 . oq es , and in 7 9 became a pupil of David 1 8 06 R In he set out for ome , where he spent x (E di us ex the ne t fourteen years . His p ” plaining the Riddle of the Sphinx Roger delivering Angelica “ The 1 Vow of Louis XIII . ( The Apotheosis of Homer ” The Portrait of Bertin “Joan of Arc at the Coronation of ” “ ” Charles VII . L a Source and the “ Portrait of Himself ” all of which are in the Louvre , mark the various stages in the development of the modern R ” aphael . ’ “ 1 8 0 1 8 0 Ingres s pictures , from 3 to 5 , were like a Challenge to those schools of broad

1 “ . Mommea : . A . D . I n es in th e Gra nds A rtistes J j gr , . J se ies 1 0 i es th e n , 9 4, g accu a e da e of Au us 2 1 8 . r v i r t t g t 9, 77

74 THE LEWIS REQUEST l a revers of white satin . She has b ack hair smoothly banded and parted in the middle .

Her eyes are brown , and she wears small enamel - - earrings . Half length portrait , three quarter face to the right . Pale green background . Madame Maria F elicit a Malibran (Madame - Garcia) , the well known singer , was born in 1 8 d 8 0 . She ied under sensational circumstances — at Manchester at the early age of twenty eight .

1 1 . . 8 Canvas . % in h by 3 in . w . x 1

An article on Maria Malibran , by Adolphe ’ L Art 02 lxi 0 — 1 1 . . Jullien , in , 9 , pp 3 5 3 5 , con tains a reproduction of a bust portrait of her after Achille Deveria . A portrait of her by Dev éria is reproduced Dix-Neu iéme Siicle 1 v 1 0 . 0 1 . in , 9 , p 3 A reproduction of a portrait of her as Desdém one Decaisne is L es , by , contained in L ettres cl les Arts 1 8 8 1 , 9 , ii . p . 9 .

John Hayter also painted her .

Purchased from Dr . Paoletti , of Florence , in 1 08 1 60 9 , for £ .

XXVI

GE OR G E S MI C H E L — (1 76 3 1 8 43) GE OR G E S MI C H E L was born in Paris of r 6 1 2 1 . humble pa entage on January , 7 3 FRENCH SCHOOL 7 5

u . became a p pil of Leduc Michel , who was

present at the storming of the Bastille , was on intimate terms with Madame V igée Lebrun Bru et Dem arn e and and . He also knew and 1 Sweb ach . Although he spent most of his time at Montmartre , he often went sketching in the country near Paris . He exhibited at a 1 1 1 8 1 the S lon between 7 9 and 4 , but he — d sold his pictures which are rarely ated , s O — diflicu lt and le s ften signed With y, and for trifling sums . He made Copies after the

Dutch seventeenth century painters , and also restored pictures for Cardinal Fesch and Baron De - é é non . , Directeur G n ral des Musées His 1 8 6 art , although practically ignored until 4 , was inspired by the pictures of Jan van Goyen , R R Salomon van uysdael , Jacob van uisdael , e R Hobb ma , and embrandt indeed , he has been R ” 2 called Le uisdael de Montmartre . At a time when the paintings of Watteau and Boucher were generally regarded as adorahles mensonges and art had become academic and permeated by a false appreciation of the antique , Michel was 3 one of the few artists who consulted Nature .

1 “ S ee an a rti c l e by R aym o nd B ouyer on P etit s Maitres ” Ou és : Geo es M ch e in Ga zette des B ea ux A rts bli rg i l , , 8 — en vol. . c o O 1 . 1 e 8 0 . 3 p , xviii , t b r 97 , pp 3 4 3 3 1 S ee Thoré in th e Constitutionel N o em e 2 1 8 6 , v b r 5 , 4 ; ’ and Paul Marm ottan : L E cole F ra nco ise de P ein ture (1 789 — 1 886 . 1 6 . , pp 7 5 7 3 ’ L Un ion des A rts A 8 1 86 . , pril , 5 7 6 THE LE WIS REQUEST

It has been claimed , and not without a

show of reason , that long before Constable “ ” — exhibited his Hay Wain now in this O 1 2 0 —at Gallery (N . 7 ) the Paris Salon of 1 8 2 4 , Michel had painted pictures of a

similar kind , although his productions were practically unknown to the great majority of

French artists . One critic has also given it as his opinion that Michel ’s pictures are “ as

a rule painted on prepared paper , and in style

may be compared , at a respectful distance , to ” 1 the work of old Crome . He became associated at a very early age with Marguerite Legros , by whom he had five é 1 8 2 8 Children by the tim he was twenty . In he married Anne Marie Charlotte Clau dier 2

1 8 . Vallier He died on June 7 , 4 3 “ He is represented in the Louvre by A u x environs de Montm artre and “Intérieur de ” foret His “Mill ” is in the Victoria and

Albert Museum , and the Dublin Gallery con tains a Plaine de St . Denis , Paris .

. 2 2 8 . R No 5 oom VI .

A Woodland Scen e. Farm buildings surrounded by a wooden fence occupy the middle of the picture and 1 S ir W ’ . A m s on B r a n s Di ti c on a r 1 0 . r tr g y y, 9 4, iii . p 334 1 A ed S en sier :Etude sur Geor es M ich el 1 8 1 lfr g , 7 3 2 P 9

E NGLI SH SC H O O L

XXVII

WILL I A M H O G A R TH — (1 6 9 7 1 76 4)

A O A R WILL I M H G TH , the eminent painter and engraver , and founder of what is usually “ E termed the Early nglish School , was born “ in London on November nex t ’ ” Dow nin e s doore to Mr . g the Printer s in t Smit hfield Bartholomew Close , Wes , where his father , a native of Westmorland , had “ settled. In his early years he had naturally a good eye and fondness for drawing , his exercises when at school being more remark able for the ornaments which adorned them ” t h x than for e e ercise itself. At first he practised as an engraver on metal , his pro du ct ions being ranked as little more than

the chronicle of scandal , and the history book of the vulgar . E NGLISH SCHOOL 7 9 In time he turned his attention to paint ing in oil , among his earliest works in that medium being the “Wanstead Assembly of “ 1 2 8 7 , the recently acquired Scene from the ’ Beggar s Opera (No . and the “ 1 Wollaston Family of 7 30 . He attended the academy of Sir James Thornhill , who “sold paintings to the Government at two ” guineas the Flemish ell , payment at that rate being made to him for his large ceiling paintings in the Painted Hall at Greenwich ’ and on the dome of St . Paul s . By eloping ’ with Jane Thornhill , his master s daughter , and marrying her at Old Paddington Church ’ 1 2 in 7 9 , he incurred Thornbill s displeasure .

Thornhill was , however , appeased by the great “ ’ ” ability shown in the Harlot s Progress , 1 1 which Hogarth painted in 7 3 . The “ ’ R 1 ake s Progress of 7 3 5 , now in the “ ‘ e Soane Mus um , His Own Portrait in this

. 1 six Gallery (No of 74 5 , his series of ” paintings entitled The Marriage 31 la Mode “

NO . in this collection , his Calais Gate ( 1 of 7 4 9 , and his four pictures of six An Election , painted years later, helped to earn for Hogarth his appointment as

Serjeant Painter to the King . He had a considerable share in the intro duction into Parliament of a Bill which granted EST 80 T H E LEWIS BE QU

to engravers a Copyright in their own designs . He lived for many years in Leicester Fields 1 and also at Chiswick , where he was buried . He died at his house in Leicester Fields (now 2 6 Leicester Square) on October ,

1 . R . . No . 374 oom XIX Plate XIX

’ o Ho arth s Servants Portraits f g .

- Six heads painted rather less than life size . In the upper part of the picture are repre sented a youthful matron in a mob cap , a boy , the and an old man . In centre of the group is - the head of a middle aged man , with a brown wig falling in curls on either side of his face .

In the lower part of the picture , to the left and m - right of the iddle aged man , are the heads r of two young women , wea ing caps . Some of them are apparently members of the same family . Grey background .

1 S ee Aus n D o son : Willia m H o a rth 1 0 and A an ti b g , 9 7 ll ’ Cunn n h am s Lives o the m ost E min en t B ritish P a in ters i g f , a n nota ted an d con tinued to the resen t tim e b M rs Cha rles p y . H ea ton 1 8 —80 , 79 . 1 ’ H o arth s h ouse at Ch s ck s I t was ur g i wi till exi sts. p ch ased in 1 02 L - 9 by i eut . Co l on el R obert Sh ipway in o rder to sa e om dem o o v it fr liti n . S ee P a rticu lars a nd Con dition s o S a le o the H is f f torica l an d I n teresting P remises kn ow n as ’ H o a rth s H ouse No em e 2 i g 1 0 1 . S ee a so ede ck , v b r 5 , 9 l Fr r W . P ee :H o arth a n d H is l g H ouse.

XXVIII

PL ATE XX

8 2 TH E LEWIS REQUEST stands with his arms resting on the back of a

Chair . In his right hand he holds a drawing or - S - print of a sea piece with hipping . Life size , — three quarter length . Dark background . Samuel Scott was born early in the eigh

t eent h century . He painted especially views of

London Bridge and Westminster Bridge , and 1 views into which he introduced buildings .

1 2 1 2 . He died at Bath on Oct . , 7 7

Engraved by J . Faber .

. 2 Canvas . 4 ft h . x 3 ft . % in . W . x

R Purchased from Mr . . T . Simpson , in 1 8 86 6 London , in for £ 5 .

XXIX

2 TH OM A S G A I N S B OR O U G H

(1 7 2 7- 1 78 8 )

O A S A S OR O TH M G IN B UG H was born at Sudbury , ff l 1 2 Su o k , early in the year 7 7 . He was one m of a large fa ily , two members at least of

1 ’ “ S co s V e of W s m T tt i w e t i n st er from th e ham es

No . 1 2 8 ( 3 ) was ac u ed in 1 8 1 for 0 th e Wh ee e q ir 9 £ 7 , l r und c on u n 1 5 . 8 d. an d th e L F trib ti g £ 54, 4 ewi s F un d 1 5 £ 5 , 5 . 4d 2 Th e ac ha G f t t t ai nsbo rough an d other arti sts w ere full Mem e o s r Assoc a es of th e R o a Academ is n ot nd b r i t y l y, i i cated th e esen e h t e use of th e e e s R A . o by pr t writ r by l tt r . r usua aced a e he nam lly pl ft r t ir es . ENGLISH SCHOOL 8 3 which showed marked ability in mechanics , although they did not do themselves any per 1 1 manent benefit by their inventions . In 74 he was in London , and the following year worked under Hubert Gravelot , becoming shortly afterwards a pupil of Francis Hayman . Long before he had acquired a knowledge of the rudiments of his art under these painters “ Peart ree he had painted the famous Tom . After an unsuccessful attempt to earn a living as a portrait painter in Hatton Garden in 1 74 5 he returned home . Towards the end of his early period at Ipswich , where he settled on his marriage to Margaret Burr , he painted “ ff his Village of Cornard , Su olk , which is XX here illustrated (Plate L) . His first sub stantial w as success , however, achieved during his second period at Bath , where he settled 1 60 about 7 , his Edward Orpin , Parish Clerk ” - - 6 of Bradford on Avon (No . of 1 7 9 ; “ 1 0 his Blue Boy, of about 7 7 , which has “ often been exhibited ; and his Portrait of ” 1 2 Dr . Schomberg (No . of about 7 7 , all contributed to the success which j u stified 1 7 7 4 . his removal in . to London He had already exhibited at the Society of Artists R “ and at the oyal Academy . The Portrait

. 1 of the Hon . Mrs Graham , of 7 7 5 , now “ in the Edinburgh Gallery , and the Colonel E E 84 THE LEWIS B QU ST

1 8 2 St . Leger , of 7 , at Buckingham Palace ,

mark the continued progress made in his art , and testify to the originality of his con x ceptions and the brilliance of his e ecution . In 1 7 8 3 he quarrelled with the Royal Academy on account of the injustice which he considered had been done him by the hanging of his pictures in a position which “ displeased him , and although the Baillie ” Family (No . the precious Portrait of

Mrs . Siddons (No . and the unmatched ” Morning Walk , in the collection of Lord R l othschild , were painted in these ast years of 1 x his life , they were not e hibited . Gains on borough , only very rare occasions , placed 2 his name or his initials on his canvases . He 2 1 8 8 died on Aug . , 7 , and was buried in 3 Kew Churchyard .

. 2 . R No 9 5 oom XX . Plate XXI .

Wood Scene Villa e o Corna rd Su lh , g f , fi .

This picture was, previous to the seventy Oflicial seventh edition of the Catalogue , cata “ lo ued g as A Landscape . This view is called Gainsborough ’ s Forest

1 S ir Wa e A m s lt r r tron g : Ga inshorough a n d his P la ce in E n lish A rt g , 1 898 . 1 N otes a n d ueries M 8 a 1 0 6 8 . Q , y , 9 9 , p . 3 3 ’ Gen tlema n s M a azine 8 — 8 l. 1 v o . . 6 g , 7 , lviii pp 7 5 3 .

ENGLISH SCHOOL 8 5 in the lettering of the print of it published by o ells 0 the B yd in 1 7 9 .

A scene in a wood . In the foreground , to the right , are a pool of water and two donkeys .

In the distance , where the road emerges from the wood , are seen the village and church of

Cornard . Several figures and animals .

Engraved by Mary Catherine Prestel .

Canvas . 4 ft . h . x 5 ft . w . x Formerly in the possession of Alderman

Boydell , at whose death it became the property of Mr . Watts , who bequeathed it to Mr . Watts R ussell . E x 1 8 hibited at the British Institution , 4 3

(No . x x E hibited at the Arts Treasures E hibition , 8 1 NO. Manchester, 5 7 ( Li e o Gainsborou h 1 8 6 Fulcher , in his f f g , 5 , 1 p . 93 , refers to this picture in the following terms : A woody scene (Cornard , near Sudbury) . One of Gainsborough ’s most charming home

landscapes . In the distance , where the road emerges from the wood , appears the village and ” church of Cornard . 8 Painted about 1 7 5 . Purchased at the sale of the collection of

R 8 . . 1 Mr Jesse Watts ussell , July 3 , 7 5 (No 1 2 0 I OS for £ 7 , . 8 6 T H E LEWIS REQUEST

XXX

GILB E R T STU A R T — (1 75 5 1 8 2 8 )

E R A R GILB T STU T , American Stuart , was N R born near ewport , hode Island , on 1 December 3 , 7 5 5 . At the age of twenty he x was In Scotland , and two years later e hibited R for the first time at the oyal Academy . He lived during the last part of his life in America , where his pictures are still frequently met with . He ex hibited at the Royal A cademy from 1 7 5 5 1 to 7 8 5 . Lord Normanton possesses several

s . portraits by this arti t Stuart died at Boston , 2 1 8 2 8 on July 7 , .

N 1 O. 8 0 . R 4 West Octagon oom .

Portrait o the Artist f .

He is apparently about fifty years of age , and is dressed in a black coat and a white neckcloth . H i hair s is slightly curled and powdered . Life - size , bust portrait , three quarter face to the left .

Dark background .

. . 2 . in . 1 . 1 1 Oval Canvas ft 4 72 h . x ft 5 in .

w . x - Purchased from Mr . H . Hughes Stanton , in 1 8 6 1 0. 9 , for £ 5

ENGLISH SCHOOL 8 7

Stuart painted his own portrait several times . B o . r were He was also painted by J . H I . , 1 J . Neagle , and Sarah Goodrich .

XXXI

JUL IU S C /E S A R IBB E T S O N — (1 7 5 9 1 8 1 7 )

JU L IU S C E S A R IBB E T S O N was born on December 2 1 R 9 , 7 5 9 , at Masham , in the North iding of 8 1 1 1 . Yorkshire , where he died on October 3 , 7 He exhibited eighty- one pictures at the Royal 8 1 8 1 Academy between 1 7 5 and 5 . He also six sent pictures to the British Institution .

1 0 R . . No . 4 6 . oom XVIII Plate XXII

Smu lers on the I rish Coast gg . On the left of the composition a rocky pro

montory stretching into the sea bisects a creek , on the shores of which men are landing kegs

of liquor . In the foreground a number of n peasants, some mounted on po ies and donkeys ,

have assembled to barter with the smugglers ,

while others are drinking . In the distance a

hilly coast is seen through a hazy atmosphere . fl eec Above , a summer sky , across which y n clouds are drifti g .

1 S ee A merica n L ibra r Associa tion P ortrait I ndex 1 0 y , 9 6 , 1 0 1 p . 4 . 8 8 T HE LE WIS RE QUEST

1 8 0 8 Signed and dated . —1 1 . . . . Canvas . ft . 9 2 in ft 9§ in W x

Formerly in the possession of Mr . W . H .

Matthews , and sold at public auction in London ,

1 1 8 0 . . March 5 , 9 , to Messrs Leggatt Bros 8: Purchased from Messrs . Dowdeswell Dow 1 deswells 1 8 2 0 . , in 95 , for £

XXXII

J O H N O P 1 E (1 76 1 - 1 8 0 7)

‘ O N E c J H OP I , the son of a arpenter , was born 1 6 1 . T at St Agnes , near ruro , in May 7 . At

the age of twenty he removed to London , where before long he earned a considerable

reputation , not altogether deserved , as The ” 1 8 Cornish Wonder . In 05 he succeeded Fuseli as Professor of Painting at the Royal x Academy, where he was a frequent e hibitor 1 8 2 from 7 onwards . He also lectured on the

history of painting , and died in London on 1 80 April 9 , 7 .

N O. 2 8 1 0 . R oom XXI .

Portrait o William Godwin the A uthor f , .

He wears a coat of dark cloth , buttoned

across the chest , with a white neckcloth and

90 THE LEWIS BEQUEST

I lustrious Daniel M aclise : A Gallery of l 1 L it rar Characters 1 8 . 1 e y , 7 3 , p 4 Yonder walks William Godwin ' The marks of age press heavily upon him ; but there

gleams out of that strange face , and above that

stranger figure , the eye of fire which lighted up with the conceptions of ‘ Caleb Williams ’ ‘ ’ ! and St . Leon . Wonderful books Once m read , not only ever re embered , but ever graven on the mind of those who know how to read . His personal history is not fortunate . He was originally , we believe, a preacher in some heterodox sect ; but when ‘ ’ the lion was to lie down with the lamb , as was so beautifully brought to pass by Robes pierre and other tender-hearted dispensers of the mercies of Jacobinism , he forsook his divinity for politics . He was afterwards a l bookseller on Snow Hill , but not ucky in trade . The circumstances of his connection with Mary Wollstonecraft , his marriage and its consequences , his children and their several n eces histories , are too well known to render it sary that we should do more than allude to them . He has now taken his place in our world of authors . The Whigs have had the kindness to give him a hundred a year in some place in Somerset House , which props his

. declining days They gave Mr . T . Macaulay ” It is well . ENGLISH SCHOOL 9 1

8 2 —8 i Art xx . . M a azne o 1 8 . g f , 99 , iv , pp 3 re A portrait painted by Opie , and said to ’ present Godwin s wife , Mary Wollstonecraft 1 Godwin , is also in this Gallery (No .

A portrait of Godwin by James Northcote ,

A . R . , was bequeathed to the National Portrait

1 8 . Gallery by Jane , Lady Shelley , in 99 Feet u m Purchased from Mr . C . Campbell , 1 8 6 6 1 0 in London , in , for £ 5 .

XXXIII J O H N CR O M E — (1 76 8 1 8 2 1 ) “ J OH N C R OM E ( Old Crome was born at 2 2 1 6 8 Norwich on December , 7 . He was apprenticed to Francis Whister, a coach and 1 sign painter of Norwich . After becoming a — drawing master , he founded the Norwich 1 8 0 Society in 3 , and thus played an impor tant part in the formation of the Norwich “ School . He was the master of George

Vincent and James Stark . Old Crome and R obert Ladbrooke married sisters . He died 2 2 1 8 2 1 on April , , his last words being , “ Hobbema , my dear Hobbema , how I have ” 2 loved you . 1 ’ The auth ority fo r thi s statem en t is Crom e s I nden ture o f ’ A en cesh h ch was so d at Ch s e s o n Ma ch 0 ppr ti ip , w i l ri ti r 3 ,

1 908 . 1 W. . D k : orw ich S h o l P a i t n 1 N o o 0 . c es c n i 1 . F i f g, 9 5 , p 37 RE 92 TH E LEWIS QUEST

R . . 2 6 . NO. 9 oom XX Plate XXIII

Windmill on M ousehold Heath near Norw ich A ,

S TH I picture was , previous to the seventy f seventh edition of the O ficial Catalogue , “ catalogued as The Windmill , on an undu M ou sehold lating heath , probably Heath , in ” u the neighbo rhood of Norwich . On the rising ground to the left there is a windmill ; two donkeys are seen on the edge — of a gravel pit in the middle distance to the left . In the centre , a man on a pony is passing t hrOu h by a signpost g a gateway . On the right are trees and bushes .

Wood . 3 ft . 7 in . h . x 3 ft . w . x

Formerly in the collection of Mr . Thomas 1 8 Churchyard , of Woodbridge , 4 4 .

Gillot t In the collection of Mr . Joseph , 2 6 1 8 2 NO April , 7 ( .

1 8 Purchased from Mr . Tennant , July 3 , 7 5 A (No . 93 ) , for

1 Th e T ennan t S al e to ok pl ace on th e sam e day as th e f sa e o th e co ec on of Mr. W . a s R usse u 1 8 l ll ti tt ll , J ly 3 , 7 5 , “ ” J b ut th e W n d i m ill w as n ever in th e p ossessi on of th e a e en em an as wa s o m e s a d l tt r g tl , f r rly t te .

ENGLISH SCHOO L 9 3

XXXIV

TH O M A S B A R K E R (O F B A TH )

(1 76 9 - 1 8 4 7)

TH OM A S B A R K E R was born in 1 7 6 9 near the village of Pontypool in Monmouthshire . His father, who was also a painter , afterwards 1 settled in Bath . Thomas Barker died at Bath

1 1 1 8 . x on December , 4 7 He e hibited at the 1 1 1 8 2 Academy between 7 9 and 9 , and also at the British Institution .

06 . NO . 1 R . 3 oom XXI . Plate XXIV

L andsca e w ith F i ures and Cattle p , g . The foreground is occupied by a flock of sheep and a sheep-dog followed by rustics on c horseback , who have just rea hed the brow of a hill on a wild road passing through mountain On ous country . the right rises a rugged mass of rock . On the left two peasant women sit conversing by the roadside . In the middle distance is a thickly wooded glen with u ndula ting moorland beyond . Above the horizon dark grey Clouds are gathering , suggestive of an approaching thunderstorm .

1 - d . 1 0 S n n sseu r l . . 10 1 1 2 a n ee Co oi v o . x 1 0 , , 9 4, pp 7 , xi , 9 5 - 1 . pp . 76 8 E E 94 THE LEWIS B QU ST

. 8 . 8 . x . 2 . Canvas ft . in h 3 ft 5 in w x

1 8 0 Purchased from Mrs . Briggs , in 9 , for 1 0 3 . XXXV

ROB ER T L A D B R OO K E (A S C R IB E D To) — (1 7 70 1 8 4 2 )

R O B ER T LA D B R O O K E was closely associated with Old Crome as a landscape painter of the

Norwich School . Three of his sons became 1 1 painters . He died at Norwich on October , 1 84 2 } It seems probable on stylistic grounds that this picture is in reality from the hand of c é R . L an ast r R ev . . H , whose View at South ” 1 2 8 ampton (No . 4 , Plate XXIX . ) is in the

National Gallery of British Art . This may be the picture exhibited by Lancaster at the R e 1 8 1 NO oyal Acad my in 4 ( . under the “ W title of Wood Scene , ith a Distant View ’ x of O ford . It bears Lancaster s initials .

1 6 . . R No 4 7 oom XX .

L andsca e w ith a View near Ox ord p , f .

t he . sevent This picture was , previous to y of ffi seventh edition the O cial Catalogue , catalogued as being by Ladbrooke .

1 W. . D ck es :N orwich S chool o P ain tin 1 0 . F i f g, 9 5

E NGLISH SCHOOL 9 5

In the outskirts of a wood , under the shade — of large and thickly foliaged oak trees , three Ris cows stand in a stream or pool of water . ing against a stormy sky are seen the towers S x and pires of O ford , including the tower of

Christ Church , and the Bodleian . R Inscribed . H . L .

1 8 2 . Canvas . ft . in . h . x ft . 4 in . w x

Purchased from Sir George Donaldson , in

1 8 1 2 0 . 95 , for £

1 ’ “ ” Lad k s a s f R T b roo e n e e o cou se on . L . h e e i iti l w r , r , ly r is n o proof th at h e pa i n ted a pi c ture o f th i s subj ect .

XXXVI

SI R M A R TI N A R C H E R SH E E (1 7 6 9

M A R TI N A R C H ER SH E E was born in Dublin 1 2 0 1 6 on December , 7 9 He came to London 8 8 in 1 7 . Ten years later he was elected an R Associate of the oyal Academy , and a Member two years later , being elected President on the 1 8 0 death of Sir Thomas Lawrence in 3 . He 1 1 8 0 died at Brighton on August 9 , 5 .

6 No . 7 7 . (Frontispiece . )

Portrait of L ew is as The M arquis in ” The M idnight H our

t Lewis is standing at full leng h , half turned

to the right , looking out of the canvas , his face - in three quarters to the right . He is shown prominent relief against the b ase of a column - er S k . i or r und a cloudy y Life s ze p t ait . a h e i n Willi m T omas L w s , the comedian , know

1 Th s is th e da e i en b his son in h is Li S ir J I A . i t g v y fe of . S hee u sh ed in 1 86 0 T e da e . h men io n ed in the A rt , p bli t t ourn a l of 1 8 1 2 is n ow ie . ected. j 49 , p . j 99 E 1 00 T H E LE WIS B QUEST as Gentleman Lewis , was born at Ormskirk , 8 1 . near Liverpool , in or about 7 4 He died on

1 January 3 ,

. . . x . . Canvas . 7 ft . 9 in h 4 ft 9 in w x Exhibited at the Royal Academy in 1 7 9 2

(No . E hibi Exhibited at the Irish International x 1 0 tion , Dublin , 9 7 .

Lent to the Municipal Art Gallery, Dublin , 2 1 0 . in 9 7 , for a term of five years E uro ean M a azine 1 1 The p g , April 7 9 , con tains the following Account of Mr . William R Thomas Lewis , of the Theatre oyal , Covent ” Garden , with a portrait of Lewis painted by ’ ° ” r n M Brown and eng av d by J . Corner The gentleman whose portrait forms one of the ornamental parts of the present magazine has resided in England long enough to secure the patronage of the public and the respect of a very numerous and valuable set of private friends . His grandfather was a clergyman , R T rahere ector of , in Carmarthenshire , and

E E s . second son of rasmus Lewis , q (private e secr tary to Mr . Harley , Minister to Queen

Anne) , the confidential friend of Pope and

Swift , whose name appears so often in their

1 Dicti a Na v ol . . 0 on r o tion al B io ra h 1 0 . 1 . y f g p y, 9 9, xi p 79 2 S Na tion a l G e ee all A n nual R e ort 1 0 . . ry p , 9 7 , p 7

1 02 THE LEWIS BEQUEST the ex pectation of his employer , who the same season allotted him a principal part in his new ’ comedy of The Man of Business . From this time he has been gradually rising in the estima tion of the public , succeeding by the indis position first , and afterwards the deaths of

Mr . Barry and Mr . Woodward , to their prin ci al p characters, which he performed from the 1 6 1 8 2 Le s year 7 7 to 7 . Mr . M has the modesty to ascribe his success only to his unremitting attention to his profession . To this much may be ascribed , but more we think ff to the e orts of genius . 8 In the year 1 7 2 Mr . Lewis became Deputy Manager of Covent Garden Theatre ; and one of his first acts showed his good sense , in quitting the Buskin for the Sock , in which latter his superiority was very apparent . As r a comic actor , in many cha acters , as Vapid , Twin eall Belcour R , , anger , Tom , Copper Cap tain , Marplot , and others , he has certainly no superior, perhaps not an equal . To his praise we may add , that having gained the S ituation and height he ever aspired to , he hopes to maintain them with the reputation (to use his own words among his friends) of a tolerable actor , and an honest , independent

man .

Mr . Lewis has now five children at home SI R MARTIN A RCHE R SHE E 1 0 3

reco m his eldest son went out to India , with m endat io ns equal to any ever sent from this ff country ; and which , being voluntarily o ered and given , reflect credit on both father and son . “ Mr . Lewis is particularly fortunate in his domestic connections , the confidence of the public , the friendship of Mr . Harris the pro riet o r p , the regard of his brethren of the stage , and is (to use his own words again) happy to acknowledge , though with proper humility, that he at present deems himself one of the ” happiest of men living . An interesting “ Biographical Sketch of ” E s William Thomas Lewis , q , is contained M onth M irror 1 8 in the ly for November 7 9 , and an engraving by Ridley from an original miniature by Chinnery is given as frontispiece . - LeMs A copper plate portrait of , from a R copy by H . . Cooke of part of this picture , ’ is given in John Doran s Annals of the E nglish Sta e 1 8 8 8 0 g , , iii . 3 4 . - “ A copper plate of Mrs . Pope and Mr . ’ ’ sic Lewes ( ) in He wou d be a Soldier , is ’ 6 L ad s M a azine . 1 8 included in the y g , Dec 7 A portrait of Lewis as “The Marquis in ” The Midnight Hour , painted by T . Gains in E borough , is now the collection of Sir dward

P . Tennant . E 1 6 4 T H E LEWIS REQU ST

Bequeathed , together with the sum of the interest of which is available ’ for the purchase of pictures , by the actor s

youngest son , Thomas Denison Lewis, who died in

By agreement with the trustees , the portrait was allowed to remain in the possession of Miss ’ Lewis , the actor s daughter , until her death , 1 8 6 2 which took place in December . It was delivered to the Trustees of the National 1 8 6 Gallery in January 3 , and placed in the

Gallery at South Kensington in April .

1 Ac co d n to th e e m s o f th e ~ Will an e ac o f h ch r i g t r , xtr t w i i m t h s en on . th e use of th e n e es is n ot ed o t e giv p xxi , i t r t li it ‘ u ch ase of c u es b ut m a b e a d out for th e use o r p r pi t r , i y l i obj ect s of th e said Gall ery o r o th erwi se in th e im provem en t o f the Fi ne Arts in such m an n er as th e Trust ees o f such Gallery or any Committee or Co mmitt ees for th e Go vern o r s ” o r o h D irect rs t ereo f fo r th e tim e bei n g sh all th i nk fi t . Aft er comm un i cati on w ith th e Tr easury a s t o th e pro per st eps to b e ak en th e T us ees fo r ea s n h s B e ues th e sum t by r t r li i g t i q t, o f 0 2 1 8 5 . New Th ee er Cen An n u es e n th e £ 9 7 , r p t . iti , b i g a a n ce a e a m en o f du an d e enses was du b l , ft r p y t ty xp , ly an s e ed to ou o f th T tr f rr f r e rust ees by n am e.

XXXVII

A . A E S A R R . J M W D ,

(1 7 6 9- 1 8 5 9 )

A E S A R D J M W , who was born in Thames Street , 2 1 6 London , on October 3 , 7 9 , practised as an engraver before he took to painting . He

R . worked as an engraver under J . Smith , and under his elder brother , William Ward , and on 1 1 January , 7 94 , he was appointed painter and H R H engraver in mezzotint to . . . the Prince

b e G . su s of Wales , afterwards eorge IV He — quently painted hunters , race horses , and cattle , and worked much in the style of his brother in- -in— law , George Morland . As the son law of John Jackson , the portrait painter, Ward naturally also painted portraits . His largest “ and most striking Oil picture is the Land

e : . scap Gordale Scar , Yorkshire (No which , after being painted for the first Lord Ribblesdale and e xhibited at the Royal Aca 1 8 1 demy in 5 , was purchased from the present Lord Ribblesdale for the National Gallery 1 8 in 8 7 . x b James Ward , who e hi ited two hundred and I 08 TH E LE WIS RE QUEST

eighty-seven pictures at the Royal Academy 2 1 8 between 1 7 9 and 5 5 , was elected an Asso 1 8 0 ciate in 7 , and became a full Mem 1 ber in 1 8 1 . He died at Cheshunt towards 1 8 the close of the year 5 9 , being then just over

ninety years of age .

2 R . . . 1 No 2 4 . oom I Plate XXV

a ca a Stud Gord le S r: y. In the centre of the picture a waterfall is seen in torrent in a ravine between high cliffs

and stratified limestone . 1 Painted in oil on brown paper . ft . 3 in . h . x 1 ft . 4 3 in . w . x 1 8 1 This was painted about the year 5 , when No the large finished picture ( . which is G x R also in this allery , was e hibited at the oyal “ Academy (No . under the title of A

‘ View of Gordale , in the manor of East

Malham in Craven Yorkshire , the property of Lord Ribblesdale . There are considerable differences between the preliminary sketch and the finished picture . In the latter the fore ground and middle distance are occupied by nd cattle a deer . “ A water-colour S ketch of Gordale Scar NO . ( by Turner , hangs on a R screen in oom XXII .

FRE DE RICK YEATES H URLST ONE 1 09

R . 1 0 Purchased from Mr . W . Howes , in 9 7 ,

XXXVIII

F R E D ER I C K Y E A T E S H U R L S T ON E — (1 8 00 1 8 6 9)

R E ER Y E A E S H U R L S T ON E F D I C K T , the portrait and history painter , was born in London in

1 800 . He was a grandnephew of Richard Hurl x R stone , who e hibited at the oyal Academy 1 7 7 1 He entered the Royal Academy 1 8 2 0 x 1 8 2 1 Schools in , and e hibited in his “ Malade Imaginaire . He was a pupil of Sir William Beechey and Sir Thomas Law rence ; it is possible that he may also have R 1 8 2 studied under B . . Haydon . In 3 he obtained a gold medal for his Contention between the Archangel Michael and Satan for ” x the body of Moses , which was e hibited at 2 R ” the oyal Academy in the following year . He contributed thirty—seven pictures to the ’ Academy s Ex hibitions between 1 8 2 1 and 1 8 4 5 , and was also represented by nineteen pictures at the British Institution between 1 8 2 1

1 R ed a e : D iction a r o A rtists o the B ritish S chool gr v y f f , 8 1 8 2 1 . 7 , p . 3 1 m E x R a l A ca de hi tor 1 . A. s 6 G a e : o bi s 0 v ol. r v y y , 9 , iv P-m 1 1 0 TH E LEWIS REQUEST

1 8 2 s x and 1 84 6 . From 4 onward he e hibited at the Society of British Artists , of which he 1 8 1 was elected a member in 3 . He contri buted yearly a large number of portraits and historical pictures down to the date of his death , when he was still President of the h e Society , a position had occupied ever since

1 8 3 5 . H u rlst one was much opposed to the consti t u t ion R and methods of the oyal Academy , and gave evidence at the Parliamentary enquiry 1 held in the following year . He sent three x 1 8 h pictures to the Paris E hibition of 5 5 , w en he was awarded a gold medal ; and he was represented at the E xhibition held in London 8 6 2 in 1 . Although the range of his subjects 1 8 was much enlarged by a visit to Italy in 3 5 , by his travels in Spain in 1 84 1 and again in 1 8 1 —2 o 5 , and also by his j urney to Morocco 1 8 in 5 4 , some of the pictures which he painted towards the end of his career did not maintain

his reputation . Nearly all his life was spent

. 1 0 in London He died on June ,

1 S ee Report from the S elect Com mittee appoin ted to e in to the b t en q uir es mea n s of ex ten ding a hnow ledge of the A rts a m on the P eo le 1 8 6 2 6—806 g p , 3 , 7 . 1 A rt ourna l S e m e e 1 1 86 . 2 1 . Dictiona r j , pt b r , 9, p 7 y of Na ion al B io ra h 1 t 0 . 1 g p y, 9 9 , x p . 3 7 .

F RE DE RICK YEATE S H U RLST ONE 1 1 1

6 I ll . . 1 . R No . 9 7 oom Plate XXVI

A c from Gil Blas S ene .

When dinner was ready, we returned into ’ t he the canon s chamber , where , while I laid - cloth on a table set just by his elbow chair , the housekeeper tucked a napkin under the old ’ man s Chin , and tied it over his shoulders . In a moment after, I brought in a mess of porridge that might have been presented to the most celebrated director of Madrid and two courses which would have stimulated the sensuality of

a Viceroy, had not Dame Jacintha been sparing of her spices for fear of infl am ing the gout of

the licentiate . At the sight of these delicate

dishes , my old master , whom I believed impo

tent in all his members , showed me that he had not as yet lost entirely the use of his arms he o f helped to disencumber himself his pillows ,

and cheerfully prepared himself for eating . Though his hand sh ook it did not refu se its

n r a x e service , but we t and came with g e t e p di w tion ; in such a manner , ho ever , that it spilt upon the tablecloth and napkin one half of

that which was intended for his mouth . She took care also to m ake him drink ft c r h t quently large d aug ts of wine , a little dilu ed , S w she in a large and deep ilver cup , hich RE 1 1 2 T H E LE WIS QUEST held to his mouth as if he had been a child of fifteen months . He fell tooth and nail ff upon his course . When he had stu ed u himself to the tongue , the devotee ntied his napkin , replaced his pillows and cushions , ” —The Adv entures o and we left him in quiet . f — Gil Blas de Santillana R e , by Alain en Lesage , l 1 0 translated by Tobias Smo lett , 9 7 edition , 8 6 Book II . , chap . i . p . .

The Canon has just finished his dinner and , reclining on cushions , prepares to take his post prandial nap . In the foreground to the left

I nesilla is about to take awa y a plate , upon which are a knife and a piece of pomegranate e peel ; on the tabl . to the right are a large , deep silver cup and a dish of grapes and pome granates . To the left stands Dame Jacintha , the housekeeper, with a bunch of keys hanging from her girdle , a mantilla on her head , a pomegranate flower placed in her hair above her right ear, and a rich Spanish fan in her ’ right hand . Behind the Canon s chair Gil Blas takes down a book from the bookcase .

8 . . X . Canvas . 3 ft . in 4 ft . 7 in w x

’ Formerly in the possession of the artist s son , who sold it to Mr . George A . Holmes .

s. Purchased , in London , from Messr Shepherd

. 1 0 Bros , in 9 5 , for | £ 7 5 .

GEORGE CHAMBE RS 1 1 3

XXXIX

G EOR G E CH A MB E R S — (1 8 03 1 8 4 0)

G EOR G E CH A M B ER S was the second son of poor parents living in Whitby . His father was a . 1 common mariner , and his mother let lodgings . Neglecting the amusements common to youth and hearkening only to the spirit within him , Chambers devoted every spare moment to the indulgence of his love of painting . When ten years old he went to sea in a coasting vessel , and afterwards was apprenticed to the master of a brig trading in the Mediterranean and the Baltic ? He was subsequently employed - e by a house paint r , and eventually worked his way in a trading vessel to London , where he made drawings of ships and fell in with Mr . m Thomas Ho er , the proprietor and projector of the Colosseum then being erected in Regent ’ s

Park . Horner, who was in want of an artist , engaged Chambers to paint a grand panorama view of London in the interior of that st ruc ture . Chambers afterwards worked as scene painter at the Pavilion Theatre , where he attracted the attention of Lord Mark Kerr ,

1 oh n Wa k n s :L i ? a nd Ca reer o Geor e Cha mbers J t i ] f g ,

. 6 1 8 1 . 4 , p 1 Di tion a r o N a tion a l B i a h c o r 1 08 . . 1 y f g p y, 9 , iv p 7 . H E 1 1 4 T H E LE WIS REQU ST through whom he was presented to William

1 8 1 . IV . in 3 Chambers was elected an Asso ciate of the “Old Water Colour Society on

1 0 1 8 February , 34 , and a full Member on June 8 “ 8 1 . , 3 5 One of the most eminent of our ” x t - marine painters , he had e hibited for y one works there when his short career was termi

e 2 8 1 8 0 nat d by death on October , 4 , at the “ t - early age of thir y seven , before the full merit of his paintings had come to be generally

appreciated . Chambers ex hibited only three paintings at R 1 8 2 8 1 8 2 1 8 0 the oyal Academy , in , 9 , and 3 , but he at times sent up pictures for exhibition

which were declined . He contributed fifteen pictures to the British Institutio n between 1 8 2 7

and the year of his death , one of these being 2 the Battle of Algiers , 7 Aug . now in

the Painted Hall of Greenwich Hospital . At Greenwich also are his “ Destruction of a Division of the French Fleet in the Harbour of La Hogue on the 2 3 rd May and “ the Taking of Porto Bello by Vice-Admiral “ ” Vernon . A Seascape by him is in the Ashbee Bequest at the Victoria and Albert “ Museum . A sale of the interesting works

1 L R o e : H isto Wa er ol ur S o . . r o the Old t C o ciet J g t y f y,

1 8 1 . 2 2 9 , ii p . 3 .

A rt Un ion D ecem 1 8 0 . 1 86 e . , b r 4 , p

E 1 1 6 T H E LE WIS B QUEST

John Samuel Muller , who was a Prussian by 1 birth , and a native of Dantzig , was born at

2 8 1 8 1 2 . Bristol on June , His father was curator of the Bristol Museum , and married u a Miss James . M ller commenced sketching from nature near Bristol , and at fifteen was — apprenticed to his fellow townsman , J . B . x Pyne . He e hibited seventeen pictures at 1 8 1 8 the Royal Academy between 3 3 and 4 5 . 1 8 — In 34 3 5 he was abroad sketching , and in

1 8 3 8 he journeyed to Greece and Egypt . On 1 8 his return he settled in London . In 4 3 he o journeyed abroad again , j ining the government x e pedition to the deserted cities of Lycia , of which he made a great number of sketches . ff He , however , su ered from heart disease , and 8 1 8 died at Bristol on September , 4 5 , at the - x early age of thirty three . He e hibited seven teen pictures at the Royal Academy between 1 8 1 8 33 and 4 5 , and sent fourteen works to the x 1 8 0 1 8 British E hibition between 4 and 4 5 . Three of his landscapes are in the V ictoria and

Albert Museum . The originality and merit of his pictures were

fully recognised some time before his death , and he received a large number of commissions l that he did not ive to execute .

1 N . Nea S o :M em oi o e M r th L e o W. l/ . il er l lly f if f j , 1 8 2 7 5 , p . .

1 1 8 T H E LEWIS REQUEST

XLI

1 E A AS ER R . HUM L N C T

. R . ev . T H E R H Lancaster , who in all proba t b ili y painted this picture , was an Honorary 8 00 E xhibitor at the Royal Academy from 1 ? until 1 8 2 7 It was in all probability he who “ e painted the Landscap , with a View near

O xford (No . which in the National Gallery is ascribed to Robert Ladbrooke (see P 94)

8 . . . 1 2 R No 4 . oom I Plate XXIX ' A V e at Southam to i w p n. A portion of the old quay forms the fore of ground the picture . Beyond , to the right ,

is a group of buildings , among which are con s icu ou s D omus D ei p the ancient and castellated ,

1 Thi s is th e attributi on given in th e S ixt eenth E diti o n of th e Ofi cia l Ca ta logue of the N a tiona l Ga llery of B ritish A rt . The e does n ot h o e e seem t o h a e een an a s r , w v r, v b rti t

n am ed R . H um e Lan ca ster. 1 Th R ev H o n us d h e . R Lan o e . . caster is n ot t b e c f wit H um e Lan cas e wh o e h ed at th e R o a Academ om t r, x ibit y l y fr 1 8 6 to 1 8 an d at th e B sh I n s u on om 1 8 to 1 8 3 49, riti tit ti fr 37 47 , an d was a m em e of th e S oc e of B sh A s s t o h o se b r i ty riti rti t , w e h on s b e con x ibiti tributed. H um e L an ca ster di ed in p overty at E h in K en on u 0 A t ourn a l 1 8 0 1 8 . S ee r rit , t , J ly 3 , 5 j , 5 ,

. 2 0 . S ee a so D ictiona r o N a tion a l B io ra h 1 0 p 4 l y f g p y, 9 9 , l vo . . . xi p 477 . HUM N TER 1 1 9 R. E LA CAS ” “ ’ he or God s House . Numerous vessels at anchor in the distance , beyond which are seen the wooded banks of Southampton Water . Signed in the right bottom corner e r

2 . 1 0 . . . Canvas . ft 3 in h x 4 ft . 5 3 in . w x

’ Sold at Messrs . Foster s Auction Rooms on 1 2 1 8 December , 94 (No . under the title 1 8 of Southampton Pier from the Prison ,

R . . by . H Lancaster This is beyond all question the picture exhi

R . R Rev . bited at the oyal Academy by the H . 1 8 1 No Lancaster in 7 ( . under the title of View of Southampton Pier from the Plat ” in n form Front of the Priso .

Notes a d ueries 1 0 . xi. n Q . 1 , ser , vol , June 9 ,

1 0 ° 0 9 9 1 P 4 9 Co lna hi Purchased from Messrs . P . and D . g , 1 8 8 in 94 , for £ 4 .

XLII

F O R D M A D O X B R OWN

(1 8 2 1 - 1 8 93 )

M A D o x R O A 1 6 B WN was born on pril ,

at Calais , where his father , a purser , or 1 2 6 THE LEWIS REQUEST as he preferred to style himself, a commissariat ” offi cer of the British Navy , was residing . Young Brown received his first systematic 1 8 training in 3 5 under Albert Gregorius , a portrait painter , at Bruges ; later he studied for a time under Van Hanselaer , at Ghent . Between 1 8 3 8 and 1 840 he worked under

Baron Wappers at Antwerp . He soon after ’ wards went to reside in Paris . His Parisin a s ’ 1 8 Sleep , which he sent to the Salon in 4 3 , was refused as being “ too improper ” it x was, however , e hibited at the British Insti t ution two years later . It now belongs to 1 1 8 1 Mr . H . Boddington . As early as 4 he “ ’ ” exhibited The Giaour s Confession at the “ Royal Academy . His Finding the Body of

Harold after the Battle of Hastings , which was seen at the second exhibition of cartoons held at

Westminster Hall , and is now in the South

London Art Gallery, enhanced his reputation at an early date . After having been considerably influenced by 1 8 Byron and Dumas , Brown set out in 4 5 with E his first wife , lizabeth Bromley , for Italy , where he was greatly impressed by the sight of the overwhelming display of the fruits of

1 Th s c u e was en Mr H B odd n on to th e i pi t r l t by . . i gt E xh ibiti o n of Co ll ected Wo rk s by F o rd Madox B rown h el d a t th e L e ces i t er Gall eri es in th e summ er of 1 909 (No . I t sh o s th e nfl uence of w i Del acro ix .

1 2 2 THE LEWIS BEQUEST

’ Washing St . Peter s Feet , now at Millbank 1 8 1 - 2 (No . was painted in 5 5 , but x was afterwards retouched . Being e ceedingly well trained , and understanding thoroughly the technique and processes of art , he achieved great success with the series of panels with which , late in life , he decorated Manchester

. Town Hall , to illustrate the history of that city Brown only sent five pictures to the Royal S Academy , a imilar number being shown at the British Institution between 1 8 4 5 and 8 x x 1 5 5 . He e hibited at the Paris E hibition 1 8 in 1 8 of 5 5 , at Manchester 5 7 , at the Inter

x in 1 8 6 2 1 8 6 8 national E hibition , at Leeds in , 1 8 8 x at Manchester in 7 , and at the E position

Universelle held in Paris in 1 8 8 9 . Too great

importance, however , cannot be attached to the 1 1 pictures he showed at No . 9 Piccadilly in 1 8 6 M 5 . ention must also be made of his x paintings e hibited at the Hogarth Club , at R 1 8 6 1 the oyal Society , and at Edinburgh in , as well as of the selection of his pictures shown 1 8 at the Grafton Galleries in 97 , and at the - E Franco British xhibition in 1 90 8 . He died 6 on October ,

1 An o ua n o c e a ea ed in th e A then ceum Oc o e bit ry ti pp r , t b r — 1 1 8 ) o 2 4, 93. 1 p 5 6 2 7 A sa l e of Th e V aluabl e Con ten ts o f th e H ouse o f F o rd ” Mado B o n w h d ’ as e T . G Wh a n a 1 S t . E dm un d s x r w l by . rt o t ’ Te ace R e en s P a k on Ma 2 8 0 an d 1 1 . rr , g t r , y 9, 3 , 3 94 FORD MADOX BROWN 1 2 3

. 2 06 R . . No 3 . oom III Plate XXX

a d I I I Chaucer a t the Court of E dw r . Chaucer is reading these pathetic lines from the L egend of Constance to Edward III . and his

Court at the Palace of Sheen , on the anni ’ v ersary of the Black Prince s forty-fift h birth day . He is supposed to be reciting these lines

H e e ch d la w e in in h e a rm ir lit l il y p g ir , And k n elin ito usl to h im sh e sa d , g p y i , P ees e so n e I w o l do h ee no h a m , lit l , t r , With th at h ire co uv erc h ief o f hire b ed sh e braid An d o e h is e e en sh e a d v r lit l y it l i , And in hire arm e sh e lulleth it ful fa st

An d i n t o th e b even s h ire eyen Up sh e cast .

Edward III . is now old , Philippa being dead he is seated in the dais-chair in front of ' Chaucer . On the King s left are E dward the Black Prince (represented in his last illness) and ” Joanna , The Fair Maid of Kent , his Princess

R h . at their feet is their child , afterwards ic ard II behind them are seated the Princess Margaret , memorable for her learning and her regard for

R . Chaucer , and her sister the Princess oyal F Seated to the right of the King is Alicia errers , formerly damsel of the Chamber to Queen x Philippa ne t to her is John of Gaunt , the patron of Chaucer . Immediately behind Chaucer is the son of John of Gaunt (afterwards 1 2 4 TH E LEWIS REQUE ST

’ Henry with his father s sword and Shield

x R and ne t to him , lower down , are seen obert E de Vere , Grand Chamberlain , and the arl of ’

. Pembroke , Edward the Third s Marshal On

the foreground , seated on rushes , are Sir John

roissart F , the historian , with his tablets , and the

poet Gower . In the opposite corner , Thomas

of Woodstock , patron of Gower (fifth son of

I n d E dward I I . a , afterwards Duke of Gloucester) ,

is seen conversing with the Lady of Bohun ,

who became his Duchess . Behind the Lady ’ of Bohun , Chaucer s wife , Philippa , the Picard , is represented with a red h ead -dress speaking to R her sister , Catherine oet , who subsequently

became third Duchess to John of Gaunt . The central figure seated on the steps is a Provencal Troubadour ; on either S ide of him are his

minstrels . The Cardinal , supposed to be nuncio

of Gregory XI . to the Archbishop of Canter in ff bury the matter of Wickli , is directing the attention of the Countess of Warwick to the ’ Court Fool , who is so absorbed in Chaucer s tale as to have forgotten his calling 1 ’ In Ford Madox Brown s own Diary there “ ” are some notes about the S itters . Emma ’ [ Brown s second wife] sat for the Princess ;

1 h s d s T i e criptio n is m ai n ly derived from th e ca tal ogue of th e R o a Academ o f 1 8 1 a t h ch th e a e c u e y l y 5 , w i l rg pi t r was e h d x ibite .

FORD MADox BROWN 1 2 5

’ Elliott , a pupil of Lucy s , the Cardinal ; John ” Marshall , of University Hospital [ afterwards “ Professor of Anatomy at the Academy], was

the Jester ; Miss Gregson , since Mrs . Lee , was the Fair Princess behind the Black Prince ; her

friend , Miss Byne , sat for the dark one , but much altered ; the scoundrel (and afterwards ’ thief) Maitland , then under Marshall s hands ” O for peration , sat for the Black Prince .

. R A study was made from D G . ossetti for

. . R the head of Chaucer , and Mr . W W ossetti

sat for the Troubadour . The picture is signed on the base of the fountain : R 6 8 . F . MADOX B OWN ,

. 1 1 Canvas (Arched top . ) 3 ft . 3 in . h . x

2 . . x 3 ft . 3 in w ’ The frame is of the artist s own design , and bears the title “Chaucer at King Edward ’ s

Castle . This version of the “ Chaucer was begun 1 8 0 1 8 6 1 8 6 in 5 , recommenced in 4 and 7 , 1 8 6 8 and finished in , when it was sold to R Mr . F . . Leyland for It was in

sale . M a 2 8 1 8 2 cluded in his , y , 9 (No .

It was th en bought by Mr . John Bibby , at 1 8 whose sale , on June 3 , 99 (No . it was

1 ’ S ee th e a s s No e- ook of P a n n s . . The rti t t b i ti g , p 9 de a s are en n H u o ff . e er o cit . . t il giv wr gly by , p , p 434. 1 2 6 T H E LE WIS RE QUEST acquired by Mr . Laurence W . Hodson . It 2 1 06 figured in the Hodson sale on June 5 , 9 .

Ex hibited by Mr . Bibby at the International

E x 1 8 . 1 hibition , Brussels , 97 (No and at the No Grafton Gallery in the same year ( .

E xhibited by Mr . L . W . Hodson at Burling 1 0 1 ton House (Old Masters) , 9 (No . 8 Athenzeum 1 1 . 2 2 0 . , February 3 , 97 , p

The conception of the triptych , which ulti mately took the form of the gigantic picture of “Chaucer at the Court of E dward now in the National Gallery, Sydney, of which this single picture is only a reduced th e version , was formed by artist during his Italian journey of The work was to have occupied the central compartment , the lateral ones being filled with portraits of Shakespeare and Byron— the whole forming 1 n e an apotheosis of E glish po try . “I was glad when Gabriel [ Rossetti]suggested that we Should go over and see him in his studio in Clipstone Street . The studio was down a mews , and had originally been a ’ - carpenter s workshop . The roof was made up in great part by a skylight , and the front was principally of glass . Brown managed with hangings and blinds to let the light in or

1 H ff ue er :F ord M adox B row n A R ecord of his L ife a n d W r o k 1 8 6 . 1 , 9 , p 4 .

1 2 8 T H E LEWIS RE QUEST The large original picture was begun in R 1 8 1 8 6 ome in 45 , recommenced in 4 , and 1 8 1 x finished in 5 , when it was e hibited at the Royal Academy (No . It was also x 1 8 e hibited at Paris in 5 5 (No . at 1 8 8 1 1 Liverpool in 5 , and at 9 Piccadilly in 1 8 6 5 (No . It was sold to the National 1 8 6 Gallery of New South Wales in 7 , and is now entitled “Chaucer reading his Poems ” 1 8 8 2 before John of Gaunt (No . In it was in danger of destruction by fire , but “ having been hung in another building , it thus ” 1 escaped the general holocaust . The reduced version in th e National Gallery of British Art (Plate XXIX . ) varies only slightly from the large picture at Sydney .

Purchased at the Laurence W . Hodson sale ,

1 06 . 2 6 2 I OS in 9 (No for £ , .

XLIII

ALFR E D ST E V E N S

(1 8 1 7- 1 8 75 )

R E D E E S ALF ST V N was born at Blandford , in ? D 0 1 8 1 Dorsetshire , on ecember 3 , 7 His

1 ' F r o som e n e es n de a s on h s su ec see H uefl er i t r ti g t il t i bj t , i o . c t . . p , p 3 59 . 1 H e was “ a zed unde th e n am e o f A red son o f b pti r lf , Geo e n ” g a d S usan S teva ns sic o n anua 2 8 1 8 1 8 r ( ) , J ry , . PL ATE XXX

No. 2 06 . R W 3 FO D MAD OX B R O N " C hauce r a t t h e Co u rt o f E d w a rd I I I

1 3 0 T H E LE WIS BE QUE ST

S . ign painting , and heraldic work The great promise of this future painter, sculptor , designer , architect , and mechanician so early impressed his fellow -townsmen that steps were taken in 1 8 3 3 to place him under a suitable master . To this early date belongs the Por trait of a Clergyman now in the National “ Ma s a es ha h e w as o n in 1 8 1 f B and o d S t . o l f r ry , t t t t b r 7 , an d c on ta i ns a reproducti on o f a tabl et q uite l a tely placed o n “ th e h ouse in S a s u S tI eet h on ou ed as th e h ace li b ry , r birt pl ” of h s ea a n d un a ec a ed en us t o h s effec t i gr t ppr i t g i , t i t “ A R E S E E S LF D T V N ,

S C OR PA E R AR C H E C . ULPT , INT , IT T B OR AT B A OR A V 1 8 1 N L NDF D , J N 7 MAY 1 8 D E LO O . I D IN ND N , 7 5

Th ere can b e n o q uesti on b ut th a t th e m on th o f h is birth is h e n Th e ac h a h e wa s ba tized re i n co rrectly give . f t t t p in th e m onth of j a n ua ry (in 1 8 1 8) h as eviden tly led t o his birth n cu set o h o n th e a e as a o bei g i nac rately f rt t bl t b ve. Th e F ifth R ep ort of the Coun cil -of the S chool of D esign fo r the 8 —6 s Mr A red S e en s w s h year 1 45 tates that . lf t v a t en “ each n d a n a n n o namen eom e ca d a n t i g r wi g, p i ti g, r t , g tri l r wi g, ” a n o d m delli ng. Th e R ep ort of a Sp ecia l Com mittee of the Coun cil of the Gov ern m en t S chool o D i a n e v 1 8 6 es n oi t d No . to f g pp 3 , 4 , con sider a n d report up on the S ta te a n d M a nagem en t of the S ch o l o con a n s th e e d n c f M . A red S e n s 8 e e o r e . , t i vi lf t v (p S teven s seem s to h ave in vari ably sign ed h is n am e A lfred ” S e en s t v . Th e D om a o fth e R e a Accadem a R affae e of U n o ipl gi i ll rbi , h ch was a a ded to S e en s o n A 1 8 es h is w i w r t v pril 4, 73 , giv “ ” n am e as A redo S e en s S cu o e ed A ch e o . I t is lf t v , lt r r it tt n ow in th e ossess on o f Mr. p i Gam bl e . 1 H u h H . S tann us Wo h 1 8 1 A red S tev en s an d his r . g lf , 9 ALFRE D STE VENS 1 3 1

- Gallery of British Art (No . a pen and ink drawing which is said to represent the Rev R Hon . and . Samuel Best , who was ector of Blandford St . Mary , and a friend and staunch support er of the youthful artist . - Astonishing as it may seem to day , overtures were made to Sir Edwin Landseer to take x Stevens as a pupil , but , as he e acted a pre 00 ? mium of £ 5 , the matter fell through The

Rev . . S Best , however , succeeded in collecting 6 0 a sum of £ , which enabled Stevens to set

out for Italy . 1 8 He arrived at Naples in October 3 3 , and remained in Italy nine years , spending most of R his time in Naples , ome , and Florence . During the years he was working at the Florentine Academy his independence of academic restraint 1 8 gradually asserted itself. In 3 9 he visited

Milan and Venice , and in the following year

he was in Bologna and Rome . It was at this time that Stevens painted the “ Portrait of ” N Morris Moore , which is now in the ational R Gallery of British Art (No . In ome he was employed by Thorwaldsen (1 7 7 0

who , on discovering his genius , gave 8 2 him numerous commissions . In 1 4 and 1 8 1 8 4 3 Stevens resided in Blandford . In 4 4 1 La n dseer had already acq uired a c on side rabl e reputati on “ ” “ h is H h an d Mus c of 1 8 0 h is Low L e—H h by ig l i 3 , if ig ” L e o f 1 8 1 an d Pe s of 1 8 2 . if 3 , t 3 R E 1 3 2 TH E LEWIS E QU ST

he determined to come up to London , and in October 1 8 4 5 obtained an appointment in the Government School of Design at Somer 1 H e . set House . resigned two years later Among his works of the next few years must be m entioned the bronze doors which he de ? signed for the Geological Museum In 1 84 7 1 8 b e he worked at Deysbrook , and in 5 5 decorated the house of Don Christobal de 1 8 0 M arietta . In February 5 he entered into the Sc Co E . employment of Messrs . H . Hoole . , ffi of She eld , for whom he designed stoves and metal-work which formed a special feature in 1 1 applied art at the Great E x hibition of 8 5 . ’ k St ev en s s l The principal wor of ife was , of ’

u t . u course , the mon men erected in St Pa l s Cathedral to the memory of the Duke of n Wellingto . His model , which is now in the e Victoria and Albert Mus um , was one of eighty-three sent in during the summer of 1 8 x 5 7 , but he only received the si th premium .

However , in an evil hour for his happiness , ” but a most happy one for his artistic fame , he was in September 1 8 5 8 authorised to pro ceed with his scheme for the Wellington Monu ment , which occupied some of his time during “ ” 1 S B o h ee a a ca No e on A ed S e en s Mr. i gr p i l t lfr t v , by

E d a d . S n in h B u in o M a 1 a e t e rl t n azin e F eb . 0 . w r F tr g , g g , 9 9 1 H is design fo r th ese do ors w a s rej ec ted by th e H angi n g Com m ee of th e R o a Aca em in 1 8 2 itt y l d y 5 .

1 34 T H E LEWIS REQUEST

w t Villas , Haverstock Hill , on Saturday the

1 8 of May , 7 5 , having long been in a delicate 1 “ state of health . He left neither wife , nor

n childre , nor riches , but the name of one of the greatest decorative artists insanely devoted ” 1 to his art . Thus passed away a man quiet and unobtrusive in his ways , whose influence in

Classic art has been , and will continue to be , very strongly felt , and whose death we cannot ” 3 speak of as less than a loss to the nation . He was a man born out of due time , a man who , in the wrong country , and in the wrong century , amid many discouragements , and with little help from public sympathy , carried to perfection a work left incomplet e by the Italians of three ” 4 hundred years before . Indeed , but for the annual reclamations in the House of Commons , produced by his extreme tardiness in perform t ing his task on the Welling on Monument , the public “would hardly have known that a man so unobtrusive was one of the ablest of the E nglishmen who devoted themselves to ” 5 design .

1 The detail s given in h is death c erti fica te as t o th e cause of his death seem t o en tirely di sprove th e a ll egation th at h e did n ot die a na u t ral death . 1 Th Time M e s a 1 8 . , y 4, 7 5 3 The B uilder Ma 8 8 4 W 1 . S ir a e A m s on . , y , 7 5 lt r r tr g 5 Th e A then a u m M a 8 1 8 . Ma c o S ee a so D . S . c , y , 7 5 l ll Nin eteen th -Cen tu r A r — t 1 02 . 1 1 1 1 8 . y , 9 , pp 5

XL I I I

PL ATE XXXI

N o 1 2 2 . 9 . ALF R E D S TE V E N S " J udith

E 1 3 6 T H E LEWIS REQU ST ground to the left an attendant , wearing a green tunic , leans forward to look at the passage indicated .

1 . . Wood , circular , ft in in diameter . Six sheets of Studies for this picture are in this R V 2 1 8 . Gallery (Nos . 4 and hang in oom S 0 . tan nu s 1 Purchased from Mr Hugh in 9 3 , 1 2 2 1 1 together with No . 9 , for 5 .

XLV

1 R m No . 9 5 7 . oo V

The Angel announcing the B irth of Our L ord e to th Shepherds.

The Angel , surrounded by Clouds of glory , appears in the centre of the composition , his l right hand pointing heavenwards , and his eft stretched out in fellowship towards the shep herds , who are grouped on either side , worship ping or shading their eyes from the light . in On card , in the form of a lunette , 93 . h .

x 3 ft . 4 in . w . x

Co sw a A lunette design for Christ Church , y 1 L i son s x . Street , Grove , but never e ecuted

R T own ro e Purchased from Mr . euben , in 8 1 0 . 1 1 1 3 9 5 , together with No 95 , for £ 5 , 5 .

1 Th e ch urch for wh i ch th e desi gn w as m ade is gen era lly ’

a d to b e S t . Ge s s o e H an o e S ua e . i rg , v r q r ALFRED STE VENS 1 3 7

XLVI

1 8 . R No . 9 5 oom XI .

Stud or a a n y f St ding F emale Figure. A red chalk drawing of a woman ascending an incline , her right hand pointing upwards .

1 2 1 0 . On paper , ft . 3 in . h . x in . w x A Study for a figure on the cove of the ceiling of the dining-room at Dorchester

House .

R T ow nroe Purchased from Mr . euben , in

1 0 1 1 1 5 . 9 5 , together with No . 9 5 7 , for £ 5 , 5

XLVII To XCVI

— 2 00 2 0 2 . Nos . 3 5 . West Corridor

One hundred and sixteen Sketches and Studies , 1 th tud s and three Prints irty S ie .

. t an nu s Purchased in London from Mr . H S 1 0 1 2 0 in 9 5 for £ .

1 — . F o r F . o r th e titl es o f th ese sk etch es see pp xxx . xxxv full detail s see th e Ofi cia l Ca ta logue of the Na tion a l Ga llery o B i i r t sh A t 1 . f r , 908 XCVII To CXIV

— V R . 2 1 2 1 . Nos . 6 5 97 oom

1 — ts o Studies Thirty three Shee f .

B a shawe Purchased from Mr . W . W . g

1 0 8 2 5 . 9 7 for £ 7 ,

PA UL F A L C ON E R POOL E — (1 8 1 0 1 8 79)

PA U L FA L C ON E R PO O L E was born at Bristol in o 1 8 1 0 . In the Nati nal Competition for his t orical designs exhibited in Westminster Hall 1 8 00 in 4 7 , he gained a prize of £ 3 for his “E dward the Third ’ s Generosity to the Bur gesses of Calais . In the previous year he had been elected an Associate of the Royal

Academy , and he attained to full membership “ ” in 1 8 60. His Vision of Ezekiel in the National Gallery of British Art (No 1 09 1 ) x 1 8 was e hibited in 7 5 , and was selected for

1 F or th e es of h and . titl t ese studi es see pp . xxxiv xxxv F or full detail s see th e Ofi cia l Ca ta logue of th e N ation a l Ga ller o B ritish A rt y f .

ALFRED STEVE NS 1 39

the Gallery from a bequest made by the artist 2 2 1 8 at his death on Dec . , 7 9 . The original NO 2 1 sketch ( . 3 4 ) for this picture is described ’ S below . A election of Poole s pictures was exhibited at Burlington House (Old Masters) 1 8 8 in 4 .

2 1 . No . 3 4 West Corridor .

The Vision o E zekiel f .

And I looked , and , behold , a whirlwind

came out of the north , a great cloud , and a fire infolding itself, and a brightness was about it , and out of the midst thereof as the colour of

amber , out of the midst of the fire . “Also out of the midst thereof came the

likeness of four living creatures . And this was their appearance ; they had the likeness of ” a man . Ezekiel i . 4 , 5 .

1 8 . x 2 . . . Canvas . ft . 5 in . h ft 5 3 in w 0 I ( . 5 3 x This is the first S ketch for the large picture ff (No . but the two compositions di er in

many details . Mr 1 0 8 Purchased from . W . Foot in 9 for I OS £ 7 , . 1 46 TH E LEWIS BE QUE ST

CXVI

A R TH U R HUG H E S

(L iving A rtist)

1 8 R R E S 0 . M R . A TH U HUG H was born in 3 Although he was never an actual member of —R e he the Pre aphaelite Broth rhood , was inti R mately associated with Millais , ossetti , and ? Morris , and may be considered a disciple “ ” He e xhibited a M u sidora at the Royal “ ” 1 8 Academy as early as 4 9 , his April Love 1 being shown seven years later . Between 84 9 — and 1 90 8 he contributed si xty eight works to R 1 8 6 0 the oyal Academy . In he designed ’ eight wood - cuts for William Allingham s “ Day and Night Songs . He has also illus ’ “ ” t rat ed Lord Tennyson s Enoch Arden ’ “ (1 8 6 6 ) Christin a R ossetti s Speaking Like nesses and Lilia Scott Macdonald ’ s Babies ’ Classics

2 No . 4 7 6 . Room III .

A ri L o e p l v .

Lo e th at h ath us in th e n et v , Can he ass an d we o et ? p , f rg Man sun s a i se an d set y r , Ma ny a Ch an ce th e year s b eget . Lo e th i b v e g ft is L o ve th e de t .

E ven so .

1 - Pe c H . B a e : The E n lish P re R a h a elite P a in ters r y t g p , 1 8 I - 99. pp . 7 7 2 .

0 v V

m 0 0 0 0 0 10 0 v 0 a m . u o a

m 0 0 0 c O\ 0 0 m 0 u 0 0 5 0 u 00 m m 0 Wm “ 0 m m “ m : .

$ 8 3 fi . a 0 = fi 0 x d 0 é 0 O 0 w m S 0 3 m A m t 0 3 éb d sm 0 L E 9 g 0 o a 3 d 0 —g 0 e w m m v n 0 m c 3 3 c m c c c m o 0 o s fl . g m o fi m 0 Q 0 Q fl m md w w <

0 . 0 0 . 0 0 0 0 9 0 n 0 5 0 0 6 5 5 0 : 5 0 e 0 0 H 5 . w 9 5 0 0 2 4 S 0 a 5 c 3 0 m e s 0 m. , 0 a m 0 £ a o 5 5 0 E 5 m 0 0 fi 0 3 0 m 0 ws 0 c 5 0 > a 0 , 0 0 m 0 5 k 0 w 0 E 0 0 0 0 o m 1 0 c 0 0 o 0 n 5 m w 0 —0 0 0 x 2 m f u 0 3 0 x 5 2 a m c 6 y 0 0 a 8 3 2 H Q u m 0 0 fi 0 \ 5 m £ 5 5 8 2 o ma 0 0 5 n E 0 t 0 e 0 0 c H > m 5 6 m0 s 0 0 0 c 0 B a a 5 h o F h 4 n x . 4 w B H 1 5

u w m o o w m a m 0 u a o u w o a n a m ¢ v w ¢ ¢ o m o m m u n “ n u “ a n a “

¢ v v m m 0 c m m m m o m o a 0 o o 0 0 w m w m 0 m m “ n “ a “ “ “ ? ?

A P P E N D I C E S

T H E LEWIS B 1 5 1

MEMORY

A L F R E D S T E V E N S ARTI S T AND S CULPTOR B ORN AT B LANDFOR D

M 0m DECE B ER 3 I 8 I 7 . DIED AT 9 ETON VILLAS HAVERS TOC K HILL

5 ? MAY 1 1 8 7 5 .

TH E MON UME NT

TO

WELLIN GTON

’S IN S T . PAUL CATHEDRAL

I S H I S WOR K

1 G N 0 0 S ua 1 . a e o . 2 6 e r v 7 , q r 4 APPENDIX B COMPARATIV E TAB LE OF E NGLISH AND FRENCH ME ASU R E ME NTS

I I ns . s. ns s. I n s. s. . . . Ft . Metre Ft Metre Ft Metre

APPENDIX D

TAB LE S SHOWING T H E R E LATI V E I MPORT ANCE OF T H E NATIONAL GALLE RY

T H E follow ing Tables are com pil ed t o sh ow t he relat i v e im po rtance o f t he N at i o n al Gall ery to ot h er

Pu c a er es and t o som e o f t he ea n Pr vate bli G ll i , l di g i

Co ect on s in t he w or so a r as I ta lia n Art is ll i ld , f conce ned r .

T he aut h or takes t his o ppo rt u n it y o f ex p ressi n g his

reat n e t e n ess to M r ern ar erenson fo r er g i d b d . B h d B p m i t t i n g t he fu ll u se o f his Cent ra l I ta lia n Pa inters of the R ena issa nce his Florentine P a inters o the R enais , f sance his North I ta lia n P ain ters o the R enaissance an d , f , hi e e s V n tia n Pa inters o the R ena issa nce for t s ur ose. f , hi p p ’ W t ou t M r B er n son ave een ex i h . e s data it w ould h b ceedin gly diffi cul t t o com pil e reliabl e lists o f au t h en t i c I talian pi c t ures ; it w ould h ave b een useless t o m erely add u p t he t otals or Italian pi c t ures as giv en in t he offi c i al catal o gu es o f t he pu bli c gall eri es o f Europe an d Am er ca I t w ou m o reover av e een m oss e i . ld , , h b i p ibl to fi n d out t he co n t en ts o f t he Am eri can p ri vat e ' co M r erenson has ect on s o r at east t ose w c . ll i , l h hi h B so far u s e p bli h d . T he lat est rep ri n t s o f t he four above m ent i on ed w o r s ave o f c ou rse een consu t e . T he sts k h , , b l d li l con tai n ed in t he m ost recen t edi t ion of t he Centra 1 5 5 U ST 1 5 6 TH E LEWIS BEQ E

I ta lia n Pain ters h ave b een c on siderably ex t en ded by

r eren son s n ce t he rev ous e t on o f ast ear. M . B i p i di i l y

an t he sts v en in t he Venetia n On t he ot h er h d , li gi

w ssu e o f w c is it a ears t o b e Pa inters (a n e i hi h , pp , o t pu bli sh ed sh ort ly) are n ot qu i t e u p t da e. I n the case o f a few o f t he art i sts o f t he S c h oo l of Si ena m u c h labou r has b een ex p en d ed by M r. B eren son u pon t h ei r som ew h at u n i m portan t pro

n s b u t u tt n on o n e s e t e r n t erest for ductio ; , p i g id h i i

n S ec a st t he n et resu t is a t to u r t he exact i g p i li , l p bl ou r p erspect i ve of t h e ran k t h at is t o b e accord ed t h ese pai nt ers am on g t he h ost s o f art i st s t o Wh om Italy had giv en bi rt h by t he en d o f t he six t een t h ’ n e f M r B eren son s re c en tu r T he t orou ss o . y . h gh searc h an d p erson al exam in at i on has t h row n i n t o p rom i nen t reli ef suc h rel at iv ely i n feri or pai n ters as

an o P et ro ov an n Pao o an d Pao o S di i , Gi i di l , l di

ovan n F ei w h o are re resen t e in t he ena Gi i , p d Si

a er a on e ort -n n e t rt -o n e an d n n e G ll y l by f y i , hi y , i — t een pi ctu res resp ect i vely in all n i n ety -n i n e ou t of a t otal of t w o h un d red an d seven ty -fi ve C en t ral

It a an a n t n s ossesse t at a er an d li p i i g p d by h G ll y, ac t M r eren u t ce e . son as a en t c T s ar e p d by B h i . hi l g n um b er far exc eeds t he t ot al o f pi ct ures of any o n e It alian S ch ool in an y si n gl e Gallery ; secon d place is apparen t ly occu pi ed by t he B rera w i t h it s on e hun d red and fifty-seven pai n t i n gs o f t he N ort h

I ta an c oo s an d t r ace eru a w t its li S h l , hi d pl by P gi i h o n e un re an d ort -e t I n ac h d d f y igh Cen t ral talia s. E h o f t ese m useum s is ow ev er seen t o b e on a h , h , ly “ ” on e sc oo a er its o t er Ita an ct ures h l G ll y, if h li pi ar ex m n e a i ed . Th us t he Si en a Gall ery can b oast o n t w o V en et an s t he rera t w o F oren t n es an d ly i , B l i ,

U ST 1 5 8 T H E LEWIS BEQ E

- te I t w b e ou n t o con ta n fi ft e t b een selec d . ill f d i y igh

I u es or a ar er n um er t an is t o b e ou n t alian pi ct r , l g b h f d , ’ M r B eren son s oo s in an Pr vat e accordi n g t o . b k , y i

r ca Coll ect ion in Am e i . on t o Ta e Ta e D has een I n co nt radist i n ct i bl B , bl b f t he ea n com pil ed t o sh ow t he relat ive posi t io n s o l di g Publi c Gall eri es as regard s t he G reat er o f t he I tali an t rteen t ou rt een t fi t een t an d Mast ers o f the hi h , f h , f h ,

es I t t ere ore n cat es t he uali si x t een t h cen turi . , h f , i di Q

en c o f t ose a er es ott o ta tiv e Ord er o f Preced e h g ll i . Gi

is o f cou rse a m ost en t re u n re resen t e in P ct u re , , l i ly p d i

er es as a so is asacc o . I n a n u t ese Gall i , l M i ddi g p h li sts eac h pi ctu re w hi c h bears a separat e n um ber an d eac h pan el o f a di sm em b ered alt arpi ec e has been t reat ed as a separat e pi ctu re 5 t h us t he Proc essi on t o ” n t he c o ect on o f t he ar o f P m ou t Calvary i ll i E l ly h , “ ” F n s n d t A n t on o f a u a in St ra c S . P an d t he . i a h y d

c Co e e a er w c o r n a orm e t he Du lw i h ll g G ll y, hi h igi lly f d ’ “ part o f t he p red ella o f R aph ael s Co l on na Al tar ” ece t he c en t re ane an d un et t e o f w c are pi , p l l hi h P er on t o r an t o t he at on a r. n ow l en t by M J . i p M g N i l

a er ave had t o b e c on s ere as se arat e ic G ll y, h id d p p

t u res an d a e u as suc . tat ues raw n s an d , dd d p h S , d i g ,

t r or s o f art ave had t o b e om t te o h e w k h i d . I t w er a s b e u r e t at P san e o is ar ill, p h p , g d h i ll h dly en t i tled t o b e i n clu ded in a li st o f t he pri n c ipal I ta an asters b ut as t w o o f his our ease ct ures li M , f l pi are in t he at on a a er it is a v sa e t at N i l G ll y, d i bl h at t en t on s ou b e a t o t at m ort an t act i h ld p id h i p f . Peru n o o f course eserves a ace in suc a st gi , , d pl h li , but his n am e has pu rposely b een o m i t t ed from

Ta e D ecau se t he ar n m o f hi a n n s bl , b l ge u b er s p i t i g (t hi rty -t h ree in all) in t he Peru gi a Pi nacot eca gives APPENDIX D 1 5 9 t at a er u n ue rom nenc e as in a t o t o h G ll y d p i , , ddi i n ’ Peru n o s w o r s it n um ers am o n it s m ast e gi k , b g rpi eces o n ly o ne pi ct ure by Pi ero dei Fran c esc hi an d on e by ’ F ra A n e co Crivelli s c t u res g li . pi are u n d ou bt edly o n e o f t he eatu res o f t he at o na a er w c f N i l G ll y , hi h , accor n M r t o . eren so n oes n ot ossess a s n e di g B , d p i gl t h oroughly aut h en t i cat ed aut o g raph w o rk by

or o n e L eonar o da V n c o tt o o r asacc o Gi gi , d i i , Gi , M i . T he on ly i n disputably gen u i n e Gi orgio n e I n E n gland “ seem s to b e t he Sh eph erd B oy at Ham pt on Court w c is s ow n in Ta e D t o con t a n at , hi h h bl i east t w en t oo It a an ct ures l y g d li pi . Tabl e E i n clud es t he n am es o f u pw ards o f t w o

u n re I ta an A rt sts arran e in a a et ca o r er h d d li i g d lph b i l d , an d sh ow i n g ho w t h ey are rep resen t ed in fo u rt een

f t he u c a er es n c u e in Ta e o p bli g ll i i l d d bl B .

M r eren so n w ou b e the ast erso n t o re ar . B ld l p g d his sts as ex aust ve b u t in ears t o com e w en li h i , y , h t h ey have been con sid erably ex t en d ed an d t he n am es and w o r s o f o t er art sts are n c u e t he ro k h i i l d d , p b ab ility is t h at t he p ro po rt i on b etw een m asterpi ec es an d t hi rd -rat e pai n t i n gs w ill b e m uc h t he sam e as it is

n o w . Space d oes n ot adm i t o f an i n qu i ry i n to t he posi t i o n occu pi ed by t he N at io nal Gallery in regard t o its m aster ec es a n t e in o t er coun t r es b u t t ere pi p i d h i , h c an b e li t t l e dou bt t h at it is as ri c h in pic t ures of t he et er an s erm an F u F em s Lat e N h l di h , G , ll l i h ,

Dut c an s an d even F ren c c oo s ta en t o h , Sp i h , h S h l , k

et er as t he at ona Co ec t o n s o f o t er c ou n t r es g h , N i l ll i h i , a t ou t he er n a er t he L ou vre an d t he l h gh B li G ll y , ,

Pra o nat ura ossess et ter erm an F ren c an d d lly p b G , h ,

Span i sh pai n t i n gs resp ect i vely .

U ST 1 64 T H E LEWIS BEQ E

TAB LE B

P B G S A rra n ed a ccord TAB LE OF LEADIN G U LIC ALLERIE , g A I P S ing to the TOTALS OF UTHENTIC TALIAN ICTURE WHICH THEY CONTAIN .

QU ANTI TATI V E TABLE OF PR ECEDEN CE .

a N Tot l No . ta O' To l a i a ( l t n of It l n O a . rder . Pl ce ArtI st s R e éflctfig s pre ented .

S a ien , Belle Arti a a a London , N tion l G llery a s us um Berlin , K i er Friedrich M e ice U ffizi Florer . a a Mil n , Brer a s P ri , Louvre V Ienn a I m erI aI a , p G llery u a a a Per gi , Pin cotec a m Venice , Ac de y Dresden B uda Pesth Florence , Pitti Vatica n (including Vatican Pina coteca us s a an d , M eo Cri ti no, Lateran Museum ) m s Ro e , Borghe e Munich T urin N aples a a M drid . Pr do H am pton Court Venice , Correr Bologn a S t s m a . Peter burg , Her it ge a a m Vienn , Ac de y

Un ited S ta tes.

2 a arves 4 Newh ven , J Collection

2 Y a s u m . 5 New ork , Metropolit n Mu e 2 6 s a S Hi toric l ociety . 2 otb eI a s m U S 7 All Public G llerie . . A .

The n a m es of the I talI a n artist s an d the tota l num ber of their works represented I n Fourteen of the G alleries I ncluded in thi s T able e 6 - ar s a . 1 8 1 6 s hown in T ble E (pp 7 ) of thi Appendix .

t/ze T N MB OF W K S b TAB LE D . OTAL U ER OR y h ow they a re represen ted in (a ) the CHIEF E UROPEAN (c) the P RIVATE COLLECTION S of the QU ALITATIVE TABLE

. . i i e l i l g l B e l c g e i i e v n t r i L n t r r C . o P A E a C v B Coo i Go

To tal mb er en Nu giv in 2 4 1 ° 6 3 8 . at a o ue . N O. C l g

a a a 8 1 . N tion l G llery 4 5 3 w U flizi 1 1 1 Florence , 3 a s u 2 2 w. P ri , Lo vre 2 e. Berlin m Venice Academ y a M ad I r d . a N Vienn . a a a Mil n , Brer D s 9 . re den 1 0 PI ttI . Florence , 1 1 a m o . H pton C urt . 1 2 . Munich 1 a a 3 . V tic n 1 a s 4 . N ple 1 m o s 5 . Ro e , B rghe e 1 6 B a— s . ud Pe th

1 S t . s u 7 . Peter b rg 1 8 . Turin 1 u a 9 . Per gi 2 0 S a . ien C011 1 London Priv . 3 5 U S I I I A n n

TOTAL 2 1 3 0 2 8 In Churches an d Pub lI C an d ivat ll Pr e Co ee 97 9 2 1 1 7 2 3 tions not enum era ted above GR AND TOTAL 1 1 7 1 9 4 2 47 5 1

1 are s a m a 1 8 u There , of cour e , r ther ore th n 5 gen ine the tot al num ber so far APPENDIX D 1 6 7

TW N V- w E T T o of Me P I M S S a nd Mow in RINCIPAL TALIAN A TER , g G S 6 M I , ( ) e P C I NS o L ALLER E RIVATE OLLECT O f ONDON , U S S a nd d E YW R NITED TATE , ( ) VER HE E ELS E .

OF PRECEDENCE .

2 9 I 3

66 1 9 6 2 5 84 2 5 5

ks a k s . a is e wor by Titi n now nown to exi t Th t , howev r ,

u s . p blished by Mr . Beren on 2 1 Wre stleA

1 19 13 5 a

"c ua sgA

V EHI I l\ \O H 2 0!

‘ m m zco uuw a

o m o 0 ~ fi 0 o 9 5 u 5 8 m 2 8 N m 0 8 D o mm m Z Q p Z 6 E o E 6 so 6 C 8 m O z o 0 « w v S o o 2 u E o 5 u u w 5 En v 8 o s 5 8 < c c 5 j j a . w w 3, < w <

l t l

04 q n u H ° H ‘ H i M N

N M :

N H 0 : M N

- - H H H n u ; u g u t 1 H : H N H un d o4 :

m u u zm m u u u m zm M ; m m g u

" m zfl zo a v . m

m zv wo g u v zm u u ; u u M u N n n u :fl m

'

m u u za oo d zm v H N H H H M H ‘Q’

zzz> szzzzzO m> 2 0 2 0 2 2 0 Z U U Z U Z h U

c d 3 > 9 ar o t a m 9 m 9 0 0 e 8 o 6 c B d 6 n o .—o a 3 0 o m m fi E v 3 3 3 «s S « B S o 5 o 8 o u o 8 a : e c E u J m a fi o s 8 o c e s Q a m b k oh mh m

NOTES TO TAB LE A

1 u Incl ding paid for ten pict ures purchased at the Hamilton a a sa h . s als u ase out la k u P l ce le T ree other were o p rch d of the C r e F nd . 2 u a s a g a iam a a and 1 00 Incl din peci l P rl ent ry Gr nt of 7 , 5 ' “ ” ' ai a a s Ansidei a a 1 1 1 an p d for R ph el M donn (No . 7 ) d V an Dyck s " a a s . 1 1 2 Portr it of Ch rle I (No . 7 ) from the Blenheim Palace Collection . 3 a s a a am a a Including peci l P rli ent ry Gr nt of towards the sum a m assa s p . e of id for the A b dor (No by Holb in , a m a u i a a , as az z No the Portr it of Ad ir l P lido P rej cr bed to Vel que ( . and a an a a ma the Portr it of It li n Noble n (No . by m as Moroni , fro the Longford C tle Collection . 4 Including a speci al Government Grant of together with 1 0 o ut a 1 8 8 - a s sum £ 5 5 of the Gr nt for 9 99 . tow rd the of paid a a mas 1 6 an d for the Portr it of Burgo ter (No . 7 4) the Portrait of " an a m a Old L dy (No . by Re br ndt , out of the Collection of S auma z Lord de re . 5 This doe s not include the sum of paid to the M a rq uis of " am a a a a North pton for Portr it of L dy (No . by B . V an der “ H elst and a a h is a sa , Portr it of F ther id to be by Diirer Albrecht . 6 This doe s not incl ude a Parli a mentary Gra nt-in-Aid of £ 9000 a s u as a a tow rd the p rch e for of the D rnley Titi n . 7 This doe s not include the sum of paid out of the Grant ' - in aid u V an D ck s I l a s . . a a Acco nt for y M rche e G B C tt neo (No . 2 a 1 2 7 ) n d La M archese Cattaneo (NO . 9 Th lS is the speci al Government G rant of m ade towards

u as am . a s a s the p rch e of the F ily Group (No by Fr n H l , on co ndition that the norm al Annual Grant -I h -Aid of £ 5 000 should be sus a 1 1 —1 0 an d a a an s u pended for the ye r 9 9 , th t the needed b l ce ho ld be rai sed by pri vate and . 9 This doe s not include the sum of con tribu ted by the Treasury in June 1 909 toward s the purchase for of the Por " ai s a u ss a e wm~. s tr t of Chri tin , D che of Mil n , by Holb in , which pre ented - to the nation by the National Art Collections Fund . ' 1° Ded uct Appropri ation in Ald (Visitors Fee s for Admission on ' - S tu ts a ys and s f Sa ata gue) :£ 1 800 i 1 907 8 den D — Proceed o —le of C lo n £ 2000 in 1 908 9 ; £ 2 1 00 in 1 909 1 0. 1 7 9

APPENDIX

APP E ND I X F Con tin ued) .

m of s a s s 1 0 . Me ber the exi ting Bo rd of Tru tee , 9 9

Appointed . Resigned .

S i r am Willi Henry Gregory , S ir a am s a a s W lter C . J e ( fterw rd Lord Northb ourn e) Vi scount H ardinge E arl of Dudley a a s a E rl of C rli le (then George How rd , E M s . P q , . . )

am a am E s . Willi Gr h , q

S ir a a a B a K C . B Rich rd W ll ce , rt . , . . S a C G . B Lord vile , . .

. s E s C . V . . O Alfred C de Roth child , q , .

s s E s . John Po tle He eltine , q

a ss a s K G . M rque of L n downe , .

S ir . a a . C Tenn nt , B rt E arl Brownlow S i r a a . Henry T te , B rt

S 1r . a S a . K . G. B . J Murr y cott , B rt , a ym ut (t d i ds ) E rl of Pl o h hen Lor W n. or - S ir T . D . Gibson Carm ich ael

s a K . G. B . Lord Rede d le , Lord Ribblesdale 2 S i r Edgar Vincent

1 In con sequence of the increased dutie s an dr espon Sib ilities caused by the ma a n gement an d ca re of the N a tion a l G allery of Bri t i sh Art (which was s 1 6 1 8 s a a a opened to the public on Augu t , 97 ) being ve ted in the N tion l G llery ’ B a s C m m ss s a s s as as o rd , the Lord o i ioner of Her M je ty Tre ury were ple ed , by l fl inute a 1 8 as m us s m six their d ted June 5 , 97 , to incre e the nu ber of Tr tee fro Iz to eig t . 2 Th e number of the Trustees w as inCi eased from eight to ten in August 1 0 9 9 . APPENDI X G

LIST OF DIRECTORS OF TH E NATIONAL GALL ERY

S ir S L . E S K P . R . A CHARLE A TLA E, . A o n ted ul 2 18 1 pp i J y , 5 5 R ea o nted ul 1 1 860 pp i J y , R ea o n ted une 2 6 1 86 pp i J , 5 D ed D ec . 2 1 86 i 4, 5

Mr . a terwards S ir W M B OXAL ( f ) I I L R . A. LL A , A o nted F eb . 1 pp i 3, 1 866 R ea o n ted Feb . 1 1 8 pp i 3 , 7 i

R es ned . F eb . 20 1 ig , 874

Mr. a terwards S ir F K W. B ( f ) REDERIC URTON . A o n ted F eb . 20 1 pp i , 874 R ea o n ted Feb 20 1 8 pp i . , 79 R ea o n ed t Mar. 10 1 88 pp i , 4 R ea n d o te Mar. 10 1 88 pp i , 9 R et red Mar. 2 1 1 8 i , 94 M r. a terw r ( a ds S ir E . . P Y P . R . A f ) J O NTER, A o n ted Ma 8 1 8 pp i y , 94 R ea o n ted Ma 8 1 8 pp i y , 99 R ea o nted Ma 8 1 0 pp i y , 9 4

R es ned . Dec . 1 1 0 ig 3 , 9 4

S ir CHARLES H OLROY D . A o nted une 1 1 1 06 pp i J , 9

1 h ad su d . am Se 1 as . 2 He ccee ed Mr Willi gu er Keeperon Nov 4 , 1 m R was 8 and s n . 6 1 8 . U n w s . A. 43 , re ig ed on Nov , 47 , when Mr. T , , a ppointed Keeper . 1 83 1 84 APPENDIX

LIST OF K EEPERS OF TH E NATIONAL GALLE RY OF B RITISH ART

Mr w d i S H Y . a ter ar s S r ul 1 1 8 ( f ) CHARLE OLRO D J y 7, 97 M r. D . S . M un e 1 I 06 ACCOLL J 5 , 9

1 8 6 BIBLIOGRAPHY

1 8 6 . n l Nov . 2 Constitutio e , 5 , 4 P i ti i I l l ll H istor o a n n n ta 1 866 . C rowe and Cav a case e y f g y,

P a in tin in N orth I ta 1 8 1 . A H istory of g ly, 7 t Li l Th e R o a l ollection o P ain tin s a t Wi n dsor Cus , on e y C f g

a stle 1 06 . C , 9

’ ’ DAY OT Arm an d Na oleon ra con te ar l I fn a e 1 8 . , p , p g , 95 D elab orde V co m te H en r :I n res sa Vie ses tra v a ux sa , i i g , ,

D t ne 1 8 0. oc ri , 7

D W . N orw ich S chool o P a in tin 1 0 . ck es . F f g, 9 5 i , — D i a o N a tiona l B io ra h 1 08 0 . ction ry f g p y, 9 9 ' - 1 0 1 . Dix neuv ieme S zécle, 9

D ob so n Aust n Willia m H o a rth 1 0 . , i g , 9 7 ls the E n lish S ta e 1 8 88 Doran oh n A n n a o . , J f g g , “ ” D o rb ec Pros er on D a v d P o rtra t ste in th e Gazette des , p , i i i

B a ux A rts A ril 1 0 . e , p 9 7

D ou la s R . Lan ton H istor o S ien a 1 02 . g , g y f , 9 ’ n ew ed t o n 1 08 of row e and Cavalcaselle s H istor i i , 9 , C y l of P ain /ing in I ta y.

E uro ea n M a azine A r l 1 1 . p g , p i 79 ” -R I A D r n os van lev e in A ll e F M CH R TZ . o o IR ENICH , , J C g '

h r i n den K icnstle 0 . nzeines L ex i on de B lae r, I 9 9 ’ — F reibu r er M unsterblatter 1 0 0 . g , 9 5 7 “ ” F ri dland r Dr. o n H s B ldun in A ll ern ein es L ex h n e e , , an a g g i o ’ ’ der ilaenaen K iln s ler 1 08 . B t , 9 F l h r e o a ins h 1 8 n c e b rou 6 . s f G o g , 5

a l es is r ues de Versa i es G . G eri H to i ll 1 8 8 AVARD, C q , 3 .

Ga zette des B ea ux A rts 1 8 1 06 1 0 . , 97 , 9 , 9 9 ’ l m a Gen t e an s M azine vol. lv . 1 8 8 . g , 7 “ iii Gen . Die F ederz ch n un en H an s B aldun s zu y, J ei g g Murn ers Ub ersetzung der Weltgesch i ch te des S ab el licus in I llustrirte E lsiissische R un dscha u 1 0 , 9 5 . ’ Goncourt E dm ond et ules de L A rt du X VI /1m S iecle , J ,

vols. 1 8 2 3 , 8 . G a M ri : o ss rt au ce ea n Gossa rt do Ma ubeu e Lille 1 0 . , j g , , 9 3 Gr v Al a es ern on R o a l A ca em E hibit rs 1 0 . , g y d y x o , 9 6

Guicciardini L . D escritti di i P si B assi I n , one tu tti ae ,

Anv ersa 1 . , 1 5 8 H H R erb rt P . e in B u li 2 1 06 . r n t on M a azine ix . . O NE , , g g , , p 4 5 , 9 H o ub rak en Arnold D e Groot ur r ede la n tsche , e S ch oub g de N r ’ K on sts l chi ders en S chilaeressen I . , 7 53

H ueffer F . M . F ord M adox B R e ord o his L i e , row n A c f f a n d Worh 1 8 6 , 9 . BIBLIOGRAPHY 1 8 7

H un t H olman :P re-Ra haelitism a nd t - h , p he P re Rap aelite B roth erhood 1 , 90 5 . H ’ ’ man s H . y ( ) edi ti on o f Karel van Mander s Liz/re des i P e n tres 1 88 . , 4

I cono ra hie des ontem ora ins 1 g p C p , 833. ’ I llustrirte E lsassische R u n dscha u 1 . , 905 l I n dc . B e e su l. li N o . t t . v o . 1 02 . f g pp , 3 , 9 , 9

” S V on . Der Fall lev e in a hrbu ch der K on i lich JU TI , C C j g P reussisch en K unstsa ni mlu n en g , 1 89 5 .

KNACK FUS S :K anstler-M ono r a hien v olum o n anova g p , e C ,

1 898 . K na F ritz o n F ra B artolomm eo in A ll emeines pp , , g L ex ik on der B ildenden K u nstler 1 , 908 .

n l . s B tti i Kuh E F ra n ce co o cin 1 . e , , 906

- LA G. A n tonella da M e sina S tudi e CORTE CAILLER , s ; R icher he con documen ti inediti 1 c 0 . , 9 3 ’ L ad s M a azine D ec . 1 86 . y g , 7

La fenest re G . L a P ein ture en E uro e Le L ouv re 1 8 . , p , , 93

L aw E . : The R o a l Ga ller o H a m ton ourt 1 8 8 . , y y f p C , 9 ’

L run . B . P . : A lm a n a ch histori ue et ra ison n e des eb , q J ’ ‘ a rchitectes ein tres scul teurs et iseleurs de l A ca dcmie , p , p c - a t 1 6 . de S in Lu c, 7 7 77 Lesa e Ala n -R ene: The A duen tures o Gil B las de S a n g , i f tzlla na t ran slated b Tob a s S m ollett 1 0 ed t on , y i , 9 7 i i ,

I I . 86 . , i . A rts 1 88 Les Lettres et L es . . , ii 9 ’

L es Thed/res L ibertins Pa r s 1 0 . , i , 9 5

M : i teen th en tur A rt 1 02 . D S . N ne ACCOLL, C y , 9 Macli D an i el : A Ga ller o I llustrious Litera r ha r se, y f y C

a ciers 1 8 . , 73

M a azine o A rt 1 8 1 02 . g f , 99 , 9 ’

l 06 . zf a azin o F ine A rts i. 1 g e f , , 9 Marchese V ncen zo : M enzorie dei iu insi n i P ittori S cul , i p g ,

a n 1 8 . tori e A rchitetti Dom enic i, 79 ’ Marm ottan Paul : L E cole F ra nca ise de P einture 1 8 , ( 7 9 8 6 1 8 . Marzo io chino di N uov i studi ed a unti su A n tonella , G ac pp cu men ti 1 0 da M essina con 2 5 do , 9 5 llo (1An on o da Messma P rimi documenti Di An to n e t i , in S ocietd S torica M essinese A rchiv io Messi nesi ,

nese 1 0 . S torico .Messi , 9 3 1 8 8 BIBLIOGRAPHY

” i K itnstler-m on o r a ien s ri . a n h e es. Me er A G. : an ov y , C g p

di ior io Va sa ri 1 8 8 . Milan esi :L e Op ere G g , 7

H a ls S a Vie et S on (E u v re 1 0 . M s E . W rans oe , . F , , 9 9 “ ” Mo m a : . A. D . I n res in th e Gra nds A rtistes m é . j , J J g

i . ser es, 1 904

M rr r Nov . 1 8 . on thly M i o , 79

Moreau Adr en :L es S a in t A ubin 1 8 . , i , 94

ua l R e ort 1 0 . Na tion a l Ga llery A n n p , 9 7 er f B ritish A rt O cial a talo ue o the N a tion a l Gall y o , fi C g f ,

1 ?08 . M essa er des S cien ces H ist ri ues de Neefs E . in th e o , g— q 8 1 1 60. B el i ue 1 . g q , 74, pp 57

N n e en tu r O t . 1 0 . i teen th C y, c 9 0 ' N L e M usee N a tion a l de Versailles 1 8 6 olha P de . c , . , 9

N r . R A . L e o S ir osh ua R e n lds 1 8 1 8 . o th cote . o , J , if f j y , N s M 1 otes a n d uerie a 8 un e 1 0 . Q , y , J 9 , 9 9 ’ Nouv elles A rchiv es de l A rt F ra n a is 1 8 86 . c ,

P W H o arth a H is H u e F s . . . n d o EEL, g M r w T . di a o ra it le 1 Ga l . Petti e . e c l P rt r 8 8 g , J y , 3 P uccin M ern orie istorico-critich e di A n ton ello de li A n ton i , g j,

F renze 1 80 . i , 9

R GR : Diction ar o A rtists o the B ritish S chool ED AVE y f f ,

1 878 . R eport of a Specia l Com mittee of the Coun cil of the Gov ern e t h o D e i n a i d N m n S c ool s o n te ov . 1 8 6 . f g pp 3 , 4 R eportfrom the S elect Comm ittee app oin ted to in quire in to the best m ea n s of ex ten ding a hn ow ledge of the A rts a m on the P eo le 1 8 6 g p , 3 .

R D r . M a a h er . P in zin e A rt . 1 2 . c t . o Oct 0 i , J , g f , 9

H . a and W. J m es Weale : D escrifi tiv e Ca talogue of P tures b lon t ic e in o the E a rl o N orthbrooh 1 8 8 . g g f , 9

R o et . L . H istor o the Old Wa ter olour S ociet 1 8 1 . g , J y f C y, 9 R omb outs an d V a n Lerius De n geren der A n tw erpsche L u as ilde 1 sin t c 86 . g , 4 1 8 72 R M x n d F r R ooses, a , a an s eb er Geschichte der M alersch u le M A n tw er ens un ch en 1 8 1 . p , , 8 “ ” ’ R osen th al L . Lou s D av id in L es M itres de l A rt , i a

ser es 1 0 . i , 9 4 ” S . Lou s David in L es Gra n ds A rtistes ser es AUNIER , C i i , 0 1 9 4. S co tt L eader seud n m for M B o rs. L . a ter F ra B a rto , (p y x )

lom nze 1 8 8 1 . o,

I N D E X

- Mme collec s 1 2 1 NO O T . G R UC , , A E D E , Borghe e Collection , 3 S an S e olch ro S tion of, 5 7 Borgo p , ignorelli s 1 S s ss . , , 9 a s at Agnew on , Me r 3 5 under Piero dei Fr nce chi , a I Alb ertinelli , 7 4 , M riotto a 8 1 n ote s m , , 4 Alder on , A eli 9 Botticelli 1 2 B otticin i a s n ote m ao . . C . , 9 , , Al , Rev A Fr nce co 5 a a s at 1 a s 6 m s am s , 5 , , 7 , 7 A terd , Nicol M e— Boucher Fr ncoi 5 da ss a 1 8 2 a s Antonello Me in , 3 Boucher, Fr ncoi , one of the S a a 2 1 m as s a a u s Antonello di lib , ter of G briel J cq e de a s at 1 S a - 6 , . , 4 t Aub , 5 Antwerp F H l — in in Avercam 6 m a 8 p , Hendrik , 45 4 Boydell , Alder n , 5 a H 1 1 Br dley , Mr . W . . , 5 6 B s M rs B ACC I OCCH I , , . , 9 Felix , 9 rigg 4 W 1 8 s u at 1 1 6 B sh awe . . ag . . , 3 t l , b , ; Mr W — Bri o M ller orn Baldun a s 8 0 . . at 1 8 g, H n , 3 4 P F Poole born , 3 ’ B ardin i 1 8 s s m s a , Bri tol Mu eu , Muller f ther 6 1 a 1 1 6 B a a s , 9 , ring , Fr nci , collection 5 , cur tor of a a m as s s 1 1 8 n ote , , 93 t titut , B rker of B th Tho — Bri i h In ion a m m Fra 6 m ss za 1 2 0 B rtolo eo , , 9 Bro ley , Mi Eli beth ,

asa F . a B n , , 5 7 Brouwer , Adri en , 5 7 a B ro e I a h m as , 9 we , . . . , 8 B th , T o B rker of 3 r H 7 6 J Y 6 au a a s s . . . Be h rn i , Jo ephine , 5 Brown , F A , W 1 0 a 1 1 6—1 2 8 B eech e S ir . y, , 9 Brown , Ford M dox , s B n ote 6 1 00 Beren on , Mr . . , 4 , 5 , , Brown , M 1 1 1 8 2 2 2 6 s ss s 1 1 , , 3 , 5 , Brown Phillip , Me r . , 4 B ereste n am a s a B ru andet y f ilyportr it , p inted . 7 5 a s u us at by H l , 43 B rlington Ho e , exhibition , a azz a 2 2 6 0 n ote 1 1 1 2 6 1 Berlin G llery, Filippo M ol 5 , , 3 , 3 3 , 7 , , 3 5 , at 2 6 I , 3 9 a F ra a mm a a m a Berlin G llery , B rtolo eo Burr , M rg ret , rried to m a s 8 . 7 G in borough , 3 m s . an d Sa u 1 1 S ir k 1 Be t , Hon Rev. el , 3 Burton , Frederic , 4 1 2 1 2 0 1 2 6 Bibby , Mr . John , 5 Byron , , m am A rt a 1 2 1 Bir ingh G llery , a S s at L I S a Bl ndford , Alfred teven , CA A , Ford M dox Brown 1 2 8—1 1 a t 1 1 3 born , 9 8 am a a u ss 1 Blue Boy , the , 3 C er t , Co nte , 7 H 2 . . 1 0 1 1 a a 1 Boddington , Mr , , 4 C nov , 7 ’ a s u M . a s s a a Bode . Dr on N M e , 5 3 C rli le , E rl of, pict re by a s a s s us at N a worth Bog rdu . Joh nne . lo t por b e , 3 3 a 2 a ean 0rtrait 0— tr it of, 4 C rondelet , J , p of, 3 3 4 a a a E s 6 — o , a , 9 am s 1 1 1 1 B n p rte M rie Anne li Ch ber , George , 3 5 INDEX 1 9 1

“ Chaucer at the Court of a I I I 1 2 - 1 2 8 Edw rd . 3 De marne , 7 s L isson 1 6 is Christ o her cke Grove , 3 , p tt , ’ Den on Be s s sa s at 1 2 2 26 8 1 2 2 26 Chri tie , le , , 5 , , 4 , , 5 , 6 1 8 1 B e Ba 5 3 , 5 9 . , , non , ron , 7 5 s a u ss a e a Chri tin , D che of Mil n , 3 3 Dev ri , 7 4

n ote Do rb ec . s e 66 note 68 , M Pro p r , . 1 0 s us a a Chinnery , 3 Dorche ter Ho e , P rk L ne , ’ u ar m as lfre S e s r s at 1 Ch rchy d , Tho , collection A d tev n wo k , 33

at W br e 2 r . Mm o at of, ood idg , 9 Dord echt , N w rking . a as u San 1 Citt di C tello , Ch rch of 5 a ces at 1 6 sa note Fr n co , Doucet le , 5 7 Mrs s l a m . 8 Dowdeswel s Cl ir ont . , 9 Dowde well . Claudier- a ss s 88 a . V llier , Anne M rie Me r ,

a 6 a s S ir G . 0 Ch rlotte , 7 Don ld on . , 4 , 95 s van 2 8 - 2 a r e Cleve , Joo , the Elder , 9 Dublin G lle y , G orge Michel s van Y u s 6 Cleve , Joo , the o nger , repre ented in , 7 2 —0 u a Art a 9 3 Dublin M nicip l G llery, 1 00 Codde , Pieter , 44 , 49 m ss a s a Colin de Ver ont , one of the Duche of Lorr in , Chri tin , m asters of Gabriel J acq ues de 33 n ote S a - u 6 ss a s a int A bin , 5 Duche of Mil n , Chri tin , 33 1 n ote 1 ma , u a 1 0 , 9 Col n of Dr ry L ne , 7 D u s 6 2 6 i ss s. . 8 Coln a h . g , Me r P , 4 , D clo , , 3 1 1 u s 6 -66 9 Ducre x , Jo eph , 4 N a Conning , . , 49 Dudley , E rl of . collection of, s a as 24 2 Con t ble , John , contr ted with S mas 1 20 . 6 u G Michel , 7 D , ss s sa n ote S ir at , 5 7 Cook , Frederick , collection Duple i le

m 1 1 , . E . 6 note Rich ond , Duponchel C , 5 1 1 n ote . , , , 39 Cook , Mr Herbert Durer Albrecht Du ster m s . . R . a . 1 0 y , . 44 Cooke H , p inter 3 Wille Corneli law 80 Copyright , a a S uff 8 I N UR GH LL RY a s Corn rd , vill ge of, olk , 4 ED B GA E , portr it

. a s at 8 5 by F H l , 43

Corn elissen s 1 a , u s , Corneli . 4 Edinburgh G llery pict re by t 2 us 1 2 1 a , 4 Corneli , Tiepolo a m 1 00 u a , Co er , John , Edinb rgh G llery Portr it of M a am at 8 s a m F ra . rs. , 3 Cor ini G llery , Ro e , Hon Gr h the asm us 1 n ote a mm s 1 1 , 3 B rtolo eo repre ented in , Er a u a S at 1 Corton , L c ignorelli . 3 , R . 8 2 1 6 1 , J , . 7 FABE a a 0 Couth o n 6 , t tu , 3 , 5 F rrer he pic re de ler

Feetum . . am 1 La at , p l , 9 Cowper , dy . collection Mr C C be l a a s a 8 s , a . 7 5 P n h nger , Fe ch C rdin l a m , 1 1 , a 1 1 t y 3 Cox D vid, 7 Floren ine Ac de — a S i at 1 m 1 2 . ig , 5 Cro e . John , 9 9 Foi no norell P m a A . m m a . 6 . . , 7 7 Cro e co p red to G Michel , 7 o rd M r. W. 1 sa V er a n i a s 6 , M , 39 g g . h , Foot Cro di M rc e e ' s s ms 1 1 9 Fo ter Auction Roo , — - 1 22 a s , V I . L . 6 1 2 h hi , t b t DA D , , 7 7 7 Fr nco Bri i Ex i ion J Be am 6 D a , , 5 ecaisn e , i j i 7 4 Fr nkl n n n ’ i -in-B e s au d un s G r m an d re b ur i g , g , F g r De oncou t Ed ond - a e a at 8 s 8 62 or i t , 3 39 Jule , 5 , w k n c h dr l 1 92 INDEX

m a M . 1 A . 1 1 , . 7 5 , 9 Fripp , George , 7 Hobbe - 1 s . au W 6 . W. 1 . 1 2 a a , 7 , , Fuller M itl nd , Mr Hod on Mr L rence 1 2 8 - 8 ar am 8 - I N S OR OUGH mas 8 2 5 , , 7 8 1 GA B , Tho , Hog th Willi

. . S . 1 am . am s 1 2 9 l , , 33 G ble , Mr J e , Ho ford Mr R m s . . 6 1 a a , . J , n ote G tton P rk collection , 5 3 Hol e Mr C m s . a am a a , A . , 1 1 2 Geng , Girol o , in the N tion l Hol e Mr George r a a 1 , S i s . 6 , 5 yd 3 G llery — Holro Ch rle an d Co . . E . Gerard 6 8 0 , , 1 2 , 7 Hoole H 3

. m as 1 1 as 1 1 1 , , 3 Gil Bl , Horner Mr Tho . a s 6 C . , 60 , 3 Gillot , , 5 9 Hotel Drouot P ri 2 s . W. 1 0 Gillott s . , 9 , , 9 , Jo eph collection of Howe R s m as 8 1 a sa . , h , Giov nni Pi no 3 Hud on T o — - 8 . Girodet Trioson 6 s , , 1 0 1 1 de Rou y , Hughe Mr Arthur 4 4 - ft 1 u s S a . H . a ollston ecra , 9 , , 8 6 Godwin , M ry H ghe t nton Mr — a H urlstone . Y . 1 0 1 1 2 am . , , , 9 Godwin , Willi the uthor F — H u thu sen a 8 8 1 y , m van , portr it of, 9 y Wille por Goltzius ss a a of, 43 , Hendrick , po ibly tr it m as a s a s 2 ter of Fr n H l , 4 m 8 - 6 2 TS ON u s a sa 8 Goncourt , Ed ond de—, 5 IBBE , J liu C e r , 7 es 8 6 2 I n ch b ald M rs. s 8 Goncourt , Jul de , 5 , , the—noveli t , 9 s . . B . 2 S a a 8 7 g , , 7 7 4 Goodrich , r h , In re J A a S a 1 08 s , a s u at 8 Gord le c r , Ip wich G in boro gh , 3 2 — s 6 8 ssa an , a , Go rt , J 3 3 4 I bey m S s sa a a 1 Govern ent chool of De ign , I i h c rtoon , 33 S s a s at 1 2 teven te che . 3 t K S ON 1 0 a a s , C , , 7 Gr fton G llerie , exhibition a JA John ' 1 2 2 acob ello d An ton io son J , of

M s. a da ss a 2 0 a am . r Gr h , Hon , portr it of , Antonello Me in , 8 eaurat mas s 3 J , one of the ter of a 8 a a s S a n Gr velot , Hubert . 3 G briel J cque de i t s a a a 6 Greenwich Ho pit l , P inted H ll Aubin , 5 a t 1 1 en n n van H enne ouwen 2 , 4 J y g , 3 s a u s a t s i B eauh ai n ais 6 Greenwich Ho pit l , pict re , Jo eph ne , 5 1 1 4 s 1 2 0 U FM NN a Gregoriu , Albert , KA A , Rich rd von , collee z 6 2 Greu e , 5 7 , 4 tion , Berlin , 9

see B aldun . . A . Grien , g Keogh . Mr F , 45 s a 6 8 a 1 1 Gio , B ron , Kerr , Lord M rk , 3 G roult sa n ote a s o u at 8 le , 5 7 Kew , G in bor ugh b ried , 4

aus o ss L . Kn , Pr fe or , collection H R L M a s H a s at 1 - 2 AA E , Fr n l , 4 45 of, Berlin , 4 H aldon 8 S ir 8 1 , Lord , collection of , 4 Kneller , Godfrey , a s D H l , irk , 44 a s a s 1 R OOK 1 H l , Fr n , 4 LADB E , Robert , 9 H am a a 1 2 1 a k u ilton P l ce collection , , 3 L dbroo e . Robert , pict re am a s at as H pton Court , M bu e , 3 3 , cribed to , 94

n ote ; . . at . L a a u au C onstant n 3 3 H G Pot , 49 F rg e , P l y , a M r 1 00 H rley , . , 5 3

a . C . . R 1 0 a a m o 0 H ydon , B , 9 L ke , Be u ont , 5 a m a a s 8 a as m 1 1 8 n ote H y n . Fr nci , 3 L nc ter , Hu e ,

a a as . . H . 1 1 8 H yter , John , 7 4 L nc ter , Rev R , 94 , H em essen a a a van 6 1 1 , C th rin , 3 9

m a s fi s a as . m an u n Her n , Annette , r t wife of L nc ter , R Hu e , a s a s 2 k a 1 1 8 Fr n H l , 4 nown p inter ,

1 94 INDEX

G . 8 m a , , . , 44, 4 Nor nton , Lord , collection of Pot H a um a us 8 6 Pr gue , Rudolphin , M b e 1 s at am s , R . A . , , 3 3 Northcote , J e 9 repre ented F N a , ra a mm s orthwick , Lord , collection of, Pr to B rtolo eo goe to a t 2 3 live , 7 P ré ult a , 7 3 - a a m 1 2 1 Pre R ph elite Move ent , , ’ L 2 1 0 M AS TE R s . O D Exhibition , 5 4 te 1 1 1 2 6 1 s a a en 2 6 0 n o , 7 , , 3 5 , l , , , 3 , 3 3 Pre te M ry C therine a 8 1 39 gr ver , 5 ' 8 8 —1 1 Opie , John , 9 Prud hon , Pierre , 7

a a s . 6 8 Orpin , Edw rd , P ri h Clerk , Pujol , A de , a 8 p t it , 3 or r of ' O a a S s rvieto C thedr l , ignorelli E E s s 1 QU NE D Y . 1 fre coe in , 5 7 l 6 1 2 1 Q a u , Overbeck , uentin de To r 4 Oxen b rid e s u , 3 g , Vi co nt 5

NOR a RAD , E rl of, collection of, 33 L M S a azz a , 49 nd o , b nner for the town PA A EDE ' R a s a a s 2 0 P n h nger , L dy Cowper col of, at 8 a a 1 1 lection , R ph el , a a fl s Fra a a . 1 P oletti , Dr , 7 . 7 4 R ph el , in uence B rto a s 1 8 1 2 2 lom m eo P ri Exhibition of 5 5 , , 7

a s 6 m a fl u . P ri , Hotel Drouot , 3 Re br ndt , in ence on G a s u 0 P ri , Lo vre Michel , 5 ' “ Mab use s a a m a m as as Portr it of C ron Re br ndt , ter of Nicol

a s , 0 ; u s delet , 34 M e 5 their pict re con 01 as a a s M ter ofthe De th of M ry , fu ed , 5 3 2 n ote R e n iers s s 9 y , Li beth , econd wife of ss a da 2 1 a s a s 2 Me in , Antonello , Fr n H l , 4 s s 2 s a Picture by Ingre , 7 Ribble d le , Lord , collection of, z 1 0 - 0 a . a 1 8 P tto , M Fern nde , collection 7 a s a 1 0 of, P ri , 5 7 Ridley , engr ver , 3 M 6 o 6 8 P c d m . é oul . an e - e s , M , 7 R bert , L opold Loui , 1 2 s 6 0 Pegler , Mr . Alfred , 9 Robe pierre , 5 , 9 m a m C s a 1 1 Pe broke , E rl of , collection of , Ro e , or ini G llery , m Fra a m m at 8 33 Ro e , B rtolo eo , a a 1 1 s s 2 Perino del V g , Roque , Jo eph , 7 2 ss s m Philip of Burgundy , 3 Ro elli , Co i o , 5 , 7

M r 0 . 2 s C au ss G . 1 2 1 6 Phillip l de , . , 7 Ro etti , D , 5 , '

W . 1 2 a 8 ss . Pi n di Mugnone , , 9 Ro etti , W , 5 a zz a a a s a a a 8 1 Pi ett , Giov nni B tti t , Roth , dr pery p inter , m 2 as , 4 s , , ter of Tiepolo Roth child , Lord collection of

a NO. 1 1 1 2 2 1 2 8 Picc dilly , 9 , , 7 4 a s 1 a a m 1 1 1 2 1 2 8 Piero dei Fr nce chi , 4 Roy l Ac de y , 9 , 4 , , P i eo g t . 7 0 sa a a a m H urlstone o Pi no . Giov nni , 3 Roy l Ac de y , p a t a a m m s m s 1 1 0 Pitti G llery , F B rtolo eo po ed to ethod of, at 8 u m at a a us , R dolphinu Pr gue , M b e S a 1 2 s at Plint le , the , 7 repre ented , 3 3 P e e ur o l mb , 4 u s a a van . 4 g 9 R i d el , J cob 7 a 1 ss a s Poll iuolo , Antonio , 4 Ru ell , Mr . W tt , collection of , a a 1 8 - 1 8 2 n ote Poole , P ul F lconer , 3 39 5 , 9 M r s. 1 0 s a S a m van Pope , , 3 Ruy d el , lo on , 7 5 1 9 5

S m . , a 8 UN KNOWN m s a cho berg , Dr portr it of, 3 Fle i h p inter of S a - , . C . , 4 E a S cl ter Booth Hon 5 the rly ixteenth Century . S o S am . m a a 2 8 c tt , uel the rine p inter , Unknown Florentine painter of ur the Fifteenth Cent y . 5 Unknown French pa inter of the e - 6 Fifte nth Century , 5 5 5 8 U a m S s 9 rbino Ac de y , Alfred teven 2 a m m 1 0 1 e ber of the . 3 . 3 3 a 8 U an a us at 2 portr it of , 4 trecht , J M b e , 3 S a u Sa n a es ien , Ch rch of Fr nc co a t . 3 S a a at V A N L V T H E L R s ien , G llery , 4 C E E E DE , Joo , S a a azz 2 8 2 ien , P l o Pubblico , 4 , 9 S 1 V an Y u s ignorelli , Antonio , 5 Cleve the o nger , Joo , S a s 1 2 ° ignorelli , Fr nce co . 5 9 . 3 S u a 1 —1 V an an 20 ignorelli , L c , 3 5 Eyck . J ,

S m i Mme. at V an Gelli nckh u sen i on n , , collection of. y , Hendrick , a 6 N ncy , 5 44 T 2 n a n f z — S m s . . . 8 V a , ose s . 48 , i p on , Mr R , Goyen J J 47 R a S m . . 1 0 ith , J , engr ver . 7 7 5 S B s s s 1 1 8 Va nh aallen 8 1 ociety of riti h Arti t , , n ote Van a s a 1 2 0 H n el er , S 0 n ote V an H em essen a a a 6 otte Cleve , 3 , C th rin . 3 S o u a 1 2 0 V an H e nne o uwen enn n 2 th London Art G llery , g , J y , 3

S t . a V an a a ss a Leger , Colonel , portr it of, M nder , K rel , po ibly 8 mas a s a s 2 4 ter of Fr n H l , 4 ' n S t . au s a a 1 V a u s a . a . 7 , P l C thedr l , 33 R i d el J cob 4 7 5 - a n a S m S tan nus . 1 1 V s a , Mr Hugh , 3 5 3 7 Ruy d el , lo on , 7 5 V n E sias S a k , am s 1 a , , 47 t r J e , 9 de Velde S an an van V a n Be s 2 8 - 2 t , J , pupi J d , . 9 een l of er ke Joo ° a azz a a T ie o lo s , . p Goyen , 47 Venice P l o L bi — s s 2 S s 1 2 8 1 8 , . 4 teven , Alfred , 3 fre co in ketch for

S ass Baldun m s s a . a u tr burg . g beco e Venu ti , M rcello cco nt of, z 8 1 1 1 2 citi en of, 3 , S a 8 6 V er a n i a s sa . 6 tu rt , Gilbert . g g , M rche e Cro di ih S web ach V eri occhio a , . 7 5 , Andre del

2 uences . S 1 S a a a , 1 1 , fl , 4 ydney , N tion l G llery L ignorelli V sa illes 1 1 26 ei . 7 a an d s m 6 Victori Albert Mu eu , 7 , 1 1 4

M . 6 R I U . , . , 7 TA D E , P Vien J a u a s at . 6 na M r. 2 4 Ten nt , , 9 Vienn , D creux p int ll a m a a Fra a S ir a P . , co ec , l , Tenn nt , Edw rd Vienn I peri l G l ery m m at 8 1 0 Ba l . tion of, 3 rto o eo

n Mme. s 1 0 1 1 V i ée . , 7 5 T y , 4 , 4 g Leh in enn on ’ o 1 S ir am s H o arth s e . Ge r . 9 Thornhill , J e . g Vinc nt e - - Lconar 0 da 1 2 mas and a in la w , , 7 . 4 , 3 ter f ther , 7 9 Vinci 1 96 I NDEX

um 1 2 1 Wellington Mon ent , 3 , 34 s a 1 1 We ton , L dy , 7 s m Baldun a t Weyer hei , g born , 8 W3heeler a am s 1 0 —1 08 W rd , J e , 7 a am 1 0 W rd , Willi , 7

u c sa Wedderb rn ollection , le of 8 1 Y K E S S an su s a s a s the , , J , e Fr n H l for ma 6 n ote Wei r , M 4 debt , 44

' r nted b y B A L LA N rvNE A NS ON 69° P i , H Co Edinb urgh 63 ° L ondon