Jforewow Munich Has Long Enjoyed a High

R U B EN S . A N D C H IL D WIFE . (S ee p ag e

Flo rence J ean Ansell

Frank Ro Fra rie S . M F R P y p , . , . tl e and K Autho r o f C as s eeps o f Sco tland, ” Amen Ba Inn et . g varian s, c

’ a uthor s; jforewow

MU N I CH has long enjoyed a high reputatio n as i a place of study and training for pa nters . Many masters of many lands o w e thanks to the city for some of the knowledge which has brought them

glory . This is due in great part to the excellent o ppo rtunities for study of the old masters afforded

ma niﬁ cent i h by the g gallery, the old P nakot ek, which in some respects i s unrivalled by any gallery

o f o r m Europe . There exists in the w ld for exa ple no such opportunity for the study of Rubens as in this gallery ; nowhere will one ﬁ nd such a judiciously selected wealth of pictures co vering so wide a range

of schools and styles . But the Old Pinakothek is

not all . The modern galleries contain superb col

no t lections, even though these are to be compared

in pow er with the older collectio n . The authors of thepresent volume do not lay claim to the preparation of a revolutionary treatise . The opinions expressed w ill be fo und to follow in the main accepted judgments , necessarily tempered 0 by personal likes and preferences . We h pe that we have produced a book which will enable the ’ Vi a uthor s f Ot CWOt D visitor to the galleries to emplo y his time to the best advantage, and enable the distant reader aided by the numerous illustrations to fo rm some con ce ti n p o of the importance of the galleries . A word on the subject of the spelling of pro per

i f e difﬁ cu lties is names, wh ch o fers p culiar , perhaps in i to order . It is absolutely mpossible to attain any exact standard of consistency i n this matter . The readiest and most useful method we believe is to adopt the forms likely to be most familiar to the h— i i Englis speak ng general reader, and th s we have

i o endeavoured to do , leav ng abs lute accuracy as a goal to be striven for in the works of archaeological specialists .

i o In add ti n to many reference books on art , we must acknowledge our special indebtedness fo r the

’ facts contained in the ﬁ rst chapter to Von Rebet s

in o fﬁ ci al history of the gallery, published the cata

’ Grau to ff s Gemaldesammlun en logue, and to g

Mii nchens ad , on which , though with considerable ditio ns ew Pinako , are based the chapters on the N thek and the Schack Gallery .

W IMAREFEN AM B u ust ERG, A g , Gontents

C R AP?“ ?AGB

Hxsro mr o r TH E PINAKOTH EK Co u s cr- xo n

LOWER RHENISH AN D O w D UTCH Scu o o m

D UTCH SCHOOL

Tms FLEMISH SCH OOL

TH E ITALIAN Scu o o x.

TH E S PANISH SCH O O L

TH E FRENCH SCHOOL NEW PINAKOTH EK

TH E Sa cx GALLERY INDEX

iLtst of ﬁ llustrations

PAGE R —W . F C H UBENS I E AND IL D (See page I 54) Fro ntispz ece

R - L D W IBERA . O OMAN WITH A HEN 1 6

W H M K O F ST . IL EL OLN . VERONICA WITH THE HAND K ERC H IE F W — ST. L K VAN DER EYDEN . U E PAINTING A PORTRAIT O F THE VIRGIN M — . H HANS EMLING ST. JO N THE BAPTIST

QUENTIN MATSYS . PIETA

W L C X MICHAEL O G EMUT . CRU IFI ION

' D i - O F H ALBRECH T nu z R . PORTRAIT IMSELF

C — L K A H D . A LBRE T URER U E PAUMGARTNER s ST . G S H EORGE AND TE P EN PAUMGARTNER As ST . EUSTACE — T . ST. D E ALBREC H T D URER . S OHN AND PETER ( J — D . ST. H ST. TAIL) . ALBREC T URER PAUL AND MARK (D ETAIL)

— P0RTRA1T O HANS HOL B EIN THE YOUNGER . F Sm BRIAN TUKE

— D FRO M C SS REMBRANDT . ESCENT THE RO

—Tm: S G ERARD D o v . PINNER

H - I O F D H L V PI ETER DE HOOC . NTERIOR A UTC I ING ROOM

A P Y O F AT G ADRIAN BROUW ER . ART PEASANTS A AME O F CARDS

LA MEINDERT HOBBEMA . NDSCAPE

IX l i st Of ﬂl lustrati ons

PAGE

BAr rL E 0 “ O e RUBENS . 1 THE AMAZ N

RUB ENS . HELENA FO URMENT — W - L10N O F . Ru BENs. RUBENS . REATH FRUIT HUNT

D — o r VAN YCK . BURGOMASTER ANTWERP AND HIS WIFE

D YC D urex . K o r F . VAN . PORTRAIT HIMSEL VAN PORTRAIT O F LADY MARY RUTH VEN

D V T Y - A D K P Y A ID ENIERS THE OUNGER . RIN ING ART

—L K L L G WILD FRANZ SNYD ERS . IONE SS I IN A BOAR

FRA FILI PPO LIPPI . MADONNA

TT — v en Y O BO ICELLI . LAMENTATION o THE BOD F C H RIST

G — m G Y B G Wo n HIRLANDAJO . MADONNA LOR EIN S H I PPE D BY SAINTS

— ? V 01 ST. PERUGINO . ISION BERNARD

— RO SEH ED G B IL FRA NCIA . MADONNA IN A

RA . O F T R PHAEL MADONNA THE CASA EMPI . APHAEL . CAN IG IAN I HOLY FAMILY

Tm AN . MADONNA AND C H ILD

E O F F PALMA V ccm o . PORTRAIT HIMSEL

T NTO R ET’ I‘O O I . PORTRAIT F A SCULPTOR

E O F D V RONESE . PORTRAIT A PROU VENETIAN LADY

G u mo REN — Assu mp T10N O x . F THE Vmc m — W TIEPOLO . ORSH IP O F THE MAG!

VELASQUEZ . PORTRAIT o r HIMSELF

M D C . . M URILLO I E PLAYERS MURILLO . ELON EATERS — ZUR BARO N . O ss ST. FRANCIS F A xsx P — ESNB . Y T ANTOINE OUNG Gnu . IN A STRAW HA l i st of 11Ilustrattons

PAGE

’ Z G i RL s G REU E . HEAD

FEUERBACH . MEDEA

Z S FRAN STUCK . IN

L ENBA C H PORTRAIT O F PRINC E BISMARCK

W SEGANTINI . PLO ING

GABRIEL MAx . KATHARINE EMMERICH

N TH E B y L E BAC H . SHEPHERD o

ID Y Txvo u FEUERBACH . LL IN

~ — ' Bo c m 1N . N Bé cx u n . T I VILLA O THE SEA . R TON N AND EREID .

e ﬁ rt of B

I m (gammy;

CHAPTER I

H ISTORY O F TH E PINAK OTH EK C OL LECTION

AT the time that the brothers Van Eyck ﬁ rst raised painting o n wood in Germany to the level

ﬁ ne ﬁ rst a of a art, a Bavarian prince was their p

E ero r tron . John of Bavaria, a grandson of the mp

fro L ii t Ludwig, m his seventeenth year Bishop of

tich , and later through the expulsion of his niece

Jacoba , Count of Luxemburg, Brabant and Holland,

1 22 had in 4 taken Jan Van Eyck into his service , where he remained till the death of the count in

w as 1 424 . That his title of a valet de chambre no sinecure is evident fro m the fact that Jan left his home and his brother and settled at The Hague, where Count John held his court .

’ As Jan Van Eyck s strength lay in portraiture, there is no do ubt that the ﬁ rst Bavarian royal po r c‘ be a rt of the M uni ch Galleri es

traits of an artistic character date from that period . But unfortunately among the many portraits by

ac Van Eyck still preserved, not one can safely be cepted as representing the prince whom he served ; i and it is to be deplored, that of the many w dely distributed works of this great master none have i ’ reached Bavaria, as the art treasures of Ludw g s successors were all lost with their possessions in i Brandenburg, T rol and Holland . Regarded from the standpo int of artistic devel o ment in i p the Middle Ages , Bavar a proper was i behindhand . No t only could Rh neland and Sax

fro o n enthu si ony, m the eleventh century , boast an astic i i i i cult vat on of art, w th correspond ngly great i i results , but the ne ghbouring eccles astical princi

alities i W ii rz bu r p and imperial cit es like g, Bam berg, Regensburg, Augsburg, Ulm and Nuremberg , raised themselves to positions of relatively great i i brill ancy, while Bavarian cit es , even the capitals ,

i o o r in a rema ned p and destitute of art . Even M i nich , the Emperor Ludwig the Bavarian l ved in a

u i t e castle conspicuo sly inart stic , and , until the building of the Frauenkirche ( 1 468 not a sin gle important example of architecture could be i i fo n . i u d S m lar was the situat on of Ingolstadt, in and only Landshut was some advance to be seen , that city boasting not only of an important castle

( Trausnitz ) , but also of the Church of St . Martin,

4 Ebe mt of tbe muntcb (Bal lertes her relations with the capital seem to have been i somewhat stra ned . The earliest fostering of painting in the cities of b Nuremberg, Augsburg and Regensburg is attri u ted to D uke Wilhelm IV ( died who gave

Feselen B . employment to Altdorfer, , Beham ,

h r L n r fe . Reﬁ e Bu r kmai r A . Sc o g , Prew, p , g and m others . Proof of their employ ent by the Duke is n fur ished by the portraits of himself and his wife,

a i 1 26 in Jacoba of Baden , p nted in 5 , and also the series of great historical pictures of classical sub ” ects b j of which the Alexander in Battle, y Alt ” dorfer, The Martyrdom of Marcus Curtius , by i L . Reﬁn er ae g , The Siege of Ales a by C sar, by

F elen es , The Reception of Cloelia by Porsenna ,

i Bu r kmai r by the same art st, Esther, by g , and

i B . the D scovery of the True Cross , by Beham , i have been brought together n the Pinakothek . The much defaced Battle of Cannae by Bu rgkmai r has remained at Augsburg and the Battle of P Zama by J . rew, the Elder, must also have been

. n cae taken there Others , however, like Muci s S

Scho fer vola by Abraham p , Horatius Cocles

To r u atu s Reﬁ n er and Manlius q by g , were seized ’ fo n by the Swedes in the Thirty Years War, and u d their way into the National Museum at Stockholm

. 2 2 e i ( Nos 94 , 95, Two pictur s of this ser es have in the past few years been recovered from h i story of tbe D tnakotbeh C ol lecti on 5

Swedish private owners, viz . , The Histo ry of Susannah by Feselen no w in the gallery at

Burghausen , and the Lucretia by Prew, now in

. es Erlangen Besid these , a Love Scene by Cranach and a Judgment of Paris by Hans

Scho fer the 05 . 2 p , Elder ( N 58 and 297 of the Sw e dish National Museum) , were obtained from the D art collection of the uke of Bavaria . It w as under Albrecht V ( 1 550 the mag niﬁ cent pioneer of the line of princely Bavarian art patrons , that anything like a real collection began

’ its existence, but the collector s fever o f this prince was intense , and was directed with prodigal it f y and taste to the acquisition of objects o value,

ma niﬁ cent . h g furniture, etc , so t at since then the

e Bavarian treasur chamber, which owes to him the

o f o f o most precious its treasures , is one the m st

H e valuable in the world . was less fortunate in

o e his collecti n of antiques , his principal object b ing to get together a series of portraits . H e w as un fortunate in his advisers, and oftener than not was the victim of th e duplicity or the ignorance of his

. to Italian agents Furthermore, his object seems

o f r have been far more the hoarding cu iosities, such as crowded the so - called art chambers o f th e

t a a u o f princely courts, h n the cc mulation pictures,

e which latter, even when chosen, were s lected far

f b a fo r the e mo re because o their su jects, th n sak 6 t he a rt Of tbe muntcb 3 81116 1716 8

of art or artist . Portraits play the chief role, em

ero r p , prince or philosopher, famous men , half

i . mythical heroes , aye, even noted crim nals The descriptions of the period dwell insistently upon works which belong rather to the ﬁ eld of curiosi ” i a t es , for instance, a Salvator Mundi with i l ttle string, by means of which the eyes of the pic t in ture co uld be made to move O herwise, the v ento ries are ignorant and scanty to a point of

ﬁ nds actual uselessness . Consequently one among the nearly seven hundred works mentioned in the

I 8 Fickler Inventory of 59 , besides the already men tio ned i i i histor cal paint ng of W lliam IV, only a

e few dozen pictures, and among th se only three appear to be of especial importance , viz . , the life

D ii rer size Lucretia by , the Portrait of the

u Chancellor Bryan Tuke by Holbein , and the S sannah by Altdorfer . In the ﬁ v e volumes relating to the acquisition o f V the art treasures of Albrecht in the local archives , the purchase of pictures is mentioned o nly inciden tally, without the names of the artists , or in con n ti o n ec with names obviously incorrect . Titian is to be sure , mentioned frequently, but only in con nectio n the e with purchase of jewels and antiqu s , while of works of his brush we learn nothing t e liable .

Wilhelm V ( 1 579 - 1 597) w as not in a po sition h i story of tbe D tnakotbek col lecti on 7 to indulge such a passion for collecting as that dis

hi s played by predecessor . It is true that annually from 1 580 four hundred gulden were appropriated for the purchase of pictures ; but when we consider

o that with a ducal income of nly gulden ,

St . and the church of Michael the Jesuit convent, e t i i ev n after he r consecration, devoured dur ng the years 1 590- 97 the sum of gulden ; that at the same time the Maxburg in Munich and the old Castle at Schleissheim were being built ; that fur thermo re the pious Duke w as endowing churches in all directions and was a generous fosterer o f church

i di a r mus c ( Orlando Lasso ) , one can easily pp e ciate that painting, so far as the practical assistance o f w as e the Duke concerned , was n cessarily limited to the decoration of church buildings and the illu H mination of liturgical books . e was still further handicapped by the pronounced action of the higher

i o f the w ho e o n soc al classes country, imm diately

o f W ilhelm r the accession , announced their dete mination to no longer comply with the demands which the resolute Duke Albrecht had known ho w

o to enforce . They insisted upon putting an end t the ruino us purchase of cu rious and worthless objects and insisted that the collection o f Al brecht V should be sold ; in fact Wilhelm V in I 583 declared that fu rther purchases would be discon in t ned . ‘ 8 Ebe a rt of tbe muntcb G al l eri es

The pious wish with reference to the sale of the

u n ratiﬁ ed . collection remained , fortunately, g The i cultivated and energet c son of Wilhelm , Maxi

i ﬁ rst o i mil an , later the Elect r of Bavar a, seemed much more inclined to follow in the princely foot V steps of Albrecht , than in those of his father, and i although the restorat on of his palace, almost to

ﬁ re in 1 80 his tally destroyed by 5 , absorbed means , the treasure chamber and the antique co in collee

i i The tion remained his favo ur te relaxat on . cele brated cabinet of carved ivory used as a case for the

i in the i Mu gold co ns , and now preserved Nat onal seum , was an order given by Max to Christian

n rmai r A ge of Weilheim . The ﬁ rst of his line w ho in painting valued art

’ fo r e bu t b for art s sake, he acquired little mon y, y

a me ns of many letters and acts of grace , his favour ’ i D ii rer s . n ite works, viz . masterpieces These cluded in 1 6 1 3 the Paumgartner Altarpiece ’ from St . Catherine s church at Nuremberg and in 1 6 1 4 the Heller Altarpiece from the D ominican church in Frankfort (burned with the palace in Then in 1 6 27 despite the calamities of war, he acquired the Four Apostles from the

ﬁ rst o f Rathaus in Nuremberg, and the half the ’ Emperor Maximilian s prayer book .

’ H e also secured Hans Holbein s Spring of ” 16 2 as Life, which in 3 w taken by the Swedes and h istory of tbe lptnakotbeh ¢ol lecti o n 9 via i i England carr ed to Portugal . In intell gent appreciation of the decline of German art, which a fter Hans Mielich ( died Christopher Schwartz ( died and Adam Elsheimer ( died 1 6 20 ) had wholly sacriﬁ ced its independence in characterless imitation of Italian art, especially that

th e i i of Tintoretto, and on other hand, in ant c pa tion of the brilliant development of the art of the

o Netherlands , Max surr unded himself with artists from that country, whose work was to be the dec oration of his castles . Among these Peter de Witte

. to o became a sort of intendant Apparently , he favo ured the German artists who had been edu ca ed inﬂu ence t under Netherland , for example

Pru er Nicholas gg , the court painter, to whom he gave employment for a long time . The building of Heidelberg Castle possibly gave access to Northern artists and induced a leaning towards Northern art in contradiction to th e Ital ian inclinations of the Imperial and ecclesiastical G courts of South ermany , opening to the Nether

At ﬁ rs . t lands the way to precedence in painting ,

w ar of course , the rendered any great advance in

w e o this direction impossible ; but learn , thr ugh a letter from Rubens to Sir Dudley Carleton “ that he had delivered . the great Lion

Hunt to the Duke of Bavaria, which painting was the nucleus o f the Rubens collection in Munich . 1 0 t he a rt Of the {lbuntcb 3 3 116 116 8

Later the gallery was ro bbed far more than en

i i w ar riched, espec ally dur ng the second half of the , i so calamitous for Bavar a, when it was scarcely possible even to think of art .

’ i i 1 6 1 Max m lian s successor, Ferdinand Maria ( 5 i turned, but temporarily, in other d rections .

H e i i i marr ed Henr etta Adela de of Savoy , and through this connection found himself surrounded li i i by Ita an architecture , sculpture , pa nt ng and

i s the inﬂuence mus c . In addition he felt o keenly of the time that his acquisitions were almost wholly in the temporarily highly valued ﬁ eld of the Eclec

de tics, and therewith fell to the low level of the cadent style of the day . Furthermore Ferdinand Maria was far more interested in the decoration

hi s n of castles in Munich and Nymphe burg, and the i in Theat nerkirche , than the actual co llecting of pictures . It remained for his son and successor Max Em manuel ( 1 6 79 - 1 726 ) to make the collection of i pa ntings one of the greatest in Europe . His long

i er connect on with the courts of Spain , France , G

f o many, and Italy a forded him rich pportunities , and, unaccustomed to place any restraint upon his own inclinations , he always found either the means or the credit to purchase what he desired . In con

ﬁ rst few sequence, in the years of his reign , he had acquired such additions to the collection that he

1 2 t he a rt of the {Muni ch wal l eri es

the Pinakothek , while Charles I on Horseback through the presentation already mentioned passed

e to the Duke of Marlborough , and from his colle tion in 1 885 to the National Gallery at Lo ndon . ’ Six others have disappeared entirely. Snyders i ” L on and Wild Boar, two large hunting scenes

i tw o P t by Peter de Vos , w th by y and two by Boel i h i i i were n t e collect on . There were eight pa nt ngs i i by Brouwer, of which the most mportant was g ven

h in Triv a by Max Josep III exchange to Herr von , who also secured four Claudes at the same time .

H eems Besides these there were the two large de , as well as the Still Li fe by V erendael and de

Heem , three ﬂower studies and seven others by

i ﬁ ve Brueghel , a landscape by Paul Bril (c rcular) ,

o uv erman G D o u ﬂo w er by W , a erard , two large

Mo nno er ﬁ nall studies by y , and y the celebrated

D ice Players by Murillo .

e i Besides this imm nse acqu sition , the last pay

i 1 ment for which was not made unt l 774 , Max i i Emmanuel , insp red by the frequent opportunit es incidental to the War of the Spanish Succession , left unused no opportunity to obtain treasures even beyond the bounds of his revenues . As Carl Albert — ( 1 726 4 5) and Max Joseph III ( 1 745- 77) did lit in tle or nothing to enrich the gallery, one is safe

Schleiss accepting the collection , as described in the heimer inventory of 1 76 1 as being in the main that h istory of tbe D tnahotbek ¢ol lectton 1 3

o f E the time of Max mmanuel . That inventory to refers paintings, and it is possible that an equally large number co uld have been counted in the m b castles of Munich, Ny phen urg, and Dachau .

ﬁnd c We , however, in S hleissheim comparatively few important Italian works, among them Charles V and Vanity by Titian ( the latter G formerly attributed to iorgione ) , the double por

trait by Bordone , Jupiter and Antiope by Paul

Veronese ( formerly called a Titian) , and St .

i the Peter by R bera . To previous Rubens are ” added the Massacre of the Innocents , Meleager ” Fo u rment e and Atalanta, Helena ( full l ngth ) , ” Peter and Paul, and to be added to the Van D ycks already mentioned are the portraits of the ” ” Maler etcher y, Mary Ruthven , Spinola, ” Mirabella, the beautiful sketch of the Battle o f ’ d E lise ma niﬁcent Martin g and the g picture, ” Rest During the Fl ight into Egypt . Besides

er eleven Brouw s, there were seventeen Teniers, a

o f e an a bun couple doz n by J Brueghel, and half i dred more striking Dutch pictures . O Murillos w e ﬁ nd in 1 788 three in Munich ( a spurious co py o f o o f the Card Players n t included) . Many these

he w n are doubtless j ewels from t Spanish cro , which

o h o f the h fell t t e share the Elector, before deat ’ o f the Crown Prince ended Max Emmanuel s can didature fo r the Spanish throne . 1 4 Ebe mt of tbe ﬂbuntcb Gal leri es

1 In 777 Max III died , and with his death ended i i i the Bavar an l ne of the W ittelsbachs. Accord ng to the family statutes the principal heir to the Pa i h lat nate, Karl T eodor, became also ruler of the i i i Bavarian prov nces , wh ch combinat on opened up the possibility of unusual growth through the addi tion of the art treasures of the Palatinate to those i i of Bavar a . But Karl Theodor was prejud ced i against Munich as a home , and was always hop ng

r - i in i to e establish his cap tal the Palat nate , so he

D ii sseldo rf him left his gallery at , and contented self with erecting for the Bavarian collections a

i in i bu lding Mun ch , where access was easy even

i is for amateurs and students . Th s gallery on the

i is north s de of the palace garden , architecturally i un mportant , and is now used for housing the Eth

i An no graph c Museum and a collection of casts . i i in i attractive p cture of th s gallery, wh ch were housed pictures go t together in Munich and Schleiss

Rittenhau s Merk ii rdi heim , is given by in his w g keiten Mii nchens ho w Karl Theodor ,

e ever, did not neglect to nrich the gallery by pur D chases, principally utch cabinet pictures , among

i i io them some str k ng product ns , as the Dutch ” Interior with a Woman Reading by de Hooch , but it was only at the close of hi s life that he deter

n his mi ed to move Mannheim collection to Munich . This collection was established by the Elector h i story of tbe minahotbeh co l lecti on 1 5

Karl Philipp , the last descendant of the line of

- w ho Pfalz Neuburg, cared neither to restore Hei delber g, nor to remove the remote capital of his

D ii sseldo rf ancestors to , and it was further enriched by Karl Theodor . The principal dealer in these transactions seems to have been Nicholas de Pi

, 1 8 gage who in 7 3 made a demand for livres , and was later granted an annuity of livres

payable in Mannheim from the Alsatian revenues . The 8 i collection of 75 p ctures was mostly Dutch .

tw o To it belong the great Rembrandts, The ” Holy Family and The Sacriﬁce of Isaac

Bo l ( formerly attributed to ) , also the Man and ” B01 Wife by Ferdinand , four Brouwers , includ ” ing the Village Barber, several Adrian and Isaac

stades D o n i P r i O , and many by and M eris. a t cu

’ ” larl D o . y valuable are Terborch s Boy with g, J ’ ” ” Steen s The Brawl , Admiral van Tromp, by

’ Eliasz da Nicholas and Jardin s Sick Goat . There are also several canvases by the German master Elsheimer , compared with whom the once highly honoured Netscher and Denner scarcely de serve mention . The Flemish schools are very sparsely represented ; still the collection furnishes ” the works of Rubens , The Shepherd Idyll , The ” Sabine Women , and the alleged portrait of the

’ master s mother . This collection contained also

the rt o f by Van Dyck that little jewel, Po rait 1 6 t he a rt of tbe l lbuntcb G al leri es

B na ers the St . S y , and large Sebastian y Brueghel and Balen there were no less than twenty ” e , two cabin t pictures , among them the Flora for whose beauty Rubens is partly responsible . in i Among the few Italian pictures the collect on , were thos e of the school of Naples , represented in ”

St . no mean way by the Martyrdom of Andrew, D ” The eath of Seneca, and the Woman with

i e the Hen by R b ra , and others by Carlo Dolce , a and his school . The Pastry E ters by Murillo was also included .

’ When after Karl Theodor s death in 1 799 the

Pfalz - Z w eibrii cken line succeeded in the person of

o i Max J seph , a third Palat ne collection from Zwei brucken was added to the general Wittelsbach po s sessions . This collection , originally of two thou i i sand or more pieces , had , dur ng the Revolut on ,

i m r surv ved so any dangers , that its ve y existence

u seemed a wo nder . O the approach of the Sans

1 culottes in 793 it was rescued at the last moment , just before Castle Carlsberg in Homburg, where it

ﬁ re had been stored, was destroyed by along with the costly cabinet of natural curiosities which had been left there . The collection was next located in Mannheim , still in a very doubtful position as to safety . For not only was the protection prom ised in a special article of the treaty with the

1 insu fﬁ cient it French in 79 5, , but was again placed — W H A H EN . RIBERA . OLD OMAN WIT

1 8 Ebe a rt of tbe ﬂbuntcb (Batteri es

n the o mpe se after the establishment of peace, but only guarantee for this was the character and sense

i A the of justice of the F rst Consul . t all events promise to replace the pictures stolen from the

German galleries by works of French masters, was not considered seriously until the general reclama

i 18 1 i t on of 4 , wh ch act so far as the Bavarian paintings were concerned , was performed by Franz

Thu rs h G . . 1 c and Dillis The latter on October 5,

1 8 1 - i 5, gave a receipt for twenty e ght canvases from

fro rri i the Louvre , which had been taken Mun ch i i i and Schleisshe m, but at the same t me adv sed his — i court to renounce all claims to the other two th rds , which had been placed in either the provincial ma

ms seu or the vario us churches of France , as the expense and labour of recovering them , would ex ceed the importance of their possession . Although on the whole Dillis was correct in his

- re estimate , as among the twenty eight pictures covered there were only three really important ones, i i ’ ’ T t an s Crowning with Thorns , Rubens Me ” l ea er g , and the Combat between Alexander and

Darius by Altdorfer , it is nevertheless true that by the renunciation of the others , several very val

’ n able works were lost, for example Rubens Ado ” o f ration of the Three Kings , one the earliest

no w in . works of the master , Lyons The increase of the Bavarian paintings by the ‘ Ibistorg of tbe p i nakothek Go l lecti on 1 9 collection from Zweibrucken had gradually been e r duced to 964 . The peculiar impress given by the preponderance o f French over German artists is

Z ibr ck explained by the locality of w e ii en. Among the French pictures specially worthy of mention are ” tw o the great Claudes, Sunrise and Midday , ” i the Cook paring Turnips, by Chard n, and the G ’ irl s Head by Greuze, besides others by Pous sin L e r Le L e Suble ras , B un, Moine , Prince, y , s o i De p rtes and others . Among the Flem sh masters

fo n Rubens is not to be u d, but eight Teniers are

o f mentio ned . The majority better canvases are

Ru sdael s O stade from Holland, by the two y , ,

W o uverman , Berchem, Both , and the two de m H eems. Besides these we ust not forget the

etz u Dutch Cook by M , and the two large Wy

o ndeko eter n h i nants and the great H , o w in Sc le ss heim . These collections had scarcely been placed in the galleries in Munich and Schleissheim and the cas

1 80 tles of Munich and Nymphenburg, when in 3 i large add tions were made, occasioned by the secu lariz atio n of the ecclesiastical estates in Bavaria

ro l . and the Ty Unfortunately, in addition to the

w as s fact that a great deal squandered , the tran fer

o f be was in the hands inartistic commissioners ,

the r o fﬁ cials ss sides which galle y , although doubtle f I n w keen critics o Dutch and late talian works , k e 20 t he a rt of tbe {D untcb G al leries nothing of the art of the ﬁ fteenth and sixteenth

i D ii rer centur es . The works attributed to , Holbein , and Cranach were absolutely ludicrous ; besides these the names of Sco rel and Israel van Meckenen were apparently the only ones at their command and were applied indiscriminately . Everything else

o was simply old Franc nian , and as to distinction ff between the di erent schools , Van Eyck, Cologne ,

Su abian i . and Francon an , there was not a sign When one considers the state of learning at that i i time one can scarcely reproach these funct onar es , still it does seem unpardonable as well as i rrepara

in i i o o ble, that that cr tical moment all rel able b k i i i keeping, w th reference to the places of acqu s tion ,

sacriﬁ cin was neglected, thereby g a mass of impor tant artistic data . The fact that a large number of altarpieces were torn from their places and piled in masses unstretched , to be later either buried or sold at absurd prices, is the least of their crimes, although by that means a great number of churches were uselessly defaced . The result of the secularization was particularly i G to release p ctures of the Old erman schools , among the monasteries contributing bei ng those of

Benedictbeu ren Kempten , Ottobeuren , , Tegernsee , i i t . Ka she m , Ulm and We tenhausen Nor were there

a i w nting works of a later per od , as the great

C ru ciﬁ x io n o by Tint retto, taken from the 11318 1019 Of tbe nbtnakotbek ¢o l lectto n 2 :

’ church of St . Augustine in Munich Rubens Trin ity from the same church , and his Woman of the Apocalypse from Freising Cathedral ; the “ Adoration of the Magi ” by Tiepolo from the cloister of Schwarzach . The galleries of the bish o s p of Wurzburg and Bamberg, which had fallen ,

e act i like the others, und r the of secular zation , con tain ed works of no less importance . In 1 803 and 1 80 4 the castles of Dachau, Neuburg and Haag

riﬂed were , and although a few valuable pictures i came to light, Munich did not ga n much by the At i transfer . the same t me or a little later came i i the annexations of the free mperial c ties , the mar

rav ates io Franco ni a al g and foundat ns of , and though the pictures here were of more importance, none of these places has much to complain o f. The em galleries of Bamberg, Augsburg and Nur berg have received since far more than was then taken from them , and the gallery of Ansbach remains practically intact in the castle there , as is also the case with the castle o f the former Elector of Ma

n Aschaﬁ enbu r t ye ce at g, where here is a collection of the greatest value . All the other acquisitions from the whole king dom taken together , stand in value far behind that

D ii sseldo rf. of one single one , the gallery of In

o o f the last days of his elect rate, while still Duke

' Max o se h o rdered co l Berg, J p the removal of this z z t he a rt of tbe ﬂbuntcb G al leries

i u . 1 lection to M n ch ( Dec 3 , It is well known that through the marriage of the Elector

Palatine Philipp Ludwig of Neuburg- Sulzbach i with Anna, heiress of W lhelm , Duke of Julich and

D o Berg, usseld rf came into the possession of the

Palatinate . The son of the above couple , Wolfgang

i i in 1 6 1 W lhelm , marr ed 3 the daughter of Duke V i in Wilhelm of Bavar a , and the same year was i i i converted to Cathol c sm , much to the d stress of i i his father . Th s marr age , by reason of the owner ship of the dukedom of Julich and Berg ( so near

O the Netherlands ) , pened the way to the establish

W l th ment of a connection with Rubens , and later

in 1 6 1 8 Van Dyck . From the former , he pur chased for gulden the large Last Judgment

1 6 20 t i i i and in four o her altarp eces , pr nc pally for the new Jesuit church i n Neuburg . These works

are now in the Rubens Room in the Pinakothek . Later he found opportunity for personal negotiation

with Van Dyck , who sold him , besides other works , the superb picture of Wolfgang Wilhelm with a ”

D o Ro o . g , now in the Van Dyck m The corre

s o ndence i transac p w th Rubens , relative to these

is i e tions , st ll preserved . It does not app ar that Wolfgang Wilhelm was interested in his galleries i when mak ng these purchases , nor does his son and

successor Philipp Wilhelm ( 1 6 53- 1 690 ) appear to

have been more interested . When this latter suc h istory of tbe p i nahotbek (tollectton 23 ceeded the Elector Carl in 1 685 he apparently did no t e an t tak y hing from the gallery of Heidelberg, numbering 272 pictures ; at least not one Bavarian picture can he certainly identiﬁ ed in the Heidelberg o f 1 68 inventory 5, still preserved . Wolfgang Wilhelm ’ s love of art was inherited in a most unusual and self- sacriﬁ cing degree by his grandson Johann Wilhelm ( 1 690 w ho re

in D ii sseldo rf sided permanently , and this is a cause for rejoicing, as despite the fact that the periwig i style was at his strongest dur ng his time , his taste not only remained unspoiled, but was combined with the ﬁnest appreciation for things o f real and permanent worth . Consequently there w as no dan ger to the collection itself in the fact that the prince surrounded himself with court painters from the

D o uven V an Netherlands and Italy, such as Van , der

W erﬁ . , Weenix, Ruysch , Zanetti , etc , particularly as the Italians were principally o ccii pied in decorating the castle of Bensberg . More important were the i already existing acquis tions of Wolfgang Wilhelm, of which several were removed to D ii sseldo rf from the churches of Neuburg, an act entirely wanting

e the o f in r spect for original purpose the paintings, and accomplished no t without Oppo sition o n the

But m i o f n. o f part the Vatica ost mportant all , so n the r far as art was concer ed , was mar iage of the Elector with the Princess Maria Louisa de 24 t he a rt of tbe ﬂbuntcb Gal leri es

w ho i Medici, , besides a number of Ital an master

i o u a p eces , br ught to D sseldorf a consider ble dowry, and thereby reinforced the scanty means of her husband . There has been no other collection so limited numerically as that of Dusseldorf ( only 358 can vases) whose composition has been so cho i ce and

i i i s s niﬁ cant . G g In ermany certa nly, there no par i i allel . While there s hardly a picture wh ch can be ascribed with any certainty to the Heidelberg

i in the D ii s cab net belonging to the Elector Carl , seldo r f Gallery there i s hardly one about which

i s i o there any doubt, as de from the purely dec rative

i o pieces . The Rubens Room conta ns fr m it no i fewer than forty canvases, all masterpieces , bes des i i i the Rubens collect on already ment oned , wh ch causes it to be recognized as the most important in

i - ks the world . O the twenty nine greater Van D yc which the Van Dyck Ro o m of the Pinakothek at i D u present conta ns , seventeen are from sseldorf, as i are three of the most beaut ful Snyders, two pro G fane pictures by Jordaens , the great aspar de

Cray er and the two D o u ffets. Add the celebrated i Rembrandt series , consisting of six B blical sub

ects D o u Metz u j , the great , the Bean Feast by , and many ﬁ rst- class cabinet pictures by D utch and i i f . O Flem sh pa nters the Italian school , besides masterpieces by Caracci , Domenichino and Reni ,

26 t he mt of tbe aouai ch Gal leries seph had also tried to induce the Emperor to annul such a treaty if one existed . O n the other hand, Max Joseph, immediately

d w as after the death of Karl Theo or, at the point

i n of getting r d of the valuable treasure . O the

1 1 7th of December, 799 , he wrote to Finance Min ister von Utz schneider that owing to the ex hau s

io ﬁnances t n of his through calamities of war, he

’ had resolved at the time of Bernado tte s advance on Glii ckstadt in 1 794 either to pawn or to sell the

i z schneider fugit ve Dusseldorf Gallery . Von Ut was ordered to conduct the business through his London

o an . c rrespondents , but luckily without y result Shortly before the cession of the duchy of Berg to France in ex change for the margravate of Ansbach ( 1 805) the gallery was removed from Glii ck stadt for a third time, and placed for safety in Kirch h i l r a e mbo ande . This w s at that time French terri

o . 1 tory and the collecti n was removed on Jan 9 ,

1806 in ﬁ lled o w a , twelve well f ur and six horse g

th o f ons , arriving safely on the 7 February at the in palace Munich . O n account of the unprecedented inﬂu x o f wo rks of art into the Bavarian capital between 1802 and 1806 , it is a cause for wonder that state and court let no opportunity pass for obtaining further ac i i i u s t o ns. L e rieu r Ar ari a q p , Lucchesi and t were the most active dealers . Especially gratifying are t tstorg of tbe D tnakotbek C ol lecti on 27

some chance acquisitions, like the marvellous can

i 1 80 vas of Paul Potter, wh ch in 3 was exchanged “ ” for the Ribera Mater D o lo rosa ( no w in the gallery at Cassel) or the Portrait of Himself

D ii rer 180 by , which in 5 was o btained from Coun sello r von Pez for 600 ﬂorims ; a noteworthy com plement to the purchase thirteen years earlier o f the picture of the Capuchin Monk by Raphael

Mengs for gulden, not a thousandth part of its present value . Also the Sebastian Altar by

ﬁ fteen e Holbein, and oth r pictures from the College

o f St . 1 80 Salvator in Augsburg, were obtained in 9

u i 1 8 10 for g lden , and the Crown Pr nce in paid 340 ducats for the portraits of W o lgemu t and ’ D ii r r Hans e by the latter s brother Albrecht .

F to o rom this time , , dates the beginning of the acquisition of the fourteenth and ﬁ fteenth century

Italian paintings, principally at the suggestion of

the the Crown Prince, although his interest in col leeting of antique objects always predominated .

H e Alto viti acquired the Raphael, upon which alone

1 8 1 lire w as expended . In 5 at the conclu sion of peace in Paris, Dillis purchased pictures to the amount of francs . When one takes G into consideration that from eneral Sebastiani ,

’ Murillo s St . Thomas healing a Lame Man and

' ’ Titian s great Madonna were acquired for

ec and francs resp tively, and from 28 t he a rt of the M uni ch G alleri es the collection of the Empress Josephine at Mal maison the Madonna in the Ro sehedge by Fran cia, and the Santa Conversazione by Cima da

lo Conegliano, were purchased for the ridiculously w of prices and francs, four pictures which alone are worth far more than was paid for the ﬁ fteen w e few whole , cannot complain if a , like the o f G Madonna uercino, which cost

s n franc , and the Venus La dscape by Albani , for which francs was given, were bought too dear. If in these acquisitions some poo r pictures had

ih deﬁ nite crept , in those of King Ludwig I a aim was always in view . His art intuition knew well the three groups which had been neglected in the

e ﬁ f Bavarian galleri s, namely the fourteenth and teenth the G century Italians , the Dutch and erman school . It is not our purpose here to enumerate or to criticize the acquisitions of King Ludwig. We can only be astonished at the wealth of intuition and

sacriﬁce c knowledge, of perseverance and whi h we ﬁ nd here and which succeeded in enriching Munich with the best that w as still to be had . We can mention only the marvellous works o f Filippo and

o i G P Filippin Lippi , of Botticell , hirlandajo and e t l ugino and especially the two Raphae s, the Ma i donnas di Temp and della Tenda . The

t a w as amoun p id for them a very large sum, but h i story of tbe p tnahotbeh (toll ectto n 29

H nothing like their value . e also acquired the tw o o ld Dutch and old German collections of the Broth

Bo i sserée ﬁ rst ers and the Prince Wallerstein, the costing the o ther ﬂorims . All these

’ new acquisitio ns were paid for out of the King s i pr vate purse, and given under a deed of trust with out restrictions for the general enjoyment . Even before the addition of the Dusseldo rf Gal

o f i i lery , the increase the collect ons from Mannhe m, i u Zwe br cken , and the Bavarian castles, and also from the secularization of the monasteries, had made it evident that the space afforded by the H o f garten gallery, the galleries at Schleissheim , Nymphenbugg and the ro oms available in the palace s fﬁ ient he w ere not u c for t pictures to be housed , and so 1 80 o Mannlich , in 3 Direct r von was commis

u m si o ned to draw a plan for a new building . The i qu et political state , luckily, hindered the execution i of the project , and after the Peace of Par s restored

w as ad quiet, the matter once more brought under

e visement , and it was thought wis r to build such an enlarged building as would house all the collections .

22 In 1 8 Klenze was engaged in the matter, and the Z w eibrii ckengarten in Brienner Street bought as

w as 1 82 a building site . It in May, 3, that the Art Committee o f the Academy decided that the ﬁ rst

as r o f plan w unsatisfacto y, and early in October the same year, a second plan utilizing the space west ‘ 30 t e a rt of tbe muntcb (Bal l ertes of the barracks in Turken Street was approved by

x m the Academy and the king . King Ma i ilian did not live to see the laying of the foundation stone, the building being started in the ﬁ rst decade of the i i I re gn of King Ludw g . There were yet troubles to be overcome on account of the then remote posi tion of the building ; the proposed expenditure of gulden for silk carpet s for the rooms also i i i found l vely oppos t on among the painters . In

1 i 836 the bu lding w as begun .

o i But now another cl ud appeared on the hor zon , namely the claim which Dusseldorf and the duke

a o v dom of Berg, and through these the Prussi n g

ernment u . , made for the D sseldorf Gallery The noisily expressed protests on the part of many of the D ii sseldo rfers when King Max removed the gallery had caused him to remark that they might as well dispute his claim to the Bavarian throne, and so the matter rested until Berg became Prus

i i 1 1 s an . Journalistic d scussion was lively from 8 8 o n P , but the russian government took no action

i 1 8 unt l 37, when a Rhenish deputation pressed the matter earnestly. Bavaria answered Prussia so ﬁ rmly and logically that the matter was dropped for thirty years . In 1866 the matter was opened again and articles appeared in the Rhenish journals relative to the reclamation of the Dusseldorf pic

. 22 1 8 tures In the treaty of Berlin, Aug . , 66 , it b i storp of tbe minakotbeh collecti on 31

was provided that the claim to the Dusseldorf Gal lery should be settled by arbitratio n and the matter

brought to a decision . The matter had not even i got to the stage of appointing the tr bunal, when it was ﬁ nally settled by the treaty of alliance between

No v . 2 rd 1 8 0 o f Bavaria and Prussia, 3 , 7 , one the a rticles of which declared that any claim to the D ii sseldo rf Gallery sho uld be deﬁnitely and for

ever renounced by Prussia . Independent of thi s

treaty, careful research has shown that the pictures

o were always the personal property of the elect rs ,

bought and cared for with their own revenues, and

passed from one to another by will or treaty . They were removed from D ii sseldo rf before it was trans

’ so ferred to Prussia, and Bavaria s moral as well as

legal right to the pictures appears indisputable . Before entering the gallery proper our attention is called to portraits of those rulers and collectors

who made the gallery possible . ( 1 ) Elector Maximilian I of Bavaria ( 1 597 donor of the picture gallery which he built

in his Munich palace . ( 2 ) Elector Maximilian Emanuel of Bavaria ( 1 679 donor o f the picture gallery o f

Schleissheim . ( 3) Elector Johann Wilhelm of the Palatinate 1 o f G ( 690 donor the Dusseldorf allery, w hich came to him through marriage . 32 t he mt of tbe ﬂbuntcb e al l ertes

( 4 ) Elector Karl Theodor of the Palatinate and Bavaria ( 1 777 founder of the Gallery of

Mannheim .

e 1 ( 5) Maximilian Jos ph , Elector 799 , who as

i I 1 806 Maximil an , King of Bavaria ( united the Palatine and the Bavarian collections .

6 i I 182 ( ) Ludw g , King of Bavaria ( 5

th i 1 826 who on the 7 of Apr l, , laid the corner stone of the Pinakothek and enriched it especially by the acquisitions of the Bo i sserée and the Waller stein collections.

CHAPTER II

L OWER RH ENISH AN D O LD D UTC H SCH OOL S

S cho o l o f C o l agne and the L o w er Rhenish

Masters

TH E oldest picture in the gallery is the famous ”

St . b r Veronica with the Handkerchief, ea ing the impress of the features of Christ ( 1 from the brush o f o f H erle Wilhelm , commonly called Meister Wil o helm of K ln , who according to the Luneburg Chronicle was a famous painter in Cologne and ” H w as w ho painted a man as though he lived . e

e H erle born in th small village of , near Cologne , and from 1 358 to 1 372 he lived and painted in the

1 latter city he died about 378 . ff In the St . Veronica the colour has su ered through retouching and has not the purity o f its t original splendour , which this pic ure has in com mon with all good examples of the period . But the colouring is no t only piquant in the merry but groups o f cherubs at the right and left, dig niﬁ ed in the shimmering red in the dress of the

The an - b o f the e Saint . tr sparent blackish rown fac

33 ‘ 34 G be a rt of tbc {D untcb (Batteri es

f as o Christ is perfectly amazing, reminding one, ’ the ﬁ nest it does, of goldsmith s art of the Middle

Ages . The other painting by Meister Wilhelm in our collection is a charming one of the Virgin seated on a throne, holding a rose in her right hand , i and support ng the Child Jesus , who is playing on

z a ither, which an angel holds for him on her knee with the left hand . Near the throne stand Saints

ai Catherine and Barbara, while S nts Agnes and

Appolonia are seated on the ground in front . Blue winged angels playing various musical instruments ﬂoat around the Christ Child and two of them hold

The i s a crown over the head of Mary . picture beauti fully conceived and carried out with great mastery .

This so - called Meister Wilhelm must no t be

i s in i placed , as usually done, the period in wh ch i i i goo d pa nt ng had not begun to ex st . One should rather say that he and his contemporaries in Ger many, France and the Netherlands brought the painting of the Middle Ages to an extremely high

i H e i standpo nt . typ ﬁ es the Golden Age of a style which strove to make apparent the inward repre sentatio n i i of the feel ngs and deas of the times , rather than the outward symbol .

e St . As can be se n by a study of the Veronica, the Lower Rhenish school bore at the end of the l ower R benisb anb ®lb D utch Schools 35

Middle Ages a strong resemblance to that o f the etherlands f N , but in the course o the fourteenth cen tury the tw o scho ols developed upon quite different lines . The Lower Rhenish w as certainly more ver satile and rai sed problems of a boldness unheard

no as of at that date, but it had concentration . It w lacking in strong spirits such as the brothers Van

Eyck, in patrons like the Dukes of Burgundy and

o f above all in that sort national compelling force,

c all whi h would have gathered its schools . to a

n en . certai ext t, into a whole The German artists o f the early ﬁ fteenth century dissipated their strength in a somewhat large num

o f e ber local schools, attempted tasks for which th y

no t sufﬁ ci entl o u were technically y mature , and c se

o f be quently, in spite their merits , they remained hind the school of the Neth erlands . This is espe ci ally true o f the school o f Colo gne . Till recently Cologne w as considered the capital city o f German

f the ﬁfteenth a e painting o century, bec use a larg number o f good and even important paintings have

o u s x u o r come down t , which were e ec ted in for

e c t that city . Th y have a certain uniform harac er o f ne c o so that w e are led to speak the Colog s ho l , but this appearance is deceptive. It is true that art was systematically and liberally cultivated there and that art o f the ﬁ fteenth century is deeply indebted

u it is a o u st o f to Cologne, b t ls tr e that mo the 36 t he B tt ot tbc M uni ch G al leri es — — painters and the best of them were not na

iv s f t e o Cologne, but came from Wurtemburg, from the Netherlands , from Westphalia and even h from France . T ey brought strength with them , and found there a taste that united them in spite o f h t eir various origins , and so they adapted them selves to the traditions of the city . H o w strong this inﬂuence was we can realize

c i in the works of Stephan Lo hner, the most mpor

H e tant Colo gne painter after Meister Wilhelm .

Su abia ﬁ nished came from , a artist, and yet his wo rks bear almost no trace of the Suabi an style . i i In spite of his great talent and strong ndividual ty, he was conquered by the customs and traditions of Cologne and may be regarded as the greatest rnas

i h 1 1 r ter of th s sc ool between 430 and 450 . The e exists an erroneous idea that he w as a pupil of i i Me ster W lhelm, but there is really nothing to

i o f sustain this contention . Th s much we know him in 1 2 hi s , that 44 he worked and owned own

1 8 G home in Cologne , in 44 he represented the uild

St . of Luke as a member of the senate, and that he died poor and uncared for in 1 4 5 1 . There exists also an entry in the journal of Al D ii rer ﬁ rst brecht , which made known the claims of Meister Stephan to the praise of critics . Item , I have just paid two silver pennies to have opened the picture which Meister Stephan painted at Co l ower tRbenisb aub ® l o D utch Schools 37 l i o gne . This s the famous altarpiece in the C o u i log e Cathedral, and prev ously attributed to Meis ter Wilhelm . In our collection there are tw o wings of an altar piece . It was painted as a votive offering for the — i i Muschel Mettern ch family of Cologne, bears the r

in i n arms , and represents one p cture 3) St . A ” tho n i ff P y the Herm t with sta and belt, the ope i n t . Cor el us with tiara and cross , S Mary Mag w i dalen ith the box of o ntment , and below a small ﬁ gu re of the donor of the altarpiece ; while in the companion picture ( 4 ) w e ﬁ nd St . Catherine of

St . Alexandria with sword and wheel, Hubert

’ with his bishop s staff and a book upon w hich one

St . may see his emblem , the stag, and Gereon in

e ﬂo atin the armour of a knight, b aring a lance g a red pennon . This also has a portrait of the dono n ’ Besides these tw o works of Lochner s we have ” a small Madonna in a Ro sehedge which represents the Virgin seated on a golden cushion with the Child Jesus , his hand raised in the act of benediction , on her lap . Four angels are bring ing her ﬂo w ers and above is Go d the Father and opposite to him the Holy Ghost between angelss Th e question has arisen as to whether this picture is the handiwork of Lochner or merely that of one

Be o f his pupils . it as it may it is extremely deli ‘ 38 Cbe a rt Of the muntcb e auet tes cate and quite characteristic of the art of Colo gne of this period . In this Madonna Lochner displays the difference i in his techn que to that of the Netherland school, proving that his art had not remained stationary . i This s markedly true in his treatment of colour, a brilliant diversity of which has taken the place of i the del cate, monotonous style , which marked the

i c latter school . His colour ng is ri h and brilliant in

i s tone like a translucent enamel . There almost the splendour of a crown set with gems in the colour

i i ad scheme of the p cture , which is an mmense

ﬁ u r s vance over former styles . The g e of the Ma donna and Child are physically rounded , not ﬂat

the as in older pictures , and the artist has obviously taken great pains to give distinctness of form to i Mother and Ch ld . It is noticeably different from the school of Van Eyck . The great Netherland painters demanded a concreteness combined with the strictest accuracy in the rendering of form . For Lo chner it was su fficient if the fi gu res were round and to this effect he sacrifices even the indi v idu alit r y of form , showing that the aim of the Ge

o ﬁ fteenth r man scho l of the centu y was plasticity , as oppo sed to the absolute accuracy of that of the

Netherlands . In the works of the school which derived its inﬂu ence from Lochner the Pinakothek is very rich ( 6 They all display similar char

‘ 4° Ebe a rt o f the M uni ch G al l eri es

un iati o n n c , dark blue gowned and winged angels

the h hold a golden curtain in background, over whic sweeps Go d the Father in an angel glory . Below this is the Holy Ghost bringing to Mary the Christ i ” Child bear ng the cross the Visitation,

be a the meeting between Mary and Eliza th , with i background landscape, showing a c ty and moun i i ta ns . To the right stands a ma d servant holding a fur mantle and overshoes in her hand and to the left is a portrait of the donor of the altarpiece in

- fur trimmed garments and a golden chain , with his coat of arms near him the Ascension of Mary who i s being received by Christ in glory and lastly the Coronation of the Virgin in which Go d the Father wearing a papal tiara is seated on a throne , the Saviour near him , and ’ i i d placing the crown upon Mary s head . S ng ng an musical angels bear and surround the throne and i below the portra ts of the kneeling donors , man i i and w fe , with the r coats of arms , are to be seen With the Adoration of the Magi ( 30 ) the series ends ; this represents two of the kings

i i i i w ho kneel ng on e ther s de of the V rgin , holds the

i hi the Christ Ch ld on her lap . Be nd stands third i of the Magi and St . Joseph and st ll further back i i i are the reta ners of the k ngs w th three ﬂags . An a i 1 - h ltarp ece ( 3 33) of three groups of apostles , eac bearing his name in the nimbus which surro unds 1 ow er mbentsb anb ® lb Eutcb Sc hool s 4 :

the a his head, is by s me hand as this series of the o f Life the Virgin .

ﬁ u res i n The types of g these pictures , especially o f i the angels and men , are the d rect descendants o f Dirck Bouts and the composition also betrays

inﬂu n ﬁ res his strong e ce. The gu now have room n in i to move . They o longer stand, as the He ster bach altar, squeezed up between narrow lofty arch

no r so ways , are they close together as to be inca

h o f pa le action , but are distributed evenly and nat u rally over the canvas . We further note the happy w ay in which o u r painter depicts the costume of the c the day and narrative art , whi h borders on the n o f genre . The Prese tation Mary at the Temple

H o ( 24 ) is a charming picture . w delicate the dainty ﬁgu re of the future Mother of Go d as she H o w ascends the broad steps of the Temple . am ho w tw o using, at the same time accurate, the dogs playing in the fo reground . This series of the Life o f Mary was intended as an altarpiece with ffi two rows of panels, and it is somewhat di cult to judge them fairly no w in their present arrange ment . n A altarpiece, painted for the High Altar of the

f t . Church o S Columba at Cologne , the work of an artist known to po sterity as the Master of the ” Holy Kith and Kin , from his most noted work , no w in the Museum at Cologne, has as its centre ‘ 4 2 G be El “ Of the ﬂDuntcb ® ﬂ l l €t l €8 piece the Circumcision of Christ in a lofty Gothic hall To the right and left kneel the donors h with t eir coats of arms displayed . In the back ground i s a representation of the Birth of Christ ” and to the right the Adoration o f the Magi . The i right wing portrays St . Chr stina with the Mag

St . dalen and Barbara, with two church towers and a castle in the background and the left one

Ba St . St . John the Evangelist with John the p i h i tist and St . Bartholomew on e t er s de A picture painted by some unknown member of the school of this last master i s that of St . Je i i his i St . rome as a cardinal W th l on , Peter w th

hi s St . book and key and near them Joseph , with hi s pilgrim staff gu iding the Christ Child and another representing the Adoration of the Magi with Mary seated in a ruin holding the

Infant Jesus under a baldachino held by angels . One of them kneels and kisses the foot of the Holy i Child and behind Mary, but scarcely vis ble , stands i . n St Joseph . O the reverse of th s picture is that

in of the Trinity, which the Father , seated on a W throne , behind hich angels hold a green curtain ,

the e holds dead body of Christ on his kn es, while the Holy Ghost sweeps overhead . Beneath them to the right kneels a nun . Th e next stage in the development of German art is represented by the nameless painter of the mower IRbeutsb am) o ne Eutcb Schoo ls 43

t w as Bar holomew altar, though he not a purely i German art st . The altar consists of a centre panel i ( 48) in wh ch stands St . Bartholomew with a book i and the kn fe of his martyrdom . St . Agn es reading

in o is i c a bo k on the left and on the r ght is St. C i cilia play ng on an organ , which an angel holds

for her . The right wings show u s St . Christina i with the m llstone and two arrows and St . James i minor, w th club and book and in the left one ( 50 ) we see St John the Evangelist holding

a chalice and St . Margaret with her cross in her

he . hand, t dragon at her feet i The pa nter of these pictures lived in Cologne,

but it is hardly credible that he was born there . H e must have received his artistic training in the Netherlands and he leaned chicﬂy towards the

D utch school . His best period was about the year

H e ﬁ rst n 1 500 . was the of the Colog e school to lay more stress on elegance of technique than on

serious deep art . For this reason he was fond

of fashionable garments, which his saints wear with a somewhat too keen enjoyment of the glories of ff this world . We note also the rather a ected style which is in curious contrast to the soullessness o f

the the whole compo sitions . It seems almost like

in o f beginning of the Baroque style, and has, spite

' difi erence t affi nit its national , a cer ain y with the style o f Crevelli and o f the late period o f Botticelli . 44 Ebe a rt Of the flbuntcb (Batteri es

Then follows the work of another painter, whose i i pa nt ngs belong to the end of the school of Cologne , and w ho i s known as the Master of the D eath M i i D of ary, from a pa nt ng representing the eath i i of the V rgin In a Rena ssance chamber, in i i i o a bed with red curtains l es the V rg n , ver whom

t . bends St . John . S Peter kneels on the other side i n i i the tears , with cross and spr nkl ng brush, while other apostles bring holy water . All are sunken i in deep grief . Through an open door and w ndow i may be seen gl mpses of the city . Saint George and Nicasiu s ( 56 ) who are taking under their i protect on the donor of the altarpiece , the head of

H ac u ena the the family of q y , are subj ects of the left wing o f the painting . The background of this

i is w ng a romantic landscape , with the arms of the family i n the left hand corner . O n the rev erse of h t e wing are Sts . Anna and Christopher and the i family arms repeated . The right wing is a p c ture of St . Christina ( 57) with her millstone ff St . G o and udula, who wards the attack of the

D i n evil w th her burning lantern . O the back of i this w ng are Sts . Sebastian and Roch . We now come to the paintings of the brothers

i D u nw e e Viktor and He nrich gg , by whom a large

C ru ciﬁ x io n 6 ( 3) is in the Pinakothek . It must have been painted under the inﬂu ence of the

o Dutch scho l , as it had developed in Haarlem , in mower 1Rheni sh anb ®lo E utcb Schoo ls 45

the beginning of the sixteenth century . The seated women on the left look purely D utch and many of D the types suggest those painted by irck Bouts . The rich colouring with deep blue and brilliant red

ﬁ r s is also Dutch . The gu e are somewhat aﬁ ected

the and angular, still picture possesses much charm and is thoroughly indicative of the period to which it belongs . Another work , which was long attrib u ted Geraert to a painter, von Haarlem by name, a ” the pupil of Master of the Holy Kith and Kin, but which is no w known to have been executed by

o r he D ii nw e e is one t other of the brothers gg , the Body of Christ borne by Joseph of Arimathea

h e and Nikodemus, with t customary group of the

Maries and St . John at the foot and the portraits of the donor and his wife who kneel in the fore ground A follower of the style of the Master of the Death of Mary w as Bartholomew Bruyn who

1 was born in Cologne in 493, and died there in

1 6 inﬂu 55 , and who in his later work was greatly enced by the prevailing tendencies of Southern art .

H e was at ﬁ rst inﬂu enced by the Dutch , but his later works display the most vivid tendencies from which he contrived to make up an art o f his o w n . Best representative of his pictures in the Pinako thek is the Lamentation over the Body of Christ

o deﬁned Broad emphasized f rms, sharply 46 t he Ht t Oi the muntcb 6 3 116 1316 5

so movements , bear witness to his study of the i h called newly d scovered Sout ern art, as does also a certain coquettishness in his efforts to obtain hi rounded beauty in s women . The landscape with lofty fantastic rocks i s quite in the style of the i i N t mes, wh ch could not represent ature naturally but tried to make her more interesting by em belli hm s ent .

H is broad deﬁ nitio n of form stood Bruyn in

in hi s o i i better stead p rtra ts , of wh ch his mostly

the i full faced ones are best, w th the exception of i D G Holbe n and urer, of the Lower erman art of i the per od . They are powerful, and without being i i i sent mental are serious n their character . O the — him twenty three pictures by , we have but one ex

i his i ample of th s style of art in our collect on , but this serves to show the effectiveness of his com

i i s in pos tion . It that of a beardless man black i i cloth ng . His right hand l es on an open book ( which bears hi s coat of arms) and lies on a green i i covered table . Noteworthy in th s p cture is the i allegory of death , as beh nd the person depicted is

e i a most characteristic skull . Th un ty of compo si

i i i be i t on of th s p cture should stud ed , to be later compared with a portrait by Holbein also contain ’ ing a death s head . It is also noticeable that this

in 1 0 i skull, painted 55 , shows l ttle knowledge of anatomy . It is , accurately speaking, not a skull at

48 t he 211 1 of tbe ﬂbuntcb G al l eri es their marvellous success is the discovery of a new process of mixing colours with oil , a discovery which originated probably with Hubert and w as by hi m . transmitted to Jan This new discovery, Which was eagerly sought for by the Italian painters has given the world a distinctive colour known as the purple of Van Eyck which ranks with the gold i ” of Titian and the s lver of Veronese . The date of the birth of Jan van Eyck has been

1 0 i placed about 39 , wh ch would make him many ’ i i i years his bro ther s jun or . O his early l fe we i know noth ng, save that he studied under his brother and from him learned the process of suc H cessfu lly mixing colour . e entered the service i e of the famous John of Bavaria, B shop of Li ge ,

’ where he remained till the latter s death in 1 4 24 i deprived him of a comprehend ng patro n . But before the Bishop died he sent Van Eyck with a

o i le Bo n rec mmendat on to Philippe , Duke of Bur h i gundy, known t en as one of the most l beral lovers

ﬁ ne ﬁ nd hi of the arts , and there we m established i as varlet and pa nter , receiving an annual salary

o ne of hundred livres , with two horses for his use i and a varlet in l very to attend him , acting as co nfidential friend and companion to that imperious i i but l beral pr nce , upon whose secret service he w as frequently employed . In 1428 Jan van Eyck was sent to Portugal with l ow er tRbenteb anb ®l o Eutcb Schoo ls 49 an embassy which was to negotiate a marriage be tween the Duke and the Princess Isabel of Portu ’ al i g , while our artist s m ssion was to paint the por trait of the proposed bride for his patron . When i this p cture was dispatched, Van Eyck started for a tour in Portugal and Spain and for the fi rst time luxuriated in a climate and a vegetation brighter and more brilliant than that of his native country, the i nflu ence of which may be seen in the pictures H which he painted after his voyage . e returned to Bruges in 1 429 in order to be present at the ducal marriage, and Van Eyck received from his patron the then large sum of one hundred and fi fty H . e livres , for the portrait of the Princess settled

his in Bruges in a home of own and married, and there exists a record showing that Duke Philippe stood as one of the sponsors for Van Eyck ’ s daughter and presented his godchild with no less than six silver cups . The painter retained the i ducal friendship throughout his whole life, dy ng at Bruges in 1 440. B The greatest work of the school of ruges , which combines all the characteristics o f early Flemish b art devotion , religious sym olism of a realistic

o f o f type , depth colour and mastery execution , is the famous Agnus Dei o r Adoration o f the b Mystic Lamb , which was painted y the famous brothers fo r Judo cus Vydt as an altarpiece for the ‘ 5° (tbe a rt of tbe muntcb G al l eries

G St . chapel of Bavon at hent, from which it takes the name by which it is most generally known , the Ghent altar This work i s a po lytych of twelve i panels , besides a central one of the Adorat on of ” i i the Lamb, which w th the r shutters form twenty

i i i co m four pa ntings d v ded into two rows , and was menced w ho by Hubert van Eyck, lived to complete the i i the i top port on of the inter or of altarp ece . The balance of the work was completed by the

i n 1 2 i i s younger brother 43 , only e ght years prev ou to his death . In the Santa Trinita Museum in Madrid is to be seen the picture next in importance to the Agnus

D ei i , the Tr umph of the Catholic Church which for power of conception and depth of rendi tion no picture of the Flemish school has ap

ro ached p , except the Adoratio n of the Lamb mentioned before . There exists no original of either of the brothers

the in Pinakothek , but there are two panels , copies of part of the Ghent altar painted by Michael van

C o x c en i y of Mechlin , a pup l of Barent van Orley, i for King Ph lip II of Spain . These two panels , the originals of which were the work of Hubert van i Eyck, represent the V rgin as the Queen of ”

Heaven ( 97) in a richly adorned blue mantle ,

i ﬂo w i n w th a crown on her g hair , reading in an o pen book ; and John the Baptist ( 98 ) in a I ow er R benteb anb o w D utch School s 51

green mantle over an undergarment of hair, a book in his lap and his right hand raised in the action of teaching . The only copy of a work by Jan van Eyck is that of a Head of Christ ( 99 ) the original of which i s his to be seen in the Museum of Berlin , but of school there is a Portrait of a grey haired beard ” less Teacher ( 2 19) with a mathematical instru f ment in his right hand . O course little is to be

insi niﬁ cant learnt from these two g canvases , which are of interest only as being even remotely con nected with the master to whom art owes so much .

Rogier van der Weyden , formerly considered to

no w be a pupil of Jan van Eyck , but known to have

inﬂuence been his rival , exercised an even greater o G ver the later erman art than the Van Eycks , as he and the Dutch artist Dirck Bouts helped to es

H e tabli sh a still more advanced style . was born i probably in 1 400 at Tourna , an ancient and noted

city, famed for its tinted sculptures . It is believed that the master himself practised the art o f tinting

inﬂu ence statues , and the of coloured sculpture is

H e w as 1 26 clearly noticeable in his pictures . , in 4 , the pupil of an unknown master, one Robert

to Campin , and ten years later had attained the dignity o f being made Town Painter of Brussels .

to a In 1 44 9 he went Italy, where he very prob bly taught the method o f painting in oils so success ‘ 52 (tbe a rt of tbe muntcb G al leri es

H e fully used by the Van Eycks . was one of the

rs re ﬁ t of the Northerners to visit Italy, but he

ained i i ff t his or ginality, a fact in wh ch he di ered

H e 1 6 from so many of them . died in 4 4 and was buried at Brussels under the blue stone before St .

’ Catherine s altar in the church of St . Gudule . The earlier pictures by Van der Weyden have

i n all been lost, but the Pinakothek there hangs a i masterp ece of his late period, the Epiphany i 1 6 0 . Altar of 4 The centre panel, from wh ch the i altar takes its name , is the Adorat on of the Magi ( 1 0 1 ) in which the Virgin sits in a straw bedecked ruin over which the Star of Bethlehem i d beams . In the grey ha re king who kisses the

o f i hand the Child, we see a portra t of Philip the

e ﬁ u re Good of Burgundy, while the proudly er ct g who stands behind him bears the features of Charles the Bold . The unknown donor of the altarpiece may be noticed behind St . Joseph . In the back ground is a richly developed landscape , showing the life and movement of a street in a Flemish i i town . Th s p cture , with its two accompanying

o f wings, were painted for a chapel in the Church

St . Columba in Cologne . The right wing ( 1 02 ) depicts the Annuncia i w — t on in hich Mary , kneeling at a prie dieu, turns

e to receive the heav nly messenger, who bears in his hand a golden wand . Through the window appears W YD . ST . L K G P O TH VAN DER E EN U E PAINTIN A ORTRAIT F E VIRGIN .

‘ 54 Cbe a rt of tbe muni cb G al l eri es

old Netherland school . It is thirty years older than the Ghent altar but on account of the want of

ﬂex ibilit t y of the artists of hat day, is, in style,

i ﬁ res pract cally on the same level . Many of the gu look as if they had been cut out with a fretsaw and

i i s then la d into the canvas, and this especially true of the ﬁ gu re of the Christ Child in the picture of i St . Luke painting the portra t of the Madonna . The stiffness of this school w as caused by the over conscientious study of these pioneers and it is so i much the more worthy of admirat on , that despite the heaviness caused by this laborious technique they contrived to give expression to their enjoy ment of the beauties of Nature . Though Rogier van der Weyden had a large school , and for a century and a half many imitators , the really decisive inﬂu ence which affected the prog ress of art came from abroad and above all from

B r o Holland where e ich , or as he is c mmonly called , i D rck Bouts , who in feeling and treatment showed i i h mself to be a d sciple of Van der Weyden , was bo rn in Haarlem somewhere about 1 400 . From his native place he went to the town of Louvain in

Belgium , where he soon became municipal painter , and his two greatest works were painted for the i Counc l Chamber in the Town Hall of that city .

he T y represent the Triumph of Justice, as ex hibited w ho in the legend of Otho III , , having ﬂLower i enis b anb M b Eutcb S c hool s 55

executed a guiltless courtier on the testimo ny of a e fals witness, discovers the truth and commits the

accuser, though his own wife, to the ﬂames . ’ O i in Bouts works we have, our collection, tw o

of the four wings of an altarpiece painted fo r St . ’ P o 1 6 1 eter s Church at L wen, between 4 5 and 46 7 The more important panel is the Gathering of the Manna ( 1 1 1 ) remarkable for the rich splendour

of the Dutch colouring . The blue garment of the man kneeling in the foreground and the golden red

dress of the woman on the left, are truly remark

able for depth and transparency of colour . The delicate shading of the landscape is more notable

than those of his contemporaries .

The companion piece to the above, the Meeting between Abraham and Malchi sidek ( 1 1 0 ) tho ugh highly esteemed by experts is hardly taken seriously

by the general public . The contrast between the

subject and the treatment, which is strictly of the

time of the artist, seems to have an element of the

comical , but we must note especially the movements

of the extraordinarily expressive hands , which seem

almost as if they were gifted with souls . An unknown painter of great ability was he to

wh o m we owe a small, but very beautiful Epiphany ”

altar , known as the Pearl of Brabant , which consists of the centre panel, the Adoration of the Magi and the tw o wings representing ‘ 56 CCbe a rt of the M uni ch G al leri es

i i 1 08 St . John the Bapt st carry ng the lamb ( ) r and St . Christopher , bearing the Ch ist Child

In his types and form the artist, who is known to u s only as the Master o f the Pearl of ” D Brabant, is closely allied to the style of irck i Bouts, so much so that the above altarp ece was long ascribed to the latter artist . The Pearl of Brabant is to be regarded as a sample of the middle Old Netherland style and this because of i ts i great elegance and beauty of colour ng, although it can scarcely have been painted later than 1 470 . It shows an interesting transition from the style of Dirck Bouts to that of the last great master o f . i the Old Netherland school , Hans Meml ng .

no tew o rt Specially y in this altar are the landscapes , i i i that o f the left wing w th St . John the Bapt st n i St . daylight , and of the right, Christopher bear ng his Heavenly Burden over the water in the bright rays of the setting sun . The real successor of Dirck Bouts was the

1 0 famous Hans Memling, who was born in 44 near

Mainz and went to Belgium as a child . His style

G it e has nothing erman in , b ing purely of the

’ Netherland school . The record of Memling s life is exceedingly meagre , though there is a romance

“ connected with him , which is interesting even if

r . ho w unt ustworthy It relates , after the fatal battle o f Nancy, where Charles the Bold fought his last S M ML G — ST H N T O H E . H AN E IN . . j BAPTIST

l ow er R heni sh anb M b Eutcb School s 57

ﬁ ht o f g , a man middle age was brought wounded i i t . and fa nting into the Hosp tal of S John at Bruges . Thanks to the kindly treatment of his nurses he recovered , and having acquainted his deliverers with the fact that he had been a painter previous to becoming a soldier , he asked for material and painted the Sybil Zambeth and other works on the walls of the hospital in token of his gratitude .

The painter , the legend saith , was Hans Memling . But stern fact has robbed his history of this pleas

H e ing illusio n . appears to have been a quiet citi

o f 1 . zen Bruges, where he died in 495 One of his ﬁ nest works w as a large altarpiece o f the Last

Judgment , which he was commissioned to paint

ca for an Italian patron . But this picture was p tu red at sea by a pirate ship and brought to Dant

no w . zig, where it may be seen in the Cathedral

In the Pinakothek is a St. John the Baptist ( 1 1 5) seated meditating in a trim Belgian park like landscape . This painting shows a complete change of taste from the paintings which had pre

di niﬁ ed ceded it . Instead of the g but somewhat stiff splendour of the Van Eycks and Dirck Bouts , we see in Memling a certain elegance and lovable

n The fi nished ness which is distinctly his o w . deli cacy o f the technique can be explained by the fact that the artists o f the second half o f the fifteenth century had a certain amount o f tradition to loo k ‘ 58 c be a rt ot the M uni ch Gal leri es back upon and therefore painted less laboriously than the founders of the school . The greatest work by Memling in the Pinakothek is the altar known as the Seven Jo ys of Mary ( 1 and the best idea of his art can be gained by studying this particular picture . It appears some i what odd to our eyes , as on a single surface, w th i e i no divisions, a whole ser es of events are d p cted, i s widely apart as to t me and scene, and it speak volumes for the taste of the artist, that he has made as much out of thi s antique style of composition as it was possible to make, and that the landscape i s su fii ciently important for it to be a frame for the whole .

i fe The faults of Meml ng are very w , his faces are characterized by some of the asceticism of his master

and Van der Weyden but tempered with sweetness , hi s pictures are full of a devout and reverential

feeling . As a colourist he is even more remarkable than Jan van Eyck or Van der Weyden and his landscape backgrounds are crowded with minute detail executed with exquisite hu ish and atmo s

h r p e e. The works of the old Netherland artists

as of this period , though fully as devout in feeling f those of the early Italian school , di fered from them

completely in their elaborate realism of treatment . — The simple broadly painted ﬁgu res with gold back

u e e and gro nds, of the Si n se the Florentines, were

60 Ebe a rt or tbe ﬂbuntcb G al leri es

o i i c llection in the Myst cal Marr age of St . Cath

’ erine ( 1 1 7) to the Child who srts on his Mother s

. St. G i the f knee ertrude, bear ng o fering of her

a St . duc l crown, Kunigunda reading and St. Bar bara carrying her palm and book are grouped on the i left, while on the r ght side we see St . Gudula, h patroness of Brussels , wit book and cross, and

St . ro sew rea near her Agnes with a th and her lamb . t While the fourteen h century in composition , form and colouring laid so much stress on single objects that the whole was lost in detail, the Renais i it sance, and Gerard Dav d before , strove to sub

is i ordinate the detail to the whole . H p cture of the Adoration of the Magi ( 1 1 8) is the most typical of this northern Renaissance . The unanimity with which the treatment of both form and colour strives

i n i to reach the same goal, this p cture , is remark able . A comparison with Rogier van der Wey den ’ s masterpiece shows that the old system of

strong colours , unblended, has given place to a style which makes a certain general tone dominate the whole colour scheme of the picture and that in the drawing much more attention is given to the ﬂo w of line . The founder of the noted school of art at Ant

' w erp ih the middle of the ﬁ fteenth century w as

e Quentin Matsys , popularly known as th Black ”

o f e . th o f smith Antw rp Born at Louvain, e son l ower mhenish anb o w Eutcb Schools 6 1 a b c la ksmith , there is every probability that Quen

’ tin ﬁ rst t worked at his fa her s trade, but owing to the fact that the father of the woman he desired i to marry refused to g ve her to any but an artist, he determined to follow his artistic bent to its high

o f est achievement, and commenced the study art, probably under Dirck Bouts .

1 - In 497, when he was thirty seven, he settled in ’ G i Antwerp and joined the Painters u ld, rapidly

. the En becoming famous His masterpiece , to mbment executed for the Chapel o f the

’ no w Joiners Company, is in the Museum at Ant

r w e p . The authenticity of the works ascribed to Matsys

t i u in the Pinako hek has been called nto disp te, though the picture of the Madonna gi ving her breast to the Heavenly Child ( 1 32 ) is mentioned in the inventory of the gallery belonging to the Grand Duke Maximilian VI as the work o f the

’ painter s own hand . In this picture are many homely articles of household use , notably a kettle

ﬁ re o ver a , which indicates a reference to earthly wants qu ite opposed to the feelings of the older s masters , but well in keeping with the idea of

Matsys and his times . The famous portrait o f Jehan Carondelet was for a long time accredited to Holbein the Younger but it is no w known to be the work o f ' ‘ 6 2 c be a rt of the M uni ch wal lertes

h t t Matsys imself, hough some au horities still con tend that it was painted by some scholar clo sely con nected with him and under his immediate tutelage .

’ An undoubted school copy of Quentin Matsys i h favour te subject, the Mocking of C rist, is an

“ ” Ecce Homo ( 1 35) and another work of one of his followers is Tw o Tax Collecto rs th e original of which i s in the Galleria Z ambeccari at Bologna .

i s St . Doubtful , too, the picture of Jerome seated in hi s chamber meditating on a skull upo n which his left hand rests which has been held to be a copy of a picture painted by Bartel

i i 1 Bruyn , and lastly a very beaut ful P eta ( 34 ) in which Mary holds the head of her dead son i between her hands , and wh ch , even if it be not

i i e u s an or ginal work of Matsys himself, g v s an i idea of the clear purity of form at wh ch he aimed . It i s quite independent of Italian predecesso rs and

in w a yet , a y, suggestive of a relation to con temporary Florentine art .

era rt Joachim Patiner of Dinant , pupil of G e D avid at Bruges , was a member of the Guild of i Pa nters at Antwerp in 1 5 1 5. H e mainly painted sacred subjects in which the ﬁgu res were subo rdi nate to the wide expanses of landscape . In the Pinakothek we have three portions of an altar

St . piece ( another part , the Sebastian , is in the PI ETIA . QUENTIN MATSYS .

:Eower mheni sh anb o w Eutcb Schools 63

G ermanic Museum at Nuremberg) , the Holy

Trinity the Virgin and St . Roch

a Two very beautiful p intings , the works of Lucas van Leyden , are The Madonna and Child ( 1 48 ) with the Magdalen very richly clad and the donor of the picture painted as St . Joseph with a lily branch and his wo rking tools ; and an Annuncia tion ( 1 49 ) in which the angel Gabriel appears to Mary as she kneels with an open book in her hand

r at her bed foot . The ﬁgu es in both these pictures i have great dign ty both as to attitude and drapery . They were executed while Albrecht D urer visited the Netherlands and when Lucas van Leyden was a member of the Guild of Painters at Antwerp . But the style and activity of the master can better i be estimated by his engravings , wh ch are most

u nfo rtu remarkable but of which our collection ,

natel . y , possesses no example Three small pictures ( 1 5 1 in the same

Mo staert cabinet, were painted by Jan , a Dutch painter from Haarlem who was Painter in O r i r . dina y to Margaret of Austria, for e ghteen years In style of painting and develo pment of landscape he shows a close afﬁ nity to the masters of Bruges .

H e treated his religious subjects with an elevation and purity o f feeling remarkable at so late a period . His pictures are distinguished by warmth and clear 64 Ebe a rt of tbe ﬂbuntcb G al leri es ness of tone and a certain softness denoting careful handling . That the Italian inﬂuence under which so many of the artists o f the Netherlands and the Dutch

i i i adv an schools came at th s t me, was l ttle to their tage is to be seen in the works of the diff erent i periods in the artist c career of Jan Gossart, known more generally as Mabuse from his native town

H ﬁ rs Geraert of Mabeu ge. e t studied under David and Quentin Matsys and later in Italy under the in

H e ﬂu ence of Leonardo and Raphael . greatly ex

his celled in native style of art , and possessed much i ﬂu i i him n ence upon the generat on wh ch followed , but when he deserted it for the Italiani z ed style of i i pa nting, it became only the outward im tation of i something foreign to h mself, and therefore was

i H i s never successful or beaut ful . pictures of this

i at class even of rel gious subjects , have but little i i traction, as may be seen in his pa nt ng of the Madonna Still less pleasing is his D anae in the Golden Shower ( 1 56 ) which borders on the ludicrous . His most attractive

w works were his portraits , of hich , unfortunately, we possess no example in the Pinakothek . His contemporary Bernhard van Orley was closely allied to the old school in moral and techni

the in cal qualities , but on other hand , works imita tive of the Italian school he was warmer in feeling

‘ 66 Gbe 21a of tbe ﬂbuntcb G al l eri es

i a delicately pa nted in grey tones, but it must, as

e . whole, always have b en resinous The old fashioned details of the picture do not harm it for u s but rather tend to interest u s in its

w ho undoubtedly gifted author, , with his great power of expression and his ability to idealize the

- world remote style of the Middle Ages , pressed forward to the very border of the realistic art of modern times . The lofty subject of the Stabat

Mater has scarcely been treated , a second time, by

ﬁ fteenth the Northern painters of the century, with such an overwhelming depth of conception . Its depth lies not only in its representation of mental i agony but also in the truly artistic concept on , which

satisﬁ ed is not merely to render play of expression , but rather expresses all mental values by means of bodily and visible factors . The touching Madonna is marvellous in this re spect . She is overcome with indescribable sorrow, i t . so much so that her limbs , too , give way under

i but Her head droops not from gr ef, from absolute weakness her hands hang down powerlessly. Her face wears an expression , not only of cruel mental i agony but also of complete phys cal exhausti o n , hence the immediate impression her ﬁgu re makes upon u s .

h ﬁ ne T is narrative art , together with the power o f it s eciﬁ call expressing , belongs p y to the Nu rem l ower R bentsb anb ® lo D utch S chool s 67

berg school . It prevailed even before Pleydenw urff

a i o f and l sted t ll the time D ii rer. Everywhere we i i see the same grasp of that which is really s gn ﬁcant. To this the above picture owes its impr essive sol emnit i y and at the same time a certa n vivacity,

which , notwithstanding the tragic nature of the sub

ect r r j , is cha mingly rendered in the accesso ies, fo r instance in the vividly painted lizards in the fore

o n The ground the right . artist does not know very c mu h of the anatomy of these lively little animals ,

but at the same time, he has caught the grace and i intelligence of the tim d little creatures .

h le den Henry T ade, the art critic , ascribes to P y

' r w u ﬁ the beautiful Mystical Marriage of St . Cath erine ( 234 ) which is undoubtedly not the work of

o f Nurem the latter, but another more celebrated

w ho u i w as o n er berg painter, st d ed under and p

o f sonal terms intimacy with him, Michael Wolge

mut, the famous teacher of the still more famous

Albrecht D iirer . It is ex ceedingly difﬁcult to get a thoroughly re liable idea of his art from his pictures in the

Pinakothek, although the composition painted for the Trinity Church at Hof and known as the Hof

Altarpiece is a very comprehensive work . It dates

o 1 6 co c r fr m 4 5, and must have ntained a a ved group

u i re re in the centre . O the front of the w ngs is a p

s o n k scu tation o f the Pa sion, the bac , among other ‘ 68 C be a rt of the M uni ch (Bal l ertes

i subjects , a very beautiful Annunc ation, and a pic

he i ture of t Archangel M chael, which is very impor tant in the history of the development of painting under the inﬂu ence of Albrecht D ii rer and his im mediate predecessors . If we had only one wing of this large picture it would be easier to form a de i i i c ded Op n on of the confused , but important subject, l W o emut . painted by g But while these four panels, i i pa nted on both s des , are part of a whole , and cer tainl i W o l emu t is y came from the stud o of g , it i i i almost mposs ble to form any opin on , beyond the fact that Whilst the design was undoubtedly the work of one man and that man in all probability

’ W o lgemu t at least three painters work can be i traced o n the altarp ece . Whether the artist who conceived the whole helped to carry out hi s designs in colour it i s im possible to say but the C ru ciﬁ x io n ( 23 1 ) is by far the ﬁ nest of the paintings and is undoubtedly the work of a great master The second and still more noted panel the Resurrection is

ﬁ nel not so y carried out either in the detail , as wit

ﬂo w ers in ness the in the foreground , or the treat

ﬁ u res ment of the g , though it far excels the De scent from the Cross ( 232 ) and Christ on the Mount of Olives ” It would seem as if

W o l emu t i i had g , at th s t me , several assistants and that he himself merely designed the work and super C H W O L G EMUT . C C F X MI AEL RU I I ION .

mower m cnish ano ® Ib Eutcb S chools 69

vised its execution, though from the beauty of its execution we have grounds for regarding the Cru ciﬁ x io n ’ as the work of the master s own hands .

It is a logical continuation of the problems ﬁ rst

Ple denw u rff evolved by y , but it is of less artistic value, though a very beautiful work . The colouring is exceedingly luminous and tasteful and some of the heads, especially those of the wo men and the i i grey haired men , are most delicate n tone . Wh le the landscape with its light tints is by no means true in to nature , the colouring itself is much better than Pl that of eydenw u rff. The picture exhibits a curi m ous mixture of dia etrically opposite tendencies .

O n ﬁ ures one hand the g , which both in dress and

o s Ple denw u rff type remind of y , have a much more human expression a marked advance this on the other hand they have a much more general char acter, are less sharply drawn and less full of temper ament . The Resurrection gives rise to a com

W o l emut be parison between g and Dirck Bouts , cause in the latter’ s Gathering of the Manna the treatment of the sky is very similar, but the opinion o f the critics that W o lgemu t was i nﬂu enced by

Bouts cannot be actually sustained , as his colouring is in many ways entirely different and the Hof Altarpiece was very probably painted before the ” Gathering o f the Manna . l r Wo gemut is a ve y much underrated master, ‘ 7o Ebe 2111 of tbe flbuni cb G al l eri es since the co ntention has been made that his plod ding diligence was the chief merit of his pictures . H i s C ru cifix io n shows many beautiful and deli cate qualities and notably fi ne in form and expres sion is the head of a young woman on the extreme

i s left of the picture . Near her another beautifully

ﬁ re i . drawn gu , that of the worshipping Long nus His versatility in the painting of landscape is to be noted in the different treatment of the one which forms the background of the C ru ciﬁ x io n to that ” n o w n of the Resurrectio , each beautiful in its way .

The background of the famous Krell portrait, and the centre part of the Paumgartner Altar

the D ii rer am piece , both works of Albrecht , the f ed

i W o l emu t i pup l of g , are closely all ed to the style of

e the latter as a landscape painter . Sp cial attention must be bestowed on the carefully and accurately drawn plants with which W o lgemu t and the Nu remberg school in general used to adorn their fore grounds . This was the case in other places in the fourteenth century but W o lgemu t went especially i far in th s respect, and it is not therefore due to mere chance that D urer later on drew his famous studies of plants . This close association of D ii rer with the school of Nuremberg is not remarkable since he himself tells u s that his earliest studies were m i ﬂu r ade under its n ence. The e is no doubt what

‘ 72 Gbe mt Of tbe muntcb G al l eri es

’

t u s. o D ure s work confronts It cannot p ssibly, in

no - the state in which we w see it to day, have been painted in the same year as that of Hans D ii rer

The colouring is too decidedly different . As a matter of fact the inscription with the date is

c not genuine in its present form . The old cartou he, i i o wh ch bore the or ginal inscripti n, shimmers proudly through that now visible . Thus we have at present no really reliable information as to its d date of painting, and we are forced to a mit that it has not come down to u s in its original state . More h over the head, breast and fur are covered wit an

a extraordinarily thick layer of varnish, which m kes it impossible to arrive at the date of the picture by a close examination of its condition . Many attempts have been made to solve the prob lem by other means . The picture is said by some

u to be no true portrait but a built p ideal one, painted in the year 1 505. Its lofty dignity has been

i i nﬂu ence attr buted to Italian , which would make

i 1 06 n its earl est possible date 5 , but one of these i assert ons can be proved . It is diffi cult to believe the po rtrait to be that of a young man of twenty

D ii rer in eight, as looks to be the late thirties here , i i but th s is no guide e ther . At that time even the greatest masters were lacking in means of expres sion su fﬁ ciently light to render the freshness o f youth adequately. — O F H M L F . ALBREC H T DURER . PORTRAIT I SE

74 Ebc a rt of tbe ﬂbuntcb G al leri es

i an t sance . Th s c be proved by the fac that the pic tures executed by Durer under Italian inﬂu ence are quite different in feeling and atmosphere . This portrait is conceded to be the hu est expres sion of personal greatness produced by the late

Gothic art in the realm of portraiture . It possesses an expression of such strength and sublimity, that taking into consideration various peculiarities of it dress, is thought to be not merely a portrait of the i great master, but in real ty a Divine type , and there can be no question that later on D ii rer consciously used his own features as a foundation for the coun tenan e c of Christ . It seems to have given expres sion to the general usage of the Nuremberg school of his day, because in the Cook Collection on Rich mond Hill , London , is a head of Christ, ascribed to n k Jacobo Wahl, which bears an unquestio able li e

D r r ness to ii e when he was young . The year 1 500 is the date of the painting of the ” Bewailing over the Body of Christ ( 238) a work which , though badly damaged , is still most i i i mpressive . The or g nal force of this mighty work can no longer be fairly estimated owing to the poor state of preservation of the various parts for example the group of women at the foot of the Cross — but we can see that Durer deliberately i tried to conce ve the scene as a great whole . Deep

o melancholy broods ver the entire scene , Nature , l ow er R heni sh anb M b Eutcb S chools 75

steeped in the gloom of night, seeming to join in i bewa ling her Lord . Dark clouds cover the

reﬂected heavens, and are in the lake, wrapping, as it were , the landscape in a garment of mourning. The year 1 500 was a remarkably fertile one fo r ’ the D u rer s production of paintings , for during it he also painted the Portrait of Jacob Fugger

The picture is , unfortunately, not very well preserved , the green background having been very poorly touched up and the portrait itself badly treated . This is caused by the technique , which was

ii rer not very durable . D here painted on canvas

o r s ( o called handkerchief with distemper , which is very easily damaged . ’ The masterpiece o f D ii rer s early period was the Paumgartner Altarpiece painted for the Chapel of St. Katherine in Nuremberg . The Elector Maxi milian I succeeded in obtaining this for his collection

1 6 1 i in 3, though he met w th obstinate resistance ’ - from D u rer s fellow townsmen , who naturally de it sired to retain , as this altarpiece, especially on account of the votive wings , is esteemed to be a most striking and characteristic example of the old

Nuremberg style of painting. A painter named

Hans Bru derl lived at his court, whose business it " was to paint over the naked Lowland pictures . It was Brii derl and not as is generally supposed the court painter Fischer who had to transform 76 t he El t t Of the muntcb (Bal l ertes into the Baroque style those portions o f the Be wailing over the Body of Christ and the Paum gartner Altarpiec e which were not either in com position or colouring in accordance with the taste

H e of the seventeenth century . made considerable

n bu t o alteratio in the pictures f rtunately, to his honour be it said, he had a certain amount of rever ence . These alterations were removed from the

Paumgartner Altarpiece some years ago . This great painting is perhaps the most notable monument of German painting of the end of the ﬁ fteenth and the beginning of the sixteenth centu ” ries . Though it portrays the Birth of Christ

2 0 ﬁ u res ( 4 ) in small g , there is still much of the intricate late Gothic style and the beautiful Christ mas atmosphere of the picture has all the charm of

h s old time poetic attractiveness , a c arm which make u s quite overlook the obvious weakness of its per i spect v e . D ii rer had not yet succeeded in freeing

i inﬂu ence W o l emut himself ent rely from the of g , though we can trace his efforts to attain the per s ectiv e p achieved by the Renaissance . The regu larity and the strict arrangement observable in this picture were quite in accordance with the spirit o f his age . ” The colouring of this Birth of Christ is t e markable : it must originally have been charmingly h brig t and fresh , as it is still very clear in the middle

l o wer tRbents b anb o w Eut cb Schools 77

. W o l emut s distance g has imilar colouring, though

i n h not employed precisely t e same w ay . Pu rity o f colour was the aim always striven after by him

c ho D r r and his s hool, but w ii e contrived to lay on his colours so thinly and yet to get such tones we

do not know . H e may possibly have been inﬂuenced

e h as by the Ven tian painter, Jacopo Barbari, w o w l i iving in Nuremberg at that t me . O n the outer side of the wings of the Paumgart i i ner Altar is an Annunciation , of wh ch only the l fe

n sized gracious Madon a has been preserved . She

i w as nu became vis ble when the work restored , but fortunately the angel on the other panel has been

destroyed . The inner sides show the donors of the altar on the left the Nu remberger Luke Paum

gartner as St . George with the slain dragon at his feet ( 24 1 ) and on the right his brother Stephan

Paumgartner with a banner as St . Eustace Here we have something new in German art history

’ and parallel to D ii rer s making his o w n portrait

resemble the Christ type . Pleasure in his own per

so nalit eﬂi cienc y , pride in the y of the community

o f to which he belonged , together with the glamour

D ii r r the powerful Nuremberg patricians , induced e to produce this unique glo riﬁ catio n of the German;

commoner , for the Paumgartners belonged to the middle class , not to the nobility, although their striking personalities enabled them and the Nu rem ‘ 78 c be a rt of tbe muntcb walleri es berg patricians in general to look upon themselves practically as the equals of those of knightly descent . The drawing is still the angular Gothic style and though the ﬁgures are replete with interest and are very richly clad, still they stand there like bronze statues . In this masterpiece Durer showed to what a height German Gothic art could rise without any i i incent ve from w thout, but he himself at a later

e did hi s p riod not regard early works , even the

Paumgartner Altar, with unmixed joy and so he if adopted an absolutely d ferent style, much simpler

in and yet equally full of mean g, though not so pul

i his in sating with life . Poss bly long stay Italy ( from the end of 1 505 till well into 1 507) helped ' to win him over to classical simplicity . This is c i learly evinced in some of his p ctures , such as his “ ” Lucretia ( 244 ) which dates from 1 5 1 8 but which was undoubtedly painted under the inﬂu

’ ” Mante na s ence of g Venus , now in the Louvre , but which at the time of its completion hung in

Mantua .

’ The chief works of D u rer s last period are his

o t 1 26 great panels of the four Ap stles , pain ed in 5 , which may be considered the epitome of old Ger man art . They were his last w ork and were painted

at a time of mental and physical distress . Durer felt that he was drawing near the end o f his

“ 80 (tbs a rt of tbe ﬂbuntcb Gal leri es reading the Scripture with such fervour and keen i h attention . O the four apostles it is perhaps he w o best embodies the atmosphere of the religious world

and atho of the Germany of that day, Protestant C

e lic alike . With him is St . Pet r carrying his em blem, the key . More powerful and intense still is the ﬁgu re of

2 i . St . Paul ( 48 ) on the other w ng The arrange ment o f the light blue mantle which falls in such grand folds from the shoulders to the ground is worthy of the highest admiration . We compare these broad regular masses of drapery utterly devoid of ornament and almost motionless as they are with the votive ﬁgu res of the Paumgartner Altar and w e cannot fail to be struck with the enor mous advance which D ii rer had made over his ear lier work . And the same applies to the treatment of the heads ; Durer modelled the bald head of the apostle with the same intense feeling which he be stowed on the ﬁgu re as a whole . The impression

no t produced is powerful to a degree , but exactly

D ii rer pleasing from an artistic point of view . Here

o n] was guided not only by his w inclinations , but also by the taste of the period, which had begun to lay great stress on a forcible rendering of the sub

e j ct in question . Moreover he tried ex periments

St . with this head of Paul , which was much smaller

n originally than it is o w . The traces of these ex

‘ 82 EDC a rt Of the ﬂbuntcb G al l eri es

an' e the tw o inner wings of altarpi ce, painted it is not positively known by whom but very often at tributed to D ii rer himself . The one represents Saints Joachim and Joseph ( 245) and the other Saints Simeon and Lazarus ( 246 ) The o ut sides of these wings represent the Trials of Jo of which one panel hangs in the State Mu seum in Frankfort, and the other in the Museum

o . at Cologne . The centre compartment has been l st ’ Besides these there is a copy of D ii rer s Martyr dom of Ten Thousand Christians by the Persian King Sapor II ( 2 53) which is of interest from the fact that in the centre one may observe a portrait of D ii rer himself and also o ne o f his friend Wili bald Pi rkheimer . It was to this friend that he addressed his letters from Italy which have come down to u s and afford u s so many interesting particulars o f the art world o f his time .

’ s i as H s n D ii rer most pleasing pup l w an Wag er , w ho known better as Hans von Kulmbach , adhered t far faithfully o the style of his master , and While r o f o i beneath him in pow e c nception , st ll equals i him in taste and harmony o f colour . O his works we have four panels o f beautiful and brilliant effect

( 254 - 257) The Suabian school w as the nex t i n importance to that of Nuremberg but no earlier works o f this l ower 1Rbentsb anb ® lo Eutcb Schools 83

school are to be found in our collection . O i the later works w e have the famous and charming

h 1 ut Birth of C rist ( 74 ) usually, b without any absolute certainty, attributed to Martin Schongauer .

This painter, more generally known as Martin — o o f Sch n the Bel Martino the Italians, and the Beau Martin o f France so named for the

1 0 beauty of his works, was born at Colmar about 45 , and w as one of the greatest painters whom Ger

c ﬁ fte n h many produ ed in the e t century .

o f c What we know S hongauer, beyond the fact

n that he was a pupil of Rogier van der Weyde , is very slight . None of the pictures attributed to him can be authenticated and it is as an engraver that he appears as an artist of the greatest power and

o f invention in the department ecclesiastical art, both in representing single ﬁgures and also in very animated composition . The pictures which are suppo sed to be painted by him show a warm , powerful and transparent colour but his treatment is less true and his blending of

o f colour less subtle than that his master, Van der

Weyden . In all probability the pictures attributed to him are by his pu pils after his engravings and this is very likely true of the Birth of Christ in

‘ the Pinakothek . In this the Virgin , in a red gown

o n and mantle , sits with the Holy Child her lap ,

u The holding o t a ﬂower towards him . features of 84 t he a rt Of the l lbuntcb Gal leries

in Mary are noble and pure expression, and her red drapery has a very ﬁne and luminous effect . The school o f Suabia laid far less weight than that of Nuremberg on vivid characterization and m e o f form, but aimed rather at a certain cal typ beauty . Its colouring was not so bright, having ﬁ more the effect o f light clear enamelling. The g ures are less individual but rounder , the movements not so stiff and austere but still with a certain

u abians h strongly marked emphasis . The S , t ere

i a fore, approached the de ls of the Renaissance ear lier than the other German artists . The tendency is notable even during th e Gothic period o f Bartholo tw o mew Zeitblo m. The Pinakothek possesses of ”

St . 1 his characteristic pictures , Margaret ( 75) and St . Ursula It is very obvious ’ that Z eitblo m s master Schongauer exercised a very

inﬂuence great upon him , for, though inferior to

Z eitblo m the latter in sense of beauty, has a power in of attraction the simplicity, purity and earnest ness of his religio us feelings w hich few artists of i his time possessed . His p ctures , with their mild,

ﬁ r s to placid faces and gu e , form a decided contrast the sterner Nuremberg school, and for a long time this style was considered the best embodiment o f

G Zeitblo m erman art , so that has been called the m G s. ost erman of all the master This is, perhaps, going somewhat too far, but his pictures undoubt

‘ 86 C be Et t Oi the ﬂDuntcb e al l ertes

ho an artist w could paint such heads , at a time when Gothic painting with its strict adherence to pattern was dominant in Germany, should have been the father of the greatest of German po rtrait painters . It is clear that during the early years of the six teenth century a strong Italian inﬂuence was felt in

Ge South rmany, due largely to trade intercourse , and painters of the German schools gradually be came familiar with Venetian and Paduan art . The elder Holbein was one of those artists who derived much advantage from this intercourse . Without abandoning altogether his early training, he softened

o ff his art to a large extent, throwing the impress of

’ Van der Weyden s school , for that of the Van

mo diﬁ ed Eycks, which came to him through the medium of Antonello da Messina and the Venetian school . With this and a feeling for architectural decoration derived from a study of Mantegna and

i o o f Bell ni , he t ok a serious part in the production a revolution of German art . A triptych in which we are introduced to the ﬁ rst blo om of the German Renaissance is his

Martyrdom of St . Sebastian ( 209 ) painted for the Dominican church of St . Salvator at Augsburg and esteemed to be one of the greatest of the works

Su abian The produced by the school of that period . centre panel , the martyrdom of the saint, is one of the gems o f the Pinakothek collectio n and is undis ?Low er R benteb anb ® lo D utch School s 87

u tabl p y the work of the master himself . The right i w ng of the altar presents St . Elizabeth of Thurin gia succouring the sick and aged ( 2 1 1 ) and the ”

o ne St . b left , Bar ara with a chalice, over which G the Holy host sweeps , in her hands O n the reverse of these wings is a representation o f the

the Annunciation , the Virgin on one panel , the mes

G o n senger angel abriel the other . When we com pare this Annunciation with that on the Kaisheim i it Altar , hang ng just above , we cannot fail to note that in the latter everything is circumscribed and the

fi u res n g wooden in their modelling . O the wings o f the St. Sebastian altarpiece the extremely tasteful and happy treatment of space proclaims an artistic revolution . In the Kaisheim altar the orna ments form a flat decoration and curtail the space, but they have here become o f architectural im portance and create the conditions of space required by the situation ; they help to build up the whole and consequently the figures themselves have more

f o freedom and ease o movement . In place f the somewhat aﬁ ected mannerism of the Gothic style we have no w the serious and splendid beauty of the

Renaissance . In the by no means perfect angel of the Annunciation there are traces o f want of cer

o ne tainty, indicating that this might be the work of

tw o l of the pupils of the master, but in the delightfu ﬁgu res o f Saints Barbara and Elizabeth of Thurin 88 u m a rt ot the muntcb G al leri es

the ﬁnished gia on inner sides, we have a practically

new and example of the style , much in the treatment of these two wings supports the contention that they were work of Hans Holbein the Younger . The In colouring leads u s large ly to this conclusion . stead of the subdued brownish tone beloved of the

c elder Holbein, a clear silvery harming tone treat

o ment prevails, heralding the w nderful colouring

’ o f the younger Holbein s later work . Hans Holbein the Younger was born at Augs burg in 1497 and what we know of his life can be i told br eﬂy . H e was painting independently and

ro ﬁt ﬁ fteen t for p at , and when only twen y he left

Augsburg and went to Basle . His earliest works extant are to be seen there . They are the Last ” Supper , a Flagellation and the portraits of

Jacob Meyer and his wife . After a visit to Lucerne ’ we hnd him a member of the Painters Guild at Basle and some years later he painted the frescoes for the walls of the Rathaus , of which only frag

no w . ments remain , in the Museum at Basle Shortly afterwards we ﬁnd him in England w here he lived in the house of Sir Thomas Mo re at

ou Chelsea and he worked as an hon red guest, paint ing po rtraits of the ill- fated chancellor and his fam H . av 1n ily g returned to Basle for a while, hard times once more forced Holbein to seek work in

E . s w as 1 2 w as a ngland Thi in 53 , when he t ken into

l ower R henish 8 110 M b D utch Schools 89

o f the service Henry V III , a position not without

its dangers . H e w as appointed court painter at a £ salary of 34 a year, with rooms in the palace . Holbein was employed for many years at the d royal court, uring which he produced some of his H i c . e n masterpie es died in London the year 1 543 . O ne of the best works ever painted by him is the

i D erich 2 1 2 i m niature Portrait of Born ( ) wh ch ,

’ small as it is, serves to show the younger Holbein s mastery of style in its psychological grasp o f char acteristic po ints and its beautiful luminous ﬂesh

tints . World famous , too , is the Portrait of Sir Brian Tuke treasurer at the court of Henry

VIII of England . There can be no possible doubt that this likeness is the handiwork of the master

himself , but the background , with its well known

ﬁ ure D o n . g of eath , was undoubtedly added later 1 8 w in In 59 , hen the picture was mentioned in the v ento ry of the collection of Duke Heinrich in Mu

nich , where it had already been placed , there was no D ’ mention of the eath s head , which certainly could

not have been overlooked . The addition has w o n

much popularity for the picture, but has considerably

lessened its value as an artistic whole . The authenticity of a recently acquired Portrait

2 1 a of D eri ch Berck ( 3 ) , a German merchant who resided in London while Holbein was co urt painter

i ma be at that c ty, is much disputed, and it y well 90 t he a rt of tbe muntcb G al leries the work of an English imitator the drawing is far too uncertain and the colouring too glittering and lacking in depth and luminosity to be the work of the great master .

r In Holbein the Younger , the Ge man school of realism attained its noblest and highest development, and he may unreservedly be pronounced to be one of the greatest masters who ever laboured in that

ﬁ eld . With respect to grandeur and depth of feel ing in the ﬁ eld of ecclesiastical art he stands some ‘ what below his great contemporary Albrecht Durer , but he decidedly excelled his great rival in closeness and delicacy of observation in the delineation of ff nature . A proof of this is a orded by the evidence of Erasmus of Rotterdam—gifted himself with a — hu e understanding in manners of art who says that of the portraits painted of him by the two artists that of Holbein is the truer and better likeness . In the art of painting, having derived from his father a beautiful manner of fusing colour , in tasteful ar rangement of drapery, in grace of movement and in feeling for beauty of form , Holbein must be placed

he above the great Nuremberg master, so that , unit ing with all these qu alities admirable powers of drawing and composition , may justly be considered , G of all the erman masters , the one most ﬁtted by na ture to attain that supremacy of art displayed by the w orks of his great Italian contemporaries . In po r

9 2 t he El t t of tbe muntcb 6 51116 116 5

The Miracle of a Woman being raised from the

D 26 i ead ( 7) on behold ng the true Cross, which i i was d scovered by the sa ntly Empress Helena, is the work of Barthel Beham, of Nuremberg, who was sent by Duke William IV of Bavaria to Rome, h w ere he died suddenly . His early work is quite

D ii rer in the style of his model, Albrecht , but during hi s stay in Italy he attempted ( but with little suc h cess ) to adopt the Italian manner, and in t is style

H ner our picture is painted . e was a much ﬁ por i i tra t than h storical painter , and more noted still as i i an engraver, but our collect on conta ns only the one picture from his brush .

i i i s Another p cture wh ch attributed to him, but

i i Reﬁn er wh ch was pa nted by Ludwig g , who i w married his w do , is the Leap of Marcus Cur tius This picture contains many animated ﬁgu res but i s marred by the gaudy and overladen i ant que architecture . D A contemporary of Albrecht urer, who occupied an entirely independent position , was the Alsatian

i i G in 1 8 pa nter, Matth as runewald, who the year 1 5 painted for the Cardinal Albrecht von Brandenburg i an altarpiece , of wh ch the celebrated Conversion

St . of Maurice by St . Erasmus the latter a por trait of the cardinal forms the centre compart

c ment This pi ture, so far as delicacy of colour is concerned , is one of the ﬁ nest of the Ger l ow er IRDCMBD anb ® lb Ell t 5 6 130018 93

. x it man school Many e ceed in form and execution, but for colouring this almost belongs to a later age . The quiet way in which the two saints are discuss

in ing with each other, is marked contrast to the manner of the ecclesiastical companion of the bishop and the mocking follower of St . Maurice . St .

Mary Magdalen Lazarus St . ” Chrysostom ( 284 ) and St Martha ( 285) form the wings to the above Conversion of St . ” Maurice . They display such a variety of styles that it has been surmised that they must be the

’ Grunew ald s works of assistants , probably of Lucas

Cranach , who afterwards became so famous .

ﬁ u res Waagen justly says The g are colossal,

di niﬁed drawn with great mastery, and of earnest, g , ” and grandly individual character . A peculiar po sition in the Suabian school was

Baldun w ho that occupied by Hans g, modelled himself so entirely in style o f conception , drawing and treatment upon Albrecht D ii rer that there can be little doubt but that he studied in the latter’ s studio . From his hand we have two small but excellent portraits , one of Count Philip the Warrior the other that of “ Markgraf Bernhard III of Baden The characteristic o f his heads is their rotundity, and in point of colour and general keeping it must be confessed that he

r is infe ior to the other Suabian masters. 94 t he a rt of tbe {D untCD Gal leri es

Even far back in the Middle Ages there w as a

ﬂo u rishin o f g school art in the Tyrol , but there are i i very few examples of ts work n the Pinakothek . tw o There are, however, pictures , works of Michel ”

St . 2 8a St . s Pacher, Gregory ( 9 ) and Augu

2 8b . tine ( 9 ) Pacher was also a wood carver, the mastery of which craft is noticeable in the hard ness of the modelling of many of his ﬁgu res. His

e i his sp cially good po nts are treatment of space ,

i is c and his colouring, wh ch very reminis ent of that of Mantegna . The Bavarian and Tyrolese painters seem to have had a special love for clearness of perspective, apparently closely connected with their talent for landscape painting . Albrecht Altdorfer , one of the most original and important of all the imitators

D ii rer ﬁnest G of , was the erman landscape painter

ﬁ rst of the sixteenth century, being the artist to paint landscape as such and not as a mere adjunct or background . The Pinakothek contains a small but very beauti ful picture of a thickly wooded forest by him , as an

incident of which he has painted the Fight of St . G eorge and the Dragon Notable , too , i s the idyllic treatment of the garden in his picture of Susannah and the Elders but most re markable of all is his Victory of Alexander the

Great over Darius of which Napoleon is

96 t he a rt of the M uni ch G al l eri es

Feselen o painted by Melchior , which hangs p i i o site it . p to Th s picture , wh le possessing much

fi u res i fi ne taste, and g wh ch are almost as as those i in the p cture painted by Altdorfer, is inferior to the latter work in poetic feeling . In the picture by Feselen all the clouds have a flat appearance and the whole tone of the picture is unsatisfying . i i No or g nal school can be traced in Saxony, but various Franconian artists exercised their art in these parts , among them Lucas Cranach , a pupil

G i o f of runewald, whose works bear the mpress

’ his ﬂ n i master s in ue ce . Though nferior to the latter in grandeur of conception and in thoroughness of ex ecu tl o n in , he excels him richness and variety of

i i n i invent on, a pecul ar clearness of colour and in

H e the lightness of his treatment . stands forth , i properly speaking, as the painter of the Reformat on , as he was intimate both with Luther and Melanc in i thon , whose portraits he has pa ted w th that

the G D of rand uke Frederic III of Saxony, in a small bust picture of the three Probably hi s most noted picture in the Pinakothek ” is the Self destruction of Lucretia the colour of which is almost Gothic i n its clear enamel i i l ke br lliance . This Lucretia was originally more than nude , she having been painted with a thin veil i l ke garment , which suggested rather than concealed the ﬂesh tints . Out of deference to the feelings o f l ow er mbentsb 8 116 M o Eutcb School s 9 7

the times , she was later supplied with a roughly mi painted and almost co cal little skirt, which quite spoilt the original effect . When Lucretia had thus

’ D u rer s been made respectable , she and Lucretia

bo x c were made up into a sort of a , very chara ter

’ i i - st c of the times . Cranach s touched u p picture formed the lid , upon opening up which one could

’ enjoy the unmarred Renaissance nudity of D ii rer s i Lucretia . In course of t me , naturally, this box was divided up and no w the pictures hang separately in our collection . By far the most satisfactory artist whom Ger many produced at the end of the sixteenth century i s am Adam Elsheimer of Frankfort Main, born in

H e 1 8 i in . 57 , who stud ed Rome and also in Venice largely contributed towards preparing the way for the change of style of the seventeenth century , more particularly in his handling of atmosphere in his

ﬁ ne small but powerful landscapes . We have a ex ample of this quality in a little picture painted on copper , portraying a hilly countryside with cattle in the foreground His mastery in this branch of painting may be noted in all his works in i the Pinakothek, part cularly in his Flight into

Egypt the original of many copies , and his Burning of Troy ” which shows the frightened citizens of the doomed city ﬂeeing to

the w ards the harbour , Aeneas bearing aged ‘ 98 Gbe art of tbe muntcb s auertes

Anchises on his back, and the Wooden Horse in the foreground .

t . a St . John the Baptist S L wrence ( 1 393 ) and an allegorical painting representing Hermes ( 1 389 ) leading a richly clad woman

in who holds an apple her right hand, completes the

’ number of Elsheimer s pictures in the collection in the i i s hlie P nakothek . It contended by von Sc that this last is not an original at all but a copy by Nich ’ n f olas K u p er of a lost painting of Elsheimer s. Among the many German painters who at this time ﬂocked to Italy in order to further perfect their

Ro ttenhammer i art, was Johann of Mun ch , whose paintings show to such a large extent the inﬂu ence exercised over his work by Tintoretto and Paolo

Ro ttenhammer i s n r Veronese . frequently u de esti mated , partly because he was by no means as talented as his great models , partly because he has something of the sentimentally conventional in his work , but chicﬂy because his work is not distinguished from

hi s i that of imitators . H e s represented here by half a dozen small pictures of dainty workmanship ( 1 383

1 00 51 6 6 a rt of the M uni ch G al l eri es

r i i i i Gerard von H o ntho st . Cons der ng the or g nally realistic tendency of the Dutch school, it is not sur prising that Caravaggio, who imitated nature with out displaying much discrimination but with great truthfulness and uncommon mastery of hand , should have strongly inﬂuenced many a Dutch painter who

H o ntho rst visited Rome . Gerard von was the most i notable of these , for though earl er in life a pupil

Blo emart i n hi s i he i i of nat ve land , acqu red w th perfect success the form of art belonging to Cara v aggio . The amaz ing facility of his powers of pro duction gave rise to an extraordinary number of works . These cover the departments of sacred and profane history, mythology , allegory and genre . His works are distinguished by a skilful arrange m ent, good drawing and keeping , masterly handling and extraordinary power and clearness of effect of i light . Th s latter quality is his prevailing charac teristic . Two versions of the parable of the Prod igal Son ( 308- 309 ) illustrate his versatility in i handl ng the same subject . They are in the genre style and verge on the vulgar in treatment . His charming handling of light is well illustrated in his “ ” picture of the Angel freeing St . Peter ( 3 1 0 ) where all is dark save for the light which emanates from the angelic fo rm . Attractive specimens of his mythological pictures are those of Ceres w ho o while seeking her daughter Proserpine, w h ‘ Gbe Eutcb School 10 1

has followed her husband Pluto into Hades , trans forms into a lizard a boy who has derided her ; and ” that of Pero, the devoted daughter of Cimon , who, condemned to death by starvation , is saved

’ by feeding from his daughter s breast h i In our collection we ave two portra ts , the handi

Bartho l o mau s H elst i work of van der , who occup ed the po sition of one of the best portrait painters of i his time . Almost nothing s known of his life or his teachers , but his work strongly suggests the

inﬂu ence i . , if not the d rect teaching of Franz Hals

’ Van der H el st s works are full of animated inci dent .

o 1 1 6 His tw pictures ( 3 5, 3 ) in the Pinakothek are both por traits , one of a man holding a glove in his

o f in left hand , and the other a lady , clad a black gown with a richly gold embroidered underdress and i carrying an elaborately j ewelled fan . Both portra ts exhibit a warmth and a clearness of tone and a cer tain Chiaroscuro which is very characteristic of this master . The Dutch painter of the seventeenth century is not a difﬁ cult perso n to comprehend if we try to

H e look at his work from his point of view . is

an observer , a student of what he observes and a

H e consummate technician . has an eye for the external and he gives little beyond the pictorial , with a smack of individual style in the expression of it . the There are, however, many exceptions among ‘ Gbe El t t Oi the M uni ch G al l eri es

Dutch painters , and the most famous exception of

fe all was Rembrandt . There were w of the great truths of nature that escaped that Rembrandt i eye, wh ch we have all seen so many times , looking

H e sa out at u s from his own portraits . w truly when looking outward , but his eye was not fashioned for the outer view alone . It had a habit of reversing itself and looking within to read the thought of the i ’ i i i pa nter s m nd . The nner vis on told of joy or sad

The w . ness, love or sorro , triumph or defeat

r i myste y of existence , the burden of nequality, the problems of good and evil, all were there . The personal thought and feeling of the man

i em crept nto all his work, all that he enjoyed and dured and suffered ; all that he loved and believed in z t , and sympathi ed wi h , so swayed and dominated hi him that they became part of s art . Shut away from the world in a small northern country , and

o even there a solitary among his fell ws , he probably did not realize that his joy and his sadness were, in iff d erent form , the joy and sadness of the whole

o world , and that in the end he would be acc unted

o one of the great expositors of human passi n .

We can trace him in his work step by step, year by year , and can feel his sympathetic feeling deep enin g and intensifying as he grows more wise . At ﬁ rst he has something of the gaiety of youth about and him his pictures take a happy joyous tone .

1 6 4 t he a rt of the M uni ch G al leri es was too serious for the gay sortie of a shooting

. d company Saskia, his dearly loved Saskia, was y ing . After her death misfortunes came thick upon . him , but his art only deepened and saddened under

o f the burden increasing sorrow, neglect and pov

r e ty . In one year he painted his Good Samari tan and the Supper at Emmaus and in these ’ we have the ful l expression of Rembrandt s emo tio nal power .

The e Pinakoth k, in comparison with other gal ’ leries k , ma es rather a poor showing of Rembrandt s Th works . e large Holy Family ( 324 ) was probably the ﬁ rst picture which Rembrandt pa inted i l fe size . H e had a talent for small,delicate work

hi s ut which he kept up to the end of life . b this could only satisfy one side of his nature, which demanded larger scope . One sees in this Holy Family that Rembrandt had not fully realized the laws which govern the painting of large pictu res .

The group does not ﬁt very well into its space . One thing, however, shows him to be the great master

he and that is the pictu re of t Christ Child . This Child is one of the most beautiful that has ever been

r painted , and yet Rembrandt did not choose a cha m

- ing model , but just an ordinary little red haired human child , with nothing sw eet or exquis i l te y beautiful about it . In place of the Christ o f th I a e ai s a Child e tali n R n s nce, w hich was taken ‘ Gbe E utcb S chool 1 6 5

more or less from the antique cherub, Rembrandt

a depicts, in the Northern w y , a little boy without i i any idealizing accessor es . Herein s not only the i value but also the beauty of the p cture . The calm of sleep is beauti fully reproduced and we note ho w safely and warmly the Child rests in the fur which i him . f seems to be one with Here, anywhere, we see that there is no higher poetry than that which is absolutely true to nature . Rembrandt has shown i i this in the style of the deta l painters, wh le develop

e ing into the broader school . H sees the Child and its i ﬁ u re wrapp ngs as a whole , distinct from the g b of the Madonna, and he makes this still plainer y the careful way in which the ' Mother’ s hands are lying o n the fur . The hands are w orthy of special note, for while not beautiful , they are full of feel i n . e g O n holds the fur, while the other protects the feet of the Child so that they may no t become uncovered .

A costume study, that of a grey bearded Turk with a rich turban and gold embroidered

o u r . mantle, claims attention It was painted in 1 633 and shows marvellous force both in co ncep

c tion and exe ution , especially considering the sim

r plicity of the subject . This co mbination of powe i s w ho and simplicity characteristic of Rembrandt, ,

no t c e as an independent and original genius, did ar to represent everyday subjects in an everyday man ‘ 1 06 Gbe mt of tbe l lbuni cb (Batteri es

i fo r w a ner . The s tters his portraits are in no y different from those of his contemporaries but his wonderful power and delicate feeling made them things quite apart . Therefore this picture is far

o f more than a mere study, it is the embodiment a powerful Eastern potentate . Two years later comes the Sacriﬁce of Abra

to o ham of which he seems , and justly , to i have been proud, and which he permitted his pup ls

ﬁ n a to copy . It is a remarkably e Scriptural p inting and shows the Patriarch in the act of sacriﬁ cing his

D i be only son , in obedience to the iv ne command , in g stayed by the hand of the angel , just as the sacriﬁce is about to be consummated . The task

difﬁ cult articu before Rembrandt was a most one , p larl y in the Baroque period , which would have been easily offended unless the inhuman spirit of human sacriﬁ ce was well marked . Rembrandt was a

Baroque painter , and this period fancied , on the one hand, the idyllic and homelike , and on the other, pathos , the theatrical and the sensational . Thus there was the danger that Rembrandt would repre sent the old father either as too emo tional or too i violent , but he chose a way of depict ng it which allow ed him to show the unveiled horror o f the sacriﬁ ce , and yet to add reconciling subjects from the Biblical story, so that the horror of the scene is resolved into an artistic harmony . The ﬁgu re of

‘ (tbe Eutcb S chool m 7

Isaac is remarkable as a treatment of the nude , as may be seen by a comparison with the pictures of Gerard vo n H o ntho rst which hang in the same room .

c fo r The wonderful Passion ycle, painted the G overnor of the Netherlands, Prince Frederick

1 6 1 6 Heinrich , between 33 and 39 , and the Adora tion of the Shepherds , are among the gems o f the

’ Pinakothek . Rembrandt s development in this dec

H e ade can best be studied in this series . had to reck on with the same size and the same conditions i while painting these p ctures , but within these limits ff they are totally di erent , especially between the ﬁ rst of the series the Descent from the Cross and the Adoration of the Shepherds

( 33 1 ) added later . The former is indeed a mag — niﬁ cent work and can bear comparison spite of its modest size — with the much larger work of

Rubens in the Cathedral of Antwerp . The sudden i f l ght transition , for which Rembrandt is so amous , h plays an important part in this picture , w ich shows

’ ﬁ v e o f Christ s devoted followers reverently remo v ing his body from the Cross while the Virgin falls fainting into the arms of the Magdalen . The Elevation of the Cross ( 327) is the next of the series , somewhat brighter in colour but in ci the same style . Behind the prin pal group is an Oriental on horseback and in the man w ho stands 1 08 ti be 3 11 Of the M uni ch 6 8 116 1216 8 at the foot of the Cross in a blue doublet we see a h i portrait of Rembrandt himself. T ese p ctures were painted in Amsterdam bu t have something of the

’ character of Rembrandt s Leyden period , especially in the somewhat too round and plastic modelling of the ﬁgu res. Totally different is the Ascension ( 328)

i s pa inted three years later . The colouring now stronger and the whole surface freely and pictu r es u el ﬁ lled q y , so that the picture appears larger though in reality the same size as the others . The darkness of the shadows is not so marked here but i s softer , more balanced and brings harmony into the whole composition . The earlier heaviness i has disappeared, everything is l ght, and Christ

o n hovers , free and victorious, the clouds borne by angels . Rembrandt throws o ff the old style deﬁnitely in

tw o 1 6 the pictures painted in 39 , the Burial “ ( 330 ) and the Resurrec tion of Christ

The lighting here is more thoroughly consistent . ” D few In the escent from the Cross , painted only a

is w years before, the light intended to thro up only

ﬁ u res ff ct the chief g , certainly with great e e , but at

e the exp nse of truth . The light no w is free and

r a . falls eve ywhere , with nothing in its w y The culmination of the Munich series o f Rem brandt paintings is the Adoration o f the Shep

‘ 1 1 6 cbe a rt of tbe muntcb (Bal l ertes

rounded by some ethereal ﬂuid . It apparently is not light but it imparts to the ﬁgu res that dreamy

in S i i physical life which , p te of the r realism , raises

i s them into the realm of the purely artistic, which only accessible to the imagination .

i u s A modern theor st has recently told , with a i love of the sensat onal, that there was virtually no such painter as Rembrandt and that the majority of the paintings assigned to him were painted by his i i i Bo l . pup l Ferd nand The log c of the argument , i f there be any, seems to be based on the fact that Rembrandt at times painted down to the level of

B01 ? , but how about the reverse of the contention D i d Bol ever paint up to the level of Rembrandt ? The leader of a school is always held responsible for the works of hi s pupils ; but it is not often that i the pup ls are credited with the works of the master . B01 is said to have been the ﬁ rst and best pupil in

’ Remfbrandt s house in Amsterdam and to have quite superseded his master in public favour at one time .

i s This no matter for wonder . The populace prob ably preferred a catching likeness , a white skin and a ﬁ nished surface to a broader and stronger render in g , but a portrait by Rembrandt placed by one by

Bol will quickly indicate which was t he ﬁ ner artist .

A comparison of the modelling of the jaw , the cheek m bones , the outh , the eye , the hand ; of the colours of ﬂesh and dress , or the transparency o f light and Ebe 2) “ t S CDOOI 1 1 1

s hadow, will prove that Bol never rose to the height o f his master ; he could not, he had neither the n i k owledge nor the sk ll of hand, and above all he

had nothing like the mental grasp o f Rembrandt . BO 1 was an excellent painter of the second class . H e belongs to that rank beca use he had no great t originality in ei her mind or method . H e appar ently did not believe in what he himself saw ; he ’ believed in Rembrandt s way of seeing. In his

early pictures he modelled himself on Rembrandt,

as may readily be seen by his portrait of Saskia, ’ in the latter s wife, the Brussels Museum, in which

his he came very near master . In the portraits of ” ” Govert Flinck 328 ) and his Wife

3 01 now known to have been painted by , we have two likenesses which were long attributed to Rem

brandt . There are also three other portraits painted

by BO 1 in the same room . O ne of the pa inters who was most strongly in

ﬂuenced o f by Rembrandt was Jan Livens Leyden, whose sense of beauty was almost as high as that o f

o f his famous contemporary, though in depth feel

h o f ing, in power and warmt and in harmony colour

u he in no way equalled him . O the other hand he w as a famous draughtsman and in his portraits ap pro ached Van Dyck in style o f lighting and in gen

Tw o o f o ld eral compo sition . portraits men ( 335, 336 ) are warm in colour and charming in treat ‘ G be a rt of tbe muntcb G al l eri es

ment . The latter is particularly distinguished by the beautiful painting of the hands . G overt Flinck, whose inimitable genre pictures are well represented in the Guard Room ( 343) in which three soldiers are throwing dice at a table, while a fourth looks on at their play, was not only

H e a pupil, but also a friend of Rembrandt . painted the portrait of the latter, in return for which Rem

H e brandt painted him and his wife . was an artist of great talent and was among the scholars who most closely approached the manner of the great master, so much so that his pictures are often taken for those of Rembrandt .

ﬁ ne A picture , that of the Aged Tobias giving thanks for the Recovery of his Eyesight and the

u return of his son , who had been g ided by the Arch angel Raphael through the heavenly realms

V icto o rs is the work of Jan , one of the numerous

z Dutch artists , whose life was , until recently, a puz le to historians . His colour is uni form in tone , but hi s - no t ﬂesh , with its yellow red tones , is painted

u b with the subtlety pec liar to Rembrandt , and y him imparted to a certain extent to his pupils . Gerbrandt van der Eekhout inherited more fully than any of the others of Rembrandt’ s scholars the ’ master s gift of compositio n and peculiar conception of Biblical subjects . Even in clearness of colour , pow er and warmth he occasionally approaches his

‘ 1 1 4 056 6 a rt of tbe muni cb e al l ertes

i ing as well as adm rable, even generally striking,

i o f lighting . Our p ctures in the Pinakothek are the class of work in which he least excelled, though sometimes his portraits show great mastery . One of them is that of a young man ( 363) with long blond hair, in a brown mantle, looking over his sho ulder ; and one that of a young lady seated resting her arms on a green covered table

r on which stands a vase of ﬂo w e s. The Pinakothek collection can boast of sixteen small paintings ( 393- 408 ) from the gifted brush

D o u of Gerard of Leyden , a pupil of Rembrandt , whose talents develo ped themselves very early in

’ i H e e l fe . ntered Rembrandt s school when only ﬁ fteen and in three years attained the position of H an independent master . e devoted himself at

ﬁ rst i to portra ture , and , like his great model, made his o f own face frequently the subject his paintings , as witness his own Po rtrait ( 397) standing in a

o n co v pillared arcade , his right arm a tapestry ered table and a stick in his left hand . To the right may be seen a view of the Haarlem Gate at

Leyden , his birthplace . Later he left this branch of painting and com menced treating scenes from the life of the lower H and middle classes . e very rarely painted the upper classes , though we have one specimen, in which a lady of high degree ( 407) is seated at an D O U —TH E P GERARD . S INNER .

1 1 6 t he a rt of t he M uni ch wal let tes sessing ﬁ fteen ( 409 many of which are ex

e i c ed ngly characteristic . The composition in them is attractive, the light but warm tones very clear and the handling of wonderful delicacy . In the Spanish section of the Pinakothek under the name of Pereda hangs a Portrait of an O fﬁ cer ( 1 298 ) which is certainly not Spanish but

Dutch , and extremely like a portrait in the Louvre i H i G Metsu . e by abr el was a Leyden pa nter , a pupil of Gerard Dou and closely related to that school of detail painters .

Metsu o f , from his paintings , for we know little his life , seems to have been a combination of Ter

D i w as burg and Gerard o u . In add tion he a

e strong admirer of Rembrandt , and absorb d much

r ﬁ l H e from the latter that was wise and p o tab e . seems to have been somewhat uncertain of his aim in early life ; but later he developed independently

o e and showed a great deal of inventive p wer , mor particularly in his treatment of the conventionalized i H e i nterior group . had that del cacy and charm which went towards the making of an art highly estimated and praised by so great a painter critic

H e as Fromentin . was particularly strong in his characterization by movements , actions and ges tures , something he may have gotten from Rem brandt , though he applied it in his o w n w ay to his own people . C H — O F H L IVING M PIETER DE H OO . INTERIOR A DUTC ROO .

‘ 1 1 8 (tbe mt Of the muntcb G al leri es

D e Hooch is dubious, even the year of his birth being

. 1 6 doubtful In 55, however, he became a member ’ G i of the Painters uild in Delft, but left that c ty for either Haarlem or Amsterdam two years later . It is 1 6 thought that he must have died soon after 77, as that is the latest date borne by any of his pictures . D e Hooch is one of the most charming of the D utch i i i masters . H e del ghts n g ving u s glimpses of the cheerful and peaceful aspect of the domestic life of

i his the times . One can l nger for hours before simple scenes with the greatest delight without tiring of

m i s m steri the , and wonder what it that gives so y h ous a charm to his works . Muc of the secret of his fascination is due to his wonderful feeling for light

reﬁ ned i and shade and to his sensit veness for values .

O i z the work of Fran Hals , the greatest painter D of the utch school after Rembrandt , the Pina ko thek possesses but one authenticated and one dis

X 2 i puted picture . In Cabinet ( 583 ) s to be found i ” a Portra t of Wilhelm Croes , which belongs to ’ i . i Hals best per od This portrait , wh ch is more in the style of a sketch , brings the subject physically

in and mentally front of u s. This association of likeness and characterization is of the utmo st im ’ ifﬁ l portance in Hals portraits . It is d cu t to say

u s which strikes most, the individuality of the painter or that of the portrayed . The large Family Portrait in which t he D utch School 1 1 9

e the parents sit in an Op n hall , which gives a view tw of the park beyond, with o little boys on the left busying themselves with a drawing and one on the

do right playing with a g, while three little girls

e amuse th mselves with a basket of fruit, was long

ascribed to Hals . It bears a certain resemblance to

o his work in compositi n and drawing, but it is on

the whole of Flemish character, as witness the

c o i s r f ol uring, which ve y di ferent to that employed

by Hals . Franz Hals is one of the very few Dutch artists w ho cannot be thoroughly appreciated or studied i hi outs de o f s native town . To really know him one

o to must g Haarlem , where in the Museum of the Town Hall he is represented by eight large can

vases, varying in length from eight to thirteen feet,

the ﬁgures of which are life sized . They are cor

o ratio n o f p and regent p ictures , which class of paintings Hals and Rembrandt have painted the

ﬁ nest s examples , their works being not merely group

o f portraits but actual pictures . It is only w ithin the las t quarter of a century that

Hals has received the recognition due to his genius . Unfortunately the records of his life are exceedingly

meagre , but what we know of his history, from

u s latest researches , shows him to as a very dif ferent character from the mere sot that his former

a o f . r biographers have m de him T ue , his habits ‘ 1 26 C be 2111 ot the muntcb Gal leri es were convivial and he took no thought for the mor G i row, but as he was a member of the uild of Rhetor c

G St . and of the uild of Luke, and received a pension in it his old age from the town of Haarlem , is safe to conclude that much that has been said about him i by his detractors s untrue . The Hals family occupied a place of distinction among the patrician families of Haarlem for tw o

i the i i i centur es before b rth of the art st, but ow ng to misfortunes consequent upon the War of Inde

endence his w h p , parents removed to Antwerp , ere

H is about the year 1 580 Franz was born . family

o i returned to Haarlem, h wever , wh le he was a boy, and there he was educated and spent the most of his

H e i s long and eventful career . supposed to have

i it o stud ed art before he left Haarlem , but is kn wn that in the latter place he worked under Karel van Mander in the beginning of the seventeenth cen tury . H e was one of the ﬁ rst to lead the w ay in genre i pa nting, and to be reckoned among the leaders who

' sought to break up the hitherto staid and serious forms and to introduc e homely reality and easy

in H e i s comedy his pictures . particularly happy i in the del neation of mirth , in fact he has been called

Th e the master of the art of painting a laugh . titles of many of hi s pictures to be found in the dif ferent e Th galleries of Europ , such as e Jester,

‘ Gbe a rt of tbe mi mi cb (Batteries

The best pupil of Hals in his genre style was

w ho as u denaerde Adrian Brouwer, w born at O , though many contend that Haarlem was his birth

. ff place Like his master Hals, he has su ered much

re re at the hands of his biographers, who have p sented him as a drunka rd and the companion of drunkards . Though recent research has not i brought to light many facts concerning his l fe, still they serve to show that he was not quite so bad as the chroniclers of his life would have u s i bel eve . Brouwer studied under Hals at Haarlem , then worked at Amsterdam and subsequently at G Antwerp, where he was received into the uild of Painters and also into a society of artists known as the Violets three years later . H e was an extremely exact and accurate o h server and a most thorough worker, and though the eighteen pictures of his which hang in the Pinako thek ( which contains the best collection of his paint ings extant) are mainly the same style of subject, i . e . r drinking scenes , gambling in tave ns , scrim

i u mages , wounds be ng sewn p, and others of the same character, each piece is a novelty, almost a revelation . H e never repeated himself because he had always a new idea and never painted from

in memory or a cut and dried fashion . We know that he was for a time a state prisoner under the Spanish military rule, but at the same Ebe 9 11t S CD OO I 1 23

his time he had liberty as a painter, and while he probably drank many an unnecessary glass as he i sat among the Span sh soldiers , as an artist he utili z ed this time of en fo rced inaction by co nscien i tious study. The period in wh ch Brouwer painted was fond of psychological hits and sharply deﬁ ned

representations . H e was a contemporary of Mo liére and there was a certain relationship between H i them . e created these small works in wh ch he depicted human joys and weaknesses in a manner

most humourous . His satire was sharp but never

ruthless and it never repels u s.

’ We recogni z e Brouwer s merits best when we

c ompare him with David Teniers , who undoubtedly

i . imitated him, while remain ng purely Belgian The

’ ﬁ rm - latter s colour is and enamel like , whilst that i i of Brouwer is so full of art stic brill ance, warm

and soft, that we can well understand the high esteem in which Rubens held the powers of this

artist . Teniers could not resist trying to make

’ reﬁned . Bro uwer s subjects more , at least outwardly

new o His peasants have always quite to ls, the pots have never been used , the pans are bur ni shed like mirrors , and the coats are carefully

no t washed . This is the case with Brouwer, who painted his drunkards , gamblers , soldiers, as they

- no appear in their every day guise , with striving after effect . ‘ 1 24 (Ibe B t t Of t he l lbuntcb (Batteri es

One of the ﬁ nest of his pictures in the Pi nako thek is that of Tw o Peasants Quarrelling i They have just been sitting, qu te on good terms , at an empty barrel head which has served them as a table . Anger has mastered them and one gives the other a blow on the head . You see the man that l has been assau ted stagger, but the angry joy of the victor gives balance to the picture . In another painting — and a very noted one

’ a Village Barber ( 885) is probing his patient s i foot . Brouwer has reproduced the fear and irr tatio n caused by the performance so perfectly that even the spectator feels as nervous as the patient . In the Cheating at Cards of which the painting is so true to nature that it makes u s feel the excitement of the moment, the subtlety of the i artist can best be studied . The momentary act on

ﬁ u res of the g , each being individualized with singu

o lar accuracy, even to such a detail as complexi n , i s o f ex trao rdi incomparable , and the execution is nary delicacy. A Party of Peasants at a Game of Cards ( 888 ) is an example of the brightness and clearness of those cool tones in which Bro uwer became the model of Teniers . All the rest of his pictures in the Pinakothek which represent the lower orders ﬁ htin eating, drinking, gambling or g g are so true and lifelike in character, that they lead to the belief

‘ (Ibe Eutcb S cbo o l 1 25

that this master must have painted them from scenes o w n i of his actual exper ence . Another very celebrated pupil of Franz Hals

O stade was Adrian van , who, though an earnest fol i lower of his master, also devoted h mself to a study

of the pictures of Rembrandt, and to this study may be ascribed the warm and clear colouring which has led to his being called the Rembrandt of genre ” H painters . e differs from Brouwer in that the i i latter has a lik ng for the sharp and aggress ve ,

s a while van O t de depicted the idyllic . Instead of

ﬁ hts g with a serious element in them , he paints

scu fﬂes , and is still fonder of peasants and old folks seated cozily over pots of beer and pipes in inns or

gardens . H e was born in Haarlem in 1 6 1 0 and continued

i i 1 68 . to live there t ll he d ed in 5 His father , who

is said to have been a weaver, was of considerable standing in the community and had eight children , to whom he was able to give the advantages of good circumstances . Adrian was the third, and his brother and pupil Isaac , the youngest of the fam

H e ily . entered the school of Franz Hals when that master was in the full vigour and practice of his art and while Adrian Brouwer was still studying

ﬁ nished under him . When his apprenticeship was

o w n he opened a workshop of his in his native to wn , and here his brother and Jan Steen were among 1 26 t he a rt of tbe muntcb (Batteri es

i o h s pupils . In m re than one picture he has given

’ u s i a v ew of an artist s workshop of that time .

’ There is a note in Van O stade s paintings nearly i related to the philosophic science of l fe . We have an example of this in a little Drinking Scene ”

2 i ( 37 ) in a tavern , where a rather d sreputable i ’ dr nker is sitting in the foreground . There doesn t appear to be a whole garment on him ; his toes

his peep out of shoes and stockings, and yet he t i looks at the par y, who are boisterously enjoy ng themselves with an equanimity bordering on con

is o i n i tempt . There much accurate bservation th s

’ stade s misunderstood village genius . All Van O pictures in the Pinakothek are tuned to the same i i key, all happy, laugh ng, smok ng, dancing, careless

the n peasants, with single exceptio of a Fighting Scene 37 1 where some country folks are quar relli ng after a drinking bout ; their wives are seen h i i i asten ng to the ass stance of the r men folk , so there seems every likelihoo d that a general scrim mage will be the outcome .

’ Van O stade s colouring is very different from

’ H e Brouwer s . liked a rich mixture of light tones and not seldom worked his colours up to a ﬂo wer like beauty . In his best period he bound his colours together with a rich golden tone for which his pic tures are noted . O i the comparatively rare works of his brother

1 28 Ebe mt of tbe ﬂbuni cb G al leri es were those which pertained mainly to the labouring in classes , their work or at their amusements , there is never any monotony in their portrayal of these scenes . Steen was fond of depicting scenes o f lower and middle class life, but his characterization , while f equally clear, had much more charm than that o

Brouwer . His choice of subjects w as very varied . H e was not a specialist but depicted the fashionable world with the same verve as the doings in a low H h i in i public house . e showed muc sk ll paint ng religious subjects and great charm in his genre i pictures . Taken all round he was a laugh ng phi lo so her i p , whose qu ck eye caught the humourous i i side of every event and s tuat on . When he saw the charming and the beautiful he had real joy in i it h dep cting , when he be eld anything coarse he in was nowise disconcerted thereby, but pointed out smilingly the useless and not the objectionable side of vice . More picturesque if not so intellectual was Ger — ard Ter Borch , who also belonged to the Haarlem H i D school . s Boy with the o g ( 389 ) is one of the most famous of the Dutch genre paintings . There is great charm in the gray colo uring so full of tone and also a wonderful kind of balance in the arrangement of the picture Another altogether striking painting is that of a Soldier Bringing a ‘ (tbe D utch S CD OO I 1 29

Letter to a Lady which , in the presence of

her maid , she seems to hesitate to receive . Ter

Borch was also noted as a painter of portraits , which he generally painted full length but of very

small size , and usually he depicted his sitters in

o black against an olive coloured backgr und . O f this class of his work we have two examples in his

8 a b portraits of a man and a woman ( 3 9 , ) , the

latter holding the inevitable fan . Our collection contains so me excellent works

1 8- 1 02 Netscher ( 39 4 ) painted by Caspar , born at

- Heidelberg, a pupil of Ter Borch and a follower ,

Me su . as well, of the style of t If somewhat inferior to the former in reﬁ nement of keeping and to the

latter in touch of spirit , he equals them both in tasteful arrangement and the elegance of his ﬁgures

and surpasses them in sense of beauty of form . H e especially understood ho w to depict the charms

of childhood . One o f the ﬁ nest o f the painters w ho formed

Netscher Mieri s himself upon the model of and Van ,

as w ho w Eglon Henri van der Neer , was appointed

court painter to Philip II of Spain in 1 687. His favourite and most successful subjects were ele

antl n g y attired ladies, e gaged in some domestic ﬁnest avocation , and perhaps the of these is that of a Lady in White Satin tuning her lute , a picture unusually large for him , taken in full light ‘ 1 36 G be a rt of the M uni ch (Batteri es

r and very warm and ha monious . The ﬁne taste

Which pervades all the details of his compositions, his feeling for harmony and the melting delicacy o f e his xecution, entitle this artist to rank with the masters he chose for models . In the Pinakothek co llection is the best o ppo r tunity of studying the works of Adrian van der

‘ W erﬁ 1 6 e 1 22 , born 59 , di d 7 , who at this epoch l stood quite a one in the school of Dutch painting .

e While others devoted th mselves to a healthy, nat ural, realistic tendency and developed it in various

s i he directions with plea ing and or ginal results , , on h o e . the c ntrary, adhered to t pursuit of the ideal

u s i H e presents , therefore , w th mythological or Biblical subjects conceived with the utmost beauty w o n and elegance of form , and executed with that derfully ﬁni shed smoothness of touch which he learned from his master Eglon van der Neer . From

co nce him , too, he acquired a power of realistic p tion, and various works by him executed in this feeling show happy invention , animation and truth . His pictures were so much in demand that he found ﬁ ll i it impo ssible to all the comm ssions he received . His greatest patron was Elector Johann Wilhelm of the a i ho w Pal tinate , which w ll explain , through the

u G o u r acquisition of the D sseldorf allery, collection came to be so rich in his paintings . A specimen of the unio n of almost absence o f

1 32 t he a rt of tbe muntcb 6 8 116 116 8

i its o w n in only came nto the nineteenth century, some of the old Dutch masters prepared for the great development of o u r age . Unluckily we can not follow this process of evolution in the Pinako

h e i t ek . Th earl est stage is best represented by three small examples of paintings by Jan van Goyen

hi s ( 535 Two are entered under name, the “ ” i third is marked Goyen . The two s gned pic tures are characteristic of the artist ’ s most mature

i ﬁ nest his Pinako per od , but the of works in the thek is one wrongly ascribed to Cuyp It is rare indeed to ﬁ nd among the older masters such i i breadth of v sion and such rich , noble colour ng . Nearly related to the style of Goyen is that of

o e Sol mon van Ruisdael , of whose works we hav four in the Pinakothek collection . One is Canal View from a wooded shore another a scene of a sho rew ay at the mouth of a river while two others are a Dutch landscape with a charming river view on the banks of which may

o be seen the peasant h uses shaded by trees , with animals peacefully grazing, and another landscape i show ng a water tower . The drawing recalls the graceful Dutch etchings , and the whole pictures , i with the r delicacy of colouring , are wrought into

harmony by a soft brown tone shading into green . O f the more mature D utch landscape painting the greatest masters were Meindert Hobbema and

‘ 1 34 Gbe a rt of tbe muntcb e al l et tes

w sued by bad luck , a contention of which e have i not the sl ghtest proof as a matter of fact . They are as typical of the splendid Baroque style as land

’ scapes can be. Simple enjoyment of nature s moods

i i in his was not the met er of this art st, who, except very early period , did not care to portray nature H exactly as she is . e preferred a more compli cated in i style and vigorous life his landscapes, wh le

i u s i h his later p ctures savour to of the pathet c . T ey have become much darker with time , and appeal to u s more through the great contrasts of the massed f i i e fect and his handl ng of l ght and shade , even

o than through their delicate, w nderfully executed structure . Van Ruisdael is one of the artists who must be i studied in deta l . Compare his Waterfall 547) with a similar picture by Allart van Everdingen in the same room . How clear and full of meaning

’ Van Ru isdael s work appears when contrasted with ’ Everdin en s l su erﬁcia . Van g weaker, almost p style ’ As a Baroque painter Van Ru i sdael s compositions are full of diagonal lines which are very effective

in the structure of his landscapes . The founders of the French Impressionist school were great admirers of Van Ruisdael and regarded chicﬂ him as their forerunner , y on account of his style of drawing and his strong lights with small o f patches colour . The more modern of this school, t he D utch School 1 35 o n n ho o n the other ha d, w lay the greatest weight the accurate reproduct ion of the characteristic pe culiarit o y of a place under certain c nditions, in cer h nd o i i l . tain lights , his comp sitions almost art ﬁ c a At the same time , his smaller works, like the Thunderstorm Scene 545) or the Path at the Sand Hills are amo ng the best pro ductio ns of the Dutch landscape painters .

o f W Two large sized pictures , the works Jan y nants, a Morning ( 579 ) and an Evening land scape show clearly the object with which

o f i the pictures this period were pa nted, that of

ca adorning cozy rooms . They are typi l show pic

o f tures the Baroque style, though treated with an exactitude characteristic of the Dutch school of

o f painting, as are his other landscapes which the

Pinakothek possesses ﬁ ve . But it is astonishing to see the difference in the atmosphere of the tw o pic

o f . H o w tures, in spite of the similarity treatment

ho w clear the morning, softly blended the evening light . The animal painters o f Holland cannot be treated separately from the landscape artists, as they were invariably as skilled in the one branch o f their work

o f t as the other . As an instance this versa ility we o f may cite Adrian van der Velde, whose w orks

x the our collection contains ﬁve e cellent specimens , ” best being his Herd o f Cattle a very 1 36 t he a rt of tbe muni ch e allertes harmonious composition full of rich tones and an Idyllic Landscape ( 489 ) which shows a shep herdess bathing her feet and listening to the ﬂu te playing of an Arcadian shepherd who leans against i an anc ent column . A saddled horse ( 473) held by the bridle is the i work of Peter Cornelis Verbeck , a pup l of Wou i i i verman and a sk lful an mal and landscape pa nter .

i s o His colour forcible but s mewhat heavy, his execution careful but in tone rather dry .

W o u v erman His master, Philip of Haarlem , born

1 6 1 1 668 ﬁ rst the his 9 , died , was at pupil of father,

o u v erman Paul Joosten W , and later of Jan W y nants , from whom he acquired an admirable man ner of treating the landscape portions of his pic tures . Horses play a very important part in his compositions , in fact he almost invariably introduces i a white horse for the ch ef mass of light . Occa

io nall s y he painted landscapes and sea coasts . His paintings evince a delicate feeling for the pictu r

his ﬁ u res esque, g and animals being splendidly drawn and full of animation ; his general feeling is singularly tender and his touch unites great ﬁ nish with equal delicacy and spirit . When we consider the amazing number of his works they have been estimated at nearly eight hundred and all produced — in the course of a comparatively short time w e feel that he must not only have exercised great

1 38 t he a rt ot the l lbuntcb (Batteri es

o f with his father at Amsterdam, but at the age

- tw o twenty one he went to Delft, where during the years he resided there he painted many of his i a i mous pictures, among them the one with wh ch his name is always associated, the celebrated Young ” Bull, now in the Museum at The Hague . Later

o his i he to k up res dence at the latter place, where he joined the Painters ’ Guild and rose to fame and H princely patronage . e married and then returned to Amsterdam at the instance o f one of his chief patrons , the Burgomaster Tulp . Here , his health failed rapidly and he died of consumption super i induced by overwork . O the masters who have

- i s strived pre eminently after truth , he , beyond all question , one of the greatest that ever lived . In i order to succeed in this aim , he acqu red a correct i i ness of drawing, a kind of modell ng wh ch imparts

i f ex trao rdi a most plast c e fect to his animals , and nary execution of detail and a truth of colouring i which all harmonize astonish ngly .

A very beautiful landscape , one of profound pas i toral peace under a warm summer sky , w th light clouds heaped up against the blue and a yellow light ﬂooding the foreground is by Albert Cuyp

ﬁ nest of Dordrecht , one of the cattle painters of

o the Dutch school . There is n action in the scene ; no dramatic incident to break the spell . All is rest ; and the great charm of the picture undoubtedly lies t he 9 11t 5 Ch001 1 39

in the soft light that pervades and tinges every

thing with summer warmth . No other painter,

with the exception of Claude, has so well under stood ho w to represent the cool freshness of morn

he i i ing, t bright but m sty l ght of a hot noon, or the w o f u warm glo a clear s nset, in every possible gra

m the m dation , fro ut ost force in the foreground

to the tenderest tones of the distance . The effect of his pictures is further enhanced by the skill with which he availed himself of the aid of contrasts ;

x a o f as, for e mple, the rich dark colours his repos

ing cattle as seen against the bright sky . There is also a portrait by him o f a Young

O fﬁcer with a plumed hat, brown riding jacket

and high riding boots , standing near his saddled steed but this is by no means as ﬁne a paint

ing as the landscape mentioned above . For po r

to traits Cuyp seems have had no special aptitude, but speaking o f his landscapes Fromentin says No o ne could go further in th e art o f painting

a light, of rendering the restful and pleasing sens tions with which a warm atmosphere envelopes and penetrates one . O f the painters w ho represented dead animals

o u r r the size of life , galle y is particularly rich in

n o f the works of Jan Wee ix, a pupil his father,

Jan Baptist Weenix, who has also contributed one w ork to the Pinakothek collection . The fame o f ‘ 1 46 Gbe a rt of tbe muntcb Galleri es

i his Jan Ween x is especially based on dead hares,

o t which , both as to form and col ur, and the rep e sentatio n i of every ha r in their skins, are specimens

H e i of the most masterly execution . pa nted many of these pictures for Elector Johann Wilhelm of i i P no n . the alat nate , which are w our gallery The ﬁ nest of these pictures represents in the foreground i a noble stag, two hares , a wolf and a w ld boar, i all dead , with a boar hunt in the d stance

i s and admirable for its cool harmony, as well as for i the truthfulness of its accessor es , and for the great i n i est poss ble complete ess , comb ned with breadth of

h his i i i treatment . We ave also pictures of n m table dead hares , and a dead peacock and other birds ,

e which for arrangem nt, power, harmony, clearness and truth , exhibit the master in full perfection . There is also a masterpiece by the scarcely less famous sea painter , Jan van der Capelle , depicting a Dutch Canal with large and small boats ( 6 1

H is favourite subject was a quiet sea , and generally under the aspect of clear weather, with warm light

r . ing, so that objects are clearly eﬂected in the water There is also a Thunderstorm at Sea the work of Willem van der Velde , whose paintings

H e are rarely to be found . was undoubtedly the i greatest marine pa nter of the Dutch school . This picture of the gathering tempest i s exceedingly realistic . It is brilliantly lighted and of great deli

CHAPTER IV

TH E F L EMISH SCH OOL

TH E second Golden Age of painting was not i i i vouchsafed to all countries , hitherto d st ngu shed

i i . for their achievements in pa nt ng Italy , indeed ,

G . held her own, but ermany fell into the shade Belgium and Holland received a wonderfu l impetus and Spain produced masterpieces of the very high est order . In the Netherlands we must distinguish between the Northern and the Southern provinces , between the Belgian towns where the French and

Romanesque element prevailed , and the Dutch com munities where the Germanic i nﬂu ence played an important part . It is easy to understand why Bel i i g um became artist cally important before Holland . Flanders and Brabant were always in close touch with Romanesque culture and as it was this cul ture that struck the decisive key in the century which saw the Renaissance Belgian art developed more quickly than that of Holland , whose relations to antique and Renaissance culture were more su

14 2 ‘ C be tri emtsb School 1 43

erﬁ ial p c . This also explains the fact that the con nectio ns with sixteenth century art are so apparent . Belgian colouring has much the coldness and ﬂo w i ery decoration of old t mes . It lacks any kind of warmth and makes the decorative side the promi

. i nent one These Flemish pa nters had , moreover, h ot er tasks set them than their Dutch neighbours . They had to ado rn the ornate churches of the Jes

the uits and the palaces of rich , so that even had their natural talent not leant towards splendour , they would have had to turn it in that direction . O i the many artists who represented the transi tion from the older art to that o f the seventeenth i century the most mportant was the Brueghel family, i of wh ch the head was Pieter Brueghel the Elder , ” called Peasant Brueghel, from the fact that he was the ﬁ rst to apply himself to a serious study of the peasant life which he made the chief subject of

H e i his art . also painted B blical subjects which he conceived in a realistic and genrelike manner . His mode of viewing his peasant scenes w as always Un clever but coarse , and sometimes even vulgar . fortunately we have no example of his works in our collection , but there hangs in the Pinakothek one small canvas , the work of his eldest son , Pieter the ”

Younger, known as Hell Brueghel , from the i nature of h s general subjects . Our picture is a “ departure from his usual liking, being a Village 1 44 t he a rt of tbe muntcb Gall eri es

Kermesse a small canvas ﬁlled with dan cing, singing and playing villagers .

We have a number of subtle, beautiful landscapes and excellent genre pieces by Jan Brueghel the

- H o f so called Velvet Brueghel . e was a painter such splendid parts that Rubens deemed him worthy of being associated with him . Rubens ever attached himself to the ﬁ nest of his immediate predecessors

his i and contemporaries , wh ch accounts for his con nectio n with Jan Brueghel . The Pinakothek is ex ceedin l in i g y rich his works , hav ng no fewer than

- in in twenty six, all his periods and every style for i i which he is famed . His versatil ty is d splayed by i i the divers ty of his subjects, wh ch vary from John the Baptist preaching to the multitude in the wilderness ( 680 ) and his C ru ciﬁ x io n ( 68 1 ) to his Fish Market on a Harbo ur ( 684 ) and his forest scenes with knights , peasants , etc . A study of these paintings will soon explain why Ru bens co nsidered Brueghel worthy of working for and with him . There was a split in the Netherland school of i paint ng in the second half of the sixteenth century . One side worked on a large scale and in the most R classical and academic style . These were the 0 manes ue q painters . The others , who did not wholly

the escape fashionable craze for the antique , pre ferred small , clearly drawn pictures in the national

” 1 46 5 6 6 B t t of tbe ﬂbuni cb (5 8 116 116 8

too and his colouring far heavy, he had already found the way his feet were to tread fo r his whole life . Even as a novice he was the real Rubens and thi s fact makes it very difﬁcu lt to place the dates

2 of his pictures . His Dying Seneca ( 7 4 ) and

26 u n the Martyrdom of St . Lawrence ( 7 ) are doubtedly early works . In the Seneca he kept

is to an antique model as was then usual, but it characteristic that at the same time he treated hi s subject in other important points quite differently

i 1 600 from the prevail ng custom . Even after many artists sought salvation in a slavish imitation of the antique the more a ﬁgu re resembled a statue the better it was held to be. Rubens took a stand o p posed to this view both in his writings and in his pictures he lays down the principle that a painting must be indebted for its ett ect only to its pictorial qualities , and that it is a very doubtful form of praise i i to consider a p cture as if t were a statue . Thus Seneca as a subject is taken fro m the antique but

i tin iz it is treated as a pa n g . Rubens recogn ed the problem his art had before it but had not yet mas tered the light fresh colouring of his more mature h . T e years Seneca is heavy, brown in colouring

u and lacking in clarity . O the other hand he shows already here the delicate poetic atmosphere for which he was noted . H e evinced a special preference for mythological tthe iflemi sb Schoo l 1 47

w as subjects when he quite young, and of this style of picture w e have a glorious example in the Tw o Satyrs of whom one has a heavy bunch i i of grapes in his hand , while the other dr nks the r — sweet juice out of a shell like vessel , a picture painted probably more nearly the time of the Sen eca than any other of his works in the Pinakothek . The Munich masterpiece of his earlier works is the famous Honeysuckle Arbour painted in

1 1 609 . In 6 08 Rubens returned from Italy where he had for eight years been court painter to the court of Mantua ; soon after his return he married

Isabella Brandt, and our picture represents him i with his charming young br de, seated hand in hand in an arbour of honeysuckles . The arbour is i i almost purely Flem sh ; the heads, with the r lack f o motion and the greenish shadows , show a marked resemblance to the work of Adrian Key . The ex trao rdinary careful and sharp drawing and the richly carried out accessories show his transition from the Flemish school to that o f Caravaggio .

no w But we note here that Rubens , though con

co nsid sidered the best painter in Antwerp , still ered himself bound to carry out his work with the utmost care . It is the work of a man who has — created a style o f his o w n the hall mark of genius .

Ru The technique and even the colouring, for ‘ 1 48 Gbc 2111 of the M uni ch 6 8 116 1 16 8 bens as a young man did not understand the bril

o liant, forceful colouring for which his later w rks are so famed, are so unlike his later productions that the picture has been said by some critics to be the work of another artist and not by Rubens at

is difﬁ cu lt all . Colouring the most and mysterious

in i element the techn que of painting, and we con stantly see works by great masters of immense i importance as to mental concept on , choice of type and splendid treatment of form and drawing but undeveloped in colouring . This was the case with Rubens’ early work and therefore in the double

' portrait he passed by the Opportunities aﬁ o rded by

in the ﬁ ne subject . A young couple seated a honey suckle arbour ! what an opportunity for the play of light and brilliance ! Rubens was here content merely to indicate the situation by means of blos

u s soms and branches, without showing the arbour and the gardens beyond . The blossoms are o rna in mental and frame the subject, but play no part i i the composit on of the p cture . They bear much

’ the same relation to the ﬂo w ers in Rubens later pictures as do the ornaments of Holbein’ s Kais heim altar to those on the wings of the St .

Sebastian altarpiece . It is interesting to compare the Honeysuckle Arbour with the famous picture which portrays

Rubens in the garden with his second wife, Helena

1 56 116 a rt of the ﬂbuni cb 6 8 116 116 8

ish master . The gigantic creation of the Floren tine master was bound to appeal to the taste of an i art st like Rubens , who belonged to a period intent i i on st rr ng mo vement and exciting narrative . Whilst Michelangelo can hardly be described as the i father of the Baroque style, he was certa nly one of its greatest forerunners, and almost everything the seventeenth century produced was , consciously or

inﬂu enced his unconsciously, by the magnitude of i i gen us . Th s applies also to Rubens, but he thought only of the further development of the problems left u nﬁ nished by Michelangelo , and he does not attempt to touch that which is perfect in the fresco in the

H o Sistine Chapel . e only devel ped further that which was capable of development . The Casting into Hell of the Damned ( 737) is most remarkable for its power and for the ex

r inar trao d y opulence of the boldly drawn figu res. Gigantic flashes of lightning rend the air as if a thunderstorm would fain set the whole world on fi re and these flashes are but the white gleaming bodies of the damned , chained to one another and cast into hell by the brilliant ray of light sent out by the Archangel Michael . The picture looks as if i it owed its b rth to an inspiration of genius, which revealed to the master at a glance all the horrors of the Last Day, but that this is not the case a number of exceedingly carefully carried out ‘ Gbe 11lemi sh S chool 1 51

no w sketches, which are in the National Gallery in

London, testify . There are tw o variations o f the Last Judg ment in the Pinakothek the smaller one i wh ch Rubens apparently painted himself, and the larger which in all probability he did not n paint e tirely himself . The former contains a num ber of minute masterly ﬁgu res like those in the ” Fall of the Damned . It is lighter in colour than the larger picture and the treatment o f light is

much more picturesque . The modelling is marvel

ﬁ ures lous, the foremost g being almost plastic while those further back in the picture appear in gradu

o nc ally lower relief, and yet perfectly clear in c ep i t on . The saints in glory above and those on the

left are scarcely more than silhouettes, lightly

drawn and yet perfectly distinct . The large Last Judgment is probably the lat est of the series and is distinguished by beautiful

and even rhythm . The ascent of the saved corre

nds spo exactly, and yet without being pedantic, to

the Fall of the Damned . Rubens has created such magniﬁ cent types that one is inclined to ascribe the whole of the panel to his handiwork , but a closer observation shows u s that this is a matter of some uncertainty . Rubens ’ marvellous Battle of the Amazons

Gheest was painted for Cornelius van der , a 1 52 t he a rt of tbe muntcb 6 8 116 116 8

ﬁ ne and rich merchant with a feeling for art, a i i i most d scr m nating collector . The picture is typic

e to ally Rub ns both as conception and treatment, the defeat of the Amazons being entirely unembel li h s ed . In accordance with the feeling of the Ba m roque period , the irresistibly overwhel ing force of masculine strength is glo riﬁ ed by making the

o heroic women g absolutely to destruction . Lances i i p erce their beaut ful bodies , the sword decapitates fair heads and with ruthless hands they are dragged by trailing garments from their horses and trampled

o f in under iron hoofs . The last hope salvation is i the leap nto the treacherous stream , which has carried away so many of the corpses of their com panions . Rubens has ruthlessly depicted the defeat

s of the brave troop of dauntles women , but with i i ch valry and art stic taste, he has , at the same time, celebrated the heroism and youthful beauty o f the

his Amazons . In the colouring of the picture

Italian experiences are plainly expressed . We see by this painting that hemust certainly have availed himself of the study of the Gonzaga cyclus of Tin to retto fo r , now at Schleissheim , this series was

o f f r then in the palace of the Duke Mantua, o whom it was painted . The date of the painting o f the Betrayal of

be deﬁnitel ﬁx ed fo r Samson ( 744 ) cannot very y ,

’ while the style of the picture points to Rubens

“ C D6 1f16 m18 b Schoo l 1 53

o early peri d , the colouring is that of his more

mature years . Ruthless in the sense of the austere style of the older period i s the contrast of the hero ic man to the woman who frankly and without sign

in i . to o s m of pity revels her deception Old, , is the

licit i n D p y of his treatment of form , which elilah is almost purely classic and in Samson shows a certain fulness and power of muscle due to the

- D would be antique taste of the day . In elilah the type of woman for which Rubens is specially known

and noted is already apparent . White, abundant

ﬂesh always attracted him, though he treated it for h a long time ﬁ rmly and severely . Wit the Delilah i this sever ty ceases .

D 1 6 0 In ecember , 3 , Rubens married Helena Four ment, then considered the most beautiful woman

fu lﬁ lled i in Belgium . She the deal of female beauty which her husband had formed early in life, and it is astonishing to ﬁ nd her type in his pictures be fore she was born . With his second marriage began a new era in his creative po wer . No w he

be became just what he was destined to , and his ﬁ nest and most mature work w as accomplished in the all too short space of the ten years which he was destined to spend with Helena Fo u rment . Nothing could be more charming than the po rtrait the fond husband painted of his second bride with her wedding ﬂo w ers in her fair hair H e “ 1 54 6 6 6 5111 of the M uni ch 6 8 116 116 8 has managed with great delicacy to convey what was childish in her and yet at the same time to show u s the maturity of her already well developed

i e ﬁgu re . The picture was conce ved and paint d with great love and attains therefore a height rare even with Rubens . ’ Helena was Rubens favourite model and w e have a later portrait of her in black with a white feather

in in her hat, the act of drawing on her glove ( 795) i i and a st ll later, and the most famous portra t of

in her, seated under a portico , arrayed a violet and green gown , with her little naked son on her knees the incarnation of sunny domestic happi ness The original was only a three—quarter length picture , very much in the style of the Ma h n donnas of t e fourteenth century , but later Rube s it made , by his extraordinarily tasteful additions, into a show picture of the Baroque style . The picture known as the Walk in the Garden ( 798) sho ws the master wandering with his wife in the garden pavilion of their country home . h i do T e r little son as a red clad page , and a large g,

c . follow them , as do also some charming peaco ks Rubens is not satisﬁ ed this time to make the situa

’ tion clear to our mind s eye by means of a few blossoms and branches , as in the Honeysuckle ” Arbour, but shows the large garden in all its

ﬁ u res beauty . The g here are not the main object

‘ Gbe 1f16 m18 b School 1 55

u be of the pict re, as Ru ns at this period became more interested in landscapes than he had formerly been e and paint d many, among them the Landscape R with the ainbow a peaceful, happy scene o f peasant folk , a herd of cattle in the foregrou nd

s and a tream in which ducks are swimming . A much larger replica of this subject is in the Wallace

o Pi a c llection at London . The canvas in the n ko thek is much better so far as freshness of treat

m bu t o to ent is concerned , it is not s detailed as

decoration as the Lo ndon one. That Rubens departed from the classical severity o f his early style to that of the more daz zling ap

aritio ns w p by which he is so much better kno n , is evinced still further by the beautiful Magdalen in the picture of Christ with the Repentant Sinners It is interesting to compare this ﬁgu re with that o f the debauched female form suckling

the re o f the her children, in g at procession Drunken Silenus which has much in

common with the Magdalen , though in the drawing

o ne of the arm and shoulder of the , compared with ff o . In the ther, an immense di erence will be seen

the Magdalen the master shows his greatness, but the line is comparatively meagre compared to the h rich and liquid style of the faun . The ﬂes colour o f the former is simply pai nted as against the

o l reality f the atter. 1 56 t he 2111 of tbe ﬂbuntcb 6 8 116 116 8

The technique in the Silenus is different above the knee to below . The head, trunk and thighs are ﬁ rmly and tensely painted ; below everything is much softer, much less detailed and extraordinarily T . his indicates warm in colour, even for Rubens _

i in if that this panel was pa nted two d ferent parts ,

is i ﬁ re that , a kernel cons sting of a half gu of the

hi s i i o drunkard and immed ate compan ns , and, then , the additions on the right and left sides and lower

1 6 20 is part . The older part dates about and among

’ the best work of Rubens early period . H is Wreath of Fruit a group of seven

i i is naked l ttle cherubs carry ng a garland of fruit, , and will probably remain one of the most admired ’ i of Rubens works in the P nakothek . In this pic ture he extols the inexhaustible quaintness of chil ’ i dren s play . The composit on is somewhat old fashioned in the way the two little cherubs lie in the foreground and leave the space clear for the i ch ef group , but one must remember that of the many pictures o f cherubs with wreaths painted in i sim lar form in the sixteenth century, all have disappeared . from the memory of man . Rubens achieved a masterpiece by painting a subject re ceiv ed as a heritage from his predecessors , in a i form which has outlived all others . The ch ld at ’ o w n the extreme right of the picture is Rubens , as can easily be noted when we see him again in the

‘ c be 1r16 m18 b School 1 57

picture which Rubens painted some years later of in this child the arms of his mo ther Helena . More nearly related in style to the Last Judg ” ment , since it displays his boundless enjoyment of bold movement and his characteristic treatment of

space , is his Lion Hunt which of all his i hunting p eces is considered to be the best . Each ﬁ u re i s w i g clearly developed , h ch means much when

we look at the tangle of hunters and animals . As our collection also contains the famous Fight of i the L oness and the Wild Boar (957) by Snyders ,

’ it i s possible to test Rubens statement that while Snyders could paint dead animals brilliantly he i alone could paint living ones , a boast which t me

u s i a l has proved to be j t ﬁ b e .

It is a notable fact that at the end of his career,

i i hi s after paint ng so many allegor es , mythological ,

to rical i i and rel g ous subjects , Rubens arrived at the

r his genre style , but our galle y possesses none of i i pictures painted in this fash on . O his famous portraits of his family and friends we have many D important examples , those of octor van Thul ” “ ” den ( 800 ) and of Doctor Brandt , the father of his ﬁ rst wife being ﬁne specimens of his F early work . They are the type of healthy lemish portrait painting, are excelled by none of the other masculine portraits of the master and equalled by

few . 1 58 t he art of tbe muntcb 6 8 116 116 8

Probably the most charming piece of portraiture by Rubens in the Pinakothek is that of the Earl and Countess of Shrewsbury The latter, seated in an armchair of noble proportions and i i decoration , faces the spectator, her r ght hand ly ng i on the head of a beautiful white hound . Sl ghtly behind her to the right stands her husband, in front i hi i of h m being s page with his falcon on his wr st . i To the left, from whence we catch a gl mpse of a i i beaut ful landscape , the fool holds back a curta n i richly adorned with the fam ly arms . We have ’ also a ﬁ nely executed Portrait of the Artist s

i 8 o f Brother, Phil pp Rubens ( 7 3 ) and also one an

- i old lady in a black, fur tr mmed gown and a black i ve l , by some, but without authority, said to be a portrait of Rubens’ Mother H i s portrait of King Philip IV of Spain ( 787) i 88 and of El zabeth of Bourbon, Queen of Spain ( 7 ) and two of Don Ferdinand , brother of Philip IV,

’ one in his cardinal s robes ( 790 ) and the other as a Cavalier standing beside his Horse are

i i hi s rem n scent of work at the court of Spain . There exists a doubt in the minds of some au tho rities as to the authenticity of the Rape of the D aughters of L eu cippo s ( 72 7) by the twin brothers Castor and Pollux, though everything in the treatment of the picture , more particularly the

ﬁ u res female g , point to it as being the work of the

1 66 t he 3111 Oi the muntcb 6 8 116 116 8

o gallery of the L uvre at Paris, are to be seen in our collection and are of exceedingly masterly hand

- six ling . In all the Pinakothek rejoices in seventy

’ of Rubens almost unmatchable works, a very large number of them being among the ﬁ nest of his pro i i i duct o ns. Rubens d ed soon after pa nting his Massacre of the Innocents ; his school indeed

o n it h lived , but may nevert eless be truthfully said that he carried the great art of his country into the i i grave w th h m . Among the numero us followers and pupils of Rubens there i s none w ho has established such a i D cla m to lasting renown as Anthony van yck , who

in in 1 was born Antwerp 599 , and died in London i H in 1 1 . e 64 , only surviv ng his master by a year i had not, as an artist , the power or the creat ve

his ﬁ eld genius of great teacher , but in the limited

’ of portrait painting he w as one of the world s great H i est painters . e was the seventh ch ld of a family

i C u ers of twelve and his mother , Mar a yp , is said to have had a singular talent for design in the art

i . 1 6 0 of embro dery She died in 7, but she may even thus early have recognized in Anthony the inheritor it of her gift for art , and one likes to think that was she who fostered in him a budding taste for the profession of a painter . Throughout his life there may be observed a certain feminine emotional side in his temperament as an artist ; this is the ‘ c be 1116 11118 1) School 1 61 peculiar quality which differentiates him most markedly from the strong masculine character o f

Rubens . At ten years of age he had the advantage of ’ Van Balen s instruction and after that he studied under Rubens . His remarkable capacity for art developed so quickly that at the age of nineteen he was admitted into the Guild of Painters in Ant

r H w e p . e passed the next few years as assistant to Rubens , but his fame had so far extended that

H e James I of England took him into his service . did not remain in England long, however , but j ourneyed to Italy, where in Venice he was deeply i H e nﬂu enced by the works of Titian . painted also for some time in Rome , but by far his longest

G o sojourn was in en a , where he painted many of the portraits for which he is so famed . His resi

1 6 2 i 1 6 26 dence in Italy was from 3 t ll , when he returned to his native city and there produced not

ﬁ nest i i only his h stor cal works , but also some of

1 6 2 his most notable portraits . In 3 he entered the

hi f co r c e . u t service of Charles I of England, as £200 painter, at a salary of , doubtless through the inﬂu ence of the Earl of Arundel . Charles knighted him and showed in every way the highest estima tion of his genius But Van Dyck had the sincerest ambition to ex er cise his talents as a painter of historical works of a ‘ 1 6 2 6 6 6 8111 of tbe ﬂDuni cb 6 8 116 1 16 8

greater extent, and tried to obtain a commission to decorate the walls of the Banqueting Hall in i Wh tehall, the ceiling of which had been painted by

Rubens , but, not succeeding in this matter, he went

in 1 6 0 w to Belgium 4 , taking ith him his wife , Lady

Mary Ruthven , a member of a noble Scotch family .

From here he went to Paris , as he had heard that Louis XIII of France was about to decorate the i i i largest salon of the Louvre w th pa nt ngs , but he

hi s i found , to extreme disappointment , that N cholas i Poussin , who had just returned to Par s from i i i i . O n Rome , had obta ned the comm ss on return ng to England, where without doubt the waning for i tunes of the king and the nobil ty, with whom he i had been on such terms of ntimacy, must have i tended to depress him mentally and phys cally, he contracted an illness and died at the untimely age

- of forty two . ’ Van D yck s sphere of invention was much more limited than that of Rubens ; he possessed none of the ﬁ re which enabled his great teacher to grapple with the most terrible incidents , but he surpassed him in the intensity and elevation of expression which he gave to profound emotion . This explains why it is that Van Dyck treated with greater suc

C ruciﬁ x io n cess such subjects as the , the De scent from the Cross and the Lamentation over ” the B ody of Christ , than did the more brilliant and

1 64 t he 2111 of the {1131111t 6 8 116 116 8

’ in i i work Rubens p ctures , one can eas ly see that i the Van Dyck handl ng is coarser . Early maturity is frequently not so much the sign of independent power or force as of easiness of comprehension, and i D th s was the case with Van yck . There are a number of examples of religious

i i in pa nt ngs by Van Dyck our gallery , but that they were ever intended as altarpieces is very doubtful . As a matter of fact the appreciation of art in the i i h Netherlands at th s per od was so great, t at the subject of a picture was a subordinate matter to a

it fo r its i i purchaser, as was valued purely art st c i i mer t . For th s reason one must not be surprised if one meets pictures in which nothing beyond the subject i s sacred and every trace of religious feel i i in i s . g absent For nstance , the p cture painted by

6 2 1 0 St . Van Dyck about , the Martyrdom of Sebastian owes its o rigin clearly in the

’ ﬁ rst place to the young painter s desire to ﬁ nd an

i r opportun ty of painting a beautiful nude ﬁ gu e . i i i The sa nt , a splend dly built youth With a br lliant

i i i s ruﬂi ans wh te sk n , being bound to a tree by some , while horsemen with shining arms survey the ful

ﬁ lment i of the r orders . It cannot be said , in spite

’ z en of Sebastian s upward ga e , that the artist had tered into the feeling of his subject as the Church it conceived , by representing a hero meeting death H for the sake of his faith . e is anything but pro ‘ C be 1116 11118 b School I 65

found even on the purely human side . Everything else in the picture is subordinate to the bright ﬂesh i i colour of the youthful form , and th s colour ng has — Rubenslike in- so quite a range of tone , except far as there is a suggestion peculiar to Van Dyck of a sad der and a more subdued tone proceeding from the sky . The red of the ﬂag held by one of the horse men is as vivid and powerful as if Rubens himself had laid it on the canvas . Among the variations of the Van Dyck treatment

i o f of the Lamentat on over the Body Christ , the two most famous are in the Museum at Antwerp and in the Pinakothek . In the Antwerp picture the i sacred Body l es stretched out , long and rigid , with ’ head and shoulders resting on the Mo ther s lap .

The Virgin , leaning back against the dark side of the rock , a cleft of which is about to receive the

. departed , spreads out her arms in loud lamentation The di sciple John has grasped the Saviour ’ s right hand and shows the bleeding wo unds to a group o f angels who draw nigh and burst into tears at

St . the sight . This group of John and the angels stands out in soft warm tones from the pale blue sky . The picture in our collection ( 830 ) diﬁ ers wholly in effect from that of the Antwerp one , in that all

ﬂo w in . the movement is softer and more g Here,

too , the sentiment is softer, more prone to lamenta 1 66 Ebe 2111 of the {Ibumcb 6 8 116 1168

. o f tion The scene is placed at the foot the cross, i which is taken up and placed obl quely . The Vir gin leans her head against the cross and turns her countenance the antique head o f Niobe faith fully translated into painting towards heaven . The sorrowful look is accompanied by a kind of a h gesture of the outstretc ed right hand, while the other raises up the pierced left hand of her dead

Son . The body lies with the whole trunk reposing

’ in the Mother s lap, and the head rests, as if in slumber, on her bosom . Angels in coloured vesture , partly irradiated by the strong light which bathes

’ the Saviour s form in a golden tone , partly veiled in a soft deep shadow, contemplate the dead in sorrow, whilst weeping heads of cherubim appear in the clouds in the sky, which is full of the red i glow of evening . It is poss ble to accuse this pic ture of a certain affectation in the way o f beauty of form ; but the feeling which has given rise to i the who le composition is s ncere .

Besides these pictures of grief and sorrow, Van Dyck has given u s some most charming conceptions of the Madonna . The most beautiful , perhaps, of these is that which represents the Virgi n ( 826 ) a

ﬁ ure lovely g , but solemn in conception , holding With both hands the Infant Jesus, who stands on a stone,

o while she thoughtfully lo ks down at the little St.

h th e . John, w o holds a scroll with word Ecce

‘ 1 68 6 b6 a rt of tbe muntcb 6 8 116 116 8

character . That one of Christ speaking with the Paralyt ic whom he has healed ( 86 7) was ev i dently produced while the impression caused by the

i as i w . o works of T tian st ll fresh The c mposition,

i i ﬁ u res i cons st ng of four g , the Sav our , the subj ect

i his of the cure with his bedd ng under arm , a dis ci le i p and a Pharisee, aga nst a background com posed of a light sky and a dark wall, presents itself to u s unmistakably as an attempt to compete with the great Venetian as regards colo ur and ex prés

. at sion Far more independent , and the more

i s i tractive on that account, the p cture of Susan nah surprised by the Elders while in her bath Here the painter has revelled in rendering the peculiar charm and delicacy of the nude ﬁgu re in a strong light . In the dark reddish brown of the drapery with which Susannah seeks to cover herself he has found a tone in splendid contrast to

i o f the l ght ﬂesh colour, which the dark tone all the surroundings is also calculated to enhance the expressive heads of the two elders and the right h i ’ and of one , who touches the g rl s soft shoulder

i ﬁ n er w th a wanton g , are the only other bright i objects wh ch emerge from the gloom . A pleasant impression is produced in this picture by the absence of any affectation in the movement or expression of Susannah ; admirably natural is the way she shrinks back and bends aside when sur 11136 jrl emi sb s chool 1 69

prised, at the same time throwing a look of deﬁ ance at the man w ho assails her with his words and with his actual attempt to pluck away the drapery which so ﬁ rm i she ly holds . Yet n spite of the happy real

iz atio n x i of e pression in th s work, we need have no i doubt that Van Dyck, l ke mostly all of the painters

e who have painted this subject, portray d the chaste i Susannah rather for her nud ty than for her virtue .

The brilliant rendering of a soft, youthful body w as again the principal obj ect he aimed at in the ec s ond picture of the Martyrdom of St. Sebas

82 o t e tian ( 3) in the Pinak thek, but this latter veals quite a diﬁ erent artistic character to that of

the earlier picture of the same subject . The very

youthful saint, so white and delicate in appearance that it is rather incongruous to think of him as

having been a Roman soldier , seems to be thinking o f nothing but the exhibition of his graceful bodily

H e ﬁ x es form for admiration . his gaze upon the

spectator with a look that is almost coquettish , and he succeeds, in fact, in attracting our admiration so completely, that we can scarcely get up any feeling of sympathy for the unpleasant situation in which n we ﬁ nd him . A half naked gia t is tightening the cord by which the prisoner i s being bound to the trunk o f the tree ; a savage trooper with a dark brown skin , standing out grandly against the white

ho s horse o f the captain w conduct the execution,

1 72 2111 of the {1151111t 6 8 116 116 8 dark silk dress and the handsome lace show up a pleasant face and delicate hands , is a masterly and i i fasc nat ng picture .

A three - quarter length portrait ( 849 ) of his beautiful young wife who before her marriage was the Lady Mary Ruthven, a member of a noble D i i Scotch family, whom Van yck has mmortal zed

i in the in pa nting, hangs Pinakothek collection . She makes a most beautiful subject for a portrait with her ﬁ ne and regular features and charming

i in attitude, hold ng her cello her beautifully mod elled hands . In her love for music she was ably i seconded by her artist husband, who del ghted to provide brilliant music for the entertainment of the i i company he gathered round h m . Hang ng near this picture is to be seen a youthful bust portrait of the artist painted by himself From this we can trace the likeness which he has utilized in his

St . Sebastian in the picture of the martyrdom of i that sa nt . But the most brilliant of this series of distin

“ gu ished ﬁgu res is the princely form of Duke i Wolfgang Wilhelm , Count Palat ne of the Rhine and Neuburg This picture was painted in

1 6 2 9 , according to the statement of an old D ii ssel

. dorf catalogue Wolfgang Wilhelm , who became

D 1 6 2 uke of Berg in 4 , was the founder of the cele brated collectio n of pictures which was removed to

‘ 1 74 Ebe 2111 of tbe muni cb 6 8 116 116 8

( 82 5) and the Lamentation o ver the Body o f Christ Besides these sacred pictures and portraits de scribed above our collectio n rejoices in a series of small but exquisitely painted portraits in the vari ous cabinets , and lastly we have the very lovely portrait of Queen Henrietta Maria, wife of Charles I of England We have placed Van Dyck next to Rubens from a historical point o f view but must return to other i painters , who , in the r best works , represent an older style than the former . Chief among these is

ﬁ rst Jacob Jordaens, who, like Rubens , studied

No o rt him under Adam van , and from acquired that vigorous and harmonious colo uring which is i i i i hi the ch ef d st nct o n of s art . When he was only twenty- two he was admitted into the Guild of Paint ers at Amsterdam , but oddly enough in the charac i ter of a water colour pa nter, and one year later he

his No o rt . married the daughter of master, Van This early marriage and the close relationship

i — in half fr end , half assistant which he stood to i i Rubens , prevented his v sit ng Italy, as the painters

H as r of his time were wo nt to do . e w ve y promi nent, however, in the world of painting in Antwerp and painted a very large number of pictures .

inﬂuence e These show unmistakably the of Rub ns , ’ yet Jordaen s o w n artistic nature is very strongly ‘ c be 1116 m18 b s choo l 1 75

impressed upon them . His painting w as so vehemently realistic in character as to degenerate

at times into the rude and vulgar . His sphere of invention was not to be compared with that of

Rubens , who indeed for versatility has never been

equalled in the realm of painting, but in many of

’ Jordaen s paintings a strongly humourous vein runs, as may be seen by the famous picture in the Pina ko thek of the fable of the Peasant and the Shiver ing Wood Imp ( 8 1 3 ) wherein the former laugh ingly tells the latter he must blow on his numb hands to make them warm and then on his soup to 1 make it 6 00 .

In sense of beauty, as we can easily see, and dis

tinc ness t o f form, Jordaens falls short of his great

model, but, on the other hand, in power and trans

arenc i p y of colour and in mastery of general keep ng,

he may be placed on the same level . His w orks differ in merit according to the degree of their com

pletio n and of his sympathy with his subject . Very

satisﬁ ed his seldom is one with Biblical subjects , though his Boy Christ preaching in the Temple

(8 1 5) is very charming .

i o o O the w rks of Cornelis de Vos , the well kn wn

Flemish painter of portraits , the Pinakothek can boast o f the painting of the Hutten Family ’ ( 8 1 2 ) with the famous children s likenesses . No other Belgian painter could catch a likeness o r char 1 76 t he 51171 of the {1151111t 6 8 116 116 8

acteriz e so well as de Vos , but owing to his pale, i cold colouring, reality is want ng in his rendering of the physical and his work does not produce the i i effect t should . In this picture the father s ts in i an armcha r, his left hand lying on the shoulder of hi s little son , opposite is the mother holding her little daughter by the hand and near them sits the cunning little baby . The portraits of the children i are particularly winning and attract ve . i i From the brush of Hendr k van Balen , a pup l of Van Noort, whose claim to fame rests upon the

the i i in hi s i celebrity of pa nters who stud ed stud o , we have a series of allegorical and classical paintings

- ( 708 7 1 6 ) representing the four seasons . In all his paintings which are in the Pinakothek he had i the assistance of his fr end and contemporary, Jan

a ﬂo w ers Brueghel , who p inted the landscapes , and

i ﬁ u res an mals , while Van Balen supplied the g of the nymphs , fauns , satyrs and graces , who form the ’ e raison d tre of the pictures . Quite a group of painters who formed themselves on the style of Jan Brueghel have pictures in the

n Ro elant Pi akothek collection , among them being

u Savery, who , though a p pil of his elder brother

Jacob, shows in his works the influence w hich

H e inﬂu Brueghel exercised over him . also was enced by the style of Paul Bril . There is in our gallery a Hunting Scene of his ( 71 7) in which

1 78 Ebe 2111 of the l lbuntcb 6 8 116 116 8

8 Alehouse ( 97) showing a man and two women, one of whom has fallen asleep , seated round a beer

en cask . In the background are six other persons i joying themselves convivially . Th s picture was

i raesbeeck w ho pa nted by Joost van C , painted under the inﬂu ence of Adrian Brouwer . O i the same character is another small canvas , the work of Gillis van Tilborgh the Younger . In this a peasant i s reading a letter to a woman ( 898) who stands listening, holding a beer mug in her i i hand . The compan on p ece to this , a woman read ing a letter to a peasant ( 899 ) who sits upon a beer i i h i s n t e . cask, same cab net The connecting link between his own and the preceding periods of genre painters was David

1 82 Teniers the Elder, born at Antwerp in 5 and a

G w ho member of the uild of Painters of that city,

in studied with Adam Elsheimer Rome . His chief subject s were taken from peasant life though he also occasionally painted Biblical and mythological

u s bjects . His earlier works are heavy in tone , crude in colour and somewhat hard in outline , but in his later pictures he approached somewhat more the manner of his illustrious son in freedom of treat ment and in general keeping . In the Pinakothek i two of his p ctures are to be found , one a Rocky

00 - Valley ( 9 ) with a bridge spanned brook , over looked by a castle ; and another o f a Peasant tthe $16 m18 b 5 6 6 001 1 79

carrying a ﬁ shing pole over his shoulder the

c latter a harming piece of work in his later style . The earlier and weaker works of the younger Ten

iers are often attributed to his father . Between Van Dyck and Teniers the Younger stretches the whole length and breadth o f Flemish

art . They are the opposing poles and they stand for the two very different conceptions of painting

held in Flanders in the seventeenth century . Van D i w yck was a pa nter of elevated life, ith a style

inﬂu n e H e largely e c d by the great Italian masters .

ﬁ u re was a g painter who , like Rubens, blended the

h n Flemish with t e Italian to create a new art . Te

i ers r i ﬂu en , on the contra y was never n ced by Italy ; he never went there and had nothing to do w ith

H e large decorative compositions . was a thorough

Fleming, painting the commonplace life which he

found in his native land , a cousin in art to the Dutch

O stade genre painters and Steen , a painter of small hi n easel pictures . H e was a pupil of s father a d

learnt from him his subject, his point of view and

his technique , but he was a far greater artist than

w ho his father , and excepting Brouwer, was more

u D tch than Flemish , he was certainly head and shoulders over all the other genre painters in Flan ders .

H e n s pai ted all type , peasants , boors , alehouses , k fétes itchens , , musical parties , landscapes , portraits , ‘ 1 86 G be 51a of tbe l lbuntcb 6 8 116 116 8

t . battles, Biblical scenes , allegorical subjec s, etc , but he always treated them in the genre style with Flem ish types and costumes and in the true Netherland i sp rit . Whether he told of the parable of the Prod i gal Son, or of an idle group of people in front of

i re a tavern , the conception was the same . In th s

c i i spe t he was again l ke the Dutch pa nters , valuing his art for what it looked and caring little for what i i i t meant . As depicting actual h stor c occurrences i in his p ctures are often wanting ; but as art colour , i air, l ght and grouping they are superlatively excel lent . Teniers was born in Antwerp in 1 6 1 0 and as we have said studied with his father . At the age of twenty- sev en he married the daughter of Jan

Brueghel , Rubens being one of his witnesses , and on her death he wedded Isabelle de Fren , daughter of the Secretary of State for Brabant . Owing to his pleasing personality and his talents he reached a b higher position in society than had efore, or has since , been attained by any genre painter of the

H e school . was appointed court painter and also groom of the chambers ( which inclu ded charge of the picture gallery) by the Archduke Leopold W il helm , Stadtholder of the Spanish Netherlands , and his successor co nﬁ rmed Teniers in these o fﬁces. H e was overwhelmed by commissions from other rulers , and from these he amassed considerable for

‘ 1 82 Ebe 2111 of tbe ﬂbuntcb 6 8 116 116 8 hi s picturesque arrangement, his delicately balanced i general feel ng, the harmony of colouring in all his i deta ls , and that light and sparkling touch in which the separate strokes of the brush are left un broken a power in which no other genre pa inter ever equalled him . Conversely all the charm of his humour can hardly atone for a certain coldness of feeling, and there is a degree of monotony in his

ﬁ u res i i s treatment of g and heads , wh ch especially

u res . o observable in scenes with many ﬁg S , upon the whole , his greatest triumphs are in his pictures ff few ﬁ u re. which contain , or only one g The di er ent periods of his work are distinctly marked . Those of his earliest style are painted in a some

ﬁ u res what heavy brown tone , the g are from twelve to eighteen inches high and the treatment is broad and somewhat decorative . The influence of

Brouwer may be seen here , though the contention that Teniers was a pupil of his is an erroneous one . In his second period his colour tone became clearer and more golden and later again changed from that i to a clear s lvery hue , with which there came a more careful and precise execution . Pictures of this class are judged as his most characteristic and ﬁnest work . Later still he adopted a decided golden tone , which is often very powerful , but in his last years his colouring became heavy and brownish .

The Pinakothek is very rich in his works , possess

’ 1 84 C D6 2111 of the 11151111t 6 8 116 116 8 and cuffs and a gold chain with a medallion hanging i from t . An exceedingly interesting canvas is o ne which shows an Interior View of an Artist’ s Atelier

a picture painted by Karl Emmanuel Biset, w ho w as born at Mechlin in 1 633 and died at Breda

ﬁ ft - i in his y second year . In th s the walls and ceil ings are decorated with pictures and on the easels on the left side and in the middle are portraits of the various visitors to the studio painted by Biset himself . In the right corner is an allegorical group , Apollo with two muses and Mercury and the

G . Three races , a copy of a picture by Jordaens The different pictures of the collection are mostly the originals of different artists of which the fol lowing are signed “ Still Life by Carl de Heem

“ and a Jupiter and Antiope by the same artist ; a Landscape with Animals by Pieter Boll ; Diana and Actaeon and an Adoration of the f Shepherds by Pieter Thys . O the four pictures in the foreground one is a copy of a ﬁ sh piece by

Pieter Boll, another a study in architectural painting

o by Von Ehrenburg, and a mythol gical representa

Bo e ermans tion by y , all signed like the above men tio ned i pictures . The or ginality of the conception and execution of the idea makes this picture quite a curiosity in the realm of painting . We must no w consider the department of land ’ Ebe 1116 m18 b S chool 1 85

scape painting, which during the course o f the sev enteenth century was represented in Belgium by T several artists of great merit . hough they exhibit,

from a technical point of view, more or less the inﬂuence f of Rubens, they di fer from him totally in

conception . The subjects principally treated by i some o f these painters , and that w th much poetry

of feeling, are hilly landscapes , richly wooded , with sandbanks in the foreground ; others followed the more ideal class of subjects affected by Nicholas

Poussin . The earliest of the ﬁ rst group was

L o dew ck V adder o o y de , who foll wed in the fo t

o f steps Rubens in clearness and power of colour,

f in in decision o lighting and broad treatment . His ” beautiful Landscape ( 936 ) shows three horse in men the foreground , hurrying towards a village above a wooded sandhill in the middle distance is a ﬂock of sheep and the background is an airy dis

tant view . A beautiful sunset Landscape with

reﬂected ﬂo in trees in a w g brook, is inscribed w ith

o f the name Lukas van Uden , one of the assistants

H e of Rubens . very frequently painted the back

’ hi s grounds of master s pictures , but at the same time he executed many independent w orks in which

H e Teniers sometimes painted the ﬁgu res. has also another little canvas in the Pinakothek , a Land 8 w scape ( 93 ) with a distant vie with mountains, ‘ 1 86 G be a rt of tbe muntcb 6 8 116 1 16 8

in hills and trees . To the right is a rocky grotto which tw o genie are strewi ng ﬂo w ers on a table to adorn the meal of the Gods . Van Uden occasion ally painted waterfalls and also more enclosed land scapes , but always a deep and pure feeling for nature pervaded these works , which are invariably well drawn, the separate features with great individual ity, the colouring powerful and clear ( though some times too monotonously green) and of a very care ful ﬁ ni sh . Next to Rubens the greatest animal painter of l i the F em sh school was Franz Snyders, who was born at Antwerp and registered in the Painters’

Guild of that city as apprentice to Hell Brueghel . i It is also sa d that he studied under Van Balen , but his whole treatment of the animal world, his de v elo ed p form of art, his clear and frequently glow ing colour and his broad and masterly touch were inspired by the example of Rubens , to whom he stood in the relationship of a thoroughly independ

- ent fellow painter and in no way that of a pupil . This is shown in the human ﬁgu res painted by Rubens in Snyders ’ animal pieces and the animals ’ introduced by Snyders into Rubens hunts , as well as by the ﬂo w ers and vegetables executed by Sny ders in o ther works by the great master and which were so painted as not to mar the unity of the

. b compositions Like Ru ens, Snyders had the fac

‘ C be 1116 11118 6 5 6 13001 1 87

u lty of depicting his subjects in the agitated mo

ments of combat and chase . The artistic arrange hi ment of s animals in the space allotted in his pic

i his i tures was probably ow ng to vis t to Italy , where i he res ded principally in Rome . Even in his large culinary subjects he is not more remarkable for the treatment of single objects than for the skill with H which he places them together . e frequently as

e i n sist d Jordaens the same way that he did Rubens, being closely allied in friendship with the former

and also with Van Dyck . O i hi s pictures in the Pinakothek we have exam

w as u ples of all the styles in which he so famo s . O f astounding energy and admirably composed is his picture of “ Two Lionesses pursuing a Roe buck (957 ) and of the same style of composition and possessing the same grim force is a Lioness ” killing a Wild Boar , which she has caught by the nape of the neck A Boar Baiting forms the subject of another of his paintings of this same class In this the boar , leaning against a tree

stem , is defending itself against the onslaught of tw o boarhounds who attack him fro m either l side . Three dogs lie dead in a heap in the eft corner . Excellent examples of his cu linary style are a Kitchen Piece (955) and Fruit and Vegetable Tw o o f Store pictures still life ( 959 , 1 88 Ebe a rt of tbe muni cb ® a11¢t i ¢5

’ 96 0 ) illustrate Snyders versatility in this style of painting . The grand manner of painting animals proper to Snyders was also continued with excellent results by several other painters , among them Paul de Vos . H e had a special facility for rapid and passionate action and therefore succeeded above all in depict ing combats between dogs and bears or wild boars

- or with each other, and he had, too, a special apti tude for painting hunting scenes . In power and transparency of colour and in mastery of touch he very nearly rivalled Snyders but he was greatly his i inferior in drawing and in taste . Two of his p c tures hang in the Pinakothek , a Bearbaiting ( 96 1 ) and Animals in the Garden of Eden

Flower painting as a separate department of art w as cultivated with much success at this time in

Belgium, where its chief representative was Daniel

Segers . H e seldom painted a picture exclusively of

ﬂo w ers , but attached himself to the historical paint ers by surrounding their sacred subjects , generally

i ﬂo w ers the Madonna and Ch ld , with wreaths of by way of festive decoration . In this way he col labo rated D ie en with Rubens , Cornelis Schut, p li beeck and Erasmus Qu el nu s. His skill in depict ing ﬂo w ers was such that they combine admirable drawing with great truth to nature , and in painting

CHAPTER V

TH E ITALIAN SCH OOL

ART in the eleventh century in Italy was divided

he o ne between the native and t Byzantine styles , the h fallen as low as the ot er was utterly rude, though i i the Byz antine was a l ttle n the ascendency . But at the beginning of the twelfth century that pros

erit i i new p y , wh ch always brings in its tra n life in

in n art, and all that makes for culture , daw ed upon the country . Italy was restored to a sense of na tio nal freedom and at the same time another ele ment ( that of the strengthening of the free town

c ships , which had suc essfully maintained their rights against all comers) was no w called into be

. no w ing Slowly but unmistakably , we trace the use of a new and independent style in art, which by the thirteenth century had assumed much decision of character . We now see the Byzantine style and the old native Longobardian merging into one another to form a new method, always governed and impelled forward by an onward tendency .

as f Rome , at this time , w reinstated as Mistress o

I 9° Ebe ﬂtaltan Schoo l 1 9 1

the West , and here the term Romanesque comes i it w as nto existence , for now that in Italy the change from the ancient tradition into the spirit of the newly created nationality ﬁ rst took place . The epoch of Byz antine art in Italy may be said to have been an intermediate school only , introduced and upheld by external circumstances . Even tho ugh a strong wave of Byzantine inﬂu ence swept over the country , consequent upon the conquest of Con stantinO le 1 20 p by the Latins in 4 , and a large num ber of artists and works of art of that school poured

inﬂuence into Italy, still contemporary with this arose another in which a very considerable progress in the new tendency could be ascertained , and even earlier than this may be traced the ﬁ rst germs of a purely Western Italian mode of conception .

In Venice, where Byzantine painting had struck i the deepest root , the struggle between anc ent and modern art assumed a different character to that of

Rome . We have here the strange spectacle of a

o bold mind , at nce , with one great work , breaking through the trammels of tradition , while succeed ing artists lapsed deeper than ever into the old forms . In the works of the Lombard painters w e also note a decided upward mo vement in the beginning B of the thirteenth century . Here , where perhaps y z antine feeling never entirely obtained the mastery, 1 92 “ be 3 “ Of the ﬂDll lﬁ Cb 6 3 116 116 5

o c an element of Art is observable, which often

G - curs in the erman Romanesque works, namely , a vehemence of dramatic representation . The foregoing serves to show that the rise of mediaeval painting in Tuscany, was no isolated i c rcumstance , but that, on the contrary, the most opposite parts of Italy began at this time unani mo u sl i y to stir with new art stic life . The origin o f Tuscan painting is still very o b

i r scure , and modern nvestigation has se ved to show the confusion which attended its history but fails to throw any positive light upon it . Thus far i i it appears certa n that Tuscany, that is , Pisa, S ena and Florence as well , followed at the end of the

ﬁ nd twelfth century the Byzantine school , and we that the Tuscan artists of the early part of the thir teenth century remained in many respects far more dependent upon the Byzantine mode of procedure , than those of contemporary date in Rome though frequently they surpassed these latter in thought

o i s and invention . This theref re the question which puts itself to u s What painter or school of paint

i inﬂuence ing, within the dom nio n of Byzantine , ﬁ rst began to show an independent feeling ? This brings u s to consider that painter who is usually hailed as the rescuer of the Italian school from the restrictions and limitations of the Byz an

inﬂu ence tine , and the founder of modern Italian

‘ 1 94 c be 2 m of tbe ﬂbuntcb G al l eri es

r to rs he i st uc , very much mproved on their manner, doing honour to his country by the name he ac quired and by the works which he executed . In the Pinakothek there is nothing painted by Cimabue himself but there are tw o unimportant

- 80 panels ( 979 9 ) which emanated from his school , and which were probably painted in the last quarter of the thirteenth century .

a Cimabue, in recognition of his genius , was p

i Arno lﬁ i pointed, in conjunction w th Lapi , an art st

e i highly renowned in architecture , to sup r ntend the H building of Santa Maria del Fiore in Florence . e i i hi had many d sc ples , c ef among them the famous i Giotto , who carried st ll further the onward tend encies of his master and who became an eminent painter .

‘ h n T e Pinakothek co tains three pictures , Christ ” ” on the Cross , Christ in Purgatory and The ” G Last Supper, the works of iotto , the famous i pup l of Cimabue, who found him , a little shepherd

i o ne lad , draw ng a picture of of the sheep he was

i i ﬁ eld i m nd ng in a at Vespignano , a v llage near ’ Florence . Struck with the promise that the boy s i him draw ng gave , Cimabue took to Florence and there gave him instruction in art . Aided by na ture , the boy not only soon equalled his master , but he went further in the ﬁ eld of the imitation of nature, totally banishing the rude Greek manner Ebe Mal i an School I 95

and restoring art to the better path by reintroducing i the practice of drawing from the living model, wh ch practice had been in disuse for over tw o hundred

years . The picture of Christ on the Cross (98 1 ) rep resents the fainting Virgin supported by the three

St . holy women , John the Evangelist on the right, Nico demu s A with and Joseph of Arimathea . t the

foot of the cross is a picture of the donor and St . Francis o f Assisi in the act of kissing the wound in i the sacred foot . G otto was very prone to link the i St. i w it history of Franc s with that of Chr st, as ness the series of twenty—six panels combining the two great subjects which respectively enlisted his i St . art, the Life of Christ and the L fe of Francis ,

painted for the church of Santa Croce in Florence . The Christ in Purgatory (982 ) shows the Re deemer carrying a banner accompanied by the cross

Eve bearing repentant thief . Adam and and a host i of other Bibl cal characters throng aro und him . Through a cleft in a rock may be seen ﬂames into which devils are thrusting the souls of the damned . I n the Last Supper (983) we see the disciples i partaking of the r last meal with their master .

- John , the well beloved , rests his head against

’ o f Christ s breast, and at the end the table sits

Judas , without a nimbus , reaching for the morsel, which Christ has dipped into the wine and offers to ‘ 1 96 c be a rt of tbe ﬂbuntcb $ al l et tes him as a token of the disciple w ho should betray

him .

h e T ere is a singular vari ty in these pictures , not only in the gestures and attitudes of each ﬁgure but

in i also the compos tion of the paintings .

’ An examination of Giotto s style will show a s m that he co pletely abandoned the Byzantine style . H e was a master of dramatic narrative and nothing

i i . i can limit or d m nish his praise But th s , however, i s his i not enough to say, as narrat ve art was not a purely intellectual quality but founded upon the

H e picturesque intuition of the master . did not see so much in nature as did the masters of a later

his period , but of what he saw , grasp was wonder

H e i o in ful . shows overwhelm ng p wer the ar

hi s i i ﬁ u res rangement of groups, in dep ct ng g and

ﬁ u res movement . His g were not , as was usual in

e the art of the Middle Ages , r presentative merely of the ideas embodied in the situation or treatment o f

o e the moment . In this respect Gi tto must be plac d

ﬁ rst in in the new departure painting, even before

Jan van Eyck or Massaccio . At the same time Giotto belonged to the mature Middle Ages and

The cannot be associated with the Renaissance .

i i s i best in an art st always his indiv duality, to which i he owes everyth ng great and beautiful he creates , but his environment helps to explain many peculiari ti es . Thus we may say that only in the Italy o f

‘ 1 98 C be a rt of tbe l lbuni cb

’ Giotto s inﬂu ence is particularly strongly dis played in the frescoes painted by his pupil Gio ttino

in c St . t . the chur h of Francis of Assisi , that of S i h N c olas restoring a dead girl alive to her parents . In the Pinakothek we have a small picture attrib u ted to him, The Bewailing over the Body of Christ which shows that the pupil was a f h i close follower o t e methods of his master . In th s i Mary sits at the foot of the cross, hold ng the out i stretched body of Chr st on her knees . To the left

e i Mary Magdal n s ts by the open grave , around the h body cower the ot er holy women , and behind them are seen the men w ho have removed the body from the cross .

’ The most important of Giotto s scholars w as Tad

i in deo Gadd , who left a son called Agnolo . H e

’ herited his father s powers and also developed ex c ll nc s i n e e e to wh ch Taddeo had o t attained . His colouring was brighter and more transparent and his works display more originality and less follow i ing of the grotesquely convent onal . Two paintings by Agnolo now hang in the Pina ko thek i St . Nicholas of Bar ( g84a ) and St . h Ju an ( 984b) . The whole fourteenth century in Italy was inﬂu enced Gi i by otto , though var ous schoo ls arrived at a i i certain indiv dual ty of their own , especially that o f

Siena . One of the leaders of this schoo l was Lippo Ebe Mali an School 1 99

Memmi , to whom is ascribed a small triptych, the centre representing the Assumption o f the Vir gin This picture was unfortunately in a very bad state of preservation and has been entirely i restored , not only the gild ng but also a great por

. e tion of the garments It repres nts Christ, sur i i rounded by sa nts , awaiting the Virg n , who is

in being borne upward by angels, playing musical

r i st u ments. The extremely interesting w ngs have ff fortunately su ered much less than the centrepiece . The right wing has for its subject tw o rows of te

six male saints with apostles , the left one , three

. An rows of male saints In the upper corner, the

nu nciatio n . e Here, as in the heads in the centrepiec ,

o we see an art remote from the w rld , tender in

i n colour, extremely full of feeling and taste its i style, aiming at the same goal as did f fty years later Meister Wilhelm of Cologne . This style was it long the leading one in Italy, though was only h brought to perfection in the ﬁfteent centu ry .

Spinello di Luca Aretino , like most of the Flor i ent ne painters , is seen to much greater advantage in H his frescoes than in his panel paintings . e com

e bined the Sienese with the Florentine el ment, but his feeling for action and breadth of composition show that he followed in the footsteps of Giotto .

H e led a long and active life and laboured in Flor

o f . ence, in Casentino and in his native town Arezzo ‘ 200 G be a rt o f tbe ﬂbuntcb G al leries

The Pinakothek possesses two pictures painted by i h m 8 ﬁ e . ( 9 7, each representing v saints

- i i A monk pa nter, whose name is ever suggest ve of the holiest ideals and the gentlest forms that relig i w as ra Fi ous art has bequeathed, F Giovanni da e sole , known worldwide as Fra Angelico, the Blessed .

H e was born at Vicchio in Mugello , not far from i i i Vespignano , wh ch claims the honour of g ving b rth l ’ to Giotto . No record remains of Fra Ange ico s in stru cto rs but it may be assumed that he had passed i his apprenticesh p before joining the Order of St . i in Dominic . That the deepest relig ous principles spired this great master becomes apparent to whom soever considers his art . An intensity of holy feel

be ing, unprecedented in this form of expression i i i i . n fore or since , nsp red him Lessons fa th and examples in holiness were ever his aim , and he sought to invest the forms in which these were given with the utmost beauty and purity . The most deli cate and beautiful colours were selected for the dra p eries and a profusion of golden ornaments lavished i over the works , every poss ble accessory being em ployed to give fresh charm to these sacred sub H l jects . e ventured on none of the innovations a

i i i in i ready becom ng fam l ar Florence , ow ng to his deep respect for prescriptive authority and his rigid adherence to national types . H e is said never to have commenced his work without prayer and to

‘ 202 c be a rt of tbe muni ch (Bauertes

Antimus Leo ntinu s Eu re ius are brothers , and p p ,

G L sia w ho brought before the overnor y , orders

sacriﬁ ce them to to the gods . The second tablet represents Saints Cosmas and Damian being de livered by angels , when they and their three

c brothers , bound to ro ks in the sea, are left to the fury of the waves In the third tablet ( 99 1 ) the saints and their brothers ( the former hung upon cro sses) are being shot at with arrows and stoned with sto nes but all the missiles rebound upo n i their executioners . These w th three other tablets

1 8 formed a Predella, which was painted in 43 for the high altar of the church of San Marco in

Florence . A Madonna surrounded by the apostles f formed the centre picture . O the other sections of this predella ( all of which relate to the legends of the holy Cosmas and Damian , two , the Miracle of the Holy Bone and The Interment of the Saints, are in the Accademia collection in F lorence , while the third , the Death of the i Sa nts by burning, was formerly in the collection

- of the Lombardi Bardi in the same city . There is a fourth picture in the Pinakothek “ painted by Fra Angelico , that of the Man of Sorrows In this Joseph of Arimathea holds the body of Christ upright , in front of the grave , while the arms of the Saviour are lifted by he t Virgin and St . John . The delicacy of treatment Ebe 11taltan Sc hool 203 and beauty of colouring in these pictures is nothing short of marvellous .

’ An elico s We must remark upon Fra g angels, which are the purest type to which imagination B has reached . y no other hand are these beings o f another sphere depicted so genuinely as the

o gentle guardians o f man . N matter in which o f his works they are to be seen , they have invariably an angelic property and an individuality which take the feelings captive .

O f Fili o w ho the works of Fra pp Lippi , studied under Massaccio and whose paintings exhibit

inﬂuence largely the of Fra Angelico, the Pina k he o t k possesses two large and one small pictu re .

Orphaned at the age of two , in his eighth year his name appears on the roll o f the Order o f the Car li i me tes. Recent ev dence completely refutes the

‘ account given by Vasari, and accepted by the world

o f e generally, his romantic and not a littl scan

lo u s . r da life Nor did his leaving his monaste y ,

1 2 which he did in 43 , when he was twenty years o ld seem to have meant that he gave up the life of

. O u a monk the contrary , many documents pertain ing to the Carmelite monastery refer to him still as ” Frater , and his own pictures , which were painted over a course of several years , are signed Frater ”

a . no w Philip s In one of these pictures , which is in the F r s Accademia in lo ence, which represent ‘ 204 C be mt Oi the M uni ch Gal leri es

Th e o f Coronation the Virgin , he has painted

i hi s his own portrait w th the tonsure , and lastly death is recorded in the register of the Carmelite i convent, wh ch surely would not have been the case had he abandoned his vows in the manner re lated about him . Then too , in refutation of the

in i i s charge that his life was spent v ce , the estab li shment of the fact that in 1 452 he was appointed chaplain of a nunnery in Florence and fi v e years i i St . u er co L a later Rector of Q in egna a, two p po i ntments which would never have been bestowed i upon him , no matter how loose the t mes, had he been a forsworn monk . In form and colouring Fra Lippo Lippi has a style peculiarly his own . His colour is broad and i i golden , almost ant c pating Titian , his drapery l i fi ne y cast and of fascinat ngly broken tones . Mas ’ saccio s figu res are grander and lean more to the

’ i L i i s ideal , but F lippo pp have a reality of feeling which is tender and graceful, though at times it i s somewhat rude , his angels especially being like

- great big high spirited boys . His stately form of

o i n e comp sit o makes his style very attractive, esp ciall y as it ever leans to the side of common nature . Tw o of his pictures in the Pinakothek are of t ” the same subjec , the Annunciation , but they are

diﬁ erent of widely conceptions . In the one ( 1 005)

ma niﬁ cent the Virgin , in a g pillared hall , which

Ebe urali an School 205

b lo w gives a view of a beautiful garden, stands y a

bed , as she receives the message of the angel — G . abriel The messenger of Heaven, rose crowned, i bearing a l ly branch in his hand, kneels before her .

e i A second angel , also b ar ng a lily, stands in the

. Go d doorway Above the Father, between two

angels , sends down the Holy Ghost . The other Annunciation 1 007) i s totally f di ferent, representing, as it does, a Renaissance

’ w e building, of which see a carpenter s shop and a i sleep ng room . There Mary kneels to receive the

o f message the angel . This picture lacks the magniﬁ cence of the other conception but in tender ness o f treatment and in beauty of colouring quite i equals t . A charming and exceedingly beauti ful Ma

donna ( 1 006 ) seated on a stool, holding the n scantily clad Christ Child on her k ee , is the sub

u res ject of the third picture . Both ﬁg are very

C . winning, particularly the grand, chubby hild The background is formed by a rich mountainous land

scape, which shows a view of a valley with a river i ﬂo w ing through t . ’ e L i i s One of the best, i f not the b st of Filippo pp

Fili e i w ho pupi ls was Sandro p p , called Botticelli , in common with a great many of the artists o f his day started his life work by being apprenticed to

o a goldsmith . In vehemence and impetu sity of ‘ 206 ttbe a m of tbe l lbuntcb (Bal lertes

action, combined frequently with great grandeur,

as he stands above all his contemporaries . His p sio nate imagination in expression renders him the most dramatic painter of his school and he espe ciall ﬁner y developed a power of movement, often

H e in attempt than performance . is allied to Michelangelo and Luca Signorelli in the Titanic force of some of his creations . Botticelli was peculiarly qu aliﬁ ed to i llustrate the mythological and allegorical tendencies which the revival of classic literature developed in Italy

f n h during the ﬁ tee t century . Only one of hi s pictures is to be seen in our col h lection , a Lamentation over the Body of C rist which Vasari says Botticelli painted for the Church of St Peter Maggi ore in Florence .

In this the Virgin , with the body of Christ on

s St . her knees , sinks uncon cious , supported by John, w hile tw o of the holy women bathe the sacred head and feet with their tears , and a third, in an

o f abandonment grief, stands with the three nails i n her hand . Nearby are Saints Peter , Paul and

Jerome . This picture represents the deepest aban do nment of despair , the Maries around the Body of the Saviour being literally frantic with grief.

There is good reason for doubting the so - called paternity of Filippino Lippi . A near relationship was not by any means proved by the adoption o f

( the 11taltan School 207

’ w as a master s name, as that, at this time, quite a c t a ommon occurrence . From accoun s it would p

pear that Filippino came from Prato , where Fra

’ Li i s Lippo pp relatives resided, and so it is safe to

’ i s assume that they were related . Filippino Lipp b education is attri uted by Vasari to Botticelli , and there is certainly a closer resemblance between the works of the tw o than there is between Filippo

d Filippino . O i t his pictures in the Pinako hek collection , one ( 1 008) shows the Saviour Showing his Wounds ” to his Virgin Mother, both in kneeling positions . This painting belongs to the end o f the ﬁ fteenth century and is in striking contrast to the works of his reputed father , which belonged largely to the school o f the Middle Ages . Between the styles o f Fra Lippo Lippi and his illustrious namesake a whole epoch o f healthy progress in knowledge o f

o r nature stretches . A gradino, ornamental part

i o f o f to this picture, s that the Man Sorrows in

u the Grave upheld by an angel. O his left are

o ulo u se Saints Francis , Louis of T and Bernard of

Siena and on the right, Saints Clara and Cather ine of Siena . c A picture , which has quite a little history atta hed B to it, is the Lamentation over the ody of ” Christ which was ordered by the Co m~ ia h no w pagn di Balestri for t eir chapel in Cestello, 208 Ebe El t t of tbc M uni ch (Bal l ertes

the Church of San Frediano . There arose a dis pute as to the amount to be paid for the picture when completed and by the decision of the arbiter,

G 1 0 Ridolfo hirlandajo, 7 lire, an amount equivalent i to $34 , was paid . The pa nting represents the i V rgin with the sacred body lying across her knees ,

t . the head supported by an angel, the feet by S

Mary Magdalen . Behind them stand St . John the

St . . Baptist and James , Major In the clouds are to be seen three angels , with the instruments of

P Th e is the assion . background formed by a land scape against a clear sky . The head of the Florentine school of the end of

ﬁ fteenth r i the centu y, Domenico Gh rlandajo , here is represented by one of his best works , an altar piece , the Madonna in Glory Being Worshipped by Saints Mary appears in a ﬂamelike aureole between seraph heads and tw o praying At i angels . her feet, w th a most beautiful and

i St . del cate landscape for background , stand Michael

St . and John the Baptist , while to the right and

l St . . eft kneel St . John the Evangelist and Dominic This picture w as painted for the high altar o f

Santa Maria Novella in Florence and was , together with the frescoes in an adjoining chapel , a votive offering of the To rnaqu inci family .

The picturesque colouring, the clean , delicate and always expressive drawing, the plastic treatment

Ebe Mali an 5 013001 209

ﬁ u res u s of the g , show that the scho ol of which Ghirlandajo was the leader had attained to a great H height . e was a painter whose name is one of the great landmarks of Florentine art and w ho car ried to perfection what Massaccio had conceived

. G and begun hirlandajo , whose real name was D i omenico Corrad , was a goldsmith , as were most

r of the g eat Florentine sculptors , artists and

c his archite ts , and name was derived from the popularity which he gained from the garlands which he manufactured for the headdresses for the Flor

entine women .

si niﬁ ance The portrait, in the largest g c of the

o word, is the pr minent characteristic in the pro

i H e du cti o ns of Gh rlandajo . introduced portraits i of contemporaries nto his historical representations ,

thus raising to them an honourable memorial, but

not , however , introducing them as the holy person ages themselves , as was the practice among the painters of the Netherlands and in Germany . Sim ple and tranquil , in the costumes of their time , these personages stand by as spectators , or rather, wit

the n . nesses , of holy incide ts represented They frequently even occupy the principal places in his pictures . b The tw o wings , which accompany the a ove

St . altarpiece , are the representation of Law rence ( 1 0 1 2 ) standing in front of a niche in his 21 0 (1130 a rt 01 the ﬂD uni cb G al leries

’ i deacon s robe w th a green mantle , his right hand

o resting on the instrument of his martyrd m , the

’ left bearing a martyr s palm ; the other St . Cath

’ erine of Siena ( 1 0 1 3) in her nun s garments of black and white, holding a book in her right hand ,

r i and in her left a c uc ﬁx . Great majesty is to be observed in the execution of these ﬁgu res and a

o a certain degree of severity is n tice ble, especially in the outlines .

1 2 Leonardo da Vinci , born in 45 at the town of t the hat name , is rightly placed at the head of ma i ture period of Ital an art, for though he preceded the other great luminaries of the cinque - cento by a quarter of a century, yet his works alone antici

e pated their standard of perfection . H possessed i an almost unparalleled combination of g fts , mental

H e and physical . had great personal beauty and

H e was endowed with tremendo us activity . was s culptor, architect , painter, engineer and physiol

i H e o g st . left writings on art and on physical

i di sco v sc ence , the latter anticipating the greatest

H e eries of modern times . mastered the sciences indispensable to the highest development of these attainments , mathematics , perspective , mechanics

H e and anatomy both of humans and animals . n planned canals, he desig ed fortresses , he invented i mach nes for swimming, diving and ﬂying, a com

and n pass , e gines of war of various designs . H e

21 2 t he a rt 01 the muntcb 6 011101105

re versal to be included in any school , though his

ﬁ nement , enthusiasm, and sometimes exaggerated

a o . sentiment, may be comp red to the Umbrian scho l

e Leonardo studi d under Andrea da Verrocchio, as did also Perugino and Lorenzo di Credi , and it i s said that the two latter learned more of their craft from Leonardo than they did from their

a teacher, though it is only re sonable and just that i Verrocchio, possess ng as he did, profound knowl

m ﬁ u re edge both of the hu an g and drapery, must have exercised valuable inﬂu ence over all w ho stud ied under him . There is but one of his paintings in the Pinako

i s thek collection and that stamped as an early work , while he was yet a pupil in the studio of V erro c

i 1 0 0a chio . It represents the V rgin ( 4 ) holding

ﬂo w er i out a to the Christ Ch ld, who lies , quite nude, on a cushion . She wears a veil over her blond hair, a brick red under garment and a grey

i co nﬁ ned the blue overdress, wh ch is at breast by

ew el - a j , while a blue gold trimmed mantle falls At from her shoulders . her right is a crystal vase

ﬂo w ers with and in the background, through two

o f round windows , is to be seen a view a mountain landscape . The beauty of the Madonna and the

i its charming Child , w th beaming eyes , point to ’ ﬂo w ers Leonardo s early manner, but the vase o f , the execution of which is dry and uninteresting, Ebe I tali an S ch0ol

would appear to u s as i f it were painted by another

hand . h T ere are also three pictures , probably painted

’ in i his i n ce Leonardo s stud o and under direct ﬂu en , one a copy of his Gioconda ( 1 043) one of the

i ﬂo w er Virg n, seated upon a y bank ( 1 04 1 ) and i hold ng upon her knee the Infant Jesus , who has

ru i a c c ﬁ x in his hand . The background landscape i i gives a d stant view of a c ty gate . The last of the trio is also a Madonna ( 1 042 ) — clad in a red dress , with an orange trimmed light

ﬂo w ered mantle , and a white headdress covering i her redd sh hair . The Christ Child is supported

by her right arm on her knee , on a green cushion . This work has many of the characteristics of the Netherland school and is said by some to be the

work of Barent van Orley, in his Italian period .

it is Later authorities have decided , however, that

the work of some unknown pupil o f Leo nardo .

Lorenzo di Credi , a fellow pupil with Perugino

and Leonardo da Vinci of Verrocchio, was very

nced much inﬂue by Leonardo , in fact many of his

e early pictures have be n attributed to the latter, ’ though he was by no means Leonardo s equal, as

H e the latter developed . was a painter of light, i h ﬁ n s . cheerful colours , of exquisite execution and It is related of him by Vasari that he set his palette

with numerous and mo st carefully graded tints, and 2 1 4 Ebe 3 “ Oi the ﬂbuntcb $ al l et tes

used a separate brush for each , and the clearness of his colours corroborates this statement . His i subjects were generally l mited to Holy Families , with gentle and contemplative saints and ﬁne ar chitectu ral backgrounds . A characteristic tondo of Lorenzo ’ s hangs in the

Pinakothek, a Madonna Worshipping the Christ i Ch ld who is lying on the ground . An

St . St . angel holds the little John , and to the left i Joseph is seen sleeping . The background s a land scape with a ruin and the annunciation of the angel to the shepherds . In the same room ( 1 0 1 6a ) is a Virgin with the ” Holy Child , to whom an angel is reaching a vase

o ers. of ﬂ w This is a true type of his Madonna , gentle and unmeaning . The Child must have been i taken from an ungraceful model w th large body,

ff . short neck, pu y limbs and a double chin The landscape background , however, is exceedingly

’ charming . This is one of the master s early works, while he was still a pupil in the studio of V erro c i ch o , and a drawing for the Madonna head is to be seen in the Malcolm collection in London .

A picture , which was formerly ascribed to Ver

no w rocchio , but is known to be the work of some unknown follower of Lorenzo di Credi , is a tondo

“ ” of Mary and Joseph ( 1 0 1 8) praying to the

Child Jesus , who lies on the ground on a cloth . In

2 1 6 t he 01 the M uni ch G al l eri es

fo reﬁn er ﬂo w er in her right hand, while with the g of her left she points heavenward . Beside her is seen the wheel of her martyrdom and the back ground is formed by a softly exec uted and beautiful i i t mounta nous landscape . There is a look of ne fable beauty and ecstatic happiness on the face of the martyred saint, while the soft blending of the colours of the composition reminds u s of Leo nardo i hi n s happiest concepti o ns . There i s also a Madonna ( 1 046 ) holding the i hi i Chr st C ld upon her knee, a serenely beaut ful

i i h i i to V rg n and a appy sm l ng cherub Child . It is be regretted that our collection has no example of i his fresco work, in wh ch his colours are even more transparent and attractive than his easel paintings in oil . There is a small picture ( 1 047) by Giovanni Pie

Giam edrini i tro p , a V rgin with the Christ Child, w ho i in holds a b rd his hand by a string , a copy of the original which hangs in the Borghese Gal f i i i . o am edr n lery at Rome Little is known G p , but

hi s i is z from paint ngs he to be recogni ed as a pupil, or more probably a follower, of Leonardo da Vinci . In the general similitude of the members of th e Leonardesque school to each other and to thei r i head , there is none who more closely mitates the i dreamy expression , w th an exaggeration of the

c Giam edrini grey and old modelling, than p . 11130 ﬁ taltan 5 00001 21 7

A more important member of the school of L eo

nardo , Cesare da Sesto, known also as Cesare da

to Milano , who , though a pupil of Leonardo , went Rome and there became the friend of Raphael and

inﬂu enced very much by him . His works show him to have imitated the latter rather than his

former master , though one of his creations, a ” i at Judith, wh ch hangs in Vienna , was long

i s tributed to Leonardo, so like it to his works in

style .

The Pinakothek possesses a picture by him , which

e r has been much r sto ed, as it was badly damaged It represents the Virgin lying on the

ground , holding a book in her left hand, her arm

to encircling the Infant Jesus , who reaches up em

brace her . Behind her John holds back a red cur

tain , letting in a glimpse of the landscape, which background has been attributed by some critics to

r az z ano e Be n , a landscape artist, who fr quently

worked in conjunction with Cesare .

o O f the rare works of Girolamo del Santo, kn wn

variously as Girolamo Sordo or Padavano, who is

to 1 6 traced by records up 54 , we have a curious Judgment of Solomon and of thos e o f

Matteo di Giovanni di Bartolo , called Matteo da

o 1 1 Siena , born ab ut 435, died 495, and who was considered one of the best painters of his time , the Pinakothek owns o ne o f the pictures for which he 21 8 t he a rt of tbe muntcb G al leries

is best known, that of the Slaughter of the Inno cents a subj ect which he painted many

ou as e o f times, th gh it w quite b yond the scope his

ill - powers . The actions are violent and understood,

i o f the expressions grimac ng, though that Herod, who is seated on a throne, is successfully cruel.

’ The large size of Herod s ﬁ gu re w as a traditi onary practice . It is much to be regretted that the Pinakothek possesses no painting by the founder of the Paduan

n e school, Andrea Manteg a , whose genius mad itself

e re felt in every school of Italian art . No mor h markable painter t an Mantegna has ever lived . H e combined an intensely realistic tendency with an ardent love of the antique , adding to these great

o f powers of invention , a solemn poetry feeling, the grandest expression of passion and a mastery

e of hand which is almost unique . Who ver has learned to know the great master will never over look anything by him . His works have always a force and an energy which belong to no o ne else .

o f fi u re n In power drawing the human g , Manteg a is almost unrivalled though his figures are occa sio nall the y too long, still his hands and feet have precision o f sculpture and his powers of action range In from the most tender to the most vehement . his treatment of th e human features no problem iffi l w as to o d cu t for him . His drapery is always

220 t he a rt of the M uni ch Gal l eri es

a re t o f throne some cryptic le ters, indicative the i names of the saints n the picture . Ferrara was one of the towns much inﬂuenced i by Mantegna and th s picture has been attributed,

h su fﬁ cientl thoug without any y good reason , to ” i Il s Cos mo Tura, called Co ma, a quaint and dry Mantegnesqu e painter of singular energy of draw

in ﬁ nish . g, and great O f the school of Ferrara, also , was Lodovico

e Mazzolini , a pupil of Lor nzo Costa, who was much inﬂu enced by the Umbrian softness of hi s friend and i i i . z i teacher, Franc a Ma zol n adhered to the earl er

H i s school of Ferra rese teaching . pictures are gen erall i i y small and m nute , w th great depth and power of local colour, and often heightened with gold in

h . i the lig ts His backgrounds consist, usually, of r ch

i i - arch tecture with del cate bas reliefs in classic taste . H is two pictures in the Pinakothek are very charac

ri te sti c . In the one the Virgin sits upon a marble bench with the Infant Jesus, to whom

Joseph is giving cherries from a shell . In the

o d heavens , G the Father leans against the ball of the world , and near him is the dove typifying the

Holy Ghost . In the picture of the Holy Kith ” and Kin ( 1 025) Mary sits with Jesus on her

o n knee, and the one side are Elizabeth and Zacha rias and the boy John ; on the other Joseph and

. At the o f th Anna edge the picture are e portraits, Ub ' e tltaltan S cho0f 221

and o f right left, the pious donors . Both these pi c tures have noticeably charming landscape back

grounds . Another Madonna which came to the Pinakothek collection from that of the Ercolani

Palace in Bologna, is one painted by Marco Pal

, Melo z z a mezzano a pupil of the noted da Forli . t The Virgin wi h the Child is seated on a throne, in a rich Renaissance hall, with Saints Francis and P i eter on her r ght, and on her left St . Paul and

St . Antony the Hermit . At the foot of the i throne is a cherub playing the viol n, suggestive o f o f Melo z z o the work , whose musica l angels

- . O u are world renowned the sword, which St . i Paul holds , is the date of the picture , which s

’ ﬁne all Palme z i of execution, with of z ano s sk ll in elaborate colouring and tasteful architectural ff e ect .

Luca Signorelli , otherwise known as Luca da t Cortona, from his bir hplace, and who painted with a grace and a grand style, anticipating Sebastian

o del Piombo in this respect, as he also s metimes anticipated Michelangelo in energy of composition ,

u s mi l o z 6a has given a Holy Fa ly ( ) , a tondo, in which the Madonna sits, in a rocky landscape, with

w ho en folded hands , gazing at the Christ Child, , tirel b y nude, stands eside her, laying his hand upon In th e s a na ﬁ her knee. e middle distanc its ked g ' ‘ ' C bc ﬁi t 01 the M uni ch Gal leries

n e e ure on a rock ear a stream, comm ncing to unti his sandal . o f A severe, but perfect and noble drawing the

’ i in nude is not ceable Signorelli s works , and a num

hi s ﬁ u res ber of positions in g , never attempted in

o art bef re, are introduced with careful study and success . With the highest development, also, of i plastic power, the anxious striv ng for mere ana to mical correctness is no longer apparent , but gives i place to a peculiar grandeur and elevat on , stamped i i i alike on scenes of tranqu ll ty and beat tude , and on representations of vehement and fantastic action .

We are , in every way, reminded of the style of

Michelangelo , of whom Luca was the immediate H . e predecessor, if not the contemporary may be

o i c nsidered a painter str ctly of the nude , always

i in powerful in action and agony, charm ng colour i tone, somet mes square and unselect in form , but i always academ c in character .

The all - pervad ing inﬂuence of Mantegna reached as far as Cremona, and one of the painters who emerged into distinctness by the comparative ex ll ce ence Bo ccaccino . of his work , was Bocaccio

Though somewhat dry in detail and manner , his

ﬁ u res g have grace and beauty . His picture of the ” Saviour of the World ( 1 029 ) with his right i hand ra sed in blessing, while the left one holds the

C ru ciﬁ x , is not one of his most characteristic efforts,

‘ ’ 224 Gbe a rt 01 the muntcb G al l eries

H e e mentato rs of Vasari . m ntions Antonello as — vi siting Giovanni da Bruggi a John or Hans of

tw o Bruges . But there were Giovannis da Brug

ia i a g , Hans Meml ng being also known by that p

i Mem pellation , and when we cons der the dates of

’ ling s birth and death ( 1 4 24 - 1 499 ) and hi s style

o i s of art, to which that of Ant nello obviously more nearly related than to the paintings of Jan van Eyck , all rational doubt vanishes as to which Giovanni da B ruggia was the friend and teacher of the Si i i c l an .

About 1 473 it is believed that Antonello settled in i i o Ven ce , where the s ght of his new meth d pro du ced a revolution among the great founders of the i i . Venet an school His early relig ous pictures show , i i unm stakably, a m xture of the Italian and the

i i s i he in Flem sh styles , which very cur ous, but , hi s inﬂu ence G i turn , came under the of iovann Bel

i o lin and his scho l , and his later works , of which we have an example in the Body of Christ

1 02 b i in ( 9 ) ly ng outstretched a stone sarcophagus , with two angels holding a linen cloth over the

i 1a corpse , is quite indicat ve of this period of his bours .

i 1 02 a His other p cture , a Madonna ( 9 ) in a dark blue dress , with a lighter blue mantle, partly thrown over her head , her crossed hands laid upon her breast , also bears the impress of the Italian ‘ c be ﬁ taltan s chool 225

inﬂuence , which in the end dominated his paint

ings . In the same cabinet as these last is to be observed

, i a picture probably only a studio one, attr buted to G , the entile Bellini son of the noted Jacopo Bellini , whose pupil he was . This i s a portrait ( 1 030 ) of i a young man , w th long hair , dressed in a partly reddish and partly black dress and a small black

i hi s i cap , hold ng a stick in upl fted , beringed hand . i i To the fam ly of Bellin , Venetian art owes much f o . a r n her greatness The father, Jacopo , was pp e ticed to Gentile da Fabriano and acco mpanied the

l 1 22 latter to F orence in 4 , but unfortunately all his surviving works are seen in doubtful or much in jured examples . The chief testimony upon which his fame rests is in a book of drawings by his hand, now in the British Museum , inscribed with

1 0 . his name and dated at Venice , 43 Gentile Bellini received his education as a painter i in Padua, but removed later to Ven ce , where he was appointed to paint the doors of the great organ at San Marco . The four pictures that resulted rep resent Saints Mark , Theodore , Jerome and Francis . In 1 4 79 the Sultan applied to the Signoria fo r a G good painter, and entile Bellini was sent to Con

s an ino le . t t p , where he remained more than a year e There exist quite a number of pictures , notabl among them that of the Sultan who was instru ‘ 226 tthe a rt of tbe muntcb (Bauertes

G hi s o mental in bringing entile to c untry, extant i i in various private and nat onal collect ons . There is evidence that Titian , when a boy of nine , entered th e studio of Gentile Bellini . We must now enter more closely into the char

c eristic i e o a t qualit es of the V netian sch ol , which

ﬁ fteenth unfolded in the second half of the century, and which , together with the schools of Florence i and Padua, contributed a th rd important power tw in the development of art . In the o last schools this was effected by the study of form and the laws which govern its appearances , by drawing, model i ling, chiaroscuro , etc . , wh le colour was generally regarded as a subordinate quality . Among the

o Venetians , on the c ntrary, the element of colour ing was considered all - important and in this respect the school claims an unrivalled precedence . Doubt less the residence of Gentile da Fabriano in Venice i left many scholars there mbued with his manner, and owing to the teaching of Antonello da Messina

ﬁr st o the Venetians were the , am ng the schools of

o il i Italy to practice paint ng in lieu of tempera, the greater ﬂu idity and transparency of the former

. No w o being highly favourable to their aims , t o , i the accessor es , particularly the landscape, assumed

. U to greater importance p this time in Venice, the single ﬁgu res of saints were painted o n gold grounds and divided by framework . This prac

228 11130 5111 of tbe muni cb (Bal l ct tcs

i Venice . His Madonnas are gentle beings, mbued

i his w th lofty grace, saints are powerful and have noble forms, his angels, beautiful boys in the full bloom of youth . In his representation of the Sa v io u r he displays a moral power and grandeur sel

i n dom equalled the history of art . It is much to be regretted that there is nothing from his gi fted i i brush in the P nakothek collect on . G ni i i i iovan Batt sta C ma , called C ma da Cone

’ liano g , was one of the most prominent of Bellini s followers . and we are most fortunate in having one of his most characteristic works a Ma ” h the donna with the Christ C ild , to whom Mag dalen ho lds out an ointment vessel . Opposite to

is i i s them Sa nt Jerome , and the whole enclosed i i ’ in a beaut ful landscape background . C ma s Ma

i i i e donnas , as in th s example , are somewhat nan mat and generally of one type but pleasing in expres i ﬁ u res s on ; his male g , as in the Saint Jerome , are characteri z ed by great dignity and tranquillity i n gesture and movement , but the remarkable feature

i i o i s his of th s pa nting, in common with his sch ol ,

i - colour ng, which is absolutely jewel like in quality. i it In treatment of landscape and pred lection for , Gi he even rivals ovanni Bellini , to whom many of i his paint ngs have been attributed . His attachment to his birthplace i s shown by his frequent intro duc

fo rtiﬁ ed tion of the hills and walls o f Conegliano . 11130 11taltan 5 013 0 22 0 1 9.

O i a somewhat later date and severer styl e was

Basaiti Marco , who was born of Greek parents in

w as Venice, and who a pupil and assistant of Luigi

V iv arini G i and later of iovanni Bell ni , whose inﬂu ence in the softness of his later works can be easily

traced . We have in the Pinakothek an example of his early and one of his later style The Bewail ing over the Body of Christ ( 1 032 ) and a Ma donna

Three exquisite pictures , the work of Pietro

V anu cci h , more commonly called Perugino, from is in in P residence Perugia, are the inakothek collee

tion . Perugino was without doubt the most illus n trio s artist that Perugia produced, though not a little of hi s fame comes to him thro ugh association P 21 . with his famous pupil, Raphael San o erugino acted as assistant to Pietro del Francesco at

s i Arezzo , and thu laid the foundat on for that Um

- brian feeling which is never absent from his works . Later he appears in Florence studying under Ver

n z rocchio, with Leonardo da Vi ci and Loren o da

Credi . It is known that Perugino was associated with Leonardo in the study of perspective and there is no doubt also that they studied together the mys i teri es of the then new art of pa nting in oil .

H e w as summoned to Rome by Pope Sixtus IV, in order to assist in the decorating of the Sistine

o w ho Chapel, where he was the nly artist employed 23° 11130 B rt 01 the {1011111013 G al l eri es

was no t a Florentine . Some of these works were afterwards destroyed to make room for Michel

’ ” e angelo s Last Judgment, but those still r main in g, The Baptism of Christ and the Deliver ” ing of the Keys to Peter, are painted, for Peru gino , in quite a Florentine manner .

his A picture, painted in most charming style , which exhibits that grace and softness , that tender, i enthusiast c earnestness , which gives so great a

St . charm to his works , is his Vision of Bernard

who , seated in a noble open hall, devoutly i in read ng, perceives, a vision , the Virgin, followed

. St . o by two angels Barthol mew , with book and

t . knife, and S John the Evangelist with cross and book stand behind St . Bernard . This is one of the

ﬁ f een h happiest creations of the late t t century . It is worth while to compare this picture with the Annunciation of Fra Filippo Lippi in the same room , to observe the sequence and the rapidity with which art had advanced towards its i goal of depict ng pure , distinct humanity . The

G ﬁ ures othic love of slender g still prevails , but i whilst Lippo had little feel ng for symmetry, Peru ’ ﬁ u res gino s g , large as they are , are perfectly pro h portioned . T eir movements , too , are really human and their tasteful and poetical atmosphere is far i ’ nearer our ideas than those in L ipp s works . What the latter had begun, Perugino almost completed .

Ebc 11taltan 5 013001 231

The great advance made is specially noticeable in a the treatment of architecture , which pl ys such a L i ’ prominent part in both pictures . In ppi s picture we cannot conceive it to be the production of an art which works with such solid material as architec i ’ . G ture It is still very l ke the style of iotto s school, where the buildings appear to have no walls and to consist principally of lattices and palings . With Lippi architecture was treated as a surface decora tion and is almost without body . Perugino , on the other hand, has not only given his walls and pillars an appearance of reliable stability , but has made ﬁll an attempt, though but a timid one , to the ves tibu le of the church with a picturesque religious

ab light , so that it does not appear so unreal and n stract as in the older picture . The gures cannot only move but they advance in pleasing procession between the pillars towards the saint .

his In the second ( 1 035) of pictures, the Ma donna stands with folded hands adoring the Christ

ho Child, w lies on the ground before her, between i , St . John the Evangelist, at whose feet is a chal ce

St . from which issues a snake, and Nicholas with ff book and sta . This picture is remarkable for the depth and clearness of its colouring and for the extremely reﬁned character and expression of the

Madonna . ‘ The third canvas is also a Virgin ( 1036 ) 232 t he 8 11 01 the muntcb G al l eries

i her ﬁ ne w th the Child upon knee, in which his i i lum nous colour, with a certa n sentimental grace

hi hi s w ch pervades school, are exhibited in a large degree .

Raibo lini Though Francesco di Marco , known

II n as Francia, was born at Bolog a, so strong an afﬁ nit i him P y ex sts between and erugino in period , in h o il e treatment bot of tempera and , in t nderness

i in i s of feel ng and class of subject, that he justly i h included among the Umbrians . It s supposed t at

Lorenzo Costa, a Ferrarese painter, who frequented

o h h i B logna, t ough younger t an Franc a and sur mi sed his i him i to have been pup l , gave nstruction

Bo in the secret of colour . Mantegna also visited th i logna, but e fact that paint ngs by Perugino were seen in that city towards the close o f the ﬁ fteenth century, probably accounts for the Umbrian tend ’ H ency of Francia s work . e was a goldsmith and hi s early pictures give evidence of hi s early craft i i i in the r clear outl ne , their metall c and polished i i i i surface and the m nut a of deta l of the r execution . These characteristics were afterwards much modi

ed i i fi n a h gher development of picto rial feeling . To his best period belongs his beautiful Ma donna with the Holy Child w ho has a go ldfinch in his hand and is held upright by hi s i Virg n Mother upon a balustrade , over which hangs a ma nificentl g y bedecked cover . Behind, on a red

‘ cbe ﬂtaltan 5 chool 233

c tw o . w as o arpet , stand angels This f rmerly in the Zambeccari collectio n at Bologna and w as pur chased by Maximilian II and presented to the Pina

’ ko thek . It is a ﬁ ne example of Francia s power o f spiritual expression combined with gemlike col

o u r .

We have also a Madonna in a Ro sehedge

which , though not as characteristic as the

Madonna alluded to above , is still a most pure crea tion of art, and doubtless the period which produced this reﬁ ned maturity of grace in Francia corre spo nds with that of the friendship between him and the youthful Raphael , suggested to have com

d 1 0 e mence in 5 5, when the latter proce ded from

Florence to Urbino , probably taking in Bologna on

testiﬁ ed his way, and further to by letters which passed between them in 1 508 .

In this picture, the Virgin , with arms crossed o ver her breast , sinks praying on her knees , before

w ho the Holy Child , , his right hand extended and holding an apple in the left, lies under a ﬂower canopy on a bank . For background we have a tw o beautiful landscape, in which riders are seen tethering their horses on the banks of a small

stream . The original drawing for this painting is to be seen in the Ufﬁz i Gallery in Florence . No painter has given greater sweetness and his beauty to his Madonna heads, and power of ‘ 234 Ebe a rt of tbe muntcb (Baueri es rendering the tenderest and pearliest female com plex io ns is unsurpassed . The story told by Vasari that his death w as caused by envy and mo rtiﬁ catio n ’ i St . at the sight of Raphael s Cecil a, is, like many by that charming but somewhat inaccurate histo i o r . r an , pr ved to be unt ue A sonnet, addressed by i Francia to Raphael, shows feel ngs of a decidedly O n opposite character . the other hand , it is easy i to bel eve a saying imputed to Raphael, that Fran cia’ s Madonnas were the most devoutly beauti ful

’ w as fre he knew . The master s type of Madonna

no t quently imitated by his scholars , and all the works , ascribed to him in collections, are really by his own hand . G 28th Raphael Sanzio , born ood Friday, March ,

1 8 G 1 20 o f Gio 4 3, died on ood Friday, 5 , the son

i r re re vanni Sanz o, and the pupil of Pe ugino, is p sented in the Pinakothek by some of the best works f i of his early period . There is no need o compar i son with other painters n order to exalt Raphael .

its The character of his pencil, versatility, and its purity are su fﬁ cient signs of his marvellous endow ments . No master has left so many works o f the i h ghest rank in art , no other so little that is defective H or unattractive . e represents a purity and reﬁ ne ment of feeling and form , unattained before and unequalled since , in the combination of which , with

o f o f power hand and grasp mind, he stands alone .

‘ 236 atbe a rt of tbe muntcb (3111101108

place as an architect, and various buildings in Rome,

’

St . besides Peter s and the Villa Medici , are con

nec ed w . t ith his name Furthermore , by authority of Leo X he commenced the investigation and meas u rem nt i h e of the rema ns of ancient Rome, wit a

its i o view to reconstruct on, an occupati n which was interrupted by his early death The Baptism of Christ with the pre c della painting, the Resurre tion w as painted while Raphael was still painting in Peru ’ h gino s studio . T ey were brought by Cardinal Inghirami to Volterra and found their way into the Pinakothek collection by purchase by Crown Prince i i Ludw g . The Baptism represents the Sav our w covered with a loin cloth , standing in the shallo water of the River Jordan , while John the Baptist , who holds in his left hand a cross and in the right

o o f the baptismal water vessel , perf rms the rite

. O n baptism the right and left are standing angels,

i o wh le th se behind kneel in adoration .

The companion picture to the foregoing, the pre della of the “ Resurrection shows the

Saviour standing on the edge of the grave , by which w h three atchers are sleeping, while the fourth , w o has awakened, hurries away in terror at seeing the n rise Lord . O u the shield of one o f the watchers is to be deciphered the original signature o f

Raphael . There were three other parts of this al 1100 11taltan 5 0b001 237

tar i p ece but they are no w in the Museum of Rouen .

These paintings executed during this period, retain, i as m ght be expected, reminiscences of the Peru

ines u e g q school both in conception and execution . In the beginning of I 504 Raphael appears to have left the studio of Perugino and to have commenced i an ndependent career . His works bear some of the features of the Umbrian school but already show the ff freer action of his mind, and a decided e ort at

greater individuality of representation .

1 0 In the autumn of 5 4 Raphael went to Florence, Where Tuscan art had at this period attained its

zenith , and the most celebrated masters were there

contending for precedence . A new era now com

menced - in Raphael development , and here he studied

Massaccio the old works of , the labours of Michel

o angelo and Le nardo da Vinci , and was in close

intercourse with Fra Bartolommeo, whose colour ing delighted him so much that he strove to imitate it he i , while , on the other hand, nstructed the monk i n perspective . From this period dates his entire emancipation from the co nﬁned manner of Peru

o n gin , and his advance towards independe t thought f and mastery o form . Painted about this time is the enchanting Ma donna o f the Casa Tempi Here the h w ho Virgin is tenderly pressing to herself the C ild ,

o f nestles closely, as he appears to whisper words ‘ 238 Ebe a rt 01 the muntcb (3111101100

th endearment . In this picture, also, e Madonna is represented standing. The Virgin Mother clasping

ee the Child so lovingly to her heart, laying her ch k against his, absorbed in gazing at him with a smile

the of bliss, makes a picture of purest humanity, i i taken straight from l fe , Wh ch might have been a reminiscence of Raphael’ s own childhood but the pure and lofty feeling of the artist has infused a spirit of more than earthl y holiness into the co nsum mate beauty in his portrayal of the holiest of human feelings The Canigiani Holy Family in our collection in the Pinakothek, shows a far richer c omposition . Mary sits on the ground in a meadow , t opposite to her kneels the aged S . Elizabeth, each

The of the two mothers holding her child securely . little Jesus smilingly accepts the scroll which John , his f with a serious look upon face, o fers to him ;

t o St. Joseph stands in the middle behind the w aff women, leaning with bo th hands upon his st , and

la t looks down ponderingly : a hilly ndscape, wi h a

k . We town of many towers, forms the bac ground learn through Vasari that Raphael painted this pic ture for Domenico C anigi ani at Florence ; that from the possession of his descendants it afterw ards en passed into the hands o f the Medici . Then wh

n a‘ the Elector Palatine, Johan Wilhelm , married o f o f daughter that house, the picture came, as part

1100 Mali an 5 00001 239

’ the princess s dowry, to Dusseldorf, and was trans ferred thence in the year 1805 with the rest of the

D - treasures of the ii sseldo rf Gallery to Munich .

This beautiful picture is , unfortunately , in a very bad state of preservation . The groups of child an e g ls , which formerly hovered in the air on either

St . side of Joseph , have completely disappeared , through cleaning and repairing, so that now the too strictly pyramidal structure of the group strikes the eye more than was originally the case . If we

' eﬂ ect co m o sitio n ~ w e wish to gain an ideal of the p , must see one of the old copies for the sake of com T parison . here are several of these, for instance ,

il in z a copy in o the Pala zo Colonna at Florence , i and a wash draw ng, not a particularly good one ,

G . it is true , in the Oxford allery — Similar to the well known Madonna della ” no w Sedia , in Rome , is the Madonna della Tenda formerly in possession of King

Ludwig I of Bavaria, now in the Pinakothek . The

ro ﬁle o Virgin , painted in p , h lds the Child in her i lap ; he leans on her bosom in happy childlike att

o f St . tude , while at her side the head the little John may just be seen The composition is much ” the same as that of the Madonna della Sedia, but the Ch ild is represented in more lively action and

looking upward . In the background is a green cur n tain and hence the Italian name o f the picture . A 240 t he a rt Of the M uni ch G al l eries old copy of this is to be found in the Gallery at

Turin . Under Julius II Raphael’ s mastery as a painter of portraits was largely in abeyance , owing to the magnitude of the other works in which he was em

the gaged , and beside the picture of Pope himself, i we hear but of two others , one of wh ch , that of

o G the young Prince Federig onzaga of Mantua,

e has disapp ared That , however, of the artistic ” Alto v iti Roman banker, Bindo , is now in our collection in the Pinakothek It represents a young man , about twenty years of age , with long

his blond hair and a black cap , looking over shoul

hi s der at the spectator, left hand lying on his i . erro n breast This p cture was , for a long time , e o usl i y held to be a portrait of Raphael h mself , in consequence of an expression used by Vasari , which certainly seems ambiguous For Bindo Alto v iti he painted his portrait when he was young . It is

ﬁne a Italian countenance , full of sensibility, the colouring powerful with dark shadows .

There is also another picture , the head of the youthful St . John around whose shoul ders is draped a red and black garment , but the authenticity of this painting is very doubtful , though it has been attributed to Raphael and bears some o f the hall marks of his style and colouring . The Pinakothek also contains co pies of four of

24 2 Ebe 3 11 Of 1130 muntcb G al l eri es

the Pinakothek were conceived, The Magdalen

St . Apolloni St . Jerome

- and St . John the Baptist

’ Granacci s As an example of earlier style, when

inﬂuence G he was still under the o f hirlandajo, we see a Holy Family ( 1 06 5) representing the Vir gin Mother , kneeling praying to her Holy Child , who lies on the ground before her . Opposite her,

St . seated on the ﬂoor, is Joseph , who gazes de v o utly at Mother and Child . In the background to

an the left is the stable of Bethlehem , and the no u ncement of the angels to the shepherds .

' 1 066 A Holy Family ) by Andrea del Sarto , which came to the Pinakothek with the D usseldorf collection has been the subject of much dispute . i The condit on of the picture , which in the course of time must have received many injuries and co nse quent repairs and repaintings , leaves scarcely a doubt but that it is an original and that the paint ings of the same subject in Italy and France are merely copies . This picture, of which he painted

i u s so many variat ons , shows the Virgin kneeling, holding the Infant Christ in front of her . The C i t . hild leans over towards the l ttle S John , who is

t . To held by his mother , the aged S Elizabeth . the left stands an angel with a trumpet , while another

The lays his hand upon his shoulder . colouring in this picture must have been truly splendid and even t he I tali an 5 chool 243

it s o f as tands, with all the ravages time , it still holds u s by its gracious depth and characteristic

beauty.

V anu cci Andrea , called Andrea del Sarto, from ’

his father s trade as a tailor , represents, another l i phase of mature F orent ne art, which is marked by

a splendid execution and a grand air . H e was a pupil of Piero di Cosimo and later much under the i nﬂu ence of Fra Bartolo mmeo and Raphael and also

of Leonardo da Vinci and Michelangelo . The delicate modelling and chiaroscuro of his forms in his best examples point to the great school of Leo nardo, while the airiness and transparency of his colouring and sense of atmosphere go beyond Fra H Bartolommeo on the road to Correggio . e exe cuted o a great many frescoes , which brought him int the highest repute as a painter , his principal works in that branch of painting being executed for the

Church of the Annunziata at Florence . One of their peculiar features is the exquisite landscape backgrounds which he painted in them .

The easel pictures by Andrea are numerous, their subjects are generally Madonnas , Holy Families and similar altarpieces , and in these his peculiar

o o f quality, which consists of a harmoni us fusion tone in which the outlines of his work are almost obliterated , is freely developed . About I 51 6 Andrea painted a Dead Christ with 244 t he a rt 01 the {D untcb G al l eri es

ch r Angels, whi , on being brought to the cou t of i Francis I of France, led to many comm ssions and in 1 5 18 Andrea transferred his place of residence

i o to that country . Here he pa nted many p werful

n ﬁ ne and gra dly coloured pictures , notably a Char ” in ity, now in the Louvre , which the characteristics of Michelangelo may be traced .

’ Sarto s w L u It is believed that Andrea del ife,

re ia c t del Fede , a very beautiful woman , but a very

hi s undesirable wife, was model for his numerous

he i him Madonnas . S nduced to request the King i of France for leave to return to Italy for a v sit, whi ch leave of absence the king not only granted but provided Andrea with a large sum of money An with which to purchase works of art for him . drea squandered all the money upon his wife and her relatives , while he ungratefully allowed his own parents to die in want , and never returned to France as he had promised to do . Another story told by i i Vasari of Andrea , gives an insight nto the nstabil ity of hi s character and also illustrates the manners D of the times . The uke of Mantua greatly desired

e X to gain possession of the picture of Pop Leo , i painted by Raphael , wh ch belonged to Cardinal

’ i no w Ottaviano de Medic , and is in the Pitti col lection . H e obtained the authority of the Pope to it appropriate , but the owner , not being willing to part with such a treasure , commissioned Andrea del

246 Ube a rt 01 1130 muntcb (3111101108

as o r u b attempt w made, more less successf lly, y

o f several painters, at the beginning the sixteenth

i nﬂuence o f century . It required, however , the a master in whom every quality of art belonging to the time should be united, to raise Sienese painting

o f to the standard the sixteenth century, and such

Gio v ananto nio a master appeared in Bazzi , generally

H e known as Sodoma . was a native of Vercelli and studied ﬁ rst under a noted glass painter of his

anz o tti native town , Martino Sp , and later under

Leonardo da Vinci . In his heads , particularly of i h s . women , he closely resembles master , Leonardo

They unite tenderness , grace and sweetness , with an earnestness and fervour, not to be found in any but

’ o d a the very ﬁ rst rank of painters . S o m s graceful and picturesque treatment of landscape , somewhat

’ i u s Francia s rem nding of what we see in work , is also one of his remarkable features . Sodoma settled in Siena and became a citizen of that city, and it is there that his most impo rtant works are to be seen . There is an excellent example o f his ea rly work

n 1 0 in the Pinakothek , a Madon a ( 73) under a

w ho red baldachino , holding the Christ Child , has

a little bird in his right hand , on her knee . St . Joseph looks over her shoulder and to the left we

s get a glimpse of a beautiful landscape . There i

o f also a fragment a large picture, the head o f the 11130 utauan 5 013001 247

Archangel Michael w hich was fo rmerly in the Sampieri collection at Bologna and thought

’ to be from Raphael s studio . h Another artist from the same sc ool , and largely inﬂuenced n by Sodoma, was A drea Piccinelli del 1 0 Bresciano, who painted a Holy Family ( 75) which bears every evi dence of being modelled upon ’ as Raphael s Madonna of the Baldachino . This w formerly attributed to Fra Bartolommeo but recent research has shown that it w as painted by the artist to whom it is no w assigned . ’ So do ma s most important assistant in his fresco

Beccafumi who work in Siena was Domenico , most nearly approximates the noble and simple grace o f his master, in the beauty and plasticity of his paint o f ings . His picture in the Pinakothek is that a ” Holy Family the Virgin kneeling be fore the Infant Jesus, who lies on the ground, hold ing to him a little lamb . Somewhat behind is the f t ban bo St . o y John, with a cross reeds and a lit le and e neret, while to the right side half se n from the back sits St. Joseph . A very beautiful Pieta ( 1080) the w ork o f 11 G Benvenuto Tisi , generally known as arofalo

m . from his birthplace , next clai s our attention It represents the Virgin holding the body o f Christ t across her knees , while John suppor s it from under b M en w ee the arms. Near y stands Mary agdal ping 248 11130 Et t Oi tbe muntcb 0 111101108

in bitterly . To the left are Saints Jerome his car

’ i h n h dinal s robe and Francis w th t e Stigmata . O t e

i . i r ght kneel St August ne and his mother St . Mon

i a . c A mountain landscape forms the background .

f o O the works of Giorgio Vasari of Arezz , whom we know more as a historian than an artist,

1 0 1 G we have two Madonnas ( 9 , iorgio

Vasari was an artist of versatile talent , a historical i painter and architect . Many of his paint ngs are scattered among the various European galleries , but

i i w e they are not of much nterest or artist c value, if

’ i z in except the ﬁne portra t of Loren o de Medici ,

fﬁ z i in o f the Gallery of the U Florence, and

Cosimo I in the Berlin Museum .

’ Vasari s greatest merit certainly consists in his literary labours ; his biographical account of the lives of artists being the ﬁ rst important work on modern art . Without it our knowledge of single masters and of the development of schools would

in i be poor and fragmentary . There is his wr tings a certain fairness of tone which , in a painter living in the midst of various pursuits and contending in

i ’ terests li s h . , is no g t merit Vasari s descriptions are often full of freshness and liveliness and his anecdotes are invaluable in the history of men and manners .

Lorenzo Lotto, who has given u s a very beauti ful

Mystical Marriage of St . Catherine was

250 t he a rt of tbe muntcb

softness of transition, for which his works are famed . The dominant element in the painting o f Co rreg

o f gio is that chiaroscuro , that peculiar play of light and shade which sheds a harmonious repose over his works . His command over this element is t founded on that delicacy of perception, hat quick ness of feeling, which is alive to every play of light, and is thus enabled to produce it in the form of exquisite modelling . Correggio knew how to anat o miz i e light and shade in endless gradation , to g ve the greatest brilliance without dazzling, the deepest shadows without offending the eye . The relation of colours is observed with the same masterly skill , so that each appears in itself subdued yet powerfu l in its relation to others . The tw o pictures in the Pinakothek were painted

- when the painter was about twenty four years old .

1 The mythological one ( 094 ) shows a young satyr, seated on a stone and blowing on a pipe of reeds . Near him is a lute and to the left is a view of a landscape, with a roe feeding in the distance . The i composit on is very charming and idyllic . The other picture ( 1 09 5) is unfortunately not a complete sub

ect j of itself . It has been cut out of a larger pic ture painted in Parma , the other part of which has been lost . It represents Mary seated under a tree , holding the Infant Jesus . Beside her are Saints ‘ cbe I tali an 5 chool 251

Ildefo ns ﬁ u re and Jerome, near the g of an angel bo y , on whose shoulder the Virgin Mother lays her hand . Three pictures belonging to the school of Co r reggio, or copied from his works, also hang in the

Pinakothek, the Virgin an Angel Head Cupid The Portrait o f a Woman ( 1099 ) with drop earrings is the

r work of Lelio O si , a pupil, and considered to be o ne of the best imitators of Correggio . Tw o great names stand at the head of the Vene tian school of painting of the sixteenth century, — both pupils of Giovanni Bellini Titian and Gio r f gio ne . O the latter we can say that no painter ever stood higher in his life , or has remained steadily at the same elevation to the present day, though of the numerous works which he painted many have perished and many more have been lost . Giorgione ,

e in common with the Venetians of his p riod , was absorbed in colour , and it is this quality which con H stitutes the charm of his productions . e gave the warmth of life to the colour of ﬂesh and imitated the splendour and brilliancy o f different materials . While delineation of life life in its fullest beauty w and health , colour in its deepest glo and atmos — phere in its purest brilliancy was the chief aim o f the Venetian painters , they infused a tranquil dignity into the commonest as well as the most ele 252 11130 5111 01 1130 ﬂbuni cb (3111101105

c ex v ated subjects , and Giorgione is a haracteristic

i i The ponent of the zen th of h s period . charm of his i p ctures cannot be described, it is as if Giovanni Bellini were here seen with every delicious quality full grown .

The o Pinakothek, unfortunately, p ssesses no can vas from his brush . There is , however, a picture

i io r painted by Sebastian del P ombo , the best of G

’ i o ne s i g pup ls and himself a master, a bust Por

1 08 i trait ( 7) of a full bearded ecclesiastic , w th a biretta and a grey moire robe . Portrait painting played an important part in the works of del

hi s Piombo, and treatment of this branch of paint ing is reminiscent of both Raphael and Michel

H e i angelo . pa nted a very ﬁ ne altarpiece for the Gi i i Church of San ovann Cr sostomo at Venice , which does not fall far below the grandness and i i r chness of Titian . Soon after this paint ng, a

re Santa Conversazione , was completed , Sebastian ceived an offer of employment from Agostino Chigi at Rome , then reputed to be the richest private per

w as . son in Italy, who building the Villa Farnesina In that city he came into contact with Michelangelo

i f o w and Raphael, and chron cles o the times g to sho that while he was on the closest terms of intimacy with the former, he was entirely inimical to the lat ter . Nevertheless , the portraits which Sebastian pro du ced , in his early Roman time , bear witness to the

254 t he a rt 01 tb0 M uni ch 0111101108

he that they were no longer comprehensible . When , the most powerful offshoot of an o ld military fam ily, a child of the rude Alps, began to study in

i 1 0 liv Ven ce, about the year 49 , there were many i ng who knew the traditions of the early ﬁ fteenth

e century from their own experiences . H may well have spoken to those w ho knew Fra Angelico and his friends personally . The members of Dona tello’ s circle in Padua probably frequented the

i ﬁ rst studio in wh ch Titian , as a boy, made his studies in painting, and when the plague carried him o ff i 1 6 w as , in the m dst of his activity, in 57 , it not a year before the birth of Rubens and but little more

H e i than that of Franz Hals . lived in habits of int i macy w th philosophers and poets of his time , with

Ariosto at Ferrara, and Pietro Aretino at Venice . Princes and nobles honoured him as the ﬁ rst of i portrait pa nters, Pope Paul III invited him to V Rome , but it was the Emperor Charles who most frequently employed him . All this must be taken into consideration if we are to estimate him aright .

In the multifariousness of his powers, Titian takes precedence of all the other painters of his school ; indeed there is scarcely a form of art

r which , in his long and ve y active life , he did not adopt . But the tendencies which affected life and f art in Venice , were naturally di ferent from those ‘ 11130 Mali an 5 00001 255

which governed the Florentine and Roman schools . Titian ’ s greatness is not therefore to be found in the same department as that of Raphael and Michel angelo . Large symbolical compositions , full of allu

o sions , adapted to church history, were not his h

ect hi s ﬁ rst j , but all those excellences which , from to his last picture , he sought to attain , and often did attain , in highest perfection , were not less high

inﬁnite and in nature , than those of the other great i masters . The full and glowing force of Giorg one resolved itself in Titian into a free and severe beauty , a pleasing and noble idea of nature . Two forms of nature specially courted his pen cil — landscape and portraiture — and in each he has revealed to the world treasures of truth and po etry , not arrived at before . For Titian is not only a painter of humanity in its widest distinctions , b in the dignity of man , the eauty of woman and the

o playfulness of childho d , but he is especially the de lineato r of all three , under every aspect of the high born and the afﬂ u ently placed classes o f society .

The well formed, the well fed and the well dressed , the intellectual , the noble and the splendid , were the natural subjects of his art, which is why he does not satisfy those w ho look for the realization of the l sacred idea which involves the abnegation of se f .

r o f Titian , therefo e , can hardly rank as a painter

h o f religious feeling, t ough in scenes pomp and 256 ( 1130 a rt 01 1130 muntcb (5111101 100 ma niﬁ cence g , all made up of things earthly, though accepted by the Roman Church as typifying the i i celest al, he stands tr umphant .

Titian was brought from his birthplace, Cadore,

i in to Ven ce at a very early age, and placed the

i G i i his stud o of ent le Bell ni , and indeed all early

inﬂu ence Gi works betray the of ovanni Bellini , the brother of the former .

’ The collection of Titian s works in the Pinakothek i s it small , but extremely well selected , as takes in examples from his early period till the end of his i i i li fe . The Van ty of Th ngs Earthly ( 1 1 1 0 ) s

i w ho in in the guise of a beaut ful woman , holds her right hand a glimmering candle and gaz es into a

i n round mirror, which , near jewels and gold coins ,

i F be an old woman sp nning, typifying ate , may i seen . Th s picture is modelled on the style , but not

i the n altogether w th the beauty of Flora , so k own

Ufﬁ z i . T to fame , in the his was the forerunner , i i n i i w ew . s n th T tian , of a style The colour put on i broad surfaces , as was the custom of old , but l ghts

ﬂash i now which br ng new movements into it . The treatment of form brings out in the happiest way

’ the poetical character which dominates Titian s paintings . Th e great repose of mood and the striv ing of the early sixteenth century for powerful im

i ff e pos ng e ect, made Titian choos women of the

Juno type as models . The idea conveyed by the

258 11130 Ex t 01 tb0 ﬂbuntcb G al l eri es is in the Prado and the other i s in the Pinakothek Titian was fully seventy years old when he painted this masterpiece , but at an age when others had fallen a prey to monotony in their works , ff ne . H o Titian grappled with w problems w di erent, how amazingly matured is his style in contrast to the earlier portrait described above . If while Titian in his earlier period laid great stress on the poetical

i his c i and attractive , he now endeavours to ga n fects by rendering life as it really is ; consequently this portrait of Charles shows immense individual

an characterization , without y attempt to ﬂatter or i to embell sh his subject . Yet he never forgot for one instant that he was painting his Majesty the

Emperor . In this portrait the emperor , clad in a black velvet costume trimmed with a rich brown

n fur, sits in a red velvet easy chair . O his breast i s the Order of the Golden Fleece on a black ribbon , in one hand he holds a handkerchief . The splendid construction of the picture gives it an importance i wh ch is far more than merely decorative . Unfo r tu nately the former splendid crimson of the carpet i s not very well preserved , as it must have imparted an extraordinarily brilliant element to the portrait of the pale monarch . This pict ure is the best type of portrait of the Renaissance , and for centuries it w as i used as a model for countless variations . Part cu larl y noteworthy is the treatment of the velvet, . H TITIAN MADONNA AND C ILD .

‘ 260 G be a rt 01 the M uni ch (3011101105

the Louvre . The older composition has the cold

i i hi s i br ll ant colouring of earlier per od, consequently Titian has adopted the traditional and stereotyped

ﬁ u res form, with rude g holding long staves who

H e press do wn the thorns upon the sacred head .

i ﬁ ttin the has used t ght g, scanty garments to clothe i people who stand around mocking the Sav our, and

in i i i i n placed a soldier, a gl tter ng su t of armour ,

ﬁ res the centre of the picture . The gu are broad and powerful and architecture plays a prominent part in

h i i i s i t e composit on . The later p cture of an ent rely iff i d erent character . Far less stress is laid on arch

ﬁ u res tecture , the g of the men and of Christ him ff ct self are more slender and supple, and the e e is at once more intense and more delicate . The col o u rin i s in g extremely beautiful , especially the cos

in i tume of the youth the m ddle of the foreground, who wears a blue black doublet with yellow sleeves and who occupies the position of the powerful man i n . in chain armour, the Paris version A Portrait ( 1 1 1 1 ) which was formerly con ’ sidered i to be that of Titian s friend , the poet P etro

u s Aretino , presents a young man in a black dress , i — w th a fur trimmed mantle , his right hand at his i e . e e r s de, his left gripping his dagg r The sam p son has been painted by Giorgione , a portrait which

Uﬂi z i o f hangs in the , in the dress a Knight of

Malta . Ebe ﬂtaltan S CDOOI 26 1

In th e picture of Venus initiating a Young Girl into the Mysteries of Bacchus ( 1 1 1 6 ) we have a

i s composition , whose precursor in the Borghese

Gallery at Rome . In it Venus seated on a bench i i is hold ng the ve l , with which the novice before her i i i s be . to enshrouded To the r ght, beh nd the young i i g rl , is an old satyr l fting up a shining silver dish ﬁ lled with fruit and in the background is a young T satyr holding up a large bunch o f grapes . o the

i e hi s left , stand ng on the b nch with head leaning on

his two hands , which he has placed on the shoulder i i h s h o d . of Mot er Venus , is the l ttle G o f Love A canvas which is catalogued in our gallery as the work of Paolo Veronese but w hich is certainly i m by Tit an , is the frag ent of a picture of Jupiter and Antiope It is part of a larger com i pos tion , and shows the nude Antiope lying on a

u couch , and Jupiter in the g ise of a satyr approach

ing her in the ardour of lo ve . The complete pic ture must have been a splendid and wonderfully ” C o rre io s impressive work but , like gg f Leda, in

G w as sacriﬁ ced the Berlin allery , it to prudery and cut into pieces . ’ A picture by some unknown member o f Titian s school is the Portrait of a Young Man ( 1 1 1 8)

to in a black cap and coat, the latter opening show a fully pleated shirt, worn underneath . A Madonna ( 1 1 1 7) in an open landscape gaz ‘ 26 2 11130 5111 01 the muntcb 6 011101108

ing adoringly at her sacred son, who lies on her knee while on the left are Saints Jerome and Fran

cis St. , and on the right Anthony, who touches the

’ Child s foot reverently, was formerly attributed to the great master himself but is now known to be the work of his pupil and brother, Francesco l i V ece l .

The inﬂuence of Giorgione is deeply displayed in the works of many painters w ho were not his direct I] scholars , and of these Jacopo Palma, called Palma

Vecchio , to distinguish him from a nephew, Palma

G . H e n iovane, stands foremost was bor near

1 80 G Bergamo in 4 , and studied under old iovanni

i i as Bell ni , though even at the t me when he w work ’ t ing in Bellini s studio , he painted a San a Conver saz io ne 1 00 , dated 5 , which showed that he had even then developed the ample forms and gorgeous

r H e breadth of drape y which are his characteristics . also showed that enchanting feeling for landscape which seems to be the birthright of the great Vene i t an painters . In the Pinakothek we have a skilfully painted

1 1 0 Portrait of Himself ( 7) by Palma, which represents him glancing over his right shoulder and holding a pair of gloves in his hand . H e rivalled his great contemporaries Titian and Giorgione as a painter of female, and what may be termed fancy portraits , and his pictures have been frequently at

Ebe ﬁtaltan 5 00001 263 tributed to these other masters Tw o pictures in

Rome, La Schiava di Titiano in the Barberini collection and La Bella di Titiano in the Sciarra

Palace, are now known to have been painted by

Palma . In the Belvedere collection at Vienna is a i portra t of his daughter Violante , who is believed ’ to have been Titian s love, and who served as her father’ s model for the wonderfully beautiful Santa

Barbara, in Santa Maria Formosa . Excepting for these portraits Palma rarely de parted from the usual range of Madonna and saints , which at that time formed the general sub

’ ce fo r j t the painter s brush . Our collection con

o ne 1 tains of these Madonnas ( who, seated in

h . an open arbour, holds the Christ C ild on her knee

The little Infant Jesus inclines towards St. Roch, who kneels before him with hands outstretched in n — a d f . supplication, o fering a rose wreath Behind him is St . Mary Magdalen and the whole group is

in framed a beautiful clear landscape , with a view of a castle and a campanile in the distance. The expansion of art of the sixteenth century owes much to Palma Vecchio and certain Venetian characteristics may be said in him to have reached li their highest development . H e w as a very pro ﬁc painter and at his death no less than forty- four can

o unﬁnished . vases , c mmenced by him , remained Our gallery contains tw o pictures painted by 264 11130 3111 01 1130 ﬂbuntcb $ a1101105

e Paris Bordone, who, though Venetian in ducation , i took a path peculiar to h mself, remarkable for the rosy appearance of his ﬂesh and for the purple , i hi crimson and shot t nts of s draperies . s i Our picture , wh ch are not very characteristic of t Bordone , who deal with mythological and classical subjects more frequently than he did with religious i ones , and whose noted portra ts are of women , are

1 1 20 i hi s one of a Man ( ) w th a heavy full beard , right hand holding a bo ok ; the other ( 1 1 2 1 ) of a black gowned man in front of a jewel—bedecked i in table . Behind him to the r ght is a young girl a deco lleté dress .

Bo nvi cino 11 Alessandro , known as Moretto da t Brescia, painted wi h a style of his own , which, though containing some of the best qualities of his e contemporaries , shows a cool r shade of colour , and is distinguished by a peculiar blue . In his highest maturity he may be termed the precursor of Paolo

H i s t Veronese . compositions are frequen ly of the

/ highest order and in them he ev inced so much beauty and nobility of sentiment that it i s quite u nacc o u nt

n able that he has not , until quite recently , gai ed anything more than local celebrity .

H e Moretto painted innumerable altarpieces .

n was also a great portrait painter, imparti g to his sitters the same dignity with which he imbued his i i saints . O th s branch of art his only picture in

266 1100 a rt 01 the muntcb 6 111101108 of art in Italy that of Venice continued to ﬂo urish and to retain a real and vital originality . This supe rio rity i s to be attributed on the one hand to certain favourable external circumstances and on the other to the healthful principle of the school , the study i and imitat o n of nature . It can not be contended that the artists of the second half of the century equalled in their collective excellence the great mas

ﬁ rst in ters of the half, but single instances they are At frequently entitled to rank with them . the head

e 11 of these is Jacopo Robusti , known to fam as H Tintoretto . e was one of the most vigorous paint ers that the history of art can show , one who sought

difﬁ culties w ho rather than avoided the greatest , and possessed a true feeling for animation and gran

H e deur . adopted as his models the power of de ” sign of Michelangelo and the colour of Titian . But at this time Venetian art had fallen into the i m staken path of colossal and rapid productiveness , and Tintoretto was the painter w ho paid the great est penalty for this taste . H e studied for a short time in the stu dio of

Titian , but failing to agree with that master , he left

in e him order to follow a path of his own . H cop i ed the works of his late master assiduously and designed from casts of Florentine sculpture and from the antique , particularly by lamplight , in order i to exercise himself in a forc ble style of relief . H e — O F TINTORETTO . PORTRAIT A SCULPTOR .

268 t he Et t of the muntcb (3111101105 conceived and painted with a pure and careful exe

cu tio n. The third picture by Tintoretto of which the

Pinakothek can boast, is a Mary Magdalen

1 1 26 ( ) in the house of Simon the Pharisee, anoint i ing the feet of the Saviour with ointment . Beh nd her at a white covered table are Simon and four young men . The portrait of the one—eyed Venetian admiral Mocenigo ( 1 1 32 ) was long attributed to Tinto i retto , but the more mass ve treatment of colour and the it seascape prove to be a Flemish work , prob i i ably pa nted by the Flemish artist Regn er, who lived many years in Venice under the name of

i i . Ren er , and became a much valued portrait painter One always associates Titian and Tintoretto with that other wonderful name in Venetian art , Paolo

Cagliari , known to fame as Paolo Veronese , from his native town of Verona . Strange to relate , his works found no favour in his home city and he F l painted at St . ermo and at Mantua till he ﬁ na ly r eached Venice, which , from the time he commenced i to pa nt there, to all intents and purposes became his home . There he studied and formed himself,

. be especially in colour , on Titian While it may said that he did not equal that master in the per fectio n i of his ﬂesh tones, st ll by splendour of colour t assisted by rich draperies and o her materials, by ‘ C be Mali an 5 choo l 269

r a ve y clear and transparent treatment of shadow,

by comprehensive keeping and harmony, Paolo Ver o nese infused a magic into his pictures by which he surpassed almost every other master of the Vene

tian school . Never was the pomp of colour so

o ed i devel p as in his compositions, wh ch may be

e i is lik ned to concerts of most enchanting mus c . H peculiar qualities are grandly developed in scenes

of worldly splendour . H e particularly enjoyed painting festive scenes for the refectories of rich

convents , suggested certainly by passages in the

Bible, but treated with the greatest latitude, espe

ciall y as regards the costumes, which are always ’ th ose of the artist s time . In these and similar ex

o amples , we have a most gorge us display of grand

architecture , of splendid gold and silver vases and utensils and the most brilliant costumes ; above all he presents u s with a powerful and noble race of human beings in full enjoyment of all that renders h earth attractive . That whic distinguished Paolo

Veronese from Tintoretto, and earned for him the title of the greatest living master after the deaths

of Titian and Michelangelo , was the vitality and poetic feeling which he infused into a declining period of art . Except fo r the fact that he once accompanied the G Venetian ambassador rimani to Rome, but little is

as known of the life o f Veronese . Venice w his prin ‘ 270 G be a rt 01 tb0 l lbuntcb (Bal l 0rtes

i al t c p residence, and there he produced hose numer ous grand dramatic compositions which give an air i o f Ital an splendour to every gallery they adorn . In the Pinakothek we have quite a large number

’ V ero nese s o of works, am ngst them a charmingly arranged picture of Cupid between two large i black and wh te spotted dogs , the pets of the artist This beautiful picture had origi nally a delicate light silvery shimmer but has u n fortunately been added to at the top , and on account of this addition the original portion was also freely

th e few painted over . One of very comparatively small pictures of the Holy Family which Paolo i Veronese painted , is to be seen in the P nakothek It shows the Christ Child standing on

’ his i i i Virgin Mother s knee , hold ng a l ttle b rd in

e St . z his hand, whil Joseph ga es upward at the Holy i i i Child . The Madonna in th s p cture s very sweet and gracious while the tones of the painting are noticeably lo w and mild for a painter of his usual i brill ance of colour . Two versions of Christ with the Captain of

’ Capernaum are to be seen in V ero nese s pictures

ﬁ rs 1 1 in our collection . In the t ( 36 ) the Saviour surrounded by his apostles turns towards the kneel

ﬁ u re ing g of the captain . Behind them are the

’ soldiers under the latter s command , and between him and Christ is a page bearing his master ’ s hel

‘ 272 tthe a rt 01 1130 muntcb (38 1101100

i the Mag a little canvas , showing Mary with the Child, at whose feet the adoring sages have

t . i cast themselves . S Joseph stands beh nd th e

e w ho e Mother and Bab , are envelop d in the beams o f light which come from above . Paolo Veronese has left but very few portraits but those which he did are of great beauty . The best of his pictures of this class in the Pinakothek is the Portrait of a proud Venetian Lady stately and splendid as demanded by the Renais~

in n i sance, dressed a brown silk gow w th slashed puffed sleev es , holding a lace handkerchief in her

i s . left hand . Behind her a dull red drapery The colou ring of this picture is particularly beautiful and harmonious . Another charming portrait is that of a black gowned woman seated in an easy chair ( 1 1 46 ) with a little lad in a green doublet standing before her . Closely related to the school of Venetian art is the style of the artist family Bassano , who were noted painters of the genre schoo l . The application

the i of Venetian principle , the mitation of nature , showed itself so forcibly in the paintings of Paolo t Veronese, that it was only o be expected that other

inﬂu enced painters , who were by him , would seek to render Nature in her more ordinary aspect , and thus

w as u . the genre , as it called , would also be c ltivated O F V ERONESE . PORTRAIT A PROUD VENETIAN LADY.

2 74 0 130 a rt 01 the M uni ch (3111101105

i O n either s de stand St . Anthony the Hermit and i St . Augustine . Th s picture and the Entombment of Christ ( 1 1 47) show strongly the inﬂu ence of Titian and must have been painted while Jacopo was still studying in Venice and before he returned to Bassano . In the latter tw o men are bearing the body of the Saviour, while to the left in the fore i i ground women are occupied w th the Virg n Mother, i who has sunk down unconsc ous . The Magdalen i bends over a vessel containing prec ous ointment . All the light of the picture is supplied by the to rches of the men in the background . i Nai ve in concept on is the picture o f St . Jerome in the D esert 1 1 48 ) kneeling before the i cruciﬁ x w th an open book and a skull before him .

In the left corner is his emblem , the lion , and a

i i s splendidly painted donkey . Th s a true type of ’ i Bassano s sacred compos tion , with a commonplace i i animal in the closest juxtapos t on to holy objects . Representative of his thoroughly genre style i s his Israelites and Moses striking the Rock i Here are to be seen men , an mals and the very beau

i f r i t ful copper vessels o wh ch B assano was so famed . To the left a young man reaches out a drinking i shell to an older man who s ts upon a horse . The Bassani represented in Northern Italy a i charm ng mixture of the decorative and the genre .

St . t The Jerome, wi h its delicate naturalism and its 0b0 11taltan 5 chool 275

c omplicated shading, is a good example o f this tend

ency . A still better one is Christ in the House of Mary and Martha a really humourous

picture , the work of Leandro Bassano , the son and

pupil of Jacopo , who lived mainly in Venice . In the beginning of the sixteenth century the genre

ﬁ rst ﬂo u rish i style began to in Ven ce , and Leandro Bassano particularly distinguished himself in this i t line , as can read ly be seen by a study of his

picture . We are no longer shown , as of old , a

solemn banquet, of which the guests scarcely ven i ture to partake , so intent are they on the w se teach

i i u s ing of Chr st . Instead of th s Bassano gives all

the preparations for the meal , cook and kitchen ,

i fi re fi sh shining plates , glow ng , the and the plucked chickens and the cat and dog snuffing at the various i delicac es . The door opens before the meal is quite ready and Christ and his apostles enter the cozy

room . His pretty hostess Martha motions them to the table while Mary sinks to the ground in a grace

ful courtesy . The Saviour greets them in a charm

’ r ing manner , as one of life s a tists and not merely the learned rabbi from whom no secrets are hidden .

r The picture is not without cha m , but is a very far cry from the old Biblical traditional treatment which is generally allotted to this subject .

s The Bassano portrait show the same tendency , as witness that of Leonardo Armano of Venice 276 0130 a rt of the M uni ch 0111101108

1 - ( a middle aged man in a fur mantle, seated by a variegated covered table , holding a pen in his right hand . This picture belongs to the early sev enteenth century and is consequently highly devel m . At oped in harmony, for and colour the same time it must be admitted that the Bassano portrait already approaches the o v erco rrectness and infal lible certainty characteristic of all Italian art in the seventeenth century and which rendered it in ferio r h i to the new Net erland and Span sh schools , then bursting into full bloom . The last of the trio of pictures of Leandro Bas

in i is i i sano our collect on , a very beaut ful n ght “ i i ” scene , a Bewa l ng over the Body of Christ in which the only light comes fro m a lamp i in the hands of the Magdalen . Beh nd the prin ci al i s p group seen the lower part of the cross, with the ladder which has been used to lower the sacred body . Here the play of light is the chief attraction in the art of the master . His colours are gemlike , i i espec ally his greens , where he exhib ts a brilliance i i pecul ar to h mself, with a silvery tone of great i i charm . H s l ghts are boldly impinged on the vari ous objects and are seldom introduced except on

i ﬁ u res o n prom nent parts of the g , shoulders , knees, etc . In accordance with this treatment his han dling is spirited and reminds one somewhat of the manner of Rembrandt ; and what on close inspec

278 0 00 a rt 01 100 1101111100 0111101105

’ m mantle over him . Palma s so ewhat mannered style is evinced in the tw o other pictures of his i which hang n the Pinakothek . In the Birth of Christ in which Mary and Joseph gaze

o h adoringly d wn at the newly born Child, a touc

’ of the naturalistic has been given by the intro du c

o f ﬁ u re tion the kneeling g with the egg basket, in ’ i the foreground . The Virgin s head n this picture i is particularly attract ve . Lastly the Scourging i of Chr st in which one of the men , who him i has captured , sw ngs the scourge ; another i binds together a bundle of rods , while the l ght which illuminates the whole picture is thrown by the torch which is held by a third . At the end of the sixteenth and the beginning of the seventeenth centuries the Italian artists were known by the name of the Eclectics from their en deavo u rs to select the best qualities of the great masters and unite them into one formed style . This ,

o of c urse , was founded on a misconception , as the merit of each of the masters consisted strictly in his individual and peculiar qualities . Opposed to this school of imitation arose that of the Naturalists , who sought to obtain their artistic impetus from a study of nature . The most important o f the

w as Eclectic schools that at Bologna , of which

ﬁ rst Lodovico Caracci , a pupil of Prospero Fon

o f w as tana and then Tintoretto, the head . But he 0 00 11tal i an 5 00001 279 realized that reform in his school was advisable and that it was necessary that rules and well understood principles of art should be introduced to counteract H the lawless caprices of the mannerists . e there

tw o fore associated himself with his nephews, Agos i n t no and An ibale Caracci , and with them opened an academy at Bologna, which became more and

i ﬁ nall more frequented, unt l y all the other art schoo ls in that city were closed fo r lack of pa trons . The merit of Lodovico is that of a teacher rather

ut re than an independent and productive artist, b markable in his compositions is the pathos o f sor ro w which his characters express . We see it in the Entombment of Christ where Nico de

a mus, Joseph of Arimathea and youth lay the sacred body in the grave, while a servant holds a lantern which lights them at their task . In the same room is his Vision of St . Francis

o o f to whom , fallen asleep over his bo k devotions, appears an angel playing the violin . Annibale Caracci was the most distinguished n member of his family . Co sequent upon his study in Northern Italy we ﬁ nd in his early works an imitation of Correggio and later on of Paolo Veron

ese, but after his residence in Rome , devoted to a study of the antique and of the works of Michel d angelo and Raphael, his remarkable style develope 280 000 a rt 01 100 1101111100 0111101109 into that individuality which w e note in his com i pos tions . Clearly showing the Roman inﬂuence which

it i o the i brought nt being, is small Bewail ng over

1 1 the Body of Christ ( 68) by St . John and the i Marys , with Mary Magdalen ano nting the sacred i i i n . feet w th o ntme t Th s picture , with its full deep

the colouring, shows remarkable expression of

The n i pathos of grief . same emotio is terr bly apparent in the faces and actions of the mothers in the Massacre of the Innocent s a w somewhat crowded canvas of murderers, omen

i o and ch ldren . A much m re charming picture is that of Venus holding in her hand the Palm of

t o Victory for which w Cupids, Eros and

Anteros , are wrestling . In painting mythological w orks Annibale Caracci was in his element ; indeed

hu his est works have been of this branch of art, and the most noted are to be seen in the Farnese a Palace at Rome, where they ch llenge all paintings of the same character , as in the technical processes of fresco no more ﬁ nished specimens are to be found . The backgrounds of these pictures are formed by those exquisite landscapes for which

. o ne Annibale Caracci is so famed Indeed , he was of the ﬁ rst who practised this branch of painti ng as a separate department of art . In him, and in his contemporaries in the Netherlands and Venice,

282 000 a rt 01 100 {101111100

decorative, and uniting a happy manner with

o f . warmth colour and a cheerful, lively feeling We have a specimen of this branch of his art in a very beautiful piece o f painting in which

Jupiter, in the guise of a bull, accompanied by

’ Cupid, pursues the king s daughter, Europa . The Italians of the Baroque and the Rococo periods are more highly estimated to—day than

no w formerly, that it is recognized that their technical style was a merit in itself and that they always tried to enter into the problems of their time . Whilst Italy did not produce a Rembrandt in the seventeenth century, we must not overlook

w ho reﬁned i Guido Reni , was gifted with a feel ng for beauty both in form and grouping . In a freer period of art he would probably have attained

i is the h ghest excellence, but it precisely in his works t tha the restraint of his age is most apparent , for in the beauty of his forms, of the heads particularly, i which are mostly cop ed from celebrated antiques ,

hi s notably the Niobe, and in grouping, it is seldom e that a spontaneous fe ling makes its w ay . The progressive development of Guido was sin

e gular of its kind, for its p riods were marked by

r i works ve y dissim lar in character . Those of his early paintings have an imposing, almost a violent character . Subsequently this passion for the powerful mo d — . SS P O F TH E GUIDO RENI A UM TION VIRGIN .

284 000 B t t Of 100 {101111100 6 8 116 116 8 subject was purely formal and therefore his pic tures did not carry conviction , though they show a markedly decorative taste . Elegance is the one word characteristic of the w painter Francesco Albani of Bologna, a fello student of Guido Reni under 11 Fiamingo and C a t H i i . e n acci delighted in cheerful subjects, wh ch i i a playful fancy could exhib t tself, such as bright

ﬁ u res scenes and g from ancient mythology, above i i all, Venus and her compan ons , sm ling landscapes

the i and playful Amorini , who surround princ pal groups or even form the subject of the pictures i themselves . Our collect on contains a large and a

’ i Albani s e small spec men of works , both qually ” ﬁ rst 1 1 8 characteristic . In the ( 7) Venus , sleep i n in i g an Arcad an landscape , is watched over by

’ Mars , while Cupids bear away the latter s arms ; and the seco nd ( 1 1 86 ) shows the same goddess i resting upon a couch in a r ver landscape , sur i o n . rounded by Am rini , the shadow of leafy trees i i Adonis , also accompanied by Amor n , approaches

i s her with his hunting dogs , and to the left Cupid i seen hastening away w th a torch , in a wagon to

’ Albani . s which little loves are harnessed works ,

o ﬁ u re b th landscape and g , have throughout a merely decorative character , but possess the charm of a graceful , happy touch . Inﬂuenced also by the same school w as Giovanni 000 I tali an 5 00001 285

wn 11 G Francesco Barbieri , of Cento , kno as uer w o cino, h se works and the progress of whose de

velo ment i p are much akin to Guido Ren , though i he exhibits a livel er feeling . In the Pinakothek “ ” i s his Last Moments of Dido a large i p cture full of action , representing Dido about to pierce herself with a sword, as , ascending the ﬂi ht funeral pyre , a servant brings her news of the g ZEn i of eas . At the left side s the Go d of Love and

i and to the r ght are a youthful couple, also two women and a man . The expression of sorrow and passion expressed in the faces of Dido and her at tendants is of the utmost power and beauty, the colouring glowing and deep . th A beautiful specimen of his work , too , is e Virgin with the little nude Christ Child

i in who holds a narc ssus in his hand , painted a soft, fascinating style , produced by a delicate combina tion o f colours . Christ being crowned by

1 1 8 1 — w e Thorns ( ) by a mail clad arrior , whil Pilate holds the tip of the purple mantle which has been thrown around the Saviour in mockery, is G another ﬁ ne work . All the pictures of uercino in the Pinakothek collection have a certain sentimental character, but which is developed with a grace peculiar to his style : A small but very beautiful picture is to be seen in the Light of the World ( 1 184 ) typiﬁed by the 286 000 2111 01 100 Muni ch 6 8 1101108

his youthful Christ, with right hand raised in bene i G d ction . This was painted by Bartolomeo ennari,

G w ho w as a pupil of his father, Benedetto ennari , — - in a brother law of Guercino . Rinaldo in the enchanted Forest ( 1 1 85) res m i cuing the nymph Ar ida , a p cture painted by P i i Francesco ur n , a pupil of Matteo Roselli , is a

Fu rini did a pleasing work , but not in any way p proximate hi s master in excellence . The Pinakothek contains two pictures by Gio i vann Lanfranco , in his day the most popular of the hi students and followers of the Caracci . In s hands art degenerated into mere mechanism i n an effort to produce an effect by superﬁ cial means . This sen timental straining after eﬁ ect may be no ted in his picture of the Mater D olorosa ( 1 in which the eyes , under the brown head covering, are raised upward in an affected fashion .

A much more powerful painter, who happily combined the mo-re digniﬁ ed conception of the school of the Caracci with the truth and vigour of

io m G co o C avedo ne . Caravaggio, was Both of his pictures in the Pinakothek are small and are o f the same subject Angels lamenting over the dead Body of Chr1st with a somewhat differ

. o ne ent treatment In the , the sacred body, the

upper part of which lies over a rock , is being n mourned over by an angel, who, k eeling, kisses the

288 000 2111 01 100 {101111100 G al l eri es

our gallery shows a small picture of St . Francis

1 200 of Assisi ( ) in a landscape , kneeling praying

u iﬁ f cr c x o e . before a , out an op n book

’ i L r Alessandro Turch , of Verona, surnamed o

ﬁ nish 00 betto, by the and grace of his pictures cu pied quite an important place among the artists

his of this period . In one of canvases, the smallest i of three in the P nakothek, is the Daughter of Herodias ( 1 1 99 ) receiving the head of John

the the Baptist from the hands of executioner,

i n l who lays it upon a golden d sh . A ﬁ e y executed n picture, a Sce e from the Life of Hercules

shows the latter spinning, seated near

’ Omphale, who wears his lion s skin , while he is being mocked by her, his comrades and by the little h Go d of Love . T is picture was fo rmerly attributed

e it to Dom nichino, to whose works bears a marked i resemblance . The other painting shows the n ” fu ri ated Hercules killing his children ( 1 198) while the by standing women seek vainly to rescue them .

The Pinakothek possesses no work by Bronzino , it who was an intimate friend of Vasari , but has a Portrait of a Young Man with short

in brown hair and light moustache , a black garment

and a white collar , by a pupil of the former , Santi di

Tito .

One of the ﬁnest artists o f his time and one w ho “ 000 Mali an 5 Choo l 3 89

rose far above the co nﬁ ned aims of his contem

o raries i i p , displaying a noble or g nality in his works ,

w as Cristoforo Allori , the pupil o f his father and

of Santi di Tito . His three pictures in our collection are quite rep “ ” resentative of his art . In one , A Landscape Mercury appears as a guide to the souls o f an old greybeard and a so mewhat younger man

w ho follow him , the beautiful landscape being the

predominating feature of the picture . Here his feel ing fo r so ftly blended tones and harmonious colour

ing makes itself felt , as it does also in an example i of his beaut fully conceived nude women , of which we have one in Susanna in Her Bath ( 1 202 )

Th e o n surprised by the prying elders . expression

’ Susanna s face , as she shrinks from her persecutors ,

reﬁ ned in is and noble , while that of the elders is

dicativ e o f their servitude to their baser selves . A smaller picture of a quite diff erent character is his

Young Faun with horns and long ears , w ho glances merrily at the spectator from out of

the picture . Another school o f the Eclectics w as that formed by the Procaccini at Milan , which rose to quite some importance owing to the patronage of the Borromeo o family . The founder was Erc le Procaccini , born

w ho ﬂo u rished and educated at Bologna, and in the

are second half o f the sixteenth century. His works 29o 000 a rt 01 100 {101111100 08 1101108

a d in not at all remarkable , but they evince a care n du stry which preserved him from the degenerate

i ﬁ tted manner sm of his time , and well him for the o fﬁ ce of a teacher . His best scholar w as his son

w e ﬁ nd o Camillo, and in the works of this artist , t gether with the study of the older masters, some thing reminiscent of Correggio and Parmigianino . We have an example of one of his beautiful and

1 subtle Madonnas, in the Virgin ( who sits beneath an apple tree w ith her arm protectingly around the Christ Child . The latter leans against her and reaches out for the apple in her hand . St .

Joseph looks over her shoulder, gazing down at i St . s Jesus , and to the left Elizabeth seen with the l little Jo hn . This picture is executed with a pecu iar gentleness which reminds one of Sassoferrato, ’ but without the latter s inclination to sentimental i ty .

G a o f am o iulio Cesare Procaccini, brother C ill , also applied himself to the imitation of Correggio .

His pictures in the Pinakothek are also Madonnas , the larger one , Mary with the Christ Child who reaches for the apple which she holds in her left hand . In the background are Joseph and two angels and in the foreground a bo y angel w ho carries a vase with roses and lilies . In the smaller picture ( 1 2 1 3) the Madonna holds the Infant Jesus

o n t t. n her lap , the you hful S John sits o the ground

292 000 a rt 01 100 {D untcb (38 1101 108

Joseph comes leading the donkey fro m which Mary

' has alighted . The example ( 1 223) in the Pi nakothek o f the

o f G a -i m work i nbattista Salv , called Sassoferrato fro

Ca his native town, a follower of the school of the racci i o f is and probably a pup l Domenichino, not one of his pleasing works as it has a decided loo k of sentimentality. It is the type of the Sassoferrato Madonna which is so frequently copied Mary in l i red dress, blue mant e and wh te head covering, H . e praying with folded hands rather imitated,

o i ﬁ rst and n t w thout success at , the older masters

i r of the beginn ng of the sixteenth centu y, and has, i afﬁ nit ndeed , a certain y with them in his peculiar and not always unaffected gentleness of mien . His own original works have no particular depth but

s are pleasing, smooth and frequently of great weet

o it ness of expressi n , though often degenerates into sentimentality . The Madonna and Child were his constant subjects and every large gallery possesses one or more of them . Allied to the manner of his contemporary Sasso him ferrato, and about equal in merit to , is Carlo

Dolce , a pupil of Matteo Roselli . H e also co nﬁned i h mself practically to painting Madonnas and saints , and that with much gentleness , delicacy and grace, but his works betray a greater degree of the senti mental even than those of Sassoferrato, so much so 000 1 18 118 11 5 00001 293

that it often degenerates into aﬁ ectatio n and insi i pid ty . The two large canvases of his which hang in a St . the Pin kothek, one of Mary Magdalen ( 1 226 ) kneeling by a rock on which are her em

blems i en , the o ntm t vessel and a book, her left hand i ly ng upon the last, her right on her breast ; and

1 a St . Agnes ( 230 ) holding the lamb in her tw o

s hands , are good examples of his tyle, being both painted with a cloying sweetness which borders on i i the insip d . The same fault s to be found with

hi s smaller pictures , of which our collection po s

1 22 1 22 e . sesses four ( 5, 7 all in the same cabin t

’ Tw o things are to be noted in Carlo Dolce s work , one is the extreme beauty o f the hands of his sub jects and the other the degree of delica cy and ﬁni sh

of his compositions .

m fo r Carlo Maratta, known to artistic fa e more

’ c o f R his wat hful care aphael s frescoes at Rome ,

a w hile superintending their restoration , th n for any

c historical work whi h he himself has produced , has contributed three pictures to the Pinakothek collee

ﬁ nest tion . The , in a branch of painting in which

o Maratta specially excelled , is a bust P rtrait of Cardinal Giulio Ro spiglio si ( 1 233) with the red

o fﬁce gown and the scarlet biretta of his , a portrait glo wing with vitality and colour . There is also a

P o s 1 2 1 St . John at atm ( 3 ) and a sleeping ” Nude Child 1232 ) lying o n a white coverlid 29, 000 0111 01 100 {101111100 6 8 1101 108

t under a blue canopy, wi h a beautiful background formed of a landscape . The hostility of the school o f the Naturalists E to that of the clectics, and particularly that of the

Caracci , has already been alluded to . This school gained its name originally fro m its desire for direct i i mitation of nature, but strong pass ons were the

h w ho c ief representations of its followers , did not care to portray nature in a reﬁ ned state ; their types lacked to a large extent the divine impulse and with them feelings of love and hatred are depicted with a boundless energy . The head of this school was Michelangelo Ame i i righi da Caravagg o , whose tempestuous l fe and wild passio ns were in keeping with his pictures . In spite of the vulgarity of many of his conceptions, his works display a wonderful breadth , even a tragic pathos, which is especially assisted by the grand line of his draperies . His pictures possess a characteristic and original force indicating a po w erfu l nature , which , in spite of its inferiority, claims a certain kindred to that of Michelangelo himself . But w here his theme is of a sacred nature the want of harmony between the treatment and the subject is very marked . This violence is very noticeable in his picture of the Crowning with Thorns

in a which Christ, n ked except fo r a loin

296 000 a rt of tbe {101111100 (38 116 116 8 a o f ngels playing musical instruments , while one the brothers of his order who has been reading a

in boo k starts affright at the apparition . i A strikingly beautiful p cture, which has been attributed to Leonardo da Vinci and also to Cor

“ ” i 1 2 8 regg o , is an Ecce Homo ( 3 ) a patient Christ

hi s with hands bound upon his breast, the work of i Domenico Fet , a Roman , but who in his later work, inclined towards the manner of the Naturalists . A charming picture is that o f the Tribute ” Money a painting by Bernardo Strozzi . In thi s Christ is being questioned by the Pharisee

the as. to whether one should pay tribute to Rome , h and w o received the tactful reply, Render unto

’ ae i a n C sar those th ngs which are C esar s , and u to

’ ” Go d those things which are God s . Still another follower of the school of the Nat u ralists o f was Andrea Vaccaro of Naples , whose

o works we have tw examples in the Pinakothek . One is a charming landscape picture with the little ” i n Infant Jesus asleep the arms of St . John “ ” and another, a Scourging of Christ

to who stands bound a column , naked ex cept for a loin cloth . One of his tormentors holds him by the hair, another by the right shoulder . An enormo us Assumption of Mary in which the Virgin sweeps through the clouds to the heavens, borne and accompanied by angels, 11130 1 18 118 11 5 00001 297

while the assembled Apostles gaze astounded, some

t lo riﬁ ed into the open grave, some upward o the g

being above them , was painted for the Archduke i Johann Wilhelm, for the Jesu t church in Neuberg, as compensation for the Last Judgment of Ru bens which had been taken from there and placed

i n G is the allery at Dusseldo rf . It the work of

Ci nani i Carlo g of Bologna , a pup l of Francesco

Albani , at one time head of the Clementine Papal

to o Academy at Bologna, a follower , , of Correggio

e and the Carracci . His colouring is characteriz d i l by a graceful but somewhat su perﬁ c a style . Painted for the same patron is a picture of Jupi — ter as a Child ( 1 26 1 ) nourished by the she goat

‘ u o n Amalthea . O either side sit nymphs the

o ground , one of wh m beats a tambourine, and

behind are two ﬁ ute - playing and cymbal - clashing i satyrs . More sent mental in treatment but of very

charm ing colourings is St . Mary Magdalen

1 260 ( ) gazing upward, her hands lying crossed

upon her breast . Before her on an open book is

o f her emblem , the skull, a reminiscence the vanity o f things earthly . Antonio Belu cci of Treviso has given our 001

lection tw o pictures , the subjects of which , taken

from ancient mythology , are very daintily conceived

the 1 26 2 and executed . In one ( ) Psyche is about

to the to stab the sleeping Adonis , but succumbing 298 000 2111 01 100 {101111100 6 8 1101108

his a h power of be uty, whic she beholds by the light i of the lamp wh ch she carries, she is turned from her intention . The colouring in this picture is i del cate and transparent, and clearly shows the Venetian inﬂu ence under which Belu cci had his early training . The other picture ( 1 263) repre sents Venus journeying rapidly over the waves in

o i a small shall p , the sails of wh ch are held by small

Cupids . The almost passionate energy of the Neapolitan artists of the end of the seventeenth and the begin ning of the eighteenth centuries was the most re o markable feature of their work, and the most n te wo rthy was one of the greatest of the geniuses of modern times (had be but put his talents to the use

Gi Fa they deserved) , Luca ordano , called Presto from the rapidity of his action . No painter has ever

i i s . put extraord nary g fts to les advantage Beauty, i i character, dramat c l fe , may all be seen in his works , but a slight and rapid mod e of execution was all

' ed and i sacriﬁced he car for, to th s he every other i in quality . A group of portra ts, a branch of art which he greatly excelled , is in the Pinakothek , and one picture with a religious motif, the Massacre

o of the Inn cents in which Herod , in a i noble p llared hall , in his palace , views the wholesale murder of the children in Bethlehem . The glow of

e e colouring in this picture is extremely ﬁn , but th

300 000 a rt 01 100 muni ch 6 8 1101108

naletto - , from the frequency with which he painted

ro liﬁ c that subject so p in beauty, Venice and her canals .

O f o the paintings of Pietr Rotari of Verona, who

his studied in native city, in Rome and in Naples ,

t o i we have w p ctures of the genre nature . One ( 1 274 ) a young girl who has fallen asleep over a book and whose mischievous admirer is tickling her with a feather on the cheek ; and the other , that of a young girl weeping over the contents of a ft’ letter, while another laughingly cha s her and a do ggaz es sympathizingly up at her About the middle of the eighteenth century a de sire for severer study made itself felt among the i i confusion of manners wh ch d vided Italian art, and this aim made itself apparent in the paintings

Baton i ﬁ ne e of Pompeo , who painted a altarpi ce

i u representing the Fall of S mon Mag s , in Santa

Maria degli Angeli at Rome . Our collection con tains a bust Portrait of the Artist also a noteworthy piece of work . In two branches of art the Italians had great gifts , namely, landscape and animal painting . The P inakothek has not many examples, but the land o scapes of Salvator R sa , with their piquant clear drawing and their rich colouring, give a very good idea of the landscape painting of the period . Ther e is little absolute truth to nature but much artistic 000 1 18 118 11 5 00001 30 1

fancy in these little pictures o f wild mountain

scenes . More is sho wn to the eye than it can take

in at a glance.

Salvator Rosa w as a painter o f rema rkable ver i i sat l t . H e o y painted hist ry , genre and landscape, w as i and besides a poet and a music an . In so me o f his landscapes may be traced the inﬂu ence of

Claude Lorraine . H e displays great beauty and originality in the portraying of wild mountain

deﬁles scenes , lonely and deep forests ; but most

o f all in landscapes of small dimensions, where his

fantastic conception of nature is more concentrated . it In these he usually introduces herm s , robbers or

in f soldiers , who assist the general e fect of the pic

t o f ture and add o the impression loneliness, deso

lation and fear .

We have, in our collection, a very beautiful pic ture of Gideon and his Comrades at the Ford It is rather overladen and therefore not

o easily comprehensible, but there is great p wer in

the colouring, above all where the blue and gold

Tw o energetically strive for the mastery . others

of his landscapes are in the same cabinet, but neither

of them is as ﬁ ne as the o ne mentioned above . One o f these is a Rocky Coast ( 1 243) with a

castle on the height . In the foreground to the left are fi sher folk w ho have landed from their boats, o n the other side a boatman in a skifi . A Land 302 000 E11 01 100 {01111100 6 8 1101108 scape w ith a View o f the Sea ( 1 244 ) over a hilly h expanse is t e subject o f the other picture . Three riders and a fi sherman are to be seen in the fore ground .

r To rre iani His pupil and follower, Ba tolommeo g , like Rosa, frequently reminds us of Claude Lor

. es raine Like his master, he also introduc small ﬁ u res g which add to the charm of his pictures . In his mountainous and well- wooded landscape o f a h decidedly Italian typ e , with a bundle on her s oul

is ders, Hagar accompanied by her son Ishmael , and we have also another Italian landscape

the n i in rocky foregrou d of wh ch sits Narcissus , i mirroring h mself in the water, while a nymph coyly

i s . observes him . In the distance the ruin of a castle Michelangelo Cerqu o z z i followed in the foot

c steps of Salvator Rosa, but also painted mu h under the inﬂu ence of the Netherland painter, Peter van

w ho Laar, in his time enjoyed great popularity at

nai v eté Rome . Not only in general and humour , but also in careful completeness and in masterly handling of colour , he may be occasionally put upon i a par w th the best Netherland painters . It was not

r the beauty of Italian life, the gay costumes and b il

o e liant col uring that attract d him , but the battered Lazzaroni in their picturesque and artless charac ter . Only one canvas by him is in the Pinakothek , a Rest during a Hunt Here in a deep

000 118 118 11 5 chool 303

wood have a party o f hunters and beaters laid them

to to f selves rest and partake o refreshment . In

the ﬂat landscape is a continuation of the hunt . Wo nderfully full of action and colour is the bean

tiful little picture, the work of a master hand . There is one very ﬁ ne example of Italian eight

eenth ﬁ u re century g painting in the Pinakothek, the Worship of the Magi ( 1 27 1 ) by Giovanni

r o f Battista Tiepolo, and the chee y manner the

Rococo shows to great a dvantage in this picture . The solemn treatment of the subject of which ar tists have painted every variation during many cen tu ries is here transferred no t lowered into a

sort of a fancy dress masquerade, and the result f gives something extremely e fective, quite in the

S o f o tyle the sh wy decorative fresco painting, which

’

Tiepolo had so completely mastered . In this pic ture the tw o elderly Kings kneel in adoration before

the Child, while the Moorish monarch , in highly , coloured Oriental garments, a large red turban on his head, stands to the left in the foreground . To the right kneels a page holding a jewel casket in his

e the hands, and in the background are Jos ph and followers of the Magi . Besides this magniﬁcent picture there are in the

w o u b o Pinakothek t beautiful little pict res y Tiep lo, the subjects of which have been taken from the

In r histo ry o f Iphigenia. the ﬁ st ( 1 272) Iphi 304 0 00 a rt 01 100 {101111100 6 8 1101108 genia is being brought from the harbour of Aulis to the temple, under the pillars of which the priest i Calchas, with the sacrif cial knife, awaits her . In front are pages with do gs and various vessels o f sacriﬁ ce c , and in the louds above is Diana with her stag, attended by small Cupids . In the middle distance is the ship which has borne the victim to meet her doom . In the second Iphigenia sinks unconscious in the arms of a kneeling man ,

th e sacriﬁcial while Calchas , vessel in his right hand , prays from a boo k which a youth holds up for him . Over the group the gods sweep through the clouds surrounded by Cupids . i Tiepolo , h mself, was a master of original power

i o and ntellect , but the col uring of the period was i on the decl ne , and another race of painters had to be born to open a new path for art in the nineteenth

r centu y, by completely transforming the treatment of colour . It is remarkable to note , while standing before the beautiful and intellectual Adoration of ” the Magi , that the old art did not perish in weak ness . It died literally in beauty , and it was for the

ﬁ rst G new period to recognize its master in oya, a

o f pupil Tiepolo , who is almost more nearly related to the art of our times than to that of the old classic period .

306 000 2111 01 100 ( 13011100 6 8 1101108

latter half of the sixteenth century . This dry style of painting could not in the nature of things

ﬁ nd last long, and we the artists of the seventeenth century forsaking it to follow in the footsteps of

Venetian art .

r o f c i A sto y is related Fran isco Ribalta , a nat ve n of Castello de la Plana, that he fell in love with the daughter of his master, an artist whose name i i s no w . not even known Be ng repulsed, he de

’ parted for Italy, taking with him his sweetheart s l promise of ﬁde ity . In that home of art he studied the works of Raphael and Sebastian del

w Piombo and very probably , hile passing through i Bologna, those of the Caracc . Returning to

Valencia, Ribalta hastened to the home of his

’ i nish namorata, and in her father s absence ﬁ ed a s ketch which stood upon an easel , in a manner so beauti ful that on his return home the painter called hi s daughter and said, See, I would have thee marry a man who can paint like this and not that i m serable daubster, Ribalta It is hardly neces sary to add that he shortly afterwards felt himself honoured when he gave his daughter to the man

’ whose works he had formerly derided , and Ribalta s i earl est work at Valencia is a portrait , now in Eng i land , of h mself and his wife , which clearly shows

inﬂu ence the Italian under which it was produced . In our collection is a beautiful picture by him 000 5 138 1118 0 5 00001 397

o f re the Virgin and St . John ( 1 279) sadly turning home after having interred the body o f

Jesus . The picture is replete with the poetry o f i emotion , and the charm ng landscape, which forms

to o its background, points a careful study f the

works of the Caracci . The school of the naturalists appeared in their

greatest strength in Naples , where they devoted every effort to opposing the followers o f the

i a l Caracc . N p es appears to have been volcanic

w as r ground , for it in this ve y locality that Cara

ya i o At gg broke into wild naturalism . the head

w as G e a of this school iuseppe Rib ra, born in n little village near Valencia , who was k own to artistic fame as L o Spagno letto and who was a H pupil of Ribalta . e formed his style chiefly upon Caravaggio though hi s earliest works show his

inﬂu ences Spanish training, but beside these , to a careful study of Correggio and the best Venetian masters he is indebted for his wonderful vivacity

e o f of colour , ven in his latest works , the best which

are to be seen mainly at Naples and Madrid . In general his pictures exhibit a wild extravagant fancy ; this is apparent in his numerous hal f ﬁg

o f ures apostles, prophets , anchorites and philos o phers all angular bony ﬁgu res and still more in his large historical pictures . H e delighted in

b o f the most horri le subjects , executions, tortures , 308 0 00 5 11 01 100 {151111100 6 8 1101108

o f . o f martyrdoms, all kinds Many his works have blackened with time and many that are ac i cred ted to him are not by his hand at all . The Pinakothek can boast of seven of his match T less works , several of them masterpieces . he

o three most noted are his Martyrdom f St. Andrew w ho is being executed head downward with all the revolting details that such

has i a subject can afford . In this picture he appl ed his great skill in anatomy to the depicting of suf fering in its most hideous form . More placid in conception i s the composition of the Dying ” Seneca taking leave of his Pupils, whose faces and gestures exhibit every form of sorrow at losing their revered master and as a marked con trast to these in its brightness and vivacity is his ” Old Woman with the Hen , her egg basket on

o her arm the type of a sturdy, h nest, cheer ful peasant wife .

Re There are also three of his saints , the ”

entant . n0 hri s p St Peter St . O p u

St . Bartholomew and an old bald headed Franci scan Monk The school of Spanish seventeenth century paint ing was absolutely dependent upon Italian art of

it difﬁ c l the same period, so much so that is u t to conceive of even Velasquez , as we know him , had G he not, through reco and Tintoretto, been brought

31 0 000 2111 Of 100 {151111100 6 8 1101108

su erﬁ cial s also for a sort of virtuosity, p sometime it is true, but none the less dazzling . These characteristics are shared by the Southern Italians, and it i s a matter for question whether this decided tendency to treat the plastic arts as an artistic

strain o f handicraft may not be due to the __ Oriental blood in the two peoples . i i d The Span sh have not, on the whole, ach eve much in the realm of painting, but just in the i seventeenth century, whose tendenc es were so h i much in accordance with their own tastes , t e r star shone brilliantly . In Murillo and Velasquez they produced two past masters in the art of paint ing, whose works are among the greatest the world has ever seen . Both came from the south of Spain , but while Murillo spent most of his life in Seville , Velasquez resided in Madrid at the court of Philip IV and in touch wi th the greatest painters of his day, Rubens and the Italian masters , whom he visited in their homes , and consequently his genius could develop more fully than the simpler i painter of Sev lle . Diego Rodriguez de Silva y Velasquez was

1 born at Seville in 599 , and as his name would

H e indicate , he came of an aristocratic family . received a good education and commenced his study of the art of painting in the studio of the

but w ho elder Herrera, soon leaving that master, 000 S CDOOI 31 1

e was a p rson of extreme arbitrariness , he studied

under Pacheco, whose daughter Juana he after i wards marr ed . Here, in the home of this learned i artist, Velasquez mixed freely w th the highest i soc ety in Seville, and gained much of the versa

tilit i to y , wh ch later on was stand him in such

wonderful stead , by varying his labours in the studio with the study of anatomy from the writings of

D ii rer i Albrecht , and by read ng poetry, for which

he had a great fondness . From the ﬁ rst the wonder

s ful bent of his genius declared it elf, and he is quoted as saying that he would rather be the ﬁ rst i of vulgar pa nters than a follower of reﬁned ones . H e took Nature as his guide and followed her with

ﬁdelit unswerving y , yet the simple reality, as he

c it onceived , becomes invested with such nobility

that it never appears commonplace , and to this

his works owe their unique impress of distinction . His earliest style was much affected by some foreign pictures which he saw and studied in Seville and by Spanish artists of other schools w ho ﬁ came to that city . H e thus p ro ted by the Vene

o f tian colouring Luis Tristan, and was also much attracted by the bold style of Caravaggio and

1 22 Ribera . In 6 Velasquez went to Madrid for the purpose of study and w as very kindly received

de ho his there by Don Juan Fonseca, w became

he patron , and in t following year, when he again 3 1 2 0 00 0111 01 100 {101111100 6 8 1101 108

c i his visited the ap tal, portrait of Fonseca was shown to the king through the influence of the

’ i d liv ares V e powerful m nister, the Duke O , and las uez q became chief court painter, a position i i i it wh ch he retained t ll his death , even retain ng

’ when d O liv ares had been disgraced and deposed i in 1 643 . With n the next two years he executed

o many portraits of the king and the r yal family, and among other paintings the celebrated “ Bor racho s i en ( the Topers ) , the humour of wh ch h i titles him to be called the Hogart of Spa n . The following year is rendered interesting by i his friendsh p with Rubens , then on his second visit to Spain , and an event still more important him i to , the recept on of permission to gratify his longing to visit ' Rome and study the art of the

Italian masters there . Leaving Barcelona, he went

ﬁ rst i to Ven ce, where he studied the works of Titian

to and Tintoretto , and then proceeded Rome , where he was well received by Pope Urban VIII , who gave him every facility for study. The two pic tures which Velasquez painted at this time are specially important as showing the entire inde n pe dence of his genius . Fresh from the study of

Michelangelo and Raphael, he yet shows hardly a trace of their inﬂu ence but seems bent on fol~ In lowing the more ordinary forms of nature . the Forge of Vulcan much attention is paid to

31 4 000 8 11 Oi 100 {101111100 (38 116 1108 and in 1 650 he w as made a member o f the h t. . e Academy of S Luke Returning to Madrid, had many honours heaped upon him and ‘ w as much consulted by the king in affairs of state . About this time he painted the wonderful picture of Las

Meninas ( the maids of honour) , which Luca Giordana called the Theology of Painting and which

’ is i often held to be the artist s masterp ece . This was the last great work of Velasquez as he died in the year 1 660 and was bu ried in the Church o f

St . Juan at Madrid . No contemporary artist displayed such wonder H ful power of variety as Velasquez . e attempted every branch of painting and he succeeded in all . His pictures are remarkable for their brilliant ex ecu tio n r o f , masterly handling, the historic t uth his ﬁgu res and abo ve all for his marvellous gift l . 8 ﬁ e d of colour In landscape, scarcely touched by Spanish artists , he was equally great, his work displaying the richness of Titian, and the breadth and picturesqueness of Claude and Salvator Rosa . His excellence in portraits is universally ackno w l t edged, his works in his branch of painting stand ing on the same level as those of Van Dyck and

Titian . Ford says of them His portraits bafﬂe description and praise ; he drew the minds of men ; they live and breath , and are ready to ” o f walk out their frames. O f this branch of art V LA Z . O F H S E SQ UE PORTRAIT IM ELF .

31 6 000 011 1 01 100 {101111100 6 8 1101108 ence thus gained seems to have completely satis

ﬁ ed him, for the wish to study in Italy faded from his mind and he returned to Seville to enter upon a career of uninterrupted labour and success . B y the advice of Velasquez , Murillo went direct to nature for his inspiration , and translated the stories of the saints and the narratives o f the i B ble into popular dialect . H e treated them as actually happening in Spain , among the very people who surrounded him and were his models ; not in

ﬁ u res specially posed g , set to the suggested appear ance of god or of heroes , but in the men and boys who were about him , in the very ordinary details

r of their lives . For the ﬁ st time Spain saw de

icted the ev p beauty of her eryday life, the charm of the occurrences which went on in her own

as r streets, and it w a evelation which took her by

rst surprise . From the very ﬁ this was the line taken by Murillo who loved his country passion

1ts ately, revelled in glorious colour , in its brilliant light, and in the soft rich depth of its shadows . Over this naturalism he cast the glamour of a strong

. H e emotion was an emotional painter, and to the emotions he made his appeal . A devoted son of the church , he worked steadily at religious art with a single aim and a fervent activity .

fe We know but w details of his life . H e was

n o f 1 6 1 bor at Seville exceedingly poor parents in 7, 000 5 138 1118 0 5 00001 31 7

studied and worked in that city, till he walked to Madrid in the year 1 642 to implore assistance from Velasquez to obtain that teaching which he felt w as necessary for the furtherance of his art, studied and worked with the latter for three years and

e then return d to his native city, where he married

1 6 8 in 4 a wealthy lady of Pilas , near Seville , whose beautiful face looks out of many of his canvases .

H e had one daughter, Francisca , who became a nun

o d in the Convent of the Mother of G at Seville,

o . and two s ns , both of whom became priests The name of Murillo will always be associated with the Franciscan monks he so loved to paint . The ﬁ rst works which brought him into prominence were the pictures since burnt which he painted for the cloisters of that brotherhood in Seville . These were in his earliest and least successful

the style , in which outline was hard and the tones of the shadows and treatment o f the lights sug gestiv e of Caravaggio . But he gradually adopted his second, or warm style , in which a softer out line and mellower colouring are apparent , and this b was succeeded by his third and most eautiful style ,

“ called the vaporoso , in which the outlines are lost in the light and shade , as they are in the rounded

1 660- 1 6 forms o f nature . Between 74 Murillo pa inted for the Hospital of La Caridad the eleven great pictures which form the noblest work of his 31 8 000 2111 01 100 ( 108 11100 6 8 1101108

x the and life, and show in their full e tent variety power of his genius . But it is by his subject pictures that Murillo should be specially judged ; it is in them that his greatest merit is apparent and by them that his fame should stand . They are the frankest and the most truthful expression of the life of the people that has ever been painted . It is in these genre paint

w e ings that see the high water mark of his genius , and it was in them that he allowed the fullest ex pression, the most supreme evidence of his high

to . ability shine forth They form , however , but a small proportion of his total output , most of his pictures having a religious subject for their raison

’ r d ét e. The Murillo series in the Pinakothek is one the most famous in the world and our gal lery owes its popularity in no small degree to these wonderful pictures , these charming scenes of child i life n Seville . In certain exclusive artistic circles everything popular is regarded suspiciously, and thus it comes about that Murillo is accused of sweet ness bordering on the insipid , and this supposed insipid sweetness prevents his genius from being fully recognized . This standpoint is absolutely

n u stiﬁ a l u j b e. No one who has ever been in Andalusia will ever again say a word about Murillo’ s sweetness but will rather be struck with the amazing accuracy of his work . H e painted

320 000 2111 Of 100 {151111100 6 8 1101108 o f the country i s well expressed in the way the girl has allowed the upper part of her dress to drop away from her shoulders . There is no vapourous

r l effect about this picture . It is in the w a m style of the artist, full of fresh, strong, powerful colour, sharp in contrast between the shadow and the full sun . In the Dice Players ( 1 306 ) another class o f i children is presented . They are not the ch ldren o f the thrifty, thoughtful class who gather the fruit with care, sell it and take home the money. These are the children of the street, the little beggars of

o every Spanish town, who haunt the street c rners , lurk under the shadows of a wall or an arch , and are full of restless activity and brimming over with

his fun and mischief . One lad has twisted in hair a wreath of leaves , sure token of a Southerner , and evidence of that love of decoration which is so remarkable in the people of a sunny land . The

ﬁ ne other boy has a crop of black hair , an eager face, and bo th are full of the interest of the game . They are keeping count with their ﬁ ngers and by their side stands another lad lost in a day dream of his own . H e has a loaf of bread under his arm and a slice of it in his hand in which his gleaming white teeth are fastened , but there is something o n his mind , something which makes him oblivious e do h ven of his g, w o gazes up reproachfully into

322 000 8111 O f 1130 1101111100 6 8 116 1316 8

lies on the bench between them, while his dog with an expression of the intensest expectancy watches i the del cious morsel as it disappears . Nothing could possibly be more truthful than the expres i s ons on these three faces , the smiling look of the boy who watches his companion eat the dainty, the

i ho satisfact on of the one w is enjoying the goody, and the dog who watches them expectant of hi s

r sha e to come These boys, though clad only in

a the slightest of clothing, have not the ragged p pearance of those in the Dice Players and the ” Melon Eaters .

Murillo was evidently very fond of children . No one could have painted them so happily and so well who had not a real love for them , and there fore a clear understanding of their special qual ities . These street lads are represented by him over and over again in all sorts of familiar scenes . The ﬂesh in them is so well painted that it attracts at tention by its accuracy ; the draperies are always cleverly disposed , carelessly disposed on the backs of the boys so as to show chubby shoulders and uncovered necks . The only religious picture of Murillo’ s which hangs in the Pinakothek is that of St . Thomas of Villanova healing a Lame Man ” In this the Saint with his hands extended exhorts in the cripple to rise the name of his Master . The 000 5 08 1118 0 5 00001 323

a s t o ction take place in front o f a church , and w young monks look o n with pitying eyes on the man w ho is just in the action of rising aided by the

c rutch he has used as a support . The tender ex

pression of the saint, the beseeching one of the

the cripple , beautiful tender tones of the whole com position unite in making this one of the most

beautiful of the pictures in the Pinakothek . ff n A fall from a sca olding, which occurred whe he w as painting the high altar for the Capuchins

at Cadiz , put a sudden close to the busy life of

Murillo . Obliged to return to Seville , he gradually

e nd 1 682 gr w worse, a he died in and was buried

’ r z in the church of Santa C u , underneath Campana s f picture o the Descent from the Cross , the spot

he himself selected for his interment . It is strange to notice ho w little Murillo was in

ﬂu enced by Velasquez, though associated so much

with him at his most impressionable age . His work bears little more than a trace of the influence of

the greater master, and his individuality must have been very strong and forcible to have resisted the temptation to adopt the ideals and methods of a

more lofty genius . The work of Murillo distinctly

proves his own strong personal feeling, his faith , his aim and his determination to carry o ut his purpo se .

The son - in- law and perhaps the best pupil 324 t he 2111 of tbe ( 101111100 6 8 1101108

i of Velasquez was Juan Bautista Mart nez del Mazo,

the hi s who studied works of master untiringly, ‘ o copying as well the works of Titian, Tintorett and Paolo Veronese . His most impo rtant com i positions were landscapes and hunting p eces , but he ex celled as well in the branch of portrait paint

. i ing, his works having the same r ch colour and treatment as those of his master Velasquez . His i two pictures in the P nakothek are portraits, one a three- quarter pro ﬁle portrait ( 1 295) of a man i with long black ha r, somewhat disordered , and

and a small moustache and beard, the other of a small white clad boy ( 1 296 ) wearing red laced

8 i sandals, tambour ne in his right hand, his left i suppo rting him against a p llar . A picture the colour and treatment of which are exceedingly charming is that of a Young Cav ” alier ( 1 299 ) listening to his fortune being told by a fortune teller, who holds his attention while his purse is being stolen from him . In the back i ground, the r attention also being engaged, are his three companions . This is the work of Pedro i de Moya, who , though a sold er earlier in life by o ccupation , was so struck by some pictures by Van

Dyck, that he sought out that master and became his pupil till the death of the latter , shortly after ,

. to im in England Moya , on his return Seville, itated Van Dyck with such success that it is said

000 5 08 1118 0 5 00001 3 25

that through him the style of Murillo was inﬂu enced

by the great Flemish portrait painter . There is

’ also another picture of Moya s in our gallery, that of a Cavalier playing cards with a Lady ( 1 300 ) while his companion embraces a young girl who

sits upon his knee .

Francisco de Zurbaran , born at Fuente de Cantos at the end of the sixteenth century , has been called i the Spanish Caravaggio , whose broad handl ng and strong adherence to light and shade he loved to

imitate . In his faithfulness to nature and his strict nationality of style he stands side by side

with Velasquez and Murillo , and though inferior

to the former in truth and ease , and to the latter

ﬁ u res in the contour and lifelike appearance of his g ,

he equals both in colouring, and his tints , though

sober , have sometimes the depth and brilliancy of

Rembrandt . Zurbaran was an admirable painter

o f monks , who formed his favourite subjects , and the only example which we have of his paintings

is that o f St . Francis of Assisi his right

hand on his breast, his left holding a skull , and a

rapt upward expression on his face . In strong contrast to Zurbaran appear the life and work of Alonzo Cano , a man of violent passions , jealous and irritable in disposition and most ec

et centric in character , y whose paintings are of pure, simple design , a calm , tender sentiment, a 326 000 £111 01 100 ( 10011100 6 8 1101108

r harmony of nature and art, and a tone of eﬁned beauty which i s in great contrast to the sombre

H e realism of Spanish naturalism . studied under the famous sculptor Montanes, but learned more from certain antique statues in the palace of the Duke of Alcala than from any instruction which i he owed to his master . His gen us soon placed him in the foremost ranks of Sevillian artists but ﬂ his quarrelsome nature forced him to y to Madrid ,

inﬂuence z where , through the of Velasque , he was

1 appointed painter to the king . In 644 his wife was murdered and Cano , being suspected of the crime , ﬂed to Valencia, but returning to Madrid was sei z ed and tortured ; as he passed through the ordeal he was declared innocent . H e was one of the greatest of the artists of Ah dalusia , and has been called the Michelangelo of

v a Spain , but he merits the name more from the

H e ri ety of his powers than from his style . ex celled in sculpture and architecture as well as in painting, and strange to say, his exceedingly stormy

reﬂected character is not in his works , which throughout exhibit a singular sweetness quite free from any feebleness or affectation . Although he n ﬁ ne ever went to Italy, his feeling for form and the natural charm and simplicity of his compositions suggest the study of the antique , while in painting

CHAPTER VII

TH E FREN CH SCH OOL

TH E French section of the Pinakothek is neither rich nor remarkable there are some very excellent examples of landscapes by Poussin and Claude Lor

i - ra n , but the pictures in the gallery are by no means representative of French art of any period .

fi fteenth France, following at the end of the and the beginning of the sixteenth centuries no defi nite i i i d rection in paint ng, seemed to hes tate between the influ ences of Italy and Flanders . The latter i country, from its close connection w th Burgundy, which during the Hundred Years War formed the

o in chosen retreat of French artists , had not nly

ﬂu enced inﬂu enced , but had itself in turn been by

s French art . This may be seen in the Flemi h tapes i i tries , which dist nctly recall French m niatures . i Had this connection cont nued , it is probable that

France , contributing as much as she received , might have formed an independent school , but the Italian

1 ﬁ rs war , begun in 494 by Charles VIII , t brought

the artistic ideals of Italy before the Flemish rulers , and the real history of French painting began in the s chool maintained by Francis I at Fontainebleau, in 328 000 11101100 5 00001 329

L eo which many Italian artists were employed . nardo da Vinci died in the service of Francis in

1 1 5 9 and many other Italian artists succeeded him .

The only artists who , in opposition to this school i of Fontainebleau, d splayed any national feeling, l were Jean Cousin and the C o u ets. We have no picture by Cousin in the Pinakothek C and but one by Jean louet, the founder of the fam

1 20 1 60 ily, born in Brussels in 4 and who in 4 was i made painter in ord nary to Francis I . This pic ture is the Portrait of a Young Man ( 1 3 1 4 ) i in a black coat and a cap with a wh te feather ,

holding a small leather cloth in the right hand . His

shirt collar and cuffs are embroidered with black . h The grandson of t is artist, Francois Clouet ,

succeeded as painter to the king, and was the most

distinguished of his family . H e became natural iz ed and w as court painter to Henri II and Charles IX We have a charming portrait from his ” brush , a Portrait of Claudia daughter of Henri II of France and wife of Carl II of Lor

o e raine, clad in a light grey damask g wn with a lac

c collar, and ri h jewels around her neck and shoul

l o uets are ders . These works of the C distinguished i by a na ve handling, combined with clear colour and great care and delicacy in the treatment of the de

tails . Another excellent portrait showing the inﬂuence 330 000 8111 01 100 muni ch 6 8 1101108

of the Flemish school, is that of a young brown haired Lady of Quality the handiwork

r rabeth C lo u ets. of Ad iaen C , a follower of the The subject i s richly clad in a white gown highly orna mented ma niﬁ cent , about her neck is a g double col lar and her little black cap is bedecked with gold, pearls and ostrich feathers .

Clo u ets di rec As opposed to the school of the , a tion , initiated and fostered by royal patronage , was it given to French painting, which was long sub

i s l m s ive y to follow . This was largely due to Simon

V o u et t , who , in con radistinction to Jean Cousin and i l the fam ly of C ouet, may be termed the founder of the Italianized school of French painting . Go i ing to Rome, he stud ed Caravaggio and Guido n i i Reni and soo attained a br ll ant position , being made a member of the Academy of St . Luke . But the style he brought from Italy was one of deca

ﬁ rs dence . Although at t he painted with great care and vigour, he presently attempted more than he could perform and allowed his style to degenerate into mere mannerism , so that the character of his

su erﬁ ci al later paintings is p , and devoid of feeling

in or depth of thought . His real merit consisted

c his skill as a tea her , his studio being a veritable

i o it le le nursery of pa nting , as fr m came Brun , Sueur and nearly all the artists of distinction of the next period . His only picture in the Pinakothek

332 000 0111 01 100 {101111100 6 8 1101108

t i Belonging to h s period is his picture Midas, King of the Phrygians ( 1 32 1 ) kneeling before him Bacchus, and praying the god to take from that fatal gift which he had bestowed upon him , of

car turning everything he tou ched into gold . N the god sits the sleeping Silenus and in the foreground lies the slumbering Ariadne and a young follower i i i of Bacchus , wh le two other Bacchanal an ch ldren

- joyously play with a he goat . From this time Poussin at Rome enjoyed the most enviable po sition that even a painter of his

H e genius could desire . had no pupils but had great inﬂu ence among the French artists who came i to study at Rome . Urged by the repeated sol cita tions of Cardinal Richelieu, he returned to Paris for

ﬁ ndin r two years , but g the atmosphere of the cou t intolerable to a person of his simple tastes and i inabil ty to ﬂatter, he again returned to Rome , where for twenty years he continued to paint with out ceasing. O i his other tw o pictures in the Pinakothek one is a Portrait of Himself ( 1 323) with an inscription of his name , age and the date when it was painted . The other picture represents the Lamentation for C hrist in which Mary, seated on the

so n ground, with the body of her dead in her lap , sinks unconscious , Mary Magdalen kneels near by , s upporting her, Nicodemus makes the grave ready, 000 11101100 5 00001 333

and John sits wringing his hands at the edge o f

the sarcophagus, while at the feet of the sacred

body two angels are weeping . Poussin was not only the greatest but also the

i in ex rao r most typ cal of French painters, and the t dinary fertility and variety of his genius recalls

. H e Rubens and Murillo painted sacred , historical

and mythological subjects as well as landscape , and

all with success , and through all the changing vari ety of his work runs the ever present unity of his

. i thought This constitutes his peculiar g ft, which

w as i i sometimes not w thout its defective s de , not

a s ff him in so far it a ected Poussin , but through a

’ o n great part of the French school . Poussin s w

deﬁ niti o n i in of paint ng, as an image of things corporeal rendered sensible through imitation of the ” form , will help to explain this principle . It was

i n i i t d rect oppos tion o the school of the Naturalists , which i s content to take Nature as it ﬁnds her and merely reproduce her eternal variety on the

canvas. The seventeenth century is represented mainly by the pict ures which are collectively ascribed to Valen

n 1 1 1 6 tin de Boulog e , born 59 , died 34 , whose works show the reali stic virtuosity so popular among the

Romance nations at that time . Valentin went early

to Rome and there became intimate with Poussin , w ho to w in to tried, in vain, him a more thoughtful “ 334 G be a rt of tbe ﬂbuntcb G al leries

o f style , but Valentin had found in the works Cara i i v aggio the ideal wh ch exactly suited h s liking . TO paint Nature as he saw her with a certain rude ear nestness i and pass on , without regard to minor shades of expression , was his sole aim . Then, too, the inﬂuence of the lo w company from which he drew his models i s noticeable even in his sacred

i h in subjects, wh c are such in name rather than

i a feel ng and expression . His martyrdoms rec ll the i style of R bera, but a picture of a Fortune Teller him i by , in the Louvre is an nstance of the admira ble truth and force of his execution in a subject not requiring the ﬁner traits of expression .

“ His Crowning with Thorns and Mocking at Christ ( 1 31 7) represents a soldier pressing the ’ crown upon the Saviour s brow , while another i mockingly hands him the sceptre of reeds . In th s the patient dignity of Christ is well rendered and the colours are deep and rugged , very suggestive of the so style of Caravaggio , upon whom Valentin faithfully modelled himself A charming picture is Herminia among the Shepherds ( I showing the hero ine in jew elled armour without a helmet , approaching from the right, leading her horse by the rein . To the left sits a grey headed shepherd busy making baskets , near him is a young lad with a lamb at his feet and

tw o in a corner stands a woman with children, one

‘ 336 (tbe a rt of tbe muntcb mi nu tes

i whether qu vering on the foliage , gleaming on the morning dew or tinging the waves as it sets, it ever sheds an ethereal glamour over all his pic tures . i ’ L ke Poussin s works in this branch of art, though ff sometimes in Claude with questionable e ect, he

hi ﬁ u res peop les s landscapes with g , but as his ideal w as freer and more joyous , his scenes breathe a

r more Arcadian serenity . Almost from the fi st the i supremacy of Claude in landscape was und sputed . After his death his influ ence still lives and we fi nd his manner dominant in the French school of land scape till the beginning of the nineteenth cen tury . The Pinakothek possesses four of his lovely land

— 1 2 scapes one ( 3 4 ) a morning scene , with an in estuary of a river the distance , in the middle dis tance herds feeding and beasts of burden passing over a bridge . To the left, in the foreground , is

Abraham sending Hagar and her son Ishmael away, while from the balcony of a pillared palace Sarah

n looks on at the departing slave and her child . A other is a landscape at full noon ( I In the

be distance is to seen an arm of the sea , towards the left in the middle distance a group of rocks with a grotto . Hagar kneels in the foreground near her i langu shing child and an angel appears to save him . Not far o ff a stag and two does are pasturing and ttbe f rench School 337

tw o o n further back may be seen lions, e o f which

is lacerating a hare . The ﬁgu res and animals are

all painted by the artist himself . An idyllic landscape at sunset next claims our B attention . y a river bank a shepherd and shep h erdess are entertaining themselves with music , while the sheep are sporting in the water and on the Opposite bank and in the shade of thickly wooded trees the remains o f a Corinthian temple may be seen The fourth picture represents a Harbour by Sundown ” with a view of the Arch of Titus at

1 2 Rome ( 3 7) with the well known inscription , and in the middle distance on both sides the towers of

the harbour entrance . Boatmen and sailors are busy i with the cargoes committed to their care , on the r

rafts , which shows the levers by which they are propelled . Claude Lorrain and Poussin take a very impor

o wn tant position in the art of their time , on account of their wonderful treatment of light, and the care

ful composition of their landscapes . Three of the Lorrains in the Pinakothek belong to the master’ s latest period , and show all the qualities of his mas ter y over light and shade , too long unjustly under a valued . With all their delicacy these pictures h ve

o di niﬁed a n ble, g style , and it is on this point that Claude Lorrain and Nicholas Poussin may be com 338 t he a rt ot the l lbuntcb G al leri es

pared to each other . Their colouring is widely dif

n fere t, the cold brilliant enamel of the former com paring strangely with the soft, almost dull colour of the other, but both possessed a delicate and yet powerful gift of composition, which takes not only i masses but light into consideration , produc ng a perfect whole . A picture of Christ in the House of Mary and ” Martha ( 1 330) where Mary kneels at the Re ’ i deemer s feet, while Martha scolding stands bes de IX ” her, and an oval sketch of Louis of France , w i assisti ng at mass in front of an altar, h le through transubstantiation of the Host, the face of the Holy Child appears are the works of Eustache le

i i H e Sueur, called the Raphael of French pa nt ng .

his V o uet commenced career in the studio of , but

’ it was the sight of some of Raphael s cartoons at Lyons that inspired his enthusiasm and showed him the strength of his genius . His character may be seen in his works , which are deeply religious , being all painted for monasteries or churches . In him the i pagan spir t of Poussin is replaced by a spirituality, i a deep rel gious fervour , which gives him a unique n place amo g French artists , and his qualities are the more remarkable as they are entirely alien to the French spirit . Though he was never in Italy he seems to have been inspired by the very spirit of antiquity.

34° t he B rt o f the M uni ch (Bal l ertes

subjects, but a study of the Battle of Constantine in the Vatican is said to have turned his attention i to military pa nting, and it is on this only that his

H is in is fame rests . other picture the Pinakothek

1 i ﬁ rst that of a Battle ( 334 ) which , l ke the , shows great force of imagination, bold execution i i i and wonderful sk ll in compos t on .

le In the works of Charles Brun, which really

o b require to be studied in the Louvre , are to be served the striking qualities of the whole period in

i e which he l ved . H early developed the vigour and industry which characterized him through life and

V o u et inﬂuence his study under , and later under the of Nicholas Poussin at Rome did much to develop hi n s natural talent . O his return to Paris and on his being introduced to the court o f Louis XIV by

z i Ma arin , he painted a famous p cture , Christ with ” the Angels , for the queen mother . To the year 1 660 the same one in which he was made dirce tor of the Gobelins by Colbert — belongs a series of notable works which he executed for the king . They were the celebrated series of four pictures on the Life of Alexander now in the Louvre , and are completely typical both of the artist and his time . i They are splend d decorative works , in which the great subjects are represented with an inexhaustible i fertility of imag nation , nobility of conception and

power of vividly expressed outward action . Their t he f rench School 34 1 technical excellence is also great and the costumes

le are carefully studied . These pictures occupied

e o Brun for s veral years , but on their c mpletion he was made ﬁ rst painter to the king and became supreme in the world of art . The whole appoint ment o f the royal palaces fro m the most ambitious

his to the smallest detail was submitted for direction , and bore the impress of his mind . It is unnecessary to do more than to refer to his gigantic labours at Versailles a standing monument to his genius his reconstruction of the Louvre and his building of churches and mansions , to show how indefatigable he was in his labours .

His sacred pictures , of which we have two exam ples , have all the nobility and dignity of his other

t . 1 works . S Mary Magdalen ( 335) praying with folded hands over a book which lies open sup ported by a skull , forms the subject of one , which is painted with great beauty and warmth of colour ; “ i ” the other is that of St . John the Evangel st

1 ( 336 ) on the Isle of Patmos , commencing to write the Apocalyp se , his emblem , the eagle , near him and to the left a view of the sea . There is also an oval pro ﬁle Portrait o f an aged Woman ( 1 337) which shows what a happy style ef le Brun adopted when following nature . The forts made by him to promote art must not be o f passed over. The foundation the Academy of ‘ 34 2 Gbe a rt of tbe ﬂbuni cb G al l eries

Painting in 1 648 was mainly due to him and it was at his solicitation that Louis XIV established the

h le Frenc Academy at Rome , of which Brun , though

e ﬁ rs t . absent, becam the director

Painted by Phillippe de Champaigne, who belongs

c to the French s hool, though he was born at Brus

Fo u iéres sels , and studied under the Flemish artist q , from whom he acquired that transparency of colour

in and the feeling for nature , which are so apparent

ﬁ ne his works , is a Portrait of Field Marshal

’ ” d Auv er ne Henri de la Tour g , in breastplate and white sash Philippe de Champaigne was v ery noted as a portrait painter and no less for his sacred subjects many of which were executed for

Marie de Medici . A specimen of this branch of

be r his art may also seen in our galle y, the Ma

1 1 donna ( 34 ) seated by an open window, gazing

h e upon the slumbering Christ C ild , a pictur charm ing in conception and attractive in execution .

The military pictures ( 1 342- 5) of Antoine Fran w cois van der Meulen are not ithout value, for though a Fleming by birth , he followed the French i n i k ng in his campaig s , even ncluding that against F landers , and his pictures , painted on the spot , are

ﬁdelit remarkable for y , as regards locality, costume ,

e o and the varying asp cts f camp life . A very pleasing and ﬁnely painted portrait is that ” u of D ke Christian III of Zweibrucken , painted in

‘ 344 Gbe a rt of the M uni ch wal let tes he acquired at Antwerp from his master Antoine i a . Go u b u , is uniformly fresh and brill ant Three small pictures a Bishop on his epis copal Throne ( 1 359 ) blessing a king w ho kneels

him ﬁ rst before , while near the stands a deacon and behind the latter three of his train St .

No rbert ﬁ v e accompanied by monks, raising a

m h o child fro the dead, while to the rig t in the f re ground stands a gardener, and at the left kneels a labourer ; and the bust Portrait of an old grey haired Bishop wearing his mitre and gaz

i Suble ras ing upward, were painted by P erre y , a

U Z 65 in o native of the south of France , b rn in

1 6 99 , an artist who in original power probably sur passed all his contemporaries . There is something in him which recalls Bourdon , but he was even

ﬁ r . e more careless and facile His and invention , his subtle touch , skilful composition and golden

i in colour ng are conspicuous his works , but he was i w thout true feeling for nature , and for want of study and meditation he never penetrated below the surface of his art . His conception of St . Norbert and the dead Child goes to prove that he could have painted with much more depth of feeling, had he chosen to cultivate his powers . A Hunting Party of men and women refresh ing themselves in the open air near a mill

l e forms the subject of a work by Francois Moine .

346 t he a rt of tbe muntcb G al l eries

1 6 n Roman landscape ( 3 9 ) by twilight, discoveri g

’ the ruins of an Emperor s palace . The style of Vernet may be inferred from his o w n assertion that while many painters surpassed him in particular ”

i him in i i ctur e . deta ls , none equalled mak ng a p

i his i H i s Composit on was , in fact, great mer t . early works had something of the roughness of Salvator

his Rosa but later manner was softer, though his

i n i h ﬁ ni sh colouring sometimes fails r c ness , and i transparency . These are never the gods of Pouss n but ordinary mortals brought face to face with the powers of nature . A dainty little picture by Jean Baptiste le Prince i has for its mot f that old , old story of May and

December, an old man sleeping on a garden bench

his with young wife near him , while a youth to the left reaches through the trellis to kiss her hand ( 1 375) The first painter in France to turn his attention to animal painting was Alexandre Francois Des

1 6 - portes, whose two pictures of still life ( 3 3 4 )

c hang in the Pinakothek . These pi tures are not at w all indicative of the style of the artist, hose paint ings are mostly of the woods of Fontainebleau and

ﬁ n the e hunting parties of Louis XIV . His colour ing was rich and transparent and marked by a care less grace . H e was a close student of nature and carefully sought to express the peculiar physio g ’

Z S H AD . G REU E . GIRL E

CHAPTER VIII

TH E NEW PINAK OTH EK

TH E New Pinakothek was built on plans drawn by von Voit between 1 846 and 1 853 . It stands opposite the old Pinakothek, the principal entrance

i s ﬁ rst facing the east . This one of the modern

ae museum buildings, and as early medi val elements

in of style were applied its construction, without

r i u satisfacto y reasons, the building is arch tect rally

. O h unsuccessful, both externally and internally the i external walls of the bu lding Wilhelm Kaulbach , at I im the instance of King Ludwig , attempted to

iz mortal e the history of modern art, in satirical fresco paintings . These wall paintings were long

i i inﬂuences a since destroyed by cl mat c , and fort l nate y no attempt has been made to restore them .

’ In the entrance hall we see M. Wagner s model for the lion quadriga of the Gate of Victory . The door to the left leads into the rooms which contain the porcelain pictures, copies of the best pictures of the old Pinakothek and the gallery of beauties in the Royal Palace . These are interesting as curios ities but do no t possess particularly high artistic value . O u the right of the quadriga w e pass into

348 t he n ew p tnakotbek 349

ﬂo o r the three ground halls, which contain a portion , i of the work of the n neteenth century painters . That no false impressions of the importance of

u s this gallery may be given , let state at the outset that the New Pinakothek gives no connected out line of the development of painting i n the nineteenth

its . century , either in contents or its arrangement The visitor Will regret that it contains nothing from the brushes of the painters who have done the most for the development of modern European art . Ge i Delacroix, Couture, r cault, Ingres, Manet,

i the Monet , Pissarro and the pa nters of Fontaine bleau school are absolutely absent . Constable and i Courbet are represented by unimportant works . O the German painters who may be regarded as pio

t re re nee s , many of the most important are not p sented at all, and others only by unimportant works . Little attention was paid i n the early days to Ger i man painters working outs de of Bavaria . O u the other hand works of local Munich artists are abundantly present, but even here most regret table gaps are found . Such painters as Dillis, Hein

Ko bell Pilo t lein , Kaiser , Metz , y , August Seidel , and Teichlei n are very inadequately represented , o Leibl and the same may be said of B cklin , , and

o Spitzweg . We also note that the gallery p ssesses

D efre er Grii tz ner no early pictures by gg , , Har

n ach burger, Le b , and Thoma, which are far more 35° t he mt of tbe ﬂbuntcb (Bal l ertes essential for a study of the development of painting

r h than the late wo ks of t ese masters . This enumeration is not intended to diminish

’ in f one s pleasure what the gallery does o fer, but i i merely to characterize t . The v sitor here must not ex pect a panoramic view of the development of modern painting ; but must see in it a picture col

z lection gathered together at ha ard , composed of pictures which chance and fashion have brought to gether . It is the thankless duty of a handbook to i point th s out . These general remarks , as well as the helter skelter arrangement of the pictures in the

i o var ous ro ms , must serve as an excuse for the fact that we do not follow the history of the develop

i i i s i n ment of painting n our descr ption . The n ufﬁ c e t

i at mater al leaves no other course open , still the tempt has been made to noti ce the pictures which

i u have a bearing on the h story of painting . O the i other hand he who is nterested in the material, the

r story, the anecdote , the allego y, the city view, will fi nd in the gallery abundant and interesting material . The fi rst cabinet of the fi rst ground floor hall con

0 0 tains two landscapes ( 9 7, 9 9 ) by August Wil i i helm Z mmermann , which are sim lar to pictures of

u har ri the D tch school , but have no especial c acte s tics . The two pictures were painted in 1848 and 1 850 and show that Zimmermann was working in a path quite separate from the artistic ideals of the

352 Ebe a rt ot the muntcb G al leri es especially those of Ludwig Mecklenburg 535 5 h t e . however, are above ordinary level They are soft and atmospheric, and above all true to nature .

An G allegory, Italia and ermania, of one of the

az arenes e N , Johann Overb ck is a very char acteristic bit of this imitator of the Italians , a man w ithout ideas of his own . The third cabinet has only one or two pictures ” of merit . A landscape , Near Brannenburg, by

o Carl Rottmann is a w rthy work, but is so hung that it cannot be enjoyed . A Landscape ” with Thunder Storm by Casper Metz ( 546 a )

ﬁ ne shows good observation , atmospheric qualities ,

in n and great power composition and colour . O the south wall hang twenty- two Oriental sketches by August L6ﬁl er ( 48 1 which are hardly good enough for postcards . Another very badly hung picture i s A Young C x by Max Josef Wagen bauer a free copy of Paul Potter , but done with power . In the ﬁ rst cabinet of the second hall we observe

A Wood Landscape of Johann Wilhelm Schi r

u mer remarkable as a study of nat re, a very ﬁ ne tender landscape Taormina with E tna by Rottmann and a View of Tegernsee 1 6 G ( 5 ) by Johann eorg von Dillis . This is a pic turesqu e bit whose soft atmospheric treatment and especially the colour scheme at a distance shows ‘ Ebe mew D tnakotbek 353

resemblances to the Fontainebleau school . A closer view , however, discloses none of the strength of these masters . In the second cabinet the Winter Landscape

Schelfho u t 1 8 of Andreas painted in 35, may

rkel have served Bii as an example . The works of Eduard Schleich make a small oasis in the deadly level of mediocrity . Several of his pictures are here hung in one place , and allow a review of his qualities to be made . Christian Morgenstern , represented by Moonlight in Partenkirchen w as the ﬁ rst Munich painter who travelled into the Isar valley and the D achauer Moos . H e was followed by

Sr . Eduard Schleich , , who in opposition to the

Romanticists took nature as his model . H e studied the construction of the landscape , the changing play

H e endeav ﬂeetin . of sunlight, and the g clouds oa red to idealize Bavarian landscapes as the Italian

H e masters had those of their native land . com

w sim liﬁ ed posed ith care , p his lines , rendered his

' eﬁ ects in well chosen accents by of light , and was spired by a deep sentiment of love of the country . t A child of the nor h , with its wide plains , he dis i closed to the Bavarians the beaut es of their plateau , the ﬂat land shadowed by clouds , the gentle wooded slope , the homely village by moonlight with its rush

H e ing stream and gleaming lights . copied from Ruisdael his deep seriousness and the sombre o bser ” 354 (the a rt of the M uni ch (Bal lertes

i vation of nature , wh ch was so congenial to Schleich himself in Goyen he was attracted by the pictorial harmony into which are woven the elemental forces of nature , the thunder cloud , the mist veiled sun , i the shimmer ng moonlight, covering and illuminat

u ing the grassy earth , the r de stream , the humble cottage . Munich and its neighbourhood were his ﬁ l e d . , and rarely did he paint a more distant subject

Rain , moonlight , autumn were his favourite moods, and his greys and browns are essentially reminders of the D utch masters . H i s brush work and method of laying colour is like that of Solomon Ruisdael . If we seek farther

i sub what Schleich has d scovered new , we must i ﬂ tract the D utch n u ence from his pictures . We hnd then another foreign might in them which

Morgenstern did not have , and this might is named

Constable . The dull brown red comes from the

Englishman . That Eduard Schleich was able to make so soft true and earnest pictures of nature in beautiful colour unity is due not only to the Dutch ,

e but also to Constable . H grew continually with years . His mood became ever softer , his impres

ff o sions more pictorial through the di usion of col ur, i the soften ng of the outlines , over which the torn

clouds of a restless heaven eternally drive . Near ” Brannenburg ( 736 ) is an early picture of the

' painter . Next to this w e ﬁnd Approaching Thun

‘ 356 G be a rt of tbe {D untcb Gal leri es

o ll - have any artistic value . K be ( 308 3 1 0 ) not only i was a skilful and conscient ous draughtsman , but

’ his painter s eye had comprehension of aerial per spectiv e and understanding of the indistinctness of i d stant objects . One is struck by the accurately drawn foreground and the impressionistic manner in which he saw and reproduced the middle and far

h 8 in i distance . Albrec t Adam ( 7, , 9 ) worked qu te i the same manner with similar results . H e certa nly

1 8 had the necessary knowledge o f war . In 09 he was in the thick of battle with the Bavarians against

i 1 8 8 he i in Austr a , and in 4 was st ll the saddle on the i i i z Austr an exped t on to Italy under Radet ky, at

- H e the age of sixty two . was an accurate observer , if i no colour st, and knew intimately the life he

i dis painted . Among these war pictures one w ll cover with a sense of intrusion a picture by Anselm h Feuerbac , portraying a classic battle scene , whence i i i h i its c lassif cat on w t the battle p ctures . The Overthrow of the Titans ( 1 88 ) dates from the

1 i year 874 . It would surely be more effect ve in i it more su table surroundings , where would not be so cruelly smothered , for its design shows remark able promise . The composition is grouped in great dramatic accents around the central ﬁgu re of Gaea inciting the giants behind her to the storm of Olym

. pus Zeus bursts from the clouds , surrounded by i d vine light, and hurls his thunders at the trans Ebe n ew D i nakotbek 357

resso rs g , against whom , in the foreground , Pluto ,

Poseidon and Herakles rush forward from below . There is reason for every action of the ﬁgu res ; the bodies are nobly drawn and the lines are animated

by truthful observation . No trace of the theatrical belittles the great gestures which Feuerbach has por

trayed . No painter of our time has imagined the i ant que with purer and more inspired thought, has

r i i so relived and ev v ﬁ ed it in his own person . Yet i here again colour offered h m unsolvable difﬁcu lties . We no w return through the three halls and

ﬁ rst ascend the stairs to the uppe r story . In the hall is a full - length portrait ( 393) of the founder I and builder of the gallery , King Ludwig , in the

St . uniform of the Order of Hubert , and a likeness of Maximilian II in the same costume , both large and empty representations by Wilhelm von

- 1 80 1 8 . Kaulbach , 5 74 As pictures , the two por traits of the Prince Regent Luitpold by August

New Holmberg Director of the Pinakothek , and Hubert von H erko mer ( 293) are much better .

We turn now into the cabinets to the right . The

tieler chro tz ber . pictures by S , S g, Kaulbach , etc , in the ﬁ rst cabinet are w holly unworthy of considera tion . One might believe himself surrounded by

so chromos , brutal is the gaudy colouring of these

the G pictures , which show lowest ebb of erman painting at the beginning o f the nineteenth century . 358 t he mt o f tbe muntcb (Batteries

Let the observer compare even in imagination these

i i e ﬂat expressionless pa nt ngs with Rub ns , Rem

is brandt or Raphael . It almost a desecration even to name these masters here . This unpleasing epoch of German painting is V isible in disproportionate quantity in the Pinakothek ; the following cabinets i i also conta n documents of th s period . i i In the ﬁ rst cab net 3. p cture by Angelica Kauf mann, King Ludwig I as Crown Prince

in is a little better than the others . Although even this portrait only a mild pictorial feeling is dis

i s i played , there nevertheless a un ty of colour de — v e10ped on the grey green background . In the second cabinet are three interesting bits by

Wagenbauer ( 86 7- 869 ) and an Italian Vintage

i 1 Fest val ( 4 9 ) by the Tyrolese Josef Anton Koch , an imitator of Poussin and Claude . His heroic i scenery is pretty, the draw ng hard and dry, and the colour feeble . The promise contained in his later pictures of the future development of landscape i i i in . pa nt ng, are not apparent the P nakothek How i Re nhardt, who in his early work followed Koch ,

1 developed , is shown by his heroic landscape ( 64 )

1 8 6 c f dated 4 , with broadly constru ted cli fs and loosely painted trees . Here hangs also a historically

1 2 interesting picture 9 ) by Franz Catel, depicting King Ludwig of Bavaria in the Spanish wine tavern

Ri a rande at p g in Rome in company with artists .

36 0 m ma rt e t the M uni ch (Bal lertes

stens . A younger brother of Rottmann , Leopold,

Barersee represented by only one picture , The in the Bavarian Highlands seems to be inﬂu enced by his brother Karl Cabinet ﬁ v e contains a Marine 5) by Ah dreas i ro Achenbach , an attract vely coloured and mantically composed depiction of The Hintersee

6 1 i Ger ( 7 ) by Karl Rottmann , a p cture by Eduard

The the hardt, Lion Court of Alhambra less satisfactory than hi s work in the Schack Gal i in b lery, a p cture of Palermo muddy blue y Franz i F . h s . 0 Catel, a sketch by J Overbeck ( 59 ) from i i ser es of the Seven Sacraments , and most mportant

Neu reu th r i e . of all, two creations by and Schw nd Both works are quite dissimilar in style to the usual i i conception of an easel pa nt ng, and have more of an

’ N eu reu ther s illustrative character . four part pic 8 ture 5 3) illustrates a poem by Burger , The Pas ’ i tor s Daughter of Taubenha n . A little awkward in colour, the lines are so pure and noble that they make the heart beat faster , and lovely arabesques i combine the separate compos tions . While we must

Neu reu ther z count wholly among illustrators , Morit

’ ’ ” von Schw ind s Lady Adventure s true Knight stands half way between the illustrators and the painters . His Symphony ( 778) inclines rather to an illustrative character . It is easy to shrug the

insufﬁcienc shoulders over his y as a painter . In his ‘ Gbe mew mi nahotbek 36 1 lines lives the middle- class grace of the German i B edermeier period . In the lightly coloured out

ﬁ u res i lines of his g appears a tender, lovable magina tion . None of the Romanticists has spoken so com fo rtabl i deﬁ nitel he y and eas ly, so clearly and y to t i G i . erman folk soul of his t me, as th s master ” Richard Muther, in his Modern Painting, char acteri z es him as follows

Ro Master Schwind , you are a genius and a

’ man i i t c st . This stereotyped compliment was paid by King Ludwig to the painter on each occasion

i V his that, Without buy ng anything of him , he isited i studio . And with equal regularity Schw nd , when he had sat down again by his easel, after the royal

i s visit, to smoke his pipe, said to have muttered i something extremely disloyal . In this tra t the whole Schwind is already revealed, free from all ambition , every inch an artist . “

H . W . Riehl has described a series of such episodes , which one must know, in order to under i i stand Schw nd, that ch ld of nature and of Sunday, w ho separates himself from the group of philo sophical meditative artists of his age both as an individual and as an audacious , original genius of effervescent wit . “ When an aesthetic once hailed him as the creator of an original , German kind of ideal, roman

’ tic art, Schwind repeated very slowly, weighing ‘ 36 2 ctbe a rt of the M uni ch G al leri es

‘ : An G each word original, erman kind of ideal,

i . romant c art My dear sir, to me there are only two i i k nds of p ctures , the sold and the unsold ; and to

en me the sold are always the best . Those are my

’ r him tire aesthetics . O a noble amateur comes to with the request that he would take him just for a

in his i few days school, and nstruct him especially in i i his masterly art of draw ng in penc l . Where

: upon Schwind It does not require a day for that, my dear Baron ; I can tell you in three minutes how it I do , I can give you all the desired information at i i . t once Here l es my paper, kindly remark , I 6 buy it of Bullinger, , Residenz Strasse ; these are i ’ A . . my penc ls, W Faber s ; I get them from Andreas

1 0 K au ﬁ n er ﬁ rm Kaut , , g Strasse ; from the same I

- have this india rubber too , but I very seldom use it i - , so that I use th s pen knife all the more, to

’ 1 0 D sharpen the pencils ; it s from Tresch , , iener gasse, and very good value . Now I have all these

few things lying together on the table , and a thoughts in my head as well ; then I sit down here

i no and beg n to draw . And w you know all that I

’ can tell you . Again he asks to be decorated with

’ an order, because he is ashamed to mix in such a i i h e ’ naked cond t on wit his bestarred confr res , and i after the bestowal of the des red decoration , he says ,

’ New I wore it only once , at the last Year s levee , but I vowed at the same time that six horses should

364 t he a rt or th e albumen G al l eri es

’ H i mind captive . e ncorporated the romantic idea

did in in painting as Weber music, and his works ,

is h i Fre c iitz . like the , w ll live for ever Many a man

i i - l stened to him hold ng forth upon water nymphs,

e gnomes , and tricksy kobolds , as of b ings of whose existence he appeared to have no doubt whatever .

O n i i one occasion , wh le out walk ng near Eisenach i n i the Annathal , a fr end laughingly observed to him that the landscape really looked as i f gnome had made the pathway and had had their dwellings

’ i w as so ? i there . D on t you bel eve it I believe t ! answered Schwind in all seriousness . H e lived in the world of legend and fairy tale . If ever a fairy i stood bes de the cradle of a mortal man , assuredly

’ chw ind s there was one standing by S , and all his

in life long he believed her and raved about her. Born in the land where Neidhart of Neu enthal ha d sung and the Parson of the Kahlenberg had dwelt , to his eyes Germany was overshadowed with ancient

: Teutonic oaks for him , elves hovered about water

i e spr ngs and streams , their white robes trailing b hind them through the dewy grass ; a race of gnomes i held their hab tation on the mountain heights , and

- in water nymphs bathed every po ol . In him part of the Middle Ages came back to life , not in livid , — corpse like pallor , but fanned by the revivifying breath of the present day. For that is what is noteworthy about Schwind t he n ew D inahotbek 365

he is a Romanticist, yet at the same time a genuine , i modern ch ld of Vienna . There are three things in each of which Vienna stands supreme : hers are the

fairest women , the sweetest songs , and the most

beauti ful waltzes . The atmosphere of Vienna sends forth a soft and sensual breath which encircles u s

’ as though with women s arms ; songs and dances

in ai r slumber the , waiting only for a call , to be

awakened . Vienna is a place for enjoyment rather

e i than for work, for p nsive dream ng rather than for

z sober wakefulness of mind . Morit Schwind was i i a ch ld of th s city of beautiful women , songs , and

in i dances , as may be observed the fem nine nature

hi s its : in in of art, in melody and rhythm music , — — it its . deed , had source In song singing, bell ring i ng Vienna it was difﬁ cult for him to guess in what direction his talents lay ; but all hi s li fe long he kept an open eye for the charms of beautiful woman

hood . No artist of that time has created lovelier forms of women , beings with so great a charm of maidenly freshness and modest grace . Instead of

- the goddesses , heroines , and nun like female saints , whose appearance dated from the Italy of the

Cinquecento , Schwind depicted a modern feminine

’ charm . The group of ladies in Ritter Kurt is ,

ﬁn ers even to the movement of their gloved g , grace

H e w as e ful in the modern sense . a paint r of love a breath of Walter von der Vogelweide’ s 366 t he a rt of the M uni ch wal leri es ideal perfection of womanhood pervades his pic tures .

n bl met si nd die rei nen rau en D urchsu sset u d ge u F , nni li anz u schau en Es w ard nie nichts so W o g ches , ’ In utten auf Erden no ch in all ru nen u en. L , , g A

Schwind himself is among the masters ‘ who ’ H ff be . e have been , and are, and shall was di erent from all that was arising around him ; he embodied i i the spir t of the future, and exerc sed over the art of the present day so great an inﬂu ence that w her ever three painters are gathered together in the i i name of the beaut ful , he has his place in the m dst

h is i i ex hibi of t em , and present , nv sible , at every

i inﬂu ence . tion . But he exercises th s only spiritually Young artists study him as if he were a primitive

hnd master . Enraptured , they in him all those — qualities for which there i s to day so ardent a long i n — i c i i g nno ent purity and touch ng s mplicity , a

i i i in - myst c, romant c submers on waves of old time feeling and a charming youthful fervour They do i i i not study him n order to pa nt l ke him . The ﬁ rst attempts at the painting of moods in the Munich landscape school appear in Christian

’ i 8 o Morgenstern s Norweg an Marine , ( 55 ) p

o si p te in the sixth cabinet . There also is a Gothic Church in Moonshine by Domenico Qua glio , wholly romantic in spirit . Cabinet seven contains four pictures by Heinrich

368 G M mt of the M uni ch (Bal l ertes

A scene in Alsace served as a model for the artist . A landscape ( 36 2 ) by Ernst Kaiser and Ah Autumn Morning 363) by Andreas Achenbach are worthy of notice . The same room contains a

28 i portrait ( 6 ) of the sculptor Mart n Wagner, by

Karl Rahl . Rahl penetrated with deep earnestness into the spirit of the great Italian Renaissance paint ers , and from their world brought forth pictures which rank pictorially high for his time . In the

i i is i portra t mentioned , a pictor al thought log cally

i inﬂu ence carried o u t . Rahl exercised a last ng on

h . Rottmann , Stange , and Sc leich Franz Winter h i i i i i alter occup es a s m lar pos t on , but the portrait

( 896 ) of Count Jenison - Walworth does not belong among hi s best work .

n O the south walls of cabinets two, three , four,

ﬁ v i i e, six and seven , at a cons derable he ght, are hung the sketches of Wilhelm von Kaulbach for i the frescoes on the outside of the New P nakothek, which were carried out during his life by Nilson and

X . . Barth The value of these works , which at the i best is not espec ally great , lies not in their colour, i but in their compos tion . In their drawing Kaul bach developed spiritual sharpness and grotesque invention . Intended to glorify the artistic life of

fu lﬁlled Munich , he his task by mocking at what he

lo riﬁ ed should have g , and wrote a scornful verse describing his own work . The king in his youth ‘ Ebe n ew p tnakotbek 369

spent millions in order to elevate art, says Schwind, and now in his old age he pays another thousand ” u po nds in order to be laughed at for it . Happily Munich ’ s abominable weather in this instance kind has swept away from the outside all but in

distinct traces of the frescoes . Cabinet eight contains two portraits by August

Riedel . These portraits of the Singer Pellegrini

6 6 1 and his wife ( 6 5 , 5 ) show the good talent of the t artist, hough not the excellent handling of light

o - sh wn in his well known genres . There are also

tw o 0 1 landscapes 55 , 55 ) of Karl Millner, and a light and airy Partie aus Wasserburg ( 572 ) by

Michael Neher . A romantic picture ( 906 ) of a thunderstorm over a mountain brook is by Albert i Z mmermann , who painted The Walpurgis

Night in the Schack Gallery . More earnest and

’ r stronge is the master s younger brother, Richard, w ho i s represented by a picture Winter in the

High Mountains All o f these, however, are only of the second or third rank . i ni Cabinet nine has more s g ﬁ cance. Here hangs the most beautiful picture of Karl Rottmann , The Grave o f Archimedes in the Necropolis of Syra cuse In this picture something more than the transcript o f a landscape is given . The tone harmony in bright white and shining blue is alive .

The pedantic pettiness of the drawing is forgotten, ‘ 37° C be B ust of the M uni ch G al leri es

lost in the magic mist of the atmosphere . In the same room w e ﬁ nd the three beautiful pictures by

z . Spit weg, one of the boasts of the Pinakothek The Poor Poet ( 79 1 ) is a youthful work of the i master . From his middle per od comes In the

” “ Attic while The Scolding Hermit ( 793) i s i . a picture of his latest t me Here at last, for once ,

G i v o lu we see in the work of a erman pa nter, soft, p tu o u s D , melting colours , which remind one of iaz , and ho ld their own very well against Constable . The comfortable Biedermeier humour is the second valuable element of the art of this master . This mournful middle - class humour was introduced into

Munich painting by Spitzweg . In a diluted form we ﬁ nd it constantly elsewhere . Many Munich i m pa nters believe , since then , that they can ake pictures out of a small humourous conceit, a carnival joke , and thereby mistakenly place the emphatic point of a painting on something purely external . Here we ﬁ nd it explained why Munich painting is i partly dom nated by a playful frivolous spirit, which ff seeks cheap e ects , instead of working with thor ough earnestness and collected strength for the solu tion of the problems which painting daily sets anew before the artistic eye . Many men of Munich have devoted themselves to painting with impure thoughts , and misused their talent to the damage of their art, because they sold themselves all too early

372 Ebe a rt of the M uni ch G al leri es

of honest little schoolmasters and poor sempstresses , and gives shape to his own small joys and sorrows

i is in a sp rit of contemplation . H dragons are only

i his comfortable, Philist ne dragons , and troglodytes,

in who chastise themselves rocky solitudes , perform

i z their penance with a kindly rony . In Spit weg a ﬁ ne humour i s the causeway between fancy and

i H is i i real ty . tender l ttle p ctures represent the

G r lie the h e many of the forties, and apart from rus i n i g life of our t me , like an idyllic hamlet slumber i i ing n Sunday qu etude . To look at hi s pictures is like wandering on a bright Sunday morning through the gardens and

G . At crooked , uneven alleys of an old erman town the same time one feels that Spitzweg belonged to the present and not to the period of the ingenuous i i Ph listines . It was only after he had stud ed at the university and passed his pharmaceutical examina tion that he turned to painting . Nevertheless he succeeded in acquiring a sensitiveness to colour to

i H e wh ch nothing in the period can be compared . ’ i ’ worked through Burnet s Treatise on Pa nting,

1 8 1 visited Italy, and in 5 made a tour, for the sake of study, to Paris, London , and Antwerp, in com pany with Eduard Schleich . In the gallery of Pom mersfelden he made masterly copies from Berghem ,

G O stade Po elenbu r onzales , Coquez , , and g, and i l ved to see the appearance of Pilo ty . But much as ‘ C be mew D tnakotbek 373 he p ro ﬁted by the principles of colour which then m became dominant , he is like none of his conte po

’ Pilo t s raries , and stands as far from y brown sauce as from the frigid hardness of the old genre painters . H e was one of the ﬁ rst in Germany to feel that really sensuous joy of painting , and to mix soft, luxuriant, melting colours . There are landscapes

i r of his which , in the r cha ming freshness , border di r H e ectly on the school of Fontainebleau . takes in G refuge a erman forest , and paints marvellously the dreamy humour of old oaks , when the stillness of night broods over the whispering boughs , when m i the brook mur urs sleep ly , and the fresh fragrance of a hidden and solitary world mysteriously

r trembles in the air . O he paints the golden corn waving on the plain , the quail uttering his note in

c its shelter . What a hime and hum of mysterious voices ! O r he shows the heath stretching austere

ﬁbres with its brown , and the earth whispering to the wayfarer in the evening gloom strange tales o f what was enacted here and still echoes out of the

past . Spitzweg has painted bright green meadows

in which , as in the pictures of Daubigny, the little red ﬁgu res of peasant women appear as bright and H e d luminous patches o f colour . has woodlan glades penetrated by the sun of pungent piquancy of colour such as is only to be found elsewhere in Diaz . And where he diversiﬁed his desolate mountain ‘ 374 Ctbe a rt of the M uni ch ® al l et i es glens and steeply rising cliff s with the fantastic lairs i i a of dragons , and w th eccentr c nchorites, he some times produced such bold colour symphonies of sap

i his ph re blue , emerald green , and red that pictures seem like anticipations of Bocklin . Spitzweg was a

reﬁ ned - painter for connoisseurs . His cabinet pieces are amongst the few German productions of thei r time which it is a delight to possess and they have the savour of rare delicacies when o ne comes across ” them in the dismal wilderness of public galleries . Other important pictures in the same cabinet are

M . St . Vitus Church ( 577) by Neher, The

62 D . Old Abbey at Rouen ( 4 ) by Quaglio , The

r 1 i Potato Ha vest ( 9 5) by Richard Z mmermann , and A Ravine ( 47) by Friedrich Bamberger .

u e a O u The pict re by Eug ne Ad m , the Battle Field of Solferino ( 20 ) a picture caught in the romantic i i i sp r t , but yet full of liv ng colour , deserves notice ,

ﬁ nall and y the landscape by John Constable, whose importance for European painting naturally cannot

o be estimated from this small picture . But let one g once more to the landscapes of Schleich , seek out among the gaudy medley ! of the rooms the repre sentatives en of the Munich landscape school , and deav o u r to make clear to himself what Constable

H e gave to all of them . has taken out of the ele D ments of the old utch art , what he needed to arrive

f . at a newer, higher means o expression What lus

376 t he a rt o f tbe muntcb Gal leri es

o f neglect, to be once more inspired by the works real painters like Murillo and Velasquez and to i again bring colour into paint ng . Theatrical pathos , overemphasized gestures are especially emphatic and unpleasant in his picture Thusnelda in the Triu m phal March of Germanicus ( 6 05) in Seni be fore the Corpse of Wallenstein the composition of

ﬁ ures i the two g , a vert cal placed above a horizontal , is monumental . The warm colours are sonorous and powerful . The black of Seni stands majestically i ’ above Wallenste n s white pallid robe , shadowed with yellow, which contrasts beautifully with the red carpet , a beautiful and grand colour conception . Unfortunately the Pinakothek lacks smaller paint ings and sketches by Pilo ty in which his important i gifts would be st ll more clear . ’ ” Pilo t s r y glo y, says Muther, is to have planted the banner of colour on the citadel of the i - — dealistic cartoon drawers . Even to day , beside

’ ’ K au lbach s Jerusalem and Schnorr s Deluge

New i in the Pinakothek, his Seni is ndicative of

ne the beginning of a w period . This astound ing revelation of colour was in 1 855 praised in Ger many as something unheard of and absolutely per

e . fe t There was no more of the petty, motley , bodi

w as less painting which dominant before . The manner in which the grey of morning fell upon the h murdered man in the eerie chamber, the way t e ‘ ccbe Mew D tnahotbek 377

t s l clo hes and the ilken curtain g immered, were e things which nchanted artists , whilst the lay public philosophized with the tho ughtful Seni over the i greatness o f heroes and the dest ny of the world . At one bound Pilo ty took rank as the ﬁ rst German ‘

painter ; he was the future, and he became the leader to whom young Munich looked up with hi wonder . Before m no one had kno wn ho w to

in paint a head , a hand, or a boot such a way . No

one could do so much , and in virtue of this technical strength he founded such a school as Munich had ” never yet seen .

The great religious pictures of this hall, by Hein rich von Hess Angelica Kaufmann

hr and J . von Sc ando lph are unimportant as

empty imitations of the great Italians . Josef Anton ’ 1 8 Koch s great heroic landscape ( 4 ) shows, more ’ ho w clearly than his small pictures , he used Carsten s method of outlines in landscape and emulated Pous sin and Claude Lorrain without more than approx imately reaching the safe domain of the ﬁ rst in drawing o r the trembling reﬂectio ns of light of the

H o latter . w similar to him was Reinhardt, is shown by his picture ( 639 ) opposite . The Mother with

6 2 c Child ( 5 ) by August Riedel, is espe ially pleas ing in its treatment o f outdoor light . The group sits outside before a garden wall illuminated by the

The b o f un evening sun. pro lem light has remained 378 t he a rt or th e muni cb G alleri es

ex solved as a misdirected periment, but here it is

1 8 0 . plainly stated , in the year 4 ’ In the third hall hangs Wilhelm von K aulbach s The Destruction of Jerusalem by Titus i i in G long a highly pra sed p cture ermany , which to day can no longer awaken a single friendly feeling .

The composition falls apart of itself, the shallow faded colours are put together without thought .

1 2 in The portraits ( 37 , 37 ) of two Munich artists carnival costume are pictorially unimportant aecom li p shments . Kaulbach is insincere in his composi i t ons , and at last began to laugh at his own monu

tableaux mental pictures . They are nothing but vivants i o , bu lt up on the rules of formal comp sition, and require a key for their explanation . O n the same lo w artistic level stand the pictures

0 the eu of Peter von Hess ( 3 9 , portraying al trances of King Otto into Nauplia and Athens, ’ though they have historical value . Riedel s Nea politan Fisher Family ( 6 50 ) at most stands a little i n h gher than its surrou dings , on account of its close composition . As a record in the development of

Munich landscape painting, we may mention Johann

’ “ ” D o rner s Walchensee which belongs to the group of Koch and Reinhardt O u the other hand Heinrich Heinlein with his Waterfall near

Salzburg ( 288 ) appears to be a later Romanticist . The most important picture o f this hall is the Isar

‘ 380 Gbe a rt of tbe l lDuntcb Gal leri es from below upward and across to the line of the

’ o w ship s hull . N see how every other line in the

i . p cture, the children, the sailors , etc , lead into this i i t t . basic line, emphasize , or ornamentally surround

is See farther how the colour developed , rising and

- sinking on this basic line . Grey brown violet is the

o ground c lour of the picture , which in the land scape , in the clothes of the nurse and in the trousers i of one sa lor rises to a warm brown , in the clothes

i s t e of Medea swells to a sonant red surface , which

eated i n p again , though slightly cooler , the cap of

‘ h i The lue t e sa lor . b green of the sea water po uring on the strand smiles forth from the ground tone and the horizon shines in deep blue . How agreeable i here is the renunciat on of every theatrical ideal .

em The great mov ent is honestly and truly conceived , h and just for this reason works so powerfully . W en

e one has torn himself away , the surroundings app ar doubly small . Above on the walls hang the empty

1 200 20 2 1 1 - 2 1 original cartoons 97, , 7, 4 ) for

b o painted glass windows y J sef Anton Fischer , which impress one unfavourably in a collection of pictures . The Entombment ( 368 ) by Fritz

August von Kaulbach , Venus Mourning Adonis

6 L indenschmit ( 47 ) by Wilhelm , appear as weak reminiscences by petty routine painters , of the mas t ’ ers of the Renaissance . In Bruno Piglhein s Eh to mbment ( 602 ) we are pleased by the purity o f

382 Ebe mt Of the M uni ch 6 8 116 1316 5 i n i i that age, g ven up to an ostentat ous painting of ff material, must have had an e ect that was absolutely ” novel . A second picture shines forth on the same

2 B6 cklin wall ; Pan in the Reeds (9 ) by Arnold , a beautiful symphony in grey green with a glimpse into the distance over the surface of the water ; a soft sunny bit of nature surrounds the ﬁgu re of the dreaming Pan , a symbol of this world . In the ﬁ fth hall w e fi nd ourselves in the circle of the Munich men of our own day . The Isar city has

o i brought f rth a proud array of br lliant talents , but very many of them have not kept the promise of

e u th ir yo thful beginnings, have let themselves be

—sati sﬁ ed lulled by the comfortable, easy, self atmos

here i p of Mun ch , have become careless , and have

o ff sloughed all earnest feeling for art . Ah ex cep i h i i i tion is Fr tz von U de , whose art st c educat on

Makart Mu nkacs i L e was received from , y , Bast en H h i . e ﬁ t page , and Israel long had to g b tterly

few with his tools , and it is really only in the last years that he has arrived at a colouristic conception i i and execut on of his pictures, as the glowing l ght

82 a u s . H e study, Reading Maiden ( 4 ) , shows obtained great po pular success with a new rep resentatio n of religious themes in the spirit of our

H e time . has drawn from deep experience the agitated year ning faces which gaze after Christ

8 2 Ascending to Heaven ( 4 ) but the colour is dull . Ebe Mew D i nahotbeh 383

’ z 2 Also , Fran Stuck s War (8 6 ) is dull and muddy in colour . Only the monumental harmony o f o the comp sition , and the unity of tone , give it power to make an impression . Unimportant to the

o r hist y of art progress , but characteristic of the brown - sauce character o f modern Munich painting

’ H r ri are Ludwig e te ch s St . George

’ The Knight Piglhein s Blind ( 603) ’ “ and Paul H o ecker s Ave Maria The landscapes are much better . Notice Willows by ” W n 88 S. enban A the Brook ( 5) by Lion , In tu mn ( 737) by Eduard Schleich , Junior, Near

Fii rstenfeld— 8 1 o W ilro ider Bruck ( 9 ) by J seph ,

06 L o d Nature Study ( 5 ) by Emil ug , who worke in connection with Thoma , a powerful , brilliantly shining Dutch C o w pastu re ( 43) by Herman in Baisch , which recalls a Troyon , A Saw Mill

2 1 Upper Austria ( 7 ) by Emil Jacob Schindler, which has been developed from a pictorial colour i perception , and in its blonde green makes one th nk

“ of Corot ; ﬁ nally A Hut with a Team in Sla

” ' vonia ( 599 ) by the Viennese Carl von Petten

l h . kofen , soft, atmospheric , and surrounded by ig t

O u Two outdoor pictures are interesting, the North Sea Coast of Skagen ( 430 ) by Peter

K ro ers o 8 Severin y , and Bathing Y uths ( 7 9 ) ’ Ex ter s G by Otto Sinding . Julius ood Friday

1 8 w ho ( 3) is the work of a late Romanticist, is dif ‘ 384 Cbe a rt of tbe l lbuni cb G al l eri es

ferent from the early ones only in this , that here t no t only the conception and the atti udes , but also the colour, have been misused to produce idealized

H o w r theatrical effects . friendly, unp etending and modest appears against such Bengalese trickery the fascinating Resignation 586 a ) by Adam Adolf ff n Oberlander . A humourous , a ectionate sentime t, and a rich pictorial perception are joined here .

We no w pass into the Rottmann room , which contains twenty- three reproductions of Greek land scapes ( 675- 697) which Karl Rottmann produced at i the o rder of Ludwig I for the New P nakothek .

These twenty- three views of Greece do not belong

’ H e to Ro ttmann s best work . was not strong enough to vary the monotony of the motives in these pic tures . The schistous ground on which he painted the pictures also makes the colours hard and cold . In

ﬁ nd the details, however, we at times, in many of these landscapes , a colour value which is interesting,

i in and effective composition . The sun ve led mist ” in his Landscape in Aulis ( 686 ) makes one

i ﬁ ner th nk of the nevertheless Claude Lorrain , and

“ ” “ ” the stronger Turner . Aulis , Delos and Marathon ( 684 ) are the most successful creations of this cycle . We no w go back through the hall into the cab inets on the left . Room fourteen contains an early bu t D quite unimportant portrait of r . Schanzen

‘ Ebe Mew p tnahotbeh s8s

b c 6 a Lenbach a h ( 4 4 ) by , three water colours

1 - 1 b o f ( 5 7 5 9) y Ludek Marold, a draughtsman

Blaetter Fliegende who died young, and a

picture by Wilhelm von Diez, The Good Old Times “ Diez knows the period from

D ii rer o u and Holbein to Rubens , Rembrandt, W

o verman, and Br uwer as thoroughly as an historian

o f art, and sometimes he has even drawn the eight h i eent century into the c rcle of his studies . His

pictures had an unrivalled delicacy of tone , and could certainly hang beside their Dutch models in the Pinakothek without losing anything by such

O n e proximity ( Muther) . the south wall w notice a picture by Schwind which is similar in theme and G colour to his pictures in the Schack allery, In

th e 8a tw o the House of Artist ( 77 ) , showing

ladies studying a map . We see here also the tenderly atmospheric water colour sketches for the wall paintings which Schwind produced in the Loggia of the Imperial Opera House at Vienna

- h ( 778b ) ~ In cabinet thirteen w e ﬁ nd the theatrical Wom

’ ” 0 o f Samber er the an s Head ( 7 5) g , and famous

Sin by Franz Stuck . Too deep an impressio n t should not be expected . The heatrically composed picture gets its highest praise when w e consider it as a poster . e o f In spite of their great vari ty subject, says 386 ( the a rt of tbe muntcb Gal leries

deﬁned n Muther, one sharply trait ru s through — the pictures of Stuck a trait as it were o f the i E k creative capacity for industr al art . very wor takes the spectator by surprise through its strange individuality of colour, which has , however, always the mark of taste, and through a skill in draughts manship sometimes suggesting the Greeks and H sometimes the Japanese . e is always captivating by his ease and dexterity in technique, and by his strong sense of decorative effect . But he is not to be ranked amid the artists with whom one can enter

Ro s into spiritual relationship . When p draws a

ﬁ re Satan, there is a lurid in his glimmering and i uncannily watchful eyes . There is someth ng of the serpent in them and something of Nero abstractedly

r gazing at the ﬂames of burning Rome . Bu ne Jones holds one in thrall by his tender melancholy ; Bocklin by the weight of spirit with which he bears one along with sovereign power as he runs through the entire gamut fro m wayward humour to the pitch where terror is wedded to grandeur . The har

' Pu v is i monies of de Chavannes whisper , melt ng and mysterious , like exquisite music heard in the dusk . In the picture one is always conscious of the physical state from which it w as created and which quickens the same mood of spirit in the spectator . But what is expressed in the pictures of Stuck is pure and positive pleasure in moulding and develop

388 t he B t t Oi tbe l lbuntcb (Batteri es

i i he entered nto close fr endship, and it was curious afterwards to see the two together at exhibitions the little ﬁ gu re of Menzel with his gigantic bald forehead and the little ﬁgu re o f Meissonier with his i i G g gant c beard , a Cyclops and a nome , two

in un kings the realm of Liliput, of whom one was

G u n able to speak a word of erman, and the other able to speak a word of French , although they had need merely of a look, a shrug, or a movement of

e H e th hand to understand each other entirely . i also came nto the society of Courbet, who had just i i made the famous separate exh bit on of his works ,

L in the H eilbu th at the Café amartine, company of ,

rhi m i Me e e e . n y , Knaus and oth rs Here Paris he produced hi s ﬁ rst pictures of popular contempo rary i life , and if as an histor cal painter he had already i i been a leader in those battles aga nst theatr cal art, he became a pioneer in these works also . Every w here he let in air and made free mo vement possible hi for s comrades in the rear . In the course of years he painted and drew everything which excited in him i e art stic impulse upon any ground whatev r , and not one of these endeavours was work thrown away . i A universal genius amongst the painters of real l fe, he combined all the qualities of which other men of excellent talent merely possessed fragments separ ately apportioned amongst them : the sharpest eye for every detail of form, the most penetrative dis t he n ew D tnahotbek 389

i the and crimination for the l fe of spirit, at times a glistening play of colour possessed by none of his ” German predecessors . Near by hangs an early landscape by Wilhelm

Triibner , The Herreninsel in the Chiemsee

in 1 8 i painted 74 , in buoyant green w h ch

H o i reminds one of Courbet . w the space s here

ho w i modelled by the colour, like l ve things the sun i rays dance over the sappy green . A clever l ttle landscape Hay Harvest in Upper Bavaria ( 739 )

by Robert Schleich , is characteristic of the tasteful hl but meagre talent of this last of the Sc eichs. St . G D i eorge by Wilhelm von ez , shows the

c 1 8 0 ebb of a strong talent, whi h about 5 moved in the same hopeful parts as Menzel Loneliness

by Hans Thoma, can only be estimated as a B study of the nude or a sketch for a chromo . y the

o f group tasteful , but soft Scottish painters, Monti

’ celli s o s weary grandchildren , the Pinakothek p

T a . w sesses only too many examples o h ng here , A Scottish Fishing Village ( 1 503 ) by Eugene ’ D ekkert and Henry Morley s Co w in the

Meadow 559a ) . The south wall of the twelfth cabinet contains

’ Johann Eduard von Steinle s Parseval ( 806 ) a series of four water colours surrounding a larger middle picture in which is represented the Castle of the Grail, surrounded by angels and clouds, one 390 t he El rt of tbe ﬂbuntcb G al l eri es of the loveliest and most ﬁ nely conceived creations

the of the artist . From east wall sounds a stronger

i Feri all 6 note, the Portra t of Baron von ( 45 ) by Wilhelm L eibl ( dated a genially dashed o ff study which ranks as a peer o i the greatest crea i i tions of all prev ous epochs . The dark cloth ng is

is modelled on an almost black ground , the black

e the repeated in the gr y of hair and the beard , whose yellow shadows make the transitio n to the reddish brown colours of the face . In the arm of the chair this colour i s repeated in a still deeper tone and disappears in the cushion and the chair . It i s a pity that Germany failed soon enough to appreciate the merits of L eibl one of her great

ar i masters . England and America e ly apprec ated this great follower of Courbet and his best works

hi H is are to be found far from s home . pictures are the most adequate fu lﬁ lment of the colour ideals of the Munich school and he i s the most typical

r i painte of the seventies . Oppos te hangs the

8 8 Trubner Studio Scene ( 3 ) of Wilhelm , who has here combined Franz Hals and Velasquez to a f i higher unity . The cof ee brown cloth ng develops out of a grey blue ground ; on one side is the face of

a w th a l dy ith grey shadows shot wi red , and on the

blu e u ho lst r d other side the brown , p e e seat with a

. H o w man in black agreeable is this voluptuous , l honourable, natural painting which develops a o g

392 t he a rt of t be muntcb ﬁ auertes von Keller the separate groups of models show too

o clearly, but in col ur the picture is constructed with

’ a painter s instinct . The light, tender Spring Symphony ( 257b) by Nico lau s Gysis is a co ncep

w o tion full of feeling . Here again are t Scotch

i 8 83 works , The M ll ( 9 ) by Alfred Withers and Girl before a Mirror ( 6 6o a ) by Alexander i Roches , a weary heir of Reynolds . In a s milar

un G direction, but with a fort ate erman stroke , moved Wilhelm Volz ( 86021 ) in his Entombment ” is of Christ . Near by , by Hugo von Habermann , a curious female portrait ( 26 1 b) in grey blue gown with blond hair and a black veil around neck i and bust . Opposite on the wall sh nes forth bril liantly a little study Dogs on the Moor ( 9 19a )

Z el ' by Heinrich ii g , honestly seen , painted with wide brush strokes, powerfully pulled together to a rich

Zii el toned close harmony o f colour . g has brought up a large school of younger animal painters who h for the most part , wit no personal note , appear as weak imitators of their master . A remarkable phe no meno n is Karl Haider, completely captured by the

hi s i romantic spirit ; in pa nting, however , he often strives with childish efforts" after a perfectly smooth i real sm . This naturally causes an opposition in his pictures and yet one cannot fail to ﬁ nd the charac teri stic charm of feeling in these works , which at

’ times touch the atmospheric magic of Chintreuil s t he n ew D i nahotbek 393

pictures without being congruent with him ; for ’ i Haider s technique is ﬂat, sharp and th n brushed . Evening Landscape ( 265) does not belong among his best works . Cabinet ten contains tw o pictorially composed and harmoniously coloured landscapes by Alois

a 262a H nisch ( ) and Otto Reiniger (644a ) . Over a door is a beautiful spring landscape ( g58a ) by Karl Adam D 6 rnberger and two Scotch landscapes by James Hamilton ( 267a ) and John Campbell Mitchell 552a ) further on we ﬁ nd A Twilight Motive ( 893a ) by Ludwig W ilro ider and ﬁ nally

ﬁ rs once more a picture of the t rank, the Portrait of the Painter Schuch ( 332 ) by Rudolph Hi rth da Frénes o , a monumental and grandly comp sed portrait . Also the early picture His Excellency Travelling ( 1 53 ) by Wilhelm von Diez ( dated 1 8 74 ) stands out with emphatic qualities . Wilhelm von Diez is a phenomenon parallel to Menzel, equipped with the most brilliant talent, with a sharp eye for drawing as also for pictorial value , and in f addition a strong temperament and a sure hand . O this , this early work of the master is proof enough , with its close colour alternation and its loose broad manner of painting . In his later years , Wilhelm v o n Diez created less pictorially, but more in an

o f illustrative and decorative manner . The po rtrait Kaiser Wilhelm I by Franz vo n Lenbach may be ‘ 394 cbe mt or the {D lml $ al l et i e8 placed at the end of the good period o f the master . o h We now g back t rough these cabinets , cross the

rs fi fth hall and reach the south rooms . The fi t or rather fi fth room contains on the west wall portraits m by Franz von Le bach , none of which reaches the

’ strength of L eibl s portraits . The Daughter of Herodias ( 46 1 ) is done in that muddy colour scheme and that weary and careless routine, which in the artist’ s later period became ever more charac t ri i e st c. Stronger and more earnest are the Por trait of Prince Bismarck ( 1874 ) and Pope Leo XIII In these two

u ff portraits , Le bach has not worked with cheap e ect , but has earnestly and skilfully entered into the per so nality of the sitter and translated the actual colour of the person into a pictorial whole , while he has also modelled the forms with the brush . Compared with the well - known Portrait of a Pope by Raphael ’ L enbach s in Rome , creation is naturally consider w ably eaker . Compare this with the most famous papal portraits , those of Julius II and Leo X by X Raphael , and Innocent by Velasquez . Raphael is n better in desig , Velasquez warmer in colour . Both m have , far better than Le bach , shown that they were

. L enbach painting a pope has painted the old man , weary, calm and perfectly sure of himself, whose piercing eyes and ﬁne smile give a youthful air to

‘ crbe mew minahotbek 395

. L enba h his emaciated countenance c is deeper , more

o e penetrating ; his pope is not only the p p , but the

i o man full of ambit on , of dreams , of the joy f tri

umph over Bismarck in the Kulturkampf . We see here ho w L enbach had already appropri

ated the compositions of the old masters o f the

Renaissance as decorative poses, in which he later became still su erﬁ ial fo r more careless and p c . Un tu nately the Pinakothek possesses no picture of the

master from his much more important early period ,

but tw o on the, contrary still later portraits Her man Lingg ( 1 896 ) and P rince Regent ” L uiso ld Says Muther of L enbach : The public has accus to med itself to think of him only as a painter of

i as l kenesses , and he is justly honoured the greatest

r German portraitist of the centu y . But posterity may one day regard it as a special favo ur o f the gods that L enbach should have been born at the

to m right time, and that his progress aturity fell in

e the greates epoch of the century . His gall ry of portraits has been called an epic in paint upon the

ﬁ res heroes o f our age . The greatest historical gu

of the century have sat to him , the greatest con qu ero rs and masters in the kingdom o f science and art . Nevertheless this gallery would be worthless to posterity if L enbach had not had at his disposal o ne quality possessed by none of his immediate pred 396 ( the a rt of tbe muntcb G al l eri es

r At i ecesso s . , a sacred respect for nature a t me

i z when rosy tints, suave sm les , and ideali ed drawing were the requirements necessary in every likeness ,

e at a time when Winterhalt r painted great men , not t as they were , but as , in his opinion , hey ought to have been without reﬂecting that Go d Almighty knows best what heads are appropriate for great men L enbach appeared with his brusque veracity of portraiture . That alone was an achievement in which only a man of original temperament could

i — i i s i have succeeded . If a portra t pa nter to preva l with society a peculiar combination of faculties is f fo ﬁ art . necessary, apart from his individual capacity

L enbach had not only an eye and a hand , but like wise elbows and a tongue which placed him ho rs H co nco u rs . e be could as rude as he was amiable , and as deferential as he was proud ; half boor and half courtier, at once a great artist and an aecom

lished aiseur he p f , succeeded in doing a thing which — has brought thousands to ruin he succeeded in forcing upon society his own taste , and setting genu i ne human beings of strong character in the place i of the smil ng automatons of fashionable painters . In comparison with the works of earlier portrait painters , it might be said that a touch of pantheism

’ and nature - worship goes through L enbach s pic tures . And what makes this so invaluable is that his

398 t he a rt of the M uni ch ® al lerte8 side ! One should not look at a doz en Bo nnats to gether ; a single one arrests attention by the plastic treatment of the person , but if you see several at the same time all the ﬁgures have this same plastic character , all of them have the same pose, and they all s eem to have employed the same tailor . Len bach has no need of all that characterization by

H e means of accessories in which Bonnat delights . only paints the eyes with thoroughness , and, possi

the head i bly, . ; but these he renders w th a psycho logical absorption which is only to be found amongst living artists , perhaps , in Watts . In a head by Len bach there glows a pair of eyes which burn them

. ﬁ rst selves into you The countenance , which is the zone around them , is more or less generally

— am liﬁed z less p ; the second one , the dress and

e am liﬁ ed hands , is ither still less p or scarcely ampli

! h i ed at all . The portrait is then harmonized n a neutral tone which renders the lack of ﬁ nish less obvious . In this sketchy treatment and in his strik ing subjectivity L enbach is the very opposite of the old masters . Holbein , and even Rubens w ho otherwise sets upon everything the stamp of his own personality characterized their ﬁgu res by a rever

ent imitation of every trait given in nature . They produced , as it were , real documents , and left it to c the spe tator to interpret them in his own way .

u and Le bach , less objective , surrendering himself t he n ew D i nahotbek 399

b to less a solutely his subject, emphasizes one point,

disregards another, and in this way conjures up the i spirit by his faces, just as he sees t. It may be open to dispute which kind of portraiture is the more

m n desirable, but Le bach, at any rate, has o w forced

its the world to behold great men through his eyes . H e has given them the form in which they will sur n vive . N0 o e has the same secret of seizing a ﬂeet ing moment ; no one turned more decisively away

lo riﬁ catio n from every attempt at idealizing g , or at

H e watering down an individual to a type . consults e photography, but only as Moli re consulted his

housekeeper . It serves him merely as a medium i for arriving at the startl ng directness , the impres

sion of momentary life, in his pictures . Works like i I G the portraits of King Ludw g , ladstone, Min

o Stro ssma r ghetti , Bish p y , Prince Lichtenstein ,

z Richard Wagner, Fran Liszt, Paul Heyse, Wil

c L i hart helm Bus h , Schwind, Semper , p , Morelli , and many others have nothing like them as analyses of

o f the character of complex personalities . Some his

Bismarck portraits, as well as his last pictures of the old Emperor Wilhelm, will always stand amongst the greatest achievements of the century in portraiture . In the one portrait is indestructible b power, as it were the shrine built for itself y the mightiest spirit of the century ; in the other the majesty of the old man , already half alienated from 400 t he 3 “ Oi the muntcb (Bal let tes

lo riﬁ ed the earth , and g by a trace of still melancholy, i as by the last rad ance of the evening sun . In these works L enbach appears as a wiz ard calling up

’ év o cateu r d ames spirits , an , as a French critic has named him . Orpheus and Eurydice by Ludwig von L o efftz has an empty effect because of its great size ; his good knowledge of drawing cannot conquer the in sufﬁ cient pictorial conception and the weak imitation — of the English Pre Raphaelites . Rudolph Schramm i Z l is one of the most g fted scholars of ii ge . His Turkeys ( 76 2 ) shows a personal conception and

i - i i a sound pa nter l ke reproduct on . Albert von ’ ” Keller s Chopin i s unenjoyable because of its

- varnished porcelain like general tone, but has , how i i ever, in sp te of th s , like all pictures of this artist,

’ strong pictorial qualities . Joseph Eduard D antan s ’ Potter s Shop ( 1 46 ) is a close harmony devel

in oped muddy yellow tones . O h the same wall we see a strong landscape ( 5 1 5) by the D utch Jacob Maris and an Impression of the Mo o r of Dachau

8 - 39 ) by Paul Wilhelm Keller Reutlingen , over the door a March Landscape ( 720 ) by Emil Jacob Schindler and near by a powerful sketch ( 800b) by ’ Adolf Stéibl . Anselm Feuerbach s Self Portrait

18 dated 75, can also by its close unity be regarded as typical . From the lilac brown of the background is developed the reddish brown of the

40 2 Ebe Et t of tbe ﬂbuni cb ® al l et tes like a picture shop which tells nothing of the history

art of development, but can only instruct through i i comfortable med ocrity . Artists of mer t, of power, artists with an ethical feeling, artists to whom art

difﬁcu lt is holy earnest, have always had a position in Munich . The landscapes which hang on the east and north walls of the second hall in no respect fu lﬁl the high est requirements . They have no importance in his to rical development because in them the conquests of the pioneers and leaders of modern art are again i made common . If we leave this po nt of view out of consideration, then one may indeed enjoy many i a frivolous and pretty effect . Thus w th Francois

’ C o u rten s Hyacinth Field ( 1 4 1 ) Macaulay Ste ’ v enso n s Evening ( 807) Anders Anderson ’ L undby s Clear Winter D ay ( 39 ) Robert ’ Thegerstro m s Summer Evening Hans

’ von Bartels Full Speed Ahead ( 49 ) ( Gouache) ’ Olaf Jernberg s In the Fields ( 355) Julius

’ K o rnbeck s Woodbrook in Late Autumn ( 424 ) Paul Jean Clay ’ s Open Sea ” John La ’ ’ v ery s A Tennis Court ( 4 53) Henry L eyten s ’ Mending Nets 50 7) T . Austen Brown s

’ Evening ( 1 1 2 ) Emile Rene Menard s Thun

’ dersto rm Otto Mo derso hn s Storm o n D ’ the evil s Moor Giovanni Segantini ,

H e however, stands higher . was a powerful and

46 4 cf he mt of the M uni ch (Bal let ies

nature at every season and every hour of the day, fresh and straightforward in character, he is one of those natures of the type of Millet, in whom heart

ne and hand, man and artist, are o and the same

i n th g. His shepherd and peasant scenes from the

ﬂavo u r valleys of the high Alps , are free from all of genre . The life of these poor and humble beings i passes without contrasts and passions, be ng spent

ﬁ lls altogether in work , which the long course of the i day n monotonous regularity . The sky sparkles i with a sharp brill ancy . The spiky yellow and ten der green of the ﬁ elds forces its way modestly from the rocky ground . In front is something like a

i s z i r hedge where a cow gra ng, or the e is a shep i herdess giv ng pasture to her sheep . Something

i n i majestic there is th s cold nature , where the sun shine is so sharp , the air so thin . And the primitive , it might almost be said antique, execution of these pictures is in accord with the primitive simplicity of

’

. Se antini s the subjects In fact g pictures , with their cold silvery colours , and their contours so sharp in

rareﬁ ed outlines , standing out hard against the air , make an impression like encaustic paintings in wax,

. o r or mosaics They have nothing alluring pleasing, and there is , perhaps , even a touch of mannerism in this mosaic painting ; but they are nevertheless ex ceedin l u and and g y true , r gged , austere , yet sunny , as soon as one has seen them one begins to admire ‘ Ebe mew D inaho tbek 46 5

a i an rt st w ho pursues untrodden paths alone .

is e i o .There som thing Northern and v rginal, s me t hing earnest and grandiose , which stands in strange

c ontrast with the joyful, conventional smile which is otherwise spread over the countenance of Italian ” paintings. Anton Mauve represents the later Dutch land

i n scape school, which worked the footsteps of the

o f his t men Fontainebleau, as pic ure Cows in the i Meadow 526 ) shows . The Munich pa nter Lud

W ilro ider o w Schleichs wig foll ed the , whose man ner he has further advanced with taste and power of

feeling . Here hangs also the most vigorous and impo rtant picture of Adolf Stébl : his Flood time ( 800 ) can be set beside the best works of

D upré and Rousseau . What a mighty feeling in

ho w the whole, and measuredly are the single col o urs brought together in changing relation . Josef .

' o ﬁ ers - Israels also second hand art, a mixture of ff Rembrandt and Millet, which a ects one , however, ’ as here in Granny s Comfort ( 349 ) co nv inc

’ in l r and . H erterich s g y, ea nestly strongly Ludwig Summer Evening ( 296 ) is characteristic o f the superﬁ cial colour perception of a certain Munich o ne movement, to which need only oppose Hugo von ’ Habermann s Monk a w ork o f magniﬁ

c cent po wer and sound per eption , in order to recog

n l ct r . nize its w ro g y dire ed pe version A strong, ‘ 46 6 CEbe a n of tbe ﬂbuntcb $ al l ertez manly faculty was also formerly Gabriel Max ; this is shown by his Katharine Emmerich ( 52 7) in

i ﬁne o white clothing n bed . A perception for col ur n speaks out of this picture , which is wholly fou ded on white ; from this is developed the pale colour o f the face and hands . Even the candle ﬂame appears

it is pale and sick ; set in relation to the whole , and i does not stand out . Another beaut ful w ork with

ﬁne colour values hangs here , Portrait of the Wife of the Artist ( 396 ) by Albert von Keller ; ﬁ nally a picture of the womanly- soft symbolist Fernand

K hno ff o p , I L ck My Door Upon Myself ( 400 ) The third hall contains only tw o pictures which i have any mportance for art history, and that of ’ the slightest ' Gotthardt K u ehl s Sunny Afterno on in Holland a bit of the world surely seen and a complete colour unity, and Ernst Zimmer ’ mann s earnest and largely perceived The Shep herd ’ s Prayer wholly constructed in Rem ’ i brandt s sp rit . If w e stay longer we may perhaps consider interesting the poster- like portrait ( 1 1 3) ’ T. v o n D efre er by Austen Brown , Franz gg s The i Vis t interesting only for its story, The G Nut Tree 595) by Leon ermain Pelouse , No v ember D ay on the North Sea 546 ) by Henrik W Mesda illem g, the founder of the famous Mesdag Museum in the Hague ; The Corpse o f Christ

‘ Ebe mew mi nahotbek 407

8 z Sintﬂut ( 47 ) by Ludwig von L o efft .

’ ilr ider i W o s . an early work of , is un mportant In the fourth hall we ﬁ nd a picture ( 1 70 ) by Max An Liebermann , Old Woman with Goats o f grand arrangement in the space division and the changing relation of colours ; a monumental movement goes through the simple and well Organ

iz ed lev o is speech of this art . Max S gt a pupil o f

Wilhelm von Diez , to whom he certainly owes

thanks for the surety of his drawing . The colour

perception , the study of light and air reminds one of Claude Monet ; but the laying on of the colours and

the whole conception show plainly a strong, precise

’ lev o t s 03 personality . In S g Hour of Rest ( 79 ) the colours do not stand side by side without choice

o f and thought , but are developed out nature her

self, and so set in relation to each other that they

make a close unit . There are also power and vigour in the w ay in which Slevo gt modelled with his col

so our . The picture , though hung undeservedly

Zii el high puts to shame its whole surroundings . g

alone stands out in the neighbourhood . The Shep herd (9 1 9 ) is a gra ndiose picture which appears to be created from a pantheistic conception of the

to world . The animals appear as if grown unity

o with the earth , which is moulded with a p werful

’ W eishau t s 8 hand . Viktor p animal picture ( 77) is little behind it in strength and the C o ckﬁght ‘ 408 G be a rt Of the muni cb mal l ertes

( 559b) by the Scotchman Henry Mo rley surprises ’ W en lein s u s by unusual power . Josef g powerful Isarlandscape (888 ) resembles the work of the hl i h f Sc e c s. Less important are the landscapes o Georg Flad Franz Skarbina Ludwig

o efftz chonleber von L ( 479 ) ,Gustav S ( 757) rather imposing is the marine 533 ) of Adrien le Mayens . Hans Thoma in his ravishing Taunus Landscape

’ l s ( 832 ) uses a motive of Schwind . Walter Fi r e Pater Noster triptych ( 1 92 ) has only story telling interest ; The Storming of the Red Tower in Munich by the Highland Peasants ( 1 47) by

z D efre er ae . Fran von gg , only arch ological interest ’ i Adolf Menzel s wash drawing, A Contr bution ,

’ is 544 ) naturally drawn with a master s hand , but

i ﬁ nd is so unl ke an easel painting, that it would a in i An better place a collect on of line engravings .

o n h est and naturalistic study by Adolf Holzel, ” i it Prayer at Home , is st ll impressive , because is a serious attempt to round o ut the actual visual im pression into a tonal harmony which forms a close

’ unit of colour . Edmund Harburger s Wineshop ( 269 ) betrays a ﬁ ne colour visio n and recalls in the best sense the old D utch painters ; also Gari Mel

’ chers Reading Girl 540 ) appears complete and restful in its colour scheme . In the ﬁ fth and last hall there await a s several

L eibl joyful surprises above all Wilhelm , four of

4 1 6 t he a rt of the M uni ch G al leries these three little pictures ! How powerfully he has modelled with his colour, and made space out of

to paint . The changing relations of the colours each other are balanced with an eye seeing only a

’ i L en ach s s ngle sensation . b colours are only deco

’ rati ve L eibl s values , colours are the expression of an inward feeling of the soul . In the picture In a

Small Town ( 4 54 ) the sunlight models the forms .

’ H is whole repertory is disclo sed in The Peasant s

Room the sharp drawing, the glowing joy of colour, and the true colour perception the same i s true of the little study ( 456 a ) dating from the

1 8 . year before his death , 99 All the rest naturally

- o appears seco nd class compared with these . S with ’ D efregger s dry A War Council of 1 809 ( 1 49 ) ’ with its earthy heavy colour ; Benjamin V autier s pleasantly constructed A Formal Di nner in the Country ( 844 ) which is nevertheless composed with pictorial skill ; Friedrich August V o n Kaul

’ bach s stencil - like dry imitations of the English por traitists 68a b r eiss ( 3 , , c ) ; Jean Louis E nest M o ’ ’ nier s The Bravos Gabriel Max s The Ape as a Judge of Art in spite of his good painting, is only a cheap joke , for the humour is far too strongly emphasized . We notice some goo d 26 b h landscapes by James Hamilton ( 7 ) , Henri T ie rot (830a ) and August Seidel a painter whose great importance in history o f the develop ‘ C be Mew mi nahotbek 4 1 :

ment of landscape painting cannot be clearly read in

t o his picture hung far t o high . Michael Mun

kacs i e L eibl y is the l nk betw en , Uhde, and Keller ; also English inﬂu ences coming from Stevens appear

H e in his work . is at his best in portraiture . His Visit to the Nunnery ( 469 ) shows the sure

the draughtsman , painter of iridescent colour, but is i n one direction too sweet and in the other gaudy

’ o n and disconnected . Hugo v Habermann s beauti ful portrait of his mother ( z 6 1 a ) is magniﬁcently h placed in the space, and constructed wit unity of i i ﬂu d t . colour, as well as a melting y in brush work May in Valencia ( 75) by José Benliu re y Gil is painted with the consumption of much canvas and

no t . colour , but still does really have colouristic value In the battle scene Croats ( 1 54b) by Wilhelm von Diez appears once more the vehement tempera

ment o f the artist and his sure drawing, but the ﬁ l muddy impure rendition appears far too arti cia .

w 1 2a b Tw o little orks (g , ) by Ernst Zimmermann ,

L eibl w ho belonged to the group , do not show clearly

fo r u enough the importance of this painter . The t nate Warrior who in dying receives a kiss of a

er maiden by George Fred ick Watts, one of

— to su the English Pre Raphaelites , only allows one perﬁcially gu ess at the intentions and aims of this ’ o B6cklin s artist . There remains only Arn ld The Play of the Waves a work which this great 4 1 2 Ebe a rt of tbe munl cb G al leri es hero of fantasy threw on the canvas in seventeen

o f i days , a lordly masterpiece whose power nvention ,

o s whose clear and lively constructi n makes u dumb. o i i B ckl n knew ntimately the world of nature , and from this rich inner knowledge he created these fan tastic fabulous beings in which the elements are so

r i H e worthily pe so n ﬁ ed . sees the seagod and the i i n x e joyfully tumble in the play of the waves , and on the crests of the billo ws a centaur puffs after them . The glistening black , blue and green sea

i s ﬁ sh- water gorgeously painted, and the tails shine i i i and gl tter in the swell ng breakers . This ﬂo r dly voluptuous work was created by a German fancy and genial German po wer .

4 14 t he mt of the M uni ch (Batteri es indifference which the whole German nation has always shown toward my poetic and literary works, and even now continues to show as I approach the

i o even ng of life, deep disheartenment ften comes to me , and I cannot repress the wish that I had been born in England or Italy, in France or Spain . I know these countries well enough to know that I would never have met there the lack of interest which has fallen to me in the ‘ land of poets and

’ i t ﬁnd thinkers . As far as it is poss ble for me o

i a re comfort, it l es , besides the hope I have of the pp ciatio n of posterity , in the knowledge that I have no part in the guilt of the German people against some others of our time , but rather that I have labo ured to make up for the wrong done to them according to my weak powers . If I have succeeded in taking away from only one of these the curse of

o misconcepti n , under which Germany has allowed so many of her best sons to languish , I shall be able

o to say to myself in my latest h urs , that I have not lived in vain . Leaving aside the fact that the praise of the day has never blinded me, it appeared to me better worth while to discover young talent or even to give occupation to that which , lacking the favour of the great public , lay fallow . I thought that in this way

my gallery would acquire a personal character, while otherwise it would have shown only pictures by ‘ ' abe Schack G al l ery 41 5

painters from whose brush one would everywhere ” see work . In visiting the gallery let u s pass through the

i 0 ﬁ rst small Schwind room , climb the sta rs , and st p

o f L enbach in the hall the copies . What a sur

! o rounding Velasquez , Rubens , Murillo, Gi rgione , Titian greet u s from the walls The copies are wonderful and give as much of the originals as a

copy possibly can . To the ordinary observer , the

e thre great works of Titian , Heavenly and Earthly Love The Resting Venus and the famous Equestrian Portrait of Charles V form a welcome addition to the pictures by

Titian in the Old Pinakothek . The portrait of

Philip VI by Velasquez, allows one to h form a conception of his art . The co py by L enbac is very true, but the copy by Hans von Marées of the Equestrian Portrait of Philip IV ( 267) ap

L enbach pears more full of spirit . completely sub merged himself in the old masters , while Marées always retained his o w n personality and appears more as a spirited interpreter . Marées has thought out the light and colour problem of Velasquez in a more personal fashion , and like him has apparently lightly breathed the colours on the canvas . The

v o n other copies of old masters by Ernst Liphard ,

Penther D . , Carl Schwarzer , and August Wolf,

flo o r which hang in the last hall , and in the ground ‘ 41 6 Ebe 3 “ Of the flbuntcb ® fl l l €t l€5

i s co nsid rooms , whose lighting impossible for any eratio n of pi ctures ( formerly the library of Count

Schack) , by no means stand on the same level . Nevertheless for the friend of art the copies ( 20 1 207) of the ceiling paintings by Michelangelo in the Sistine Chapel may serve as welcome preparation for

i i in o the consideration of the or g nals R me , and i many other cop es may freshen old remembrances . The recollection of the delightful hours of deepest enjoyment before the originals helps one to forget

insu fﬁ cienc ﬁlls i the y of the copies , and the eye tself once more before the works of these unrestrained

ﬂo u rishin temperaments , these g productivities of noble strength and liveliest power . Then o ne tears

b insufﬁcienc himself suddenly away, ecause the y of i in the copies is vis ble some detail , or because time presses , and devotes himself to the consideration of the modern masters in the Schack Gallery .

The soul is in vibration , the heart still glows riot o u sly from the enjoyment of ancient beauty and the eye seeks to feast itself anew on evidences of power and strength . The art lover scans the walls , hastens restlessly from picture to picture ; his exalted mood sinks more and more , is wholly lost, for his eyes find nothing which can again give wings to his beauty intoxicated soul , and when he is thus sobered he

n sudde ly recognizes the distance between them ,

Genelli , Hess , Bode , whatever their names may be,

‘ 4 1 8 Ebe a rt of tbe muni cb G al l eri es

not strong observation of nature, and not spirited

h . and wo rthy tec nique Such an art, however, sinks with the individual into ashes ; for these most per i sonal , most fantastic fantas es have no relation to the culture of the present, they melt when the breath i o f time s breathed upon them . What can the mythological paintings of Buona Ventura V ennelli say to u s to - day ? If one could not read the explana i in tions of these p ctures the catalogue , he would stand dumb before t hem . They would weary him .

The pale , bare colours have no tones . Here and

i s ﬂo there the eye pleased by the w of curves , and

i i i n the l quid energy of the l nes , as possibly the pic ture Abraham and the Angels But this is all too little to enjoy on this great canvas . The intentions are great and praiseworthy ; yet he w ho so misconceived the signiﬁcance and merit of touch

o technique is no painter, c uld create nothing to be e enjoyed by the eye . How near to the h art of V ennelli lay the intellectual comprehension of his pictures is told u s by the endless explanations of his i hi m . pictures , wr tten by Opposite on the wall hangs a historical picture by Carl von Pilo ty : C o lumbus at the Moment When he First Perceived the New World The very title of this picture

u s tells that this also is created from a dream vision , from a literary and historical thought . The pose

o f and gesture of Columbus , the theatrical ideality ‘ Gbe Schack (Battery 41 9

the o wh le work strengthen this assumption . There

is at least colour in the picture , but even in the colour a pathetic fantasy ; even it seems theatrical r i and b utal and wholly lacks harmony . The Class cists and Romantic ists turned away from all con

be i temporary life , sought to fam liar with all ages ,

and took root nowhere . The great gestures of their predecessors were turned to an empty theatrical i pathos by their spiritless mitations . We see this

Pilo t in y , but he did not stand alone . Hermann

W islicenu s painted an allegory, Fancy Borne by Dreams Albert Zimmermann the Brocken

’ scene from Go ethe s Faust Friedrich Prel

1 ler , Scenes from the O dyssey ( 04 Ernst

Li hart An von p , Allegory of Night Wil

L indenschmit helm , Fisherman and Nymph

’ G - from oethe s well known ballad , all pictures which are unbearable for our modern eye . In the ranks of these Romanticists belongs also Moritz von

Schwind . His pictures also grew from literary ,

i co nce lyrical, histor cal , or musical thoughts and p

tions , and only seldom from the observation of the — eye, and yet to him even to day we give our love . Why ? That Schwind assumed an exceptional posi tion in the history of German art of the nineteenth

e t century, as w so often read , is an emp y phrase and also u ntrue . Even Schwind was a Romanticist,

H e even Schwind w as a mediocre painter . had only 4 20 t he 3 “ Of the muntcb G al l eri es

o and a narrow understanding of col ur values , of the harmonizing of the colours of a picture to a

o symphony . To prove this g through his pictures once mo re . The faded wine red of the clothing, and the thin brick red of the ﬂoor in Chapel in the Woods ( 1 43) do not harmoniz e with the washed

H o i out ﬂesh tones . w inharmon ous are the three reds and the sappy blue in The Prisoner’ s Dream

and the crude white, so to speak, tears apart

H e i i the planned harmony . appears most p ctor al i i in his n ght mpressions , where he softens all col ours , and combines through the symphony of dark ness , but even here his colours have no tone value . Think of a picture by Schwind between two pictures

At ﬁ rst by Courbet and Co ro t . the impression it would appear that Schwind would be completely

so overpowered by such painters . Yet not , the master would hold his ground because his instincts

a were pure and strong, because he was pure and

o u s str ng individuality . Such a comparison allows

’ chw ind s to value the positive worth of S art , his w sincerity, his veracity, his orld of inner feeling, his G ermanic strength of race , in short the directness

H e of his art . did not seek out too great gestures , and did not bestow too much pain on hollow pathos . H e kept within the limits of his own world of sen sation, exhausted all his possibilities , but never lost himself outside o f it in hollow phrases . From a

4 22 t he a rt of tbe muntcb G al l eries

i i teenth century a l ttle troop of art sts , still and h modest , trod another pat . The name of Count Schack is for all time linked with the names of o it Schwind, Feuerbach and B cklin, but must also be credited to him that he ‘helped another circle of artists who started with romantic depictions of

i the fore gn lands , and who , through study of land scapes , were forced ever more and more to the observation and study of nature . Nature study taught them to see , the increasing education of the eye taught them to perceive the charm of colour and colour gradation in nature . This knowledge drove them irresistibly to a pictorial style of paint i i i i n . t g In add t on happens that many of them ,

i . espec ally Rottmann , met Corot in Rome If their pictorial achievements appear insu fﬁc ient to our more accustomed eyes one must not forget ho w much the importance and value of technique had

fallen into forgetfulness in Germany at that time .

The oldest landscape painter is Josef Anton Koch , who carried over the idealized line and the theatri i i cal pathos of the Class cists nto landscapes . His

Brick- kiln by Olevano in which pictorial f ef ect appears to be intentionally avoided , says noth

ing to u s.

With Karl Rottmann on the other hand, what a transformation we perceive ! Whoever knows the ’ pictures of C o ro t s Roman period in the Thomy ‘ G be Schack wal let ? 4 23

Thierry collection in the Louvre, will be able to

’ recognize in Ro ttmann s three views of Rome his indebtedness to Corot . Emphatically Corot is the stronger, yet we perceive in these pictures, as also in the glorious Hintersee near Berchtesgaden in the Greek Seacoast with a Threatening Thunderstorm ( 1 in The Spring K allirhoe ( 1 1 6 ) and in The Kochelsee the same pictorial conception of nature , the same striving to

ﬁ x o s ff in w atm pheric e ects , as Corot ; but he kne , i t e s niﬁ cance . like his Fr nchman , the g of atmosphere

H e t felt like him , hat the atmosphere makes every colour soft, and pulls together the colours so divinely that they harmonize . Why have the Munich painters not chosen Rottmann for a guide ? Why have they not emulated him ? H e opened the path which led to the highest goals . There are a few more painters represented in the

Schack Gallery w ho tried to be artists . Their pic t ut ures are inadequate, b the attempt has ennobled them . We may name the Spanish views of Fritz ” Bamberger ( 1 The Theatre of Taormina

‘ 2 - 8 ( 9 ) by Franz Catel , the Spanish pictures ( 54 5 ) im by Eduard Gerhard , which appear the most

o f portant among these works , the Italian pictures

Carl Morgenstern ( 89 - 9 1 ) and Bernhard Stange ( 1 70 finally the Evening Landscape ( 1 62 ) o ne o f o f Siegmund Sidorowicz, which is the most 4 24 t he mt of the muntcb G al leri es

beautiful pictures of this gro up . The portraits

- ( 1 06 109 ) by Karl Rahl must also be noted here .

Eduard Schleich ( 1 2 1 - 1 23) has no connection with

H e these artists . , the ancestor of the Munich land scape painters, developed his art more from Ruis

Go en . dael, Van j , and Constable Among all these paintings hangs a single picture ” by Hans von Marées, Horses Drinking which strikes dumb everything in its neighbou r

i s r. hood . It a picture by a painte This alone should be enough to cause every visitor to the Schack Gallery to give due reverence to this great

i f r G . b o erman art st But most hasten y , these swim i m ng horses tell no story . The friend of art feels a sinking at his heart when he sees ho w every vis i r u s ! u s to passes by this picture . Let stop Let wait a little until the colours of the picture begin

ﬁ u res to glow, until the g have formed themselves in inﬁ nite our eyes, and the space has deepened to i f distance . We perceive how the r ch harmony o colours groups itself around the strong note o f the i wh te mare , how the colours spring from secret

i t e sources , merely g ve life to h whites, and then we must think of Rembrandt, the great magician of light . Marées created this work in his twenty seventh year , but even then it was passed by and forgotten, because it dispensed too much with the idealistic . Another served the Munich painters

t he Schack Gal lery 4 25

: as a more enticing example Carl Spitzweg. Verily

he was a painter, but as such he does no t rank as r high as he does as sto y teller, as idyllist. Spitzweg

introduced the spirit of carnival into Munich art, as w e may see more clearly in his descendants . ’ Even Spitz w eg s pictures ( 1 63- 168) often have far too much apparatus for his humour ; technique and conception stan d far too often in unbalanced ih

e consist ncy, as in the Hermit Playing a Violin ” and Turks in a Café. O u the other hand The ” Serenade, The Hypochondriac and The Sep aration of the Lovers belong to the most fas cinating creations o f this comfortably humourous i master . In the C o w G rls on a Hill w e even

ﬁ nd o an appr ach to greatness, which would have been reached if the artist had not c ompressed this picture into far too small a canvas . Franz vo n Leubach is represented by some land

- 6 scape studies ( 75 7 ) of Spanish scenes, which do no t belong among his best works . There are purer, more honest landscape studies by him elsewhere .

These are a little bit muddy . But one important piece o f his early period is in the Schack Gallery ” The Shepherd Boy ( 1 860 ) a beautiful r bit o f nature, seen through a powerful tempe ament , f e inten in the style o Bastien L page, not without

at tio nal pathos , but still spiritedly and freshly b tacked and achieved . Among the valua le por 4 26 t he ﬁ rt of the M uni ch (Batteri es traits of his second creative period must be counted the 8 two portraits ( 73, 7 ) of Count Schack and that ( 79 ) of the artist himself . We come no w to Anselm Feuerbach and Arnold

2 - 2 Bocklin . Anselm Feuerbach ( 3 4 ) grew up when the followers of Cornelius stood at the zenith

i co nce of their fame, and the r artistic theories, p

i i in t ons, and works awakened a l vely response

is Germany . It natural that the Classicists and Romanticists fundamentally inﬂuenced the whole i art stic development of young Feuerbach , and in i add tion his father was an archa o lo gist . From i i these foundat ons of his artist c development, it is

i he L eibl w as also comprehens ble that , unlike , who i ten years younger, did not work w th direct relation

o i i i to c ntemporary l fe, but, like the Class c sts and i Romanticists, drew his themes from a d stant and buried epoch . It was the literary and historical

in element his art which made him , as the last de scendant of the Romanticists , appear so foreign to his time , which had gone far beyond this style .

H e w e belonged with the Romanticists , and yet cannot name Feuerbach in the same breadth with

? re them . Why Because his historical pictures p

e res nt life and are founded on life itself . They contain qualities which indeed in one respect point backwards , but in another decidedly forward . This is very evident from the fact that his pictures need

428 t he a rt of the muntcb Gal leri es

r heavy sadness, a holy earnestness radiates f om i i them , but th s sadness, th s earnestness , have been i e l ved and endured, ev ry line of his trembles with feeling . We must have patience before his pic

n tures , such ear est holy works of art unveil them selves slowly and speak only to a collected mind . Let one enjoy the wonderful constructio n of the a Piet the rhythm of line in this picture, and

i i - i ﬂo w the natural, unconstra ned , and l fe l ke of the

ﬁ ne drapery under which the bodies move , the tone values in the silken clothes of the kneeling Laura as she bends before the Altar of the Church of i th Avignon , the fervour and feel ng for beauty in e picture of Francesca da Rimini and Paolo the simple plastic ﬁ gu res in the Idyll of Tivoli Let one compare these pictures with the Columbus ( 1 03) of Pilo ty ; what a theatrical pathos there , and what smooth , honest, melancholy,

German earnestness in Feuerbach . Schack dropped him when An selm had struggled through to his highest powers . We have a right to be angry with

fo r i insu fﬁcient the Count for this error, th s breadth

’ of artistic knowledge . Pictures from Feuerbach s

o last ten years of w rk we must seek elsewhere . o o . In B cklin , however , Schack did not g wrong

H e closes the series of Romanticists , and was , after S the chwind and Feuerbach , last poetic painter . ’ Schw ind s world of conception was the folksong,

436 t he Et t of the muntcb a auet tes

i of Schirmer, from the contemplat on of nature . His Ideal Landscape ( 1 3) in a wild rocky land

e i 1 scape, Pan Fright n ng a Shepherd ( 4 ) and The Complaint of the Shepherd ( 1 7) sho w his n gradual change of style . In A Old Roman W inero o m The Way to Emmaus A Murderer and Furies the two Villas

1 1 6 e on the Sea ( 5, ) Autumn Landscap Wild Rock Landscape and ﬁ nally in Triton and Nereid the idealistic style of i B6 cklin has completely triumphed . Every p ece of nature which he viewed was turned to poetry in his

i i s i s soul . Bockl n the only one of the modern art st w ho has created from inner conscio usness cou vin H i d cing allegories . e has pa nte the frightful mood i i i of a mounta n ravine , ev l sp rits , the motion and

o f the quiet of the wood, the stillness and the roar i i the sea, the spr ng ng and sprouting of nature, the exuberance of summer, and the onfall of autumn

Bécklin ﬁ er in nature . was a jubilant y nature , free in from all the weights of earth , who a solitary i i hero c fashion has ridden nto the land of romance .

TH E END . — . N T BOCKLIN VILLA O H E SEA .

. BOCKLIN TRITON AND NEREID .

432 t uber Of arti sts

az z i Gio v ananto nio en W a to Emmau s 0 B , , g y , 43 ; “ ” erall no w n as o do ma Mu rderer and u ries y k S , A F , ” “ “ ado nna 2 6 rch 0 i as o n the Sea M , 4 ; A 43 ; V ll , ” “ mn nd an e chae 2 . 0 utu a g l Mi l , 47 43 A L “ Becca fu mi D o men co o sca e 0 d Ro c , i , H ly p , 43 ; Wil k ” ” dsca e 0 Trito n ami 2 . an F ly, 47 L p , 43 ; d Nere d 0 Pan ec er enno 1 . an B k , B , 39 i , 43

e o rne i s 12 in the Reed s 82 . a . B g , C l , 7 , 3 16 21 eham arthe D isco v er o de eo o d . B , B l , y B , L p l , 4 , 4 ”

o f the Tru e ro ss o e 1 2. C , 4 ; B l ,

i rac e o f a o man Bo e ermans 18 . M l W y , 4 ein raised ro m the Bo l erdinand 1 10 b g f , F , ; ” D n i e 1 ead 2. a d , 9 W f , 5 ; in 1 1 1 erchem 1 1 . vert B , 9 Fl k, ; ”

ini nti 2 i e 1 1 1 . e e e 2 . B ll , G l , 5 W f ,

Bellini Gio v ann1 86 22 o dini io v ann 8 . , , , 4, B l , G i 3 7 22 2 o ieter an dsca e 7, 49 B ll , P , L p ini i e h nima s 18 . aco o 22 . w t B ll , J p , 5 A l , 4 ' Belo tto erna rdo no w n as o nnat eo n o se h Flo , B , k B , L J p I] ana etto i ew o f the rentin C l , V 397 rand ana 2 iew B o n v i c n o essandro G C l , 99 ; V i Al , o f the Pi az etta 2 no w n as 11 o retta da , 99 ; k M “ ’ iew o f the Riva de rescia 26 Ecc esias V B , 4 ; l ”

hiav o ni 2 . i 2 c t c 6 . S , 99 , 5 Belu cci n o ni 2 r i 1 t o . o do ne ar s 26 , A , 97 B , P , 3, 4, “ Berettim 1etro o man 2 , P , W 4 7 ” Ta en in u h 1 d ter 2 1 . o t k A l y, 9 B , 9 ice 28 20 L m er hem 2. o tt a B g , 37 B lli, , 43, 5 ; ”

Bernaz z an 2 1 . nt i n o , 7 e at o , 206 . hi r D r anc ancesco 2 . o uts i 1 1 6 Bi , F , 49 B , k , 4 , 45, 5 , 5 ; “ ” iset Kar Emmanue In Triu m h o f u stice B , l l , p J , 54 ; ’ ” terio r iew o f an rtist s atherin o f the anna V A G g M , ” “ i 1 etin e n te er 8 . 6 e etw e A l , 4 54, 9 ; M g b Blo emart raham ato Ab aham and Malchise , Ab , Pl i ek n the midst o f hi s cho d . S l , 55 ” “ a rs aisin o f o u o - ne a entin de , 99 ; R B l g , V l , 333 ; ” g az aru s o rtu ne Te er L , 99 . F ll , 334 ; Bo ccaccino Bo ccacc 1o Sa ro w nin w ith Tho rns , , C g ” ” v i u r f he r d 222 and o c in at hri st o o t o . W l , M k g C , “ Bécklin rno d 86 ermina mo n , A l , 349, 3 , 334 ; H A g

8 12 26 28- 0 the he herds 3 7, 4 , 4 . 4 43 ; S p , 334 ” ” The a o f the av es art o f ive o diers Pl y W , P y F S l , “

1 1 dea andsca e . 4 ; I l L p , 335 “

c . Pan ri htenin a o u rdo n S e ast en 43 F g g B , b i , ” ” he h r e d 0 The man ime i n . S p , 43 ; L k l , 339 o m aint o f the he ra ant 1 2 C pl S p B b , 4 . herd 0 An l Bre , 43 ; O d kelenkain, Qu i ryn 127 ” , W inero o m 0 The B ri au 1 2 1 1 6 , 43 ; l, P l , , 45, 7 . t ube: of arti sts 433

B ro nz ino 288 to r 280 o rtrait o f , y, ; P ” - ro uw er dr an 12 1 12 a idd e a ed 281 . B , A i , , 3, 5 M l g Man, 128 1 8 i a e Bar aracci o do v ico 2 8 ' Eu , 7 ; V ll g C , L , 7 ber 1 t mbment o f hrist 2 , 5. o C , 79 ; “ ” r i f ran i s o u r ri 1 n t. c w e d an 8. is o o S B , A , 7 V F ,

ro w n T. u sten 06 2 B , A , 4 ; 79 Ev in 0 i che an e o en 2 . arava o g, 4 C gg , Mi l g l B ' ru derl ans . Ameri hi da 100 1 , H , 75 g , , 47 rue he 12 1 1 6 ro w nin w ith Tho rns B g l , Jan, , 3, 7 ; C g , “ “ o ra 16 o hn the 2 aint e astian Fl , ; J 94 ; S S b , ” “ a ti st 1 C ru ciﬁ x 2 ir in w ith the B p , 44 ; 95 ; V g ” “ i n 1 h r e hi o s a t d 2 . , 44 ; Fi M k C l , 95

o n a ar o u r 1 . ardi o d o vico 28 St. H b , 44 C , L , 7 ; ” i r h er ru e he ete t e E d rancis o f ssisi 288. B g l, P , l , F A ,

- 1 . arstens 60 . 43 C , 359 3 , 377 r u e h e ieter t h e ate ranz B g l , P , C l , F , “ “ Yo u n er 1 Vi a e Thunder o u ds 1 g , 43 ; ll g Cl , 35 ; s 1 r Kermes e, 44 . The Theatre at Tao ” B m i i a ni 22 a o v n da mina 2 . gg , G , 4. , 4 3 a rtho o mew ru n 6 C avedo ne Gio co mo An B l B y , 4 ; , , “ Lamentatio n o v er the gels lamenting o ver the ” o d o f hri st . dea d o d o f hrist B y C , 45 B y C , “ h r Bu rgkmai r, Est e , 4 ; “ ”

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ir in St . intersee 60 Th e V g and John , H , 3 ; 307 Grav e of Archimedes in . R era G1u se e no w n Necro o i s ra ib , pp , k as the p l of Sy S a no letto 1 0 6 andsca e Lo p g , 3, 3 7 ; cuse , 3 9 ; L p in “ “ ” r Ah i 8 art do m St . 8 M y of Aul s , 3 4 ; Aulis, 3 4 ; ” “ ” “ 16 08 D in 8 ara drew, , 3 ; y g Delos , 3 4 ; M eneca ta in eav e tho n 8 intersee S k g l of his , 3 4 ; H ” “ ” 16 08 O ld near erchtes aden 2 Pupils , , 3 ; B g , 4 3 ; “ W m n w ith 16 ree eaco ast w ith a o a the Hen, , G k S “ Pe Thr t i n r 308 ; Repentant St . ea en ng T h u d e ” “ ” n h s o rm 2 rin ter 1 08 St . O 0 t , 3, 3 ; p , 4 3 ; The Sp g “ ” rtho o K lh h 2 08 St . a a r o e rius , 3 ; B l , 4 3 ; The r n h 08 ancisc a Ko c e see 2 . mew , 3 F l , 4 3 08 i° Ro u sseau 0 Monk, 3 Mate Do , 4 5, lo ro sa 2 Ru ens eter 1 1 1 , 7, b , P Paul, 9, , 5, ie e u u s 6 8 I 1 2 1 0 160 R d , t, 3 9 , 377, 37 ; 6, 91 4 7 : 1454 50, 1 l A g ” o ther w ith Chi d 1 do rati o n , 377 ; 4 5 ; of the M l ” Nea o itan isher Fam Three 1 1 p l F Kings , ; Me ” ” il 8 lea er t a anta 1 y , 37 g and A l , 3, “ ” Ri au d acinthe D u e 18 e ena Fo u rment g Hy , k ; H l , ” hri stian Z w ei 1 eter 1 C III of 3 ; P and Paul , 3 ; ” “ ” “ Trinit 21 o man , s343. y, ; W brucken ” Ro u sti aco o . S ee Tin o ca se 21 b , J p of the Ap lyp , ;

to retto . he herd 1 Sa S p Idyll, 5 ;

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mmersee i a D i 1 e e ers an e 88. A , 355 ; V ll g S g , l, ” “ i 0 near un ch O n eide 1 . M , 355 ; S l, August, 349, 4 ” “ ho re ° esto esare u dith the S , 355 Moon S , C da, J , ” i h D U t acha 2 1 . l g , 355 , 7 sar a e near S1do r0w icz S 1 u n ( 1 355 ; I V ll y , e g m , i h ” ” un c . Ev enin andsca e 2 . M , 379 g L p , 4 3 h eich r i c . no re i 206 221 . S l , Eduard, J , S g ll , Luca, , ” “ in m i 8 . S d Otto ath n Autumn , 3 3 g, , B g h ei ch er r c Ro t H a Yo uths 8 . S l , b , Hay , 3 3 ” v est U er avaria Skarbma 1 2112 08 in pp B , , F , 4 . “ le x S v o gt, Ma , o ur o f ” H Schmdler Eml l Rest 0 , Jacob , A , 4 7

i U er Au s Sna e rs 1 0. Saw M ll in pp y , 7 ” “ tria 8 arch and 1 1 2 186 , 3 3 ; M L Snyders; Franz, , 4, ; “ ” sca 00 iana w ith s e . D east p , 4 the B , “ chi rm er o hann i he m 1 1 Tw o io nesses ur S , J W l l , ; L p “ ” 0 W d and su in a R 18 43 ; A oo L g oebuck, 7 ; “ sca e i i in i 2. o ness K a d p , 35 L ll g W l ” Schli e V 011 B 1 1 1 8. 2 8 o ar , , 9 oar, , 57, 7 ; B ” n D e u e aitin 18 Kitchen Sch orr, 375 ; , B g, 7 ; l g ” iece 18 Fru 1t 377 P , 7 ; and cho n u i V e e 1 a er a rt n irth ta e to re 8 . S g , M , B g bl S , 7 ” hr st o r h 8 . S endric 12 . of C i , 3 g , H k, 7 Scho nl eb r Gu stav S anz o ti e 08 t artino 2 6 . , , 4 p , M 4 Sché fer A . u cins itz w e p , , 4 ; Sp g, Carl, 349 ; The ” M ” o et 0 Scaevola, 4. Poor P , 37 ; In the ” Schd fer ttic 0 p , Hans , the Elder, A , 37 ; The Scold “ ” u d ment aris erm t 0 5 ; J g of P , ing H i , 355, 37 ; “ 5 . Hermit Playing a V io ” “ n Sintﬂu t 2 Tu r s a Schor , Karl, , lin , 4 5 ; k in ” afe 2 ere 375 C , 4 5 ; The S chramm R Tu r 2 Th e o S , udolph, , 4 5 ; yp ” nade H e s 00 cho nd riac 2 k y , 4 . , 4 5 The ” Schran l i do h . e a rat o n p , J von , 377. S p of the Lovers , “ Schro t z ber i r . 2 C o w s 011 a g, 357 4 5 ; G l chu t r i o ne s 188. 2 . S , C l , Hill , 4 5 S chw arz er ] 1 a ] . 8 00 , Car , 4 5 St b , Adolf , 3 7, 4 ” chw ind o ntz 1 lo o dtime 0 and S , M von, 4 9 ; F , 4 5 ; L “ ’ ” ad dv entu r e s Tru e sca e to rm L y A p in S y Mood , ni ht 0 K , 36 Sym 387. g ” 60 tad er To ni Evenin phony, 3 ; In the S l , , g ” ”

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tein e o hann Edu ard v o n a 26 S l , J , of Sculptor, 7 ; Por 1 r 2 a sev a 8 . trait ene ian N e 4 ; P l, 3 9 of a V t o bl ” tev ens 8 1 1 . 26 ar S , 3 7, 4 and his Son, 7 ; M y ” tev enso n 01 g l 268 . S , Macaulay, 4 ; , ” Ma da en

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Thier t enri 1 0. sim 220 o o o . , H , 4 Tura , C , Tho ma ans Tu rchi essandro su r , H 349 , , Al , “ ” ’ Tau nu s andsca e 08 nam ed L O rl etto B au h L p , 4 ; , g ” di s 288 o ne iness 8 . ero a L l , 3 9 ter of H , ; “ Th s ieter 18 do ra cene ro m i e y , P , 3 : A S f the L f of ” ” “ tio n he herds ercu es 288 ercu es , H l , ; H l of the S p ” i in chi dren 288 184 . k ll g his l , Tie o o i o v anni atti sta p l , G B , 21 o rshi U u as 1 86 ; ; W p of the den , L k van, “ ”

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1 0 ui et 1 1 . 1 4 ; Q Sea, 4 of England , 74 . f 2 E ck H ube1t Van der Wer f , Adrian , 3, Van y , 49 ; “ ” “ ” “ 1 0 Ecce 1 1 . nu s D ei 3 Homo, 3 Ag , 49 ; Ado e den Ro ier 1 ratio n L am Van der W y , g , 5 , of the , 49, “ ” E i h n 2 ° 54 ; p p a y Altar, 5 50 ; Triu m h p of” the Ado rat1o n 1 a t h o i c hu rch 0 of the Mag , C l C , 5 ; “ ” “ 2 nnunci atio n 2 i r in u een o f 5 ; A , 5 ; V g as the Q ” resentatio n Tem eav en 0 o hn P at the H , 5 ; J the ” “ ” ndmaid o f a ti a st 0. ple, 53 ; H B p , 5 “ o St u e 1 - 2 8 the L rd , 53 ; L k Van Eyck , Jan , , 47, 4 , ” aint in a o rtrait o f nu s D ei p g P the 49 ; . 49 : Ag ” ir in . do ratio n V g , 53 A of the Lamb , “ D n 0 Tri h o uve 2 . u m Van , 3 49 , 5 ; p of the D ck Antho 11 atho ic hu rch 0 Van y , y , C l C , 5 1 1 1 160 166 ° ead hrist 1 , de H of C , 5 ; ae w i e 1 1 o rtrait a hai red W l and his f , , P of gray

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n s 82. 8 . Wag er, Han , sula , 4 W aldmii ll er eo r erdi Zimmermann ert 1 , G g F , Alb , 4 9 ” ur is Ni ht nand, 355. The Walp g g , a 6 W lton, Edward, Idyll, 3 9 . 1 Z mm ermann u u st W 11 39 i , A g deric he m 0 atts eo r e re . W , G g F k, l , 35 ” 1 1 Zimmermann Ernst Warrior, 4 . , , The ’ ” eeni a ti st 2 1 he herd s 06 . W x, Jan B p , 3, 39 S p Prayer, 4 1 0 Z immermann Richard 4 . , , The ” ei shau t icto r 0 . o t a t o arv est 74 ; W p , V , 4 7 P H , 3 “ inte i h W enban i o n S. i o w s r , L , W ll W in the H g ” ” B 8 o u ntains 6 by the rook, 3 3. M , 3 9 . W en lei n o se 81 0 Zii el einrich 2 00 g , J f, 3 , 4 7 g , H , 39 , 4 , ” 0 ° 4 7 D o s , g on the Moor ” 0 2 he herd 4 8 . 39 , The S p ,

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